Rhino Practical Course: Designing a Villa

1. 1.Introduction: Hi there. In this course, we're going to learn the basics of Rhino by using it in the design process of an entire Villa from start to finish. Now, my name is Hosein Afsha architect by profession. I'm also a university teacher as an instructor, and I'm also a PhD candidate. My interest is in bringing theory into practice, and as such, I have used several methods to make sure that you get the most practical knowledge out of this project as possible. So if you take a look at the project content, you can see that the course is not organized based on the names of the commands as is customary with many courses like this. But instead, I have organized them based on the names of building elements, for example, designing the chimney, designing the interior, and so on, and also based on the different steps of the design process. Now, this is because I wanted to take a completely practical approach to the software because from an educational standpoint, learning in practice is a lot more efficient than just learning theory alone. And now this is called the transfer of learning in educational psychology, this basically means that instead of explaining menus one by one, I'm going to start the design from the beginning of the course and whenever we are faced with a challenge, we try to overcome it by introducing new commands and abilities. And not only you get to see how we run the command, but more importantly, you're going to see why we use it and how it compares to other similar commands. Now this would enable you with a practical knowledge to use whenever you are faced with similar challenges. So that's it. Enough with the theory. Let's begin our design. 2. 2.Project Overview: Our project is basically a suburban villa with a modern design. So as you can see, it has some entrances from the street side and on the other side, the yard consists of a pool and some landscaping. I will start from general shapes and volumes that basically consists of two intersecting cubes and start adding architectural design elements as we go along. And after we finish the modeling, we will start adding the materials here and use different adjustments and parameters to enhance them. And after that, I will discuss lighting and rendering and the different methods that we can use to enhance our project. We also talked about how to add objects into our scene and the different methods that exist to do so. And finally, we will use our treaty model to produce two the technical documents for presenting our project. And these consists of plan views, elevations, sections, and perspective views. We also talk about important concepts when dealing with annotations and adjusting their size for printing. So for the most part, I try to keep the shapes and models simple to suit the beginner level, but sometimes we use more complex and advanced commands to model advanced shapes like these spiral staircase inside the building and also the tiles and the pool that use curved forms. Now, through this process, you will get a holistic understanding of all the steps that you have to take to design an architectural project inside Rhino and all the commands and abilities that you can use to help you in this process. 3. 3.Getting to know the user interface: In this video, we'll have a quick and simple look at the Rhino user interface, especially the parts that are important for an architectural project. Since Rhino is a very comprehensive software covering several fields, at first, you might be overwhelmed by the large number of commands in the interface, but you shouldn't worry because I have found by experience that not all the commands and menus are equally necessary to work in an architectural project. In those necessary parts, I won't take turns going over every menu. Instead, I will introduce and use commands as we progress. From a very simple perspective, the user interface in Rhino, as well as many other design softwares, includes commands to either create, to edit, to manage or to help in our drawings. In Rhino, all these commands are organized into tabs that you can see above the screen here. By clicking on each tab, the relevant commands become visible, which are divided based on the type of object that we create or the type of operation that is performed under. A very important part of the Rhino user interface is this toolbar at the right, which includes several tabs, and one of them is the layer tab, which is specifically important for architecture projects. This is very important in managing your project because in architecture, we usually have to revise our design and go back and make a change, usually on a lot of objects, and having them organized in layers reduces our time in selecting objects in making those changes and updating our designs. Another important part of the user interface is just below the viewpoarts area, which includes the snaps, which are very important for drawing with precision and also other helpful buttons that we'll use a lot during the course. And then there is the viewport area itself, which as you can see, is by default divided into four smaller viewports, one perspective viewport and three orthogonal ones. We can change the layout of the viewport, as well as what we see in these views. We can click the icon at the top left corner of these viewports to see the various options associated with them. For example, how the viewport looks and what we can see in that viewport. If I click perspective, now I have two perspective viewports that I can use to view my model from different angles. Now let's talk a little bit about navigation in these viewports. In Rhino, if I hold down right click and drag, I can rotate around the view like this. And if I hold down Shift, right click and drag, now I can pan in the viewport. In the Otagonal viewports, it's as easy as just holding down the right mouse button and dragging. And I can use the middle mouse button in both viewports to just zoom in and out. A very important feature in Rhino is its ability to run commands just by typing them. It speeds up our process a lot since we don't have to go inside the menus and find the command, which could take some time. This ability is very much like autocat. And the way it works in Rhino is we just type the name of the command, which shows up at the top here, head space or enter, and it gives us clear instructions on how to proceed with that command. For example, now I just click a couple of corners, and now I have a box. The name of the command was very easy. Most of the rhino commands have very intuitive and easy to remember names, which helps us a lot in working with them. And you're going to learn a lot of these as we progress in the course. I should note that at first, you might think that the high number of commands in Rhino and the way they are scattered across different menus might make it a little bit hard to learn. But in fact, many of these commands are just different ways to perform the same operation or similar operations. And also, some commands in Rhino are multi purpose, meaning that you can perform them on different types of objects, and by just running the same command, you can do many different things in Rhino. Now, let's have a live demonstration of using these multipurpose commands and abilities of Rhino to simplify and speed up our modeling process. Let's draw a line together. Start typing line. You can see that as soon as I type it, Rhino tries to auto complete the command and give me suggestions about the full name of the command. If it is the command that you're looking for, just hit space or Enter, or you can keep typing until it is the command that you want. Hit space and pick any two points in any view ports, and I have line. Click the line, and you can see that a tool appears on top of it in the form of a couple of axes and some other icons. This is called the gumbo tool, which is a very important feature of Rhino and can simplify our modeling process. It can be activated using a button down here. And we can use it to move our object, to rotate it, or to scale it in any of the main axes. It also comes with other hidden abilities that if used correctly can eliminate the need to run additional commands and saves a lot of time. We use this tool extensively during the course, and for now, I will use this tool to turn this line into a solid. Of course, there are commands in Rhino for doing that, but I want to show you that we can do the same thing without running additional commands just by using this tool. Now, click and drag on this. And while you're dragging, hold down the Control button as well. Once you release the mouse, you can see it turns it into a surface. If you can't see the surface like I do here, you just have to click this drop down menu and select shade. If it is on wireframe, you can see it you can only see the wire around the object. But once you click Shade, it fills up the object and you can see now, select the surface and start dragging on the vertical axis, and again, hold down the control button. This time it turns the surface into a solid. So you can see that I can perform a lot of operations using this tool. And actually, I can keep repeating this on the top surface of this until I have a very complex form. If I control shift and click on the surface, it only selects that particular surface, which I can then click and drag, hold control, and release the mouse. You can see it actually extrudes the surface and creates additional surfaces on top of the previous ones. I can keep selecting them in any direction that I want and repeat the same operation again to make more complex forms. All of them is done without running any additional commands directly inside the viewport. It is one of the important strengths and features of this gumbo tool and rhino. During the course, you'll see that we'll use certain parts of the user interface more often, and most of our modeling can be done with only a small number of commands. 4. 4.Setting up rhino: In this video, we'll see how to prepare the Rhino environment for our project. For this tutorial, I'm using Rhino seven, but the process is exactly the same for previous versions and most likely for newer versions as well. Now, let's open Rhino. We are now presented with a starter screen which includes our recent files for quick access, and we can also open other files or make new ones. When making a new file, we are presented with some templates, which are basically rhinops with a couple of settings applied in them. These settings include the measurement unit, which could be millimeters, meters or centimeters or feet. And also an absolute tolerance value. This value is important doing modeling because some commands can be either very precise or approximate. For example, when we want to find the intersection of two surfaces with a command called intersect, it gives us a curve. With a small absolute tolerance, this curve lies exactly on the intersection line. But with a large tolerance, it could be off by a couple of centimeters or even more. However, the more precise we are, the heavier the computations become. But with our fast computers these days, such changes are barely noticeable. For architectural projects, a tolerance of 1 millimeter is good enough. And for the units, I will use meters throughout the course. So let's select the appropriate template down here and let's start our project. If you ever need to change the settings later, you can access them by going to the fine menu, clicking on properties, and going to the unit section. Here you can see the model units and the absolute tolerance, as well as a couple of other options. I have to say that templates are not limited to changing tolerances and units. You can change layers as well and save them as a template. If you ever follow a certain standard in your company that requires specific layer names or certain blocks or other settings, you can just save them as a template so that they show up in your template menu the next time you open Rhino, and it can save a lot of time. For the purpose of this tutorial, I have started with a blank template, so we can learn all of these settings as we progress. 5. 5.Modeling_Site layout: In this video, we're going to draw the general layout of the building site and determine the position of different architectural elements, including the building itself and the landscape elements within it. So I maximize the top viewport where it is easier to draw elements in plan, and I want to start by drawing the street line. Let's say we want to line with the length of 50. So I start the line command and pick the first point, and now I need to specify the length. I just type in 50, and as you can see, it is constrained to that length and gives me a preview of it. Next thing we want to do is to determine the direction of the line. In this case, I want a line that is totally horizontal, so I have to constrain it to that direction. In Rhino, you can press the F eight keyboard shortcut to activate the Auto moode which is the button at the bottom of the screen here. It constrains your line to the main axis directions. Now that it is constrained, I just type in 50 again and click. Now, you have a line with a length of 50 that is totally horizontal. Now let's talk about the position of the building relative to the street. First, I want a lawn here with grass, let's say, with a width of 10 meters, after which the building itself begins. And behind the building, I want a pool area and a garden. So we want to copy this line by 10 meters upward. For that, we can use a command called copy, which is a very obvious command that is used in many design softwares. I just type in copy, hit Enter, select our line, select a point and a direction. Now I just type in ten and hit space. Now I have a copy of the line that is 10 meters upwards. The copy command doesn't finish, and I can keep copying and typing in new numbers, but when I hit space again, it finishes the command, and now I have a line that is 10 meters up. I can do the same thing much more easily using the gumball. Let's delete this line and repeat the same thing with the gumbo. I hold Alt and drag upwards, release Alt and type in ten and release the mouse. It's that easy. So another strength of using the gumball tool inside of Rhino is that it can actually copy elements without the need to run the copy command. For the building site itself, I want to draw a rectangle with a width of, let's say, 30 meters and depth of 45. We'll use a command called rectangle, which as the name suggests, just draws a rectangle. So I start typing in REC, which auto completes to rectangle and hit space. Click a point and then type in 30, hit Enter, type in 45 and hit Enter again. We have a rectangle right, but it is not on this line. I want to move it precisely to this. So for this, I use another command called move, which again, as the name suggests, just moves the object and is a command very popular in different design softwares. So I just hit and Enter. I pick a start point, click and hit the endpoint on this line and click again. That is the move command. Now I need to determine the position of the building itself on the site. For this, I want to have a villa that is a ten by 20 rectangle to this side and then another rectangle on top of it, which is rotated towards the pool area. So I need two rectangles with length of 20 and a depth of ten. So I again, run the rectangle command and draw one with length of 20, hit Enter and ten like so, and then I move it to the start of the site here. I need the building to be offset from the side of the site because I want to have an access towards the yard from the right and I want to have a little space on the left as well. We'll determine that later when we design, but for now, let's have another rectangle. I just copy this one. Hold down out and drag and then rotate it because we have auto mode activated, it only rotates by 90 degree increments, which is exactly what we want. So I rotate it by 90 degrees and release the mouse, and then I need to move it to the edge of the first rectangle down here. So I click it, hit move, and bring it down like this. The next thing I want to do is to move it 2 meters towards the street here and one meters towards the left. I can do this with the move command by typing, picking this point, picking the direction and typing two hit Enter. But I want to do this using the gumbo. So I control Z, and I just click the green axis here because it is pointing towards the upper part of the screen, if I want to move it down, I have to type in a negative number. So I just type in minus two, hit Enter, which brings it down, and then I pick the red axis, type in minus one and hit Enter again. You can see we can do this very easily using the gumbo tool. Next, we need to draw the pool area, which is an organic shape for this, we can't use the line command. Instead, we have to use a command to draw a very organic shape between a set of points. When it comes to drawing smooth curves and surfaces, Rhino has a lot to offer. But for this tutorial, we'll use the simplest form of these commands called curve. So I just type curve, hit Enter, and I just start picking points. You can see that very easily I can draw this curve by just clicking a couple of points on the screen. I close this curve by attaching the end point to the start point. Now I have a general shape of my pool on my site, and this is enough for now. We will return to this later to fine tune it and make it more fit for our design. In the next video, we'll turn these shapes into treat models to explore the designs more precisely. 6. 6.Modeling_Blocking out the design: In this video, we start blocking out the general treaty model of our building and the site around it. To start, I go into the perspective view by clicking the Perspective tab on the far left. I treaty software, one of the most famous commands to turn a Tut shape into a treaty model is the extrude command. In Rhino, this command has many variations which can be performed on different types of objects. When I start typing extrude, you can see all these variations appearing here, and I can do this on a curve or on a surface or a mesh or different objects. For this tutorial, we use the simplest form of it, which is extrude CRV, so I click it and select the curve and hit Enter. As I bring it up, you can see that it gives me a preview and for the height of a simple building, I type in four and hit Enter. You can see that it has no top side and bottom side. It only has extruded the walls. This is because when extruding curves, it only recognizes the outline of the curve. However, if you extrude the surface, it also recognizes the inner surface and gives us a solid. To solve this problem, one way is to actually turn this shape into a surface before extruding, which can be done by going to the surface tools menu and clicking on this option, which is surface from planar curves, or we can just type the command name which is called planar surface. After which when we extrude this, we have to call the extrude surface command. So I type in four and hit Enter, and now I have a solid. There is an alternative way to do this. Let's try that also. So I delete the surface, extrude the curve again, extrude curve, hit four. Now we can use a command called cap, which basically closes the open areas in a polysurface. So I hit cap and it does the job very well. For your information, a pol surface is a solid like this, which is comprised of several surfaces attached together, and it's a term used very much in Rhino. I do the same thing for the other shape. Only this time, I'll extrude it using the gumbo. So I drag it upwards. I typed in four, and I just hold down the Control key and then release the mouse. I repeat the CAP command on this one, as well. And now I have two solids here. The next thing to do is to bring this one on top of the other one since this is the first floor. So I just click the gumball and type in four, and it brings it up like this. Next, I want to draw the wall around the site, and for drawing it, I can use the rectangle that I have drawn earlier to extrude it and make the wall. However, if I do so and extrude it, for example, using the gumball tool, you can see that it intersects with the building. I can use other commands to remove this portion. However, for educational purposes, I just want to teach you how to remove certain parts of the curve before turning it into a treaty shape. So I control Z and what I need to do is to somehow remove this curve or at least part of this curve from this rectangle before extruding it. So in order to see it better, I want to isolate this rectangle by hiding everything else. In Rhino, we can do this by clicking the middle mouse button and holding down on the little icon next to this light bulb, and we go to the fourth icon from the right, from the left, and this is called isolate, which basically hides everything else except the objects that we have selected. So what we need to do is to draw a couple of lines here, and we need to delete whatever lies between these lines. For this, we use a command called Trim, which exists also in AutoCAD and other design software as well with the same name. So we type trim and hit Enter. First, we need to pick the cutter objects, the objects with which we're going to cut. So I select these two lines, hit Enter, and just click the line in the middle. You can see that it removed this line very easily. However, we have a problem here. We need to know exactly where the building is situated relative to this sight line before running the trim command. I just draw these two lines to show you as an example of the trim command. So I control a couple of times. I need to have the building model here as well. So I need to return everything by clicking the second icon, which is Show Objects. So this time, I click the sight line and the building the first building, and then I isolect them like so. And then I draw the lines at the edges of the building so I know where the building is, and then I can hide the building by clicking the first icon. This time, I repeat the trim command and select the cutter objects, hit Enter and select the line in the middle. So I can now delete these two and return everything now I can extrude this using the gumball, let's say with a height of 2.5 meters. I hold in control and release the mouse, and now I have the side wall. But there is another problem. It is only a surface with no thickness. We also need to have a wall, for example, with a thickness of 20 centimeters. I can turn this surface into a wall right now, but it requires a command that I'm yet to explain. So I use a simpler form of it by Control Z and giving it the line a thickness before extruding it. We can do this in Rhino with several methods. One of the most common ones is a command called offset, which is, again, a very famous command in all three D software. So I just type in offset And if I zoom in, you can see that it tries to expand or contract the line based on the direction of the specific curve from which it is offsetting. So all I have to do is just type in a number, for example, 20 centimeters, and it gives me an offset of 20 centimeters, like so. So if I now select the line, you can see that it has inset the line by 20 centimeters from every direction. However, this might not be enough for turning this into a tree shape. I isolate it and let's see it better. You can see that at the end, it is open, so we can't use the plan or surface command on it. There are other commands we can use, but for now, let's close this shape by connecting it by using the line command. And select everything, including these two small lines and repeat the plan or surface command. This time, you can see that it has turned it into a very thin surface between the lines. So I can select it now and extrude it using the combo. I give you the height of 2.5 meters, hold the control, and then release the mouse. And now we have our site wall. I can bring back the building by clicking this icon. So now we have a general treaty model of our building and the site. In the next video, we start adding detail to the building by actually drawing the walls and making a hollow form from this block. 7. 7.Modeling_Walls and floors: In this video, we are going to add more detail to our building blocks by creating walls and a floor and a roof. I'm going to do these with different methods to show you how it can be done in Rhino. Depending on the situation, you might use one of the commands over the other. So for the first one, I will cut this block into smaller pieces to create the walls, and for the second one, I will delete it and create it from scratch with a method similar to how I created a site wall. So let's get started. In Rhino, we have the ability to cut surfaces and ply surfaces using various commands. One of these commands is a command called a split face. So I start the command by typing a split face. There's also another command called a split, which I'll explain later, but be careful not to select this one. You have to select split face. It requires us to select a face on any object. So I select this top face and hit Enter. Now you have to draw a line to use for splitting the face. I can click anywhere on the surface, only I have to select the edges to draw a complete line across the shape. As soon as I click the other point, it gives me a preview of the cut line. So if I hit space, you can see that it has cut it into two smaller surfaces. I can verify this by clicking the individual surfaces using Control Shift and click. You can see that it is cut. However, I need this cut to be like a wall. I control Z, and I want to perform an offset on the edges of this surface before splitting it with that curve. I draw a rectangle around it like so, and I offset it by 20 centimeters. You can see that it already has 20 centimeters in the options because the last time we used it on the building site walls, it preserved that number. So I select the curve and pick a point inside of it hit and click. Now we have this curve. I run the split face again. Select the pace, hit Enter. Only this time, I use the option curves, which gives me the ability to select a curve instead of drawing the cut line. So I select curve if I can't select it, I have to zoom near the surface to be able to select it better. So I select it here and hit Enter. You can see that the command has actually cut the surface into a narrow band around it and a bigger surface in the middle. So if I control shift click, you can see that this surface can be selected separately. And now that I can use this surface for making a hollow shell out of this block. And the trick to use here is with the gumball. I have to drag the gumball and hold down the control. I can drag it up or I can drag this down. If I drag it up, it will extrude this surface and create a block like this. However, if I select it and drag it downwards by holding down control and releasing the mouse, you can see that it actually hollows out this entire block. Let's see it better. Control Z, and I will isolate this shape, isolate this block, and repeat the same command. Only this time, when I drag it down, I will drag it all the way down. I even let it pass through the object, and when I release the mouse, you can see that it has actually cut the entire block into a thin wall. This is one of the cool features of the gumball when it is combined with commands like split face. So this is one method we can use to actually cut this block another way to do this, and that is using a command called Boolean difference. Boolean operations are very commonplace in design software, and we're going to use this to cut this by subtracting another block from this building block that we have. So let's control and return our building to the stage where before the split phase command, I want to keep this line because I want to use it to create another block to subtract from this one. So before I use it, let's talk a little bit about how this command works. I'll draw a couple of boxes a bigger one and a smaller one which intersects the other one partially. Basically, what this command does is it takes a block, it takes a tree solid and subtracts another one from it and leaves an empty void in place of the intersection between these two shapes. So let's start the command. When I took type Boolean, you can see that it has several modes of operation. For now, I will work with Boolean difference and will explain the other ones when we need them. So first, I need to select the one I need to subtract from. I hit Enter. And let's turn on delete input so that it deletes the other one once we subtract it, and then I need to select the other one. As soon as I hit space, you can see that it has actually subtracted the other one and deleted the parts that intersected with the first shape, and it automatically fills this place with surfaces. So this is another method that we can use in our building. So let's do it. First, I will turn this curve into a treaty solid. So let's extrude it. I want this to pass through the object, so I extrude it by an amount that is greater than 4 meters. It doesn't matter how much. So let's just bring it up, close it by using cap. And I just bring it down so that it completely intersects the building block. I now run the Building difference command, select my building and hit Enter and select this volume as well. You can see that it gives me the same result as before. But personally, I prefer to use the split fase command because it is faster and especially when combined with the gumball tool. So now let's try a different method with the lower block, and we'll use the offset curve tool to draw the walls before we generate the treating model. So I will delete this. I use the underlying curve, and I run the offset command on it. And it already has 20 centimeters, so I just click inside of it. Because these are two closed shapes, we don't need to draw any additional lines. We just select them and run the planar surface command, and as you can see, it completely fills it inside and I just drag it upwards by 4 meters and hold down Control and release the mouse. And it was simple for this specific case because we didn't need to draw any additional lines, but in some instances, it might be easier to use the split face tool or even the Bullion tool, depending on how you draw these and the shape of your building. Okay. Now it's time to draw a roof and a floor for these two blocks. I start with the upper one and since I already have a line, a rectangle here, I will just use the planar surface command to turn it into a surface. All I have to do now is to give it a thickness. And I can do this very easily by dragging it downwards, typing 30, for example, and holding down control, which gives me a solid with a thickness of 30 centimeters. This is our roof, and I can do the same thing for the floor. So all I have to do is to copy it down. I can use the gumball tool for this, but because I want it to be precise, I use the copy tool. I pick a point up here, and I bring it all the way down to this edge. You can see that because I have copied it on a vertical line, it has preserved the offset distances from the site. So this is very important where you copy from. As I said, the reason I use the move tool is because I wanted it to become precise. However, there is the option of using the gumball to perform the same thing while preserving the precision of the operation. So it's more of a little trick that I picked up during my working with Rhino. So let's delete this and trying to repeat the same thing only using the gumball. So before I do this, let's explain a little concept with the gumball here. Let's draw a box here and select it. If you pay attention to the position of the gumball, you can see that it's located at the center of the object's mass. Not up or down. It's exactly at the center. This creates a little problem when we want to copy objects using the gumball. Let's give you a demonstration. I hold down Alt and copy this. Let's say I want to bring this down to exactly touch the lower cube here. If I bring it down using the gumball and snap to any of these points, you can see that it intersects because it snaps the location of the gumball. However, there is a way I can fix this. In Rhino, we have the ability to change the location of the gumball relative to the object that it represents. For this, we need to hold and control and then move the gumball around. In this way, we can put it in any position that we like relative to the object. So in this case, I want to bring it so much down that it touches the bottom. I can select any of these points as reference. And when I release the mouse and release control, it actually treats the gumball as if situated here. So I can move the object now and stick it to the lower cube, and it precisely sits on top of it. So let's do the same thing with our roof here. I select the roof. I isolate it to see it better. Now we have to drag the gumbo to a place so that when I copy it, it is copied to the right position. So I hold down control and drag the gumball all the way up until it snaps to one of the upper edges. Now I can copy it and make the floor. So I hold down Alt and copy this until I hit this snap on the lower edge, and you can see that it has perfectly copied into place. The reason I placed the gumbal at the top surface of this solid was that I wanted it to be copied to a place to actually meet the roof of the lower floor because from a structural standpoint, that is the correct procedure when designing a building that extends from another surface. Now let's draw the roof and the floor of the lower block. I start with the floor so we can see what's going on inside of it before we put the roof on top of it. So we already had a curve down there. So I just turn it into a surface using the plan or surface command. And for this surface, I wanted to have a ten centimeter height because I wanted it to be a little bit higher than the street level. So I just drag it upward, type 10 centimeters and hold down Control and release the mouse. You can see that after a while, this routine with the gumball becomes second nature. So you might at first have a little trouble repeating this procedure by yourself, but after a while, it becomes so normal that you can easily model a lot of objects only using the gumbo with this way. So now I need the roof, so I select my curve. If you can select it from up here, you can just rotate the view to select it from beneath. Like this. So I just bring it up again, turn it into a surface, and give it a thickness of 30 centimeters. Hold on control and release the mouse. So now we have drawn the walls, the roof, and the floor of these two blocks, and now we are ready to add finer details to them in the upcoming video. 8. 8.Modeling_Balconies and openings: In this video, we're going to add more detail to our model by creating a couple of balconies and some openings for doors and windows. Before proceeding with the modeling, let's talk a little bit about the split face command and how it combines with the gumball to cut holes in treaty geometry. You have already seen how I use this to turn this block into a hollow shape, but let's give you an example to understand its potential better. I draw a box here, and I also want to draw a rather unusual geometry by using a command called polyline, which is basically draws several lines connected to each other. I want to give this a thickness, so I draw it like this and turn it into a surface, and I turn it into a solid using the gumbo. Now, I want to draw two circles on the vertical face and this face on the cube. So I start drawing the circle, and it has an option called vertical, which basically draws it vertically. So I draw two circles on these two faces, and I bring them up on the surface. And then I split these faces using the split face command. And now, these are split. You have already seen how I can use this on a simple shape like a cube by dragging and holding down control. Now, if I try to do this on this shape, you might think that it only cuts the first wall here, which is true if I drag it only up to here. But let's control Z and control shift select, and this time, I drag it all the way through the whole shape. Now you can see that it has cut the entire model perfectly, even though the walls are not directly connected to each other and it has filled every hole with additional surfaces. This is the true potential of using the gumbo in combination with the split face command. In fact, you can direct the surface in any direction that you want. To demonstrate this, I'll draw another shape on the surface, for example, a vertical rectangle like this. I split the face using this rectangle. Select it with control and shift. And now I want to drag this in an arbitrary direction like this. Hold down to control and release the mouse. You can see that it has made an oblique cut across the entire model very neatly, and it has filled any place that it has cut the model with surfaces. And this is the reason that I'm going to use this method to create openings in the model in the entire course. Now let's start modeling the balcony. So I want to create an opening inside this face and give it a depth of 2 meters. But before I start, you can see that the floor here is exposed, and this is not a good idea in a modern design to leave the floor like this in an extruded surface. So I select the wall around it by control shift click, and I just drag it down until it touches this corner. So this way, it has a more pure form, which is more desirable for a modern willow. Okay, so split phase, select the pace, select the curves. And now that it splits, now I select the phase and drag it in words. Hold down Control and release the mouse. You can see that it has created it perfectly. Now, let's isolate this model here and talk a little bit about these extra edges that are formed on the inside. When we use commands such as Boolean operations or a split face, it leaves us with extra edges on our models. These extra edges can create complications in our modeling process as we go along. And I have a habit of getting rid of these extra lines and edges before proceeding with my modeling. In Rhino, we have a couple of options to get rid of this, and there is a command called merge CplanerFass. So let's type it and see how it works. As soon as I type merge, you can see that a couple of commands come up, and one of them is merge co plan or faces. I click it, and it asks me for two surfaces to merge together. So I click this one and the other one, and as soon as I click the second one, you can see it has merged them into one simple surface. I can repeat the same command for the surface at the other side, and it takes care of this problem. However, there is a simpler and more advanced form of this command that we can use that automatically takes care of all the edges in our model, and it doesn't require us to actually manually select all the surfaces, which could take some time on complex models. So let's type merge again and this time, we are presented with another command called merge all CplanerFaces, which is basically the same thing only this time it automatically detects all the extra edges in our model. So it only requires us to select the model. Sorry, let's control Z to return these edges before we proceed with this command. Type merge all coplanar faces, hit Enter, select the model. And this time when you hit Enter, you can see that it automatically deleted both of these edges, and it was quite fast. This is another command that I'm going to use a lot during the course to keep our models clean. Now, let's bring everything back. Now I want to draw a wall which is 2 meters inside the balcony, and in that wall, I want to create a curtain wall with a height of, let's say, 2.5 meters. So I select this edge, and using the gumball, I bring it in by 2 meters. So holding down the Alt key and dragging and then releasing the alt and typing two and then releasing the mouse. As you can see, it sits exactly on the line here, which belongs to the wall beneath it. I can now drag this upwards and then hold down control to make this into a surface. Now I want to create a curtain wall that is offset half a meters from both sides and has a height of 2.5 meters. So I select the edge here by control shift selecting the surface edge and holding out and dragging inwards by half meters. I do the same thing for the opposite edge as well. And for the height, I already have a curve down here. So I select the curve and just click the vertical axis on the gumball and type in 2.5. Now we have all the curves that we need. Now I'm going to demonstrate to you another method that we can use to cut this surface using these curves. I can use the trim command here. You have already seen me use it with the curves, but the trim command in Rhino is one of those multi functional commands that can be used with different objects. I can use it to cut curves with curves, curves with surfaces, surfaces with curves, and so on. In this instance, I use these three curves to cut the surface. So after selecting them, I hit space and select the surface in the middle. You can see it has perfectly cut the surface using these three curves. Now we should add a thickness to this wall, and I can do this using the gumbo. Drag it in the green axis and give it a depth of 20 centimeters. Hold down control and release the mouse. Now, that's it for this balcony, but we're going to return to this later to add more detail. But for now, I'm going to create another balcony at this side. Only this time, this balcony has an opening from the side as well. So I'm going to cut this surface here and then drag all the way using the gumball to cut the entire model and create two openings at the side in addition to the one in this surface as well. So I click this edge and I copy it upwards using the gumball again. Hold down the lt, drag up by 30 centimeters, do the same thing from the upside. And copy this age as well only with a depth of 2 meters. Now, if I cut this, it will create additional surfaces all the way along the surface, which is not a problem because we can merge these surfaces together using the merge all coplanar surfaces. So let's proceed with our split split phase, select the pace, select the curves. And select this one and drag it all the way along the model. You can see that it has easily cut the surface here, and now we can start the merge co planar surfaces, and you can see that it gets rid of the extra edges that were created during this process. I can now delete these extra curves. Now, I have to create the wall inside the balcony, just like the other one. But since they are exactly the same, I can just copy the other one and bring it at this side of the block as well. So holding down old, I just drag it inward, and for putting it exactly into place, I use the move command. That's it. Now I can proceed with creating extra openings on the entrance, for example, a garage entrance and a pedestrian entrance on the outside of the building, as well as a couple of others towards the yard. For example, one for the kitchen and one for the living room that has a view towards the pool. Now let's create a garage door that can accommodate two cars. For this, I draw a vertical rectangle with a size of 5 meters and height of 2.2. So let's start the rectangle command, type V to create it vertically and type in five for the horizontal axis and for the vertical 2.2. And click. I want this door to be positioned 20 centimeters left of this edge because there's 20 centimeters of wall thickness after which the door can begin. So I move it all the way to the edge and then move it back a little bit by typing in -20 centimeters. Okay, there's also another door for the entrance. So let's say I want them to have a distance of 2 meters and after which the entrance door begins. So I draw another vertical rectangle on the surface. Let's say it has a width of 1.2 meters and a height of 2.2 0.1. Okay, so for the distance, I just do the same thing. I drag it all the way here and then bring it back by minus two. Now I have to split it using the split face command. So I run the command here. Select the pace, Type C, select both curves, I enter, and now they are split. Select both of them and drag them all the way in. And it cuts our wall, and we have our openings. For now, it's enough and we will add the model for the doors later, and let's proceed with the openings towards the yard here. Later on, this area could be the kitchen. And in this part, I'm going to create a large chimney. So for the opening in this part, I want it to be offset at least 2 meters from this block, and at this side, at least 80 centimeters because the width of a standard ground cabinet is 60 centimeters, and I want it to have enough room for the cabinet after which the opening can begin. So let's draw our curves. From the left side, we have no problem because we can just select this, hold on out, and bring it back by 80 centimeters, which copies this curve. But for the other side, we don't have any curves to select, so we have to draw a line here to use as a guide. However, if I try to click and select this, we don't have anything to select here because there is no edge. These two volumes are just passing through each other. We'll fix this in a later time. But for now, in order to create this guide curve, one of the tricks that we can use is to click any place on this upper block and drag it in words until it shows perp, which means perpendicular. I click there and from there draw an additional curve upwards, again, perpendicular to the upper block. Now, I have this line here which I can use as a guide, and I can bring it by 2 meters towards the left. And from here on, I can create my opening. For the height, I can use the edge at the bottom here and select all and bring it up by 2.5 meters. So again, I repeat the routine again. So I run the split face command, select the pace, select the curves, and we have our split face. I then drag it in and hold control, and it cuts the opening. We have an extra pace here, as you can see, also here. So we run the merge all coplanar faces, which merges everything back together and gives us a clean surface. I delete the curves for the other opening at the living room here, we're going to make an opening with a width of, let's say, 6 meters. We can change this later as the need arises. But for now, let's bring this edge inside by half a meters. And again, I will copy it by 6 meters, and I copy this bottom edge here by 2.5. Split face, select the curves, and then bring it in. To create our opening. Merge co plan our faces and delete the extra curves. That's it for now. So in the next video, I'm going to add the chimney here and some railings on these balconies. And also, we will talk about how to add curtain walls in here and the techniques we can use to optimize our models. 9. 9.Modeling_Chimney and railings: In this video, we are going to add some architectural details to our model, including the balconies. We are also going to add the chimney, which is an important architectural element that, in addition to its function is also important from an aesthetic point of view in designing modern villas. So let's start with the chimney. For this particular villa, I intend to add a chimney with dimensions of 3 meters in 2 meters and a height that goes up to the upper block and even an extra meter. So let's draw it so type in box and select the corner, and I just type three Enter to Enter and for the height, I drag it all the way up to the edge of the upper block. In order to add the extra meter, we can Control Shift select the upper surface and just collect the blue axis and type one. Now, we want to position this chimney so that it is aligned exactly at the intersection of these two blocks. We already have a rectangle on the ground here, which intersects with this edge. In Rhino, usually, this gives us an intersection point. And we can test this by, for example, drawing a line. You can see that it gives me int, which stands for intersection. So we have our point. All I have to do now is to move this chimney from the center and position it exactly at that point. So let's do this. And now the challenges, I have to select this chimney exactly in the center of this bottom face here. But it doesn't give me any point there. So I can use a trick, which includes holding my mouse down on one of the known snap points, and it gives me an extension line here. Once I have two of these points, I can move my mouse about and find the intersection of these two points, which lies exactly at the center of that face. So I select it and move it and position it on this intersection point between the line and the wall here. Now my chimney is positioned into place, and I can go on and add the balconies here. For the balconies, I intend to add a glass railing here, which I wanted to start from a height of 30 centimeters because I believe from a functional standpoint, the glass might come in contact with the feet, so it's not very safe. So let's add a 30 centimeter wall after which the glass railing can begin. So this is very easy. We already have the edge here, so I can just select it and just move it up by 30 centimeters, like so. And for the railing itself, let's assume a standard height of 1.1 meters. We already have 30 centimeters, which leaves us with 80 centimeters to fill with the glass railing. And I have considered this glass railing to be made of glass panels with a width of almost one meters. So let's measure the distance between these two points and see how many glass panels we can fit into this. So I use a command called distance, which is executed by typing the distance. And as soon as I type the IS, it all complicates for me. So I just run it and I measure the internal distance between these two edges here, which gives me 9.6 meters. Now, before drawing the railing, let's determine the number of the panels based on this distance. Something to note here is that because these glass panels can be constructed with any arbitrary length, we don't have to keep an exact measure of, for example, exactly one meters. So I can just divide this length to a whole number, so we don't have any leftover length after we place our railings. So if we divide 9.6 by, let's say ten, we end up with 96 centimeters for each panel. But I want to also add a little gap between the panels because that would look better in the final rendering. So let's say we have panels with a width of 95 centimeters and a 1 centimeter gap between the panels. So now I'm going to draw the first panel from this edge using the line to I start from this edge, and I type 95 centimeters, hit Enter, and once it's constrained, I just pick the direction. Click and select the line. I can turn this into a surface for the glass by dragging it upwards, typing it 80 centimeters and holding down control and releasing the mouse. Now, this is my first panel, and I want to copy this along this direction with a distance of 96 centimeters. So I can use the copy command. And start typing 096 and I just can click in this direction and I just can keep going until I finish. But let's introduce a new command here to facilitate with this operation. It is called the array command. It is also a command that is very popular in all of treaty design software. And in Rhino, we have several variations of this command. And once we type in array, you can see that it has various forms, and for this instance, we just want a simple one, which is called array. It asks us for the number of copies in each direction. So the X direction is the red one and the Y is the green, and the Z is the blue one. So in this case, let's say I want to have ten panels in this direction. And in the other directions, it is defaulted to one. So if you just hit Enter, it accepts the defaults. Now, it wants us to pick a base point, which I picked to start here. And as you can see, it gives us a preview of these panels. So let's just type in 096 and just click. And as a last confirmation, it shows us the preview after which we can hit space. And we're done. We can verify that we have done this correctly by going to the end panel and checking if it has reached the end point. You can see that it has a little gap here, which is normal because we consider the gap for every panel here. And if you measure the distance, it should be exactly 1 centimeter, which is true. Now, let's draw the side panels on the two edges here. And for this, I just copy one of these panels using the gumbo. So I just hold on out and start dragging on these little icon here. And I want to rotate it by 90 degrees here. You can see that because the auto mode is not activated, it doesn't snap to 90 degree increments. Instead of turning auto mode permanently on, I can use a trick here. I can hold down Shift, which functions as a temporary auto mode and basically switches the state of the auto mode. So you can verify this by looking at the automot button at the bottom of the screen here. When I release the shift, it deactivates the auto moote. But when I hold it, it activates it. So if I had activated Automode before the operation, it would deactivate the automote, so it acts as a switch which changes the state of the auto moode. So after I rotate this, I release the mouse and I release the shift, which deactivates automde again. Now I just move this to the edge here. Now we have to notice that the distance in this edge is not exactly a multiple of the length of our panel. It's 1.8 meters, which divides to 90 centimeters. And if I want to have two panels here with the gap, I have to draw them with a length of 89 centimeters. Now I have them at 95 centimeters, so I just have to select this edge using Control Shift select and bring it back by 6 centimeters, like so. And I just have to make a little copy by 90 centimeters. So I just hold them out and drag and type in 90 and just release the mouse. And we have our panel. Before I copy this for the other side, please take note that the correct position of the railing from a construction standpoint is not exactly on the edge here. So we have to move them to be positioned almost in the middle of this wall. So because the wall has a thickness of 20 centimeters, I just just click this axis and type in ten, which is half of that thickness, and I just move it there. So I do the same thing for my other panels. Now, in order to select all of them together, we can use a trick of viewing these panels from a direction like this. And start dragging from the left to the right. This has the effect of only selecting the objects that completely lie within our frame. You can see that it's selected very easily, and we can just move this by 10 centimeters. Now, after we have done this, you can see it has created an unwanted gap at the end of our panels here. And in order to fix this, we can move both our panels so that it can fill the space between these parts. So I draw a couple of guidelines here that help me with the movement. And let's just move these panels and place them here, I just bring them back by 1 centimeter so that we can have a gap at the corner as well. I do the same with the other ones. If we accidentally select the line here as well, we can just deselect it by holding down Control and selecting the lines. Now, we only have selected the panels. So I move them to this intersection point, and we don't need to bring these ones back since they already have a gap here. But because later on, we want to add thickness to the glass, let's do so. So I just bring them back by 1 centimeter as well, and we are done here. But I also have to do this for the other side, and I need to adjust the length of all these panels in order to accommodate this extra length. So you might think that we have to do this all over again, but there is a very simple way we can achieve this, which is by using the scale tool. So before we do anything, I just find my reference point on this side as well. So I just draw a line and draw another one from the middle of this wall here, and this is our line. We need to scale this so it fits perfectly to this location. Rina has very interesting options when it comes to scaling objects. So let's talk a little bit about scaling before we proceed with this operation. Rhino has multiple ways to scale objects which are scaling in one direction in two directions or in three directions. And let's test this on a cube here. So I just draw a box with the same length width and height. I just type one for all of them. Now, we can already access the scale tool using the gumball with these rectangle icons here. So if I just hold on on any of them, you can see that we can stretch our box in different directions, like so. But if you want to have a scale with precision, we can type the scale command, and when we type it, you can see that it has multiple variations. Now, for this instance, in our project, I'm going to use the scale one D command. So let's get acquainted with these before we use them. If you use the normal scale tool, all it requires is a base point, a first reference point or a scale factor. If I just type in a scale factor, for example, a scale of two, it just multiplies the size of this object by two. However, if I use the scale, pick a base point, and instead of typing the multiplier, pick a reference point. It gives me the ability to exactly typing the length that I want this box to be. For example, I can just type it to be 3.1. In which case, all of these axes will become 3.1. This is a very powerful option because it gives me exact control on how large my objects can become. So let's just test the other options as well. Now, I use the scale to the command, which basically tries to scale the object on the horizontal directions of X and Y. So it doesn't touch the Z axis here. So I click a base point. I can click a reference point, and you can see that it only scales the object horizontally in both directions. And if I use the scale one decommand it only scales the object in the direction that I choose. Let's select our base point and the reference point. So you can see that it gives me the ability to stretch my object only in one direction. If I have multiple boxes stacked next to each other, like so, I can scale all of them using the scale one decommand from a base point. And it scales everything accordingly, including the gaps between the boxes. So this is exactly what I'm going to do with my railing over there. So let's delete these boxes and get back to our railing and fix these gaps using the scale tool. So I just select them again. I don't need these curves here, so let's just delete this one. I'm going to keep the other one because I'm going to use the end of that line as the reference point for my scale. So I deselect this one as well, and I start the scale one decommand and pick the base point. So for the first reference point, I'm going to pick this edge and drag it all the way. As you can see, it drags everything together. I'm going to drag it all the way up to this point. Now, I might have needed to position it 1 centimeter behind this line. So let's control Z, and I'm going to drag a little circle here with a radius of 1 centimeter so that I can know where the gap ends. Now I can use another trick to select only the panels and not the curves on the surface. I can drag from the right to the left and select partially the panels. This time, it selects everything that even touches our selection rectangle. I repeat the scale command. Pick our base point, pick the end edge and bring it to the edge of this circle. So now that it has scaled correctly, I can do the same thing for our side panels here. So I just copy this edge by 1 centimeter. To know exactly where I'm going to scale these panels to and run the scale one decommand and scale my object. Now that it has been scaled, I can just copy this over to the other side. I can do so easily by holding out and bring it all the way to the middle of this face. Before we proceed with our modeling, let's talk a little bit about layers. As your model grows more complex and we add objects that have different materials and colors, it becomes increasingly important to organize these objects so that we can select them later or we can modify them easily. That's where layering comes into play. And in larger architectural projects, a poor layering or a lack of layering can result in a waste of time that can even be in an amount of weeks. I have personally witnessed projects that wasted huge amounts of time just because they had bad layering or no layering at all. So it's a must do for every architectural project. Now, at this stage, I want to put these railings in a different layer so we can select them or change their color and material later as we need. In Rhino, the layering menu can be found on the right side at the same place where you can see the properties menu here. So we just have to click the second one from the left, which is the layers panel. And here we have a default set of layers, and we can easily put our objects in that layer by just selecting the objects, right clicking a layer and just selecting change object layer. And you can see that it has automatically changed their color based on the color assigned to the layer. Let's drag this a little bit towards the left so we can see it better. As you can see, layers have a lot of options, which includes the visibility of that layer, so we can turn it on and off. The color of the layer, we can change to any color that we want. Also the material of the layer, which becomes important when we want to render our project. Other options as well, such as line type, print color and print width, and also a couple of additional options which become visible once we want to use the layouts. But for now, let's just put them in different layers so we can organize them better. If you want to rename your layers, which is a good practice, especially when we are dealing with large numbers of layers and different objects, all I have to do is to select the layer and click it again, and it becomes editable, so we can here type the name, for example, railing glass. And I can change the color to something that represents glass, such as blue. And we have our objects in the proper layer. If we need to select them later, we can easily right click the layer and just click Select Objects, and it automatically selects everything in that layer. Okay, that's enough for this video. In the next video, we're going to finish up on our railing and also add the curtain wall behind the railing, both for this side and the opposite side towards the street as well. 10. 10.Modeling_CurtainWalls: In this video, we are going to finish up our railing, as well as add a couple of curtain walls behind the railing. So the railing we created in the previous video is basically a surface. We want to turn it to a solid so that it shows up well in the rendering. I do this by using the Gumbel tool. I just drag it in by 1 centimeter, and you can see that it has turned into a solid. We can verify this by selecting it and going to the properties and check it its type, which shows as closed solid polysurface. I do the same thing to the other side as well. We can shift select to select several objects at the same time. I drag this in with a 1 centimeter. I do the same thing for the other ones. You can see that I can do the gumble trick on more than one object at the same time. So I just give all of these objects the same thickness again and we are done with the glass. Now we need a top rail to put on our railing. I'm going to create a new layer for this. So I'm going to pick this layer, I change its name to, let's say, top rail. And I'm going to set it as the current layer. What this does is from now on, any object that I create is going to be put in this layer. So I just under current, I just select this layer and it puts a check mark on that layer. I'm going to draw a line here. I want to offset these lines towards the outside and the inside at the same time, and then I'm going to turn them into a surface and give them some depth. I'm going to use a command here called polyline. We used this before to show you an example, but I'm going to use it here to draw our top rail. This is basically a couple of connected lines that are already joined together. I'm going to use the interior edge of these glasses to draw our polyline. Like so. I'm going to select this curve, and I want to offset it both towards the interior and the exterior. Now, let's show you a couple of tricks using the offset command. I'm going to isolate this so that we can see it better. Run the offset command. As you can see, it can either offset inwards or outwards, and we have already seen how this works. But let's repeat the command. But this time, I'm going to use an option called both sides. What this does is that it offsets the line with the specified amount towards the interior and exterior at the same time, which is exactly what we want to do here. So I'm going to give it a number of, let's say, 5 centimeters so that it has a total width of 10 centimeters. And which makes our work a lot simpler. We can also make it more simple by repeating the command, turning on both sides, and also turning on another option called cap. And this one actually tries to connect these two offset lines by another smaller line, which gives us a closed curve. All of these help to make our work easier and we can reach the end result faster. So if I select it right now, you can see it gives me a closed curve as seen on the information up here. So all I have to do now is to turn it into a surface, select the surface, and give it a thickness. Let's give it a thickness of 3 centimeters from now, and we are done with our top rate. I'm going to give it a more reasonable color, for example, kind of a black color which resembles flushing. And this is our top rail. Now, let's copy this railing to the other side of our block as well. So I select all these glasses or I can just select the objects in the layer and deselect these using this trick. I just hold down out and drag it until I reach the middle of this surface here and release the mouse. I have to drag this surface up by 30 centimeters to have our edge here. And there's also another problem. If I drag and select these, you can see that they intersect the wall a little bit because last time we finished our railing on the middle of this wall, but here we have to finish the railing at the edge of the wall. I can use the scale tool again here, so let's bring it a little bit so we can move it exactly to the edge. I move it from this edge perpendicular to this edge. And I run the scale one decomman, select this, and then select the other one here. You can see even though it is behind the wall, because it is highlighted, I can select the edge, and I drag it until it touches the inner edge of our wall. So here is our railing, and we can add the top rail by drawing a line on top of it. And offsetting it to both sides using both sides option in the offset command. You can see that it already preserved the CAP mode. If we don't need it for further offsets, we have to deactivate it manually in the offset command. So I turn it into a surface and give it a depth of 3 centimeters. And that's it for our railings. Now we are going to add curtain walls in these two spans here. Because it is a very large span, I suggest we split them into two sets of openings and I will add a wall in the middle and what is left there, I will divide it by four. So we have four panels in each of these spans. Let's measure the distance of it before we decide how large our panels would be. Is 8.6 meters. So I suggest we add 60 centimeter wall in the middle, and we end up with four meter spans on each side, and we can divide them into 1 meter curtain panels, which can be opened by sliding. So let's draw a rectangle here. I will give it a width of 20 centimeters or let's first give it 60. Hit Enter and give it 20. Now, I drag it up, turn it into a surface. You can see that it has created it in the top rail layer. So I select it and put it on default for now, but we're going to change this later as we move along. So I click the option, change object layer, and it changes it to the default layer. If I isolate this, you can see that it has no top surface as well as no bottom surface. I can fix this by using the CAP command. So let's bring it back and I just put it right in the middle of this span by dragging it and holding on the midpoint here. Now we have our span. Let's divide them into curtain walls. Now for the curtain panels, I'm going to consider a standard size for all the panels that we are going to use in the project, both for the balcony up here and the opposite side and also for the openings on the ground floor towards the yard. Because they have the same size, I'm going to use an ability in the Rhino, which exists also in other treaty design software, maybe by different names, but usually it is called block. So what is a block? It's basically a type of object that has the ability to change all the instances once I change one of them. And it greatly reduces the time needed to edit objects that are repetitive in our project. For example, if I have 1,000 windows with the same size and proportions in my project, can go back and make an edit on one of the windows, and it automatically reflects that change on all thousands of windows. I'm going to demonstrate this using a couple of boxes here. So let's just put it on default layer and I'm going to draw a couple of boxes here. Like so. I'm going to turn these boxes into a block and then copy them. So the way this works is I use a command called block, and it just asks me for a base point, and then I'm going to name it. For example, I just call this test boxes. And then I'm going to make several copies of these in different directions. And then I'm going to rotate one of them, and then I'm going to scale one Now, let's say if I want to make a change and make this taller box shorter than the other ones. So I just have to double click one of them and select the top surface and bring it all the way down like so. As soon as I click Okay, it automatically applies this to the other instances regardless of how they are rotated or scaled. I can even scale these non uniformly, for example, only along the X axis like this. And when I change this, it also reflects it on that lock. However, in Rhino, we can't change a non uniformly scaled block. For example, I can't change this one because it gives me an error saying that unable to edit non uniformly scaled block instances. But I can't change the ones that are scaled uniformly, which means they are scaled the same on all three axes. So that's it for the explanation. Now let's get back to our curtain panels. Since we have a height of 2.5 meters, for the bottom rail, sorry, for the bottom panel, I want to have a height of 2 meters and then above it, a panel with a height of half meters. So let's draw these using rectangles first, and then I'm going to turn them into frames and glasses. I'll just delete this one and draw a rectangle, I'll turn it vertical, and I give it a width of one meters. And the height of 2 meters. And then I click. I do the same thing only this time, I give a height of half meters which automatically sits at this edge. Now, the next thing I do is to offset these lines. By 5 centimeters inwards. But you can see that since I have offset it twice at this part, now it has a width of 10 centimeters, which is not what I want. So let's just fix that. In order to see it better, let's isolate these two. And I'm going to delete this lower one and bring it all the way up here. Control Shift select this curve, delete it and just select these points and drag them up. That's it. Now, all we have to do is to use the planar surface command to turn them into a surface. Now notice that once I select this, it may get confused and select the outer rectangle instead of the inner one between these curves. In this case, we can just trim it away using the trim command and selecting the inner lines as the cutter objects. Like so. So now we have our frames, but I'm going to do something else. I'm going to join them together and clean this edge here using the merged or coplanar faces. However, now something has happened. When I zoom in, you can see that it just passes through the object and it goes onto the grid. If this happens, you can do a little trick called Zoom extends to reset the zoom level. You can select one object, type Z enter, and then Zoom selected. Like so. Now it zooms back on the object, and if you keep zooming, you can see that it has reset the root zoom level so that it doesn't pass through the object. Okay, let's join this together, select both surfaces, middle click and click on join. Now that they are joined together successfully, which is reflected up here, I can just run the merge all coplanar faces, and it just merges them together. Then I can delete these curves here. Now I have my frame and I can give it a thickness of 5 centimeters. Now let's bring everything back. Now I have to bring the panel a little bit inside the wall, so I'm going to snap it to the middle of the surface. I don't need these curves anymore, so I'm going to delete them. And now I'm going to create the glass surfaces. I'm going to use this edge to create the surface here and the upper edge for the upper glass surface. Now I need to put them in their own separate layers. So I'm going to create two layers here. I'm going to call one of them frames and the other one curtain wall. Glass. Then I just put them in their respective layers. Let's also change the color to better reflect a glass and the frame. You can notice that although the railing and the curtain panel pretty much have the same material, I still prefer to put them in their own separate layers because in later, I might need to select them separately, and having the same material doesn't mean that they should necessarily go into the same layer. Now, I just noticed that we made a mistake while modeling this curtain panel because from a construction standpoint, usually the top panel remains fixed while the bottom panel has the ability to slide back and forth. So we might want to model them with separate frames. So basically, the first version of the frame that we made, you know, with the ten centimeter offset here probably was the correct one. But I want to use this as an excuse to demonstrate the potential to modify objects using different commands. So I'm going to correct this without returning and creating it again using a couple of methods in treaty modeling. So let's isolate this again. Now, what I want to do is to add a second frame down here and just cut this polysurface from this line here. So let's cut it first. I'm going to go into the front view or any view that shows it in an elevation like this. You can just test different views until you find it. Now, I'm going to draw a line here like this. Let's make this line cross the object all the way. Now I'm going to use a new command, another version of the split face, which basically doesn't split the face, but actually splits the whole object. So it is just called a split. So if I run it, it just wants to select the object, hit Enter, and then the cutting object, which is this line. It is important that you look at it from the front view because otherwise you won't recognize the split. So it basically splits objects based on the view from which you're looking at it, and it has to be an orthogonal view, and it won't work like this in the perspective view. If you are in the perspective view, it will work based on the active construction plane, which I'm going to explain in a bit. But for now, let's just use this view to cut it and hit Enter. If I return to perspective, you can see that it has now made it into two objects like this. Now I'm going to create a little box here to fill this space here. So I'm going to draw this. I'm going to draw a box like this. Starting from that corner, I'm going to snap it to the opposite corner up here and then drag it down by 5 centimeters. You notice that if I type 5 centimeters, it brings it upwards. So I just type in negative 5 centimeters to bring it down. Now, before fixing the layer, let's talk about how I want to join these together. If I use the normal joint command, you see it doesn't work on this because they already have closed they are closed polysurfaces. One of them is at least a closed polysurface. So in order to join them, I'm going to use the Boolean union command. We have already seen the Boolean difference. Now let's test the Boolean union here. Which basically tries to merge two volumes together. Hit Enter and they are joined together like this. The upper surface is already joined, but since I split it, it might have lost the surface somewhere. So I'm going to isolate this to see it better here. You can see it doesn't have a bottom surface. I can use the cap tool on this and close it. So let's bring it back. If you don't want to bring everything back and just the object that we just hide, you can use another trick with this light bulb. You can use the third option from the left, which is called show selected objects. So all I have to do is to select the object that I want it, Enter. It just brings that back. And then I can isolate this one and take a look at it. So you can see it lacks two surfaces up here. Let's use the cap command and close them. And it also has a couple of extra edges here, which can be fixed using the merge all coplanar faces. Okay, that's it. So let's bring everything back. And now we have our frames. However, our glasses, one of our glasses is a little bit intersecting because we brought it up to the upper frame before. I can fix this by control shift selecting the edge. Now, because there are several edges at this place, it doesn't know which one to select, so it gives us the option to choose it manually. I'm going to use the extrusion edge in blue, which belongs to the class. This is another advantage of using layers here because it gives us more clarity on which object we want to select. I just bring it down here, like so, and now our panel is pretty much fixed. So I'm going to bring these glasses a little bit back. I'm going to bring them by 2.5 centimeters, like so. And I'm going to give them a thickness of one centimeters towards the, let's say, interior. That's it. Now that we are finished with modeling our panel, let's turn them into blocks. I'm going to turn the upper panel into a separate block and the lower one into another one. I select the glass and the frame and run the block command, select the base point and call it upper panel. And I do the same thing for the lower one. Notice that if you want to repeat the exact same command, you can just hit space or enter without typing the name. So I just hit space and it goes straight to the Block command which asks for a base point. I just call it lower panel. Now I have my blocks, and I can just copy them along this direction. I just hold on At Type one, and then I can select all of them, hold on Alt and type two this time. That's it. Now, for the glass doors to open, I'm going to bring back these two panels by 5 centimeters. Like this. So when we want to open them, they can just slide back like this. We don't need to have exact construction details on our model since this is a basic course. But in reality, we need to model some kind of rail on top and on the bottom here, so they can be fixed into it. But usually these kind of details are added on later stages as two D details to the model. So I'm going to copy these panels to the opposite side as well. Now instead of copying them, we can use another command called mirror, which basically mirrors object allowing an axis. Since these two spans are symmetrical, we're going to end up with exactly the same thing and nothing will happen to our blocks. So I'm going to use it by typing mirror. As soon as I type MI, it auto completes, so I can just hit space. And I select this midpoint here, and for the direction, I'm going to drag perpendicular to the wall, which gives me a guide for and just click. You can see that it has created the other panels very easily. Now, I want to repeat the same thing for the other side. So I'm going to select everything here and just copy it along to the other side of the block. So let's use the layers here. I'm going to select all the objects on this layer. You can see it doesn't select the objects. The reason it does that is because blocks are usually defined on their own separate layers. Even though the objects inside the blocks belong to this layer, when you try to select it outside of the layer, it doesn't work. So if you want all of these to be selectable using the layers, you have to put them on their own separate layers. So in the properties right now, they belong to the default layer, and I can add a new layer here, call it Carton Panel. And I just change the object layer to this layer. And now if I select objects, you can see that all of them are selected. Before copying these to the other side, I want to show you another trick using the layers. When the number of layers becomes a lot, you might see that layers menu becomes cluttered and it gets harder to find the correct layer. Sometimes some of the layers belong to other layers. For example, in this case, our frames and curtain wall glass belong to the curtain panel. Rhino has the ability to nest layers inside of each other. So how this is done is to just drag the layer onto another one and it becomes a child of that layer. So I can do this for the curtain wall, glass, and the frames. And now if I close this dropdown, my layers menu becomes much more cleaner. Now, it also has the additional advantage of being able to control the visibility of all these layers just by clicking curtain panel. And you can also change them separately by clicking on the respective layer. So now let's select them and the wall between them and now let's mirror them to the other side of our building. I want to use the mirror command again and I pick the middle of our block here and drag perpendicular to it and click. You can see that it fits perfectly into place because both of our balconies were inset by exactly 2 meters. Now, I want to fit the spans down here, so I just copy these up from the upper block here. Let's move them into place. Let's take this one. Position it in the middle of this. To verify that we have indeed positioned them correctly, let's check this wall. You can see it doesn't align with the exterior wall here. I'm going to move it a little bit so that it does. Okay. Now, there's another problem here. You see it intersects with the panel. The wall is intersecting with the panel a little bit. So I'm going to control shift select the wall and drag it until it reaches my panel. So I've dragged it a little bit behind the panel, so let's bring it back like this. Which fixes our problem. And for the living room, I'm going to copy one of these curtain spans. And it appears that I can fit two more panels on each side. Let's verify this by measuring the distance of this span here. It is exactly 6 meters and our curtain panels are 4 meters. So we can add additional panels here without intersecting the walls. So first, I'm going to put this in the middle, and I'm going to copy this one by one meters and the other one by 1 meter as well. That's it for curtain walls. In the next video, we are going to add some other details, as well as some guards on top of this roof here and provide an access to it. 11. 11.Modeling_TheTerrace: In this video, we are going to work on the terrace up here and add an entrance as well as guards and railings to it. But before we start, let's position our building correctly in the site, so it has correct offset from both sides. If you remember, we just place it here for demonstration, so let's now just fix it. I'm going to select everything by clicking dragging from the left to the right. Like this, and I'm going to need to position it about 4 meters from this side. So the trick I can use is to actually move it to the end once and just return it by 4 meters, like this. I can adjust the walls by selecting the corresponding surfaces here and just dragging them to the edge. Like this. Now, let's get to our terrace. I want to create a opening here with a width of 2 meters and a height of, let's say, 2.5 meters. Basically a curtain wall. We can use two of these panels to fill that opening. Now the first challenge that rises once we start modeling this opening is that we can't actually pick any point here. So once I start the rectangle command, there's no way I can pick this edge to start my rectangle. And also, as you can see, I can get the edge here, but I can't get the intersection of these edges with the floor down here. So one way I can do this is to actually I can start at the edge of one of the places that I can pick, and then I should move this into place using the gumbo. So in order to do that, I just pick any edge, for example, here, and I draw a vertical rectangle with the specified dimensions. So let's just turn on auto mode and type in two and give it a height of 2.5. And I'm going to move this rectangle into place by dragging on the gumball first to this point. And then I'm going to drag this edge here. But first, I have to reposition my gumball relative to my object. So I hold down Control and bring it here to the right edge, and then I drag and click and hold down on one of these edges and then release my mouse. You can see we can position it on this place like this. But there's also an alternative way we can do this. Let's just talk about it and introduce a new command here. This command is called intersect, which basically finds the intersection of two or several different objects and gives us curves as the intersection. So it's quite a versatile command, which works on many different kinds of objects. You can intersect two solid a solid in a surface, solid in a curve, surface in a curve, et cetera. So let's just run this command and see how it works. Intersect, and it just basically wants us to select the two objects. So for example, if I click these two and hit space, you can see that it gives me curves for the intersection of these two solids. Let's Control Z. This time, I want to run it and select only two surfaces, using Control Shift click like this. And as you can see, it just gave me a curve. Now, the optimum way to use this is to first get this curve and use it again to get this one as well. And here we have two curves that actually intersect themselves at this point. Now I can move my rectangle from anywhere it is and put it exactly at this position. So let's start from somewhere like here and then move it. As you can see, it gives me an intersection point which shows up as INT. And this is another way I can just put my opening into place in this situation. So let's create our opening here. I'm using a split pace command to make this opening. So select the pace and the curve and make the opening, like so. Now, I'm going to also create a vertical element here to connect the two blocks, which basically is the staircase. Villas like this usually have a designed element for connecting these, such as a spiral staircase or something. It can be at the intersection of the two blocks inside one of them, or we can take advantage of this and turn this into a design element, which is also an an important element from the exterior. So I'm going to create my stair almost here and use it as a design element in my building facade. So I'm thinking about a staircase with a radius of, let's say, 1.5 meters, which gives me a diameter of 3 meters. So let's make our circle. I'm going to pick this edge to draw. Now, I need to position this into place, and I'm going to use a couple of guidelines for this. So I'm going to draw the first one from the side of the door. It doesn't matter how long. I just need to position my circle. And for the next one, I'm going to copy this by 3 meters towards the left. Now let's position our circle. I can move this like this and for the other one, I can use one of the previously mentioned methods to just snap it into this location. So I'm going to use the gumball method. I'm going to hold down Control and snap it here and then bring it all the way to the wall. You can see that very easily I can use the gumball to accomplish tasks that otherwise would require several commands and, of course, more time. Now I need to clean up these curves, so I use the trim command to just cut the circle and cut the lines. I'm also going to draw a line between them like this. So now we need to make two cuts. One of them is in the floor and the other one is in the wall right here. But before we make our cuts, let's just bring these curves back a little bit from this opening because from a construction standpoint, we need the door to sit on two walls from both sides. We already have the chimney on the right, but from the left, we will have nothing if we make our opening next to the door. Let's just move this along a little bit. Let's say by about half a meter. And then we can make our openings by a vertical rectangle with a height of 2.5 meters, the same as our other opening. So now I'm going to split this face using this curve and then make a hole and do the same thing for the floor. Like this. Next, I'm going to add walls around our staircase, and I'm going to pick my existing curves here, and I'm going to join them so I can offset them in one try and then I'll run the offset command. You can see that it has already memorized the last amount of offset that we had, which is 20 centimeters that is okay in this case, and it also automatically connects the two offset lines. This is because we have the cap option enabled from the last time we use the offset. So this is okay as well, since we can turn it into a surface and just bring it up. Now, for extruding this surface, we need to bring it up at least to this height. But I'm going to bring it all the way up to the chimney, since this is more aesthetically pleasing for a villa like this. So I'm going to bring it up to this height. And then the next thing I have to do is to just fill this place here and add some kind of a roof over it. So for the roof, I just draw this line here and I turn it into a surface along with these edges like this. I also give it a let's say, thickness of 30 centimeters, and let's bring it down a little bit, like this. And now we have our staircase volume from the exterior. Now, let's create a guardrail or a parapet for the edges of the upper block. Since this is not an accessible block, we don't have to create a very high wall for there. So I'm just going to add a 30 centimeter wall there, and we already have an edge here which we can select. And I'm going to drag this upwards by 30 centimeters like this. And now we have this edge, and we have to fill it with another wall. So I'll just draw a box here. From this corner. But as you can see, it is hard to pick a point at the opposite corner. So a trick we can use is to just drag it almost in place and give it the appropriate height. And then I can select this face and drag it back in and align it with the outer edge of our staircase wall like this. That's taken care of, we can go and make the walls around our terrace here. This terrace has to be accessible and the residents are going to use it. I'm assuming that they want some privacy from the outside, but they want it to be open towards the pool area. So I'm going to make a rather high and opaque wall from the exterior from these two sides. And in this side, I'm just going to make a glass railing. So for our wall, let's do a little bit of designing first. I'm going to add a couple of slabs here. One between these two openings and one and two at the two sides of the surface. And between these slabs, I'm going to create our wall. I start with one between these openings. I'm going to draw a box here. I use a width of 2 meters and a length of 10 centimeters. So let's type in -10 centimeters. This, I'm going to drag this up to this height plus 1.7 meters because I want it to be pretty high. I just type in 5.7. Now I have this slab and I copy it to make the two at this side as well. I just drag and copy and rotate it and just snap it into place here. You can see that it intersects with the yard wall here. But that's not a problem. We can fix this later, since we are going to make a door right here. I'm going to copy this to the other side, and I'm going to use the gumbo trick here. So I'm going to stick the gumbo at this edge and copy it all the way there. And I'm also making a couple of boxes behind them so that they have a wall to sit against. So I'm going to use this edge and draw this wall, and then I copy it for the other. I'm going to make one for this one as well. Like this. So now we have our slabs, and we can measure the distance between them and add our wall. For this wall, I'm considering a perforated design. So it's basically a solid wall with some vertical holes at some distance cut into it. So in order to make this, I'm going to measure the distance between these two slabs here, which is exactly 6 meters. And let's get a distance of these two as well. 5 meters. And for this one, this one is a little bit tricky, since we don't have an exact point here, I can just snap it to one of the points that has the same distance on my X axis, and it basically gives me the distance separately for each axis here. So what I'm looking for is the DX at the top here, which is 3.8 meters. Right. So now that I have the distances, I can make a wall by drawing it with curves first, placing the holes in it, turning it into a surface, and then positioning it on the wall on the surface between these two slabs. So I'm going to draw this in the top viewport where it is easier to draw curves. I start with a six meter wall. I just draw a rectangle with a length of 6 meters and a height of 1.7 like this. And I'm going to create a pattern using holes on this surface. So let's draw one of the holes. For the holes, I'm considering a dimension of, let's say, 5 centimeters in width and 30 centimeters in height. So basically, gives me ten vertical slits in this wall which is not too transparent. So I'm going to draw a rectangle with a width of 5 centimeters and a length of 30. And I have to create a pattern with this now. So I'm going to stick it right to this corner and bring it back by, let's say, 30. And I'm going to bring this up by 60. So we have a repeating pattern of one opening, one solid, one opening, and so on. I'm also going to move this to the edge here, so it has sort of a zigzag pattern on the wall. I'm going to bring this up again by another 60 like this, and I'm also going to bring it back by 30. So this is our wall, and I'm going to copy this pattern that I just created along the entire length of this. Since this is 6 meters and the length between this point to the start of the wall is 60 centimeters. We can create ten number of these patterns without exceeding the length of the wall. So I'm going to use the array command again. And in the direction, I'm going to type in ten, and in the other ones just accept the defaults. So I'm just going to drag this and type in 60 and hit Enter and click. That's it. So now we have our pattern here, which is pretty minimal. And I'm going to turn this into a surface now by clicking planar surface and turning it into a surface. If I go into the perspective view, you can see that it has made some mistakes here. So it hasn't recognized the holes at the bottom here. This is a common mistake that happens sometimes with using this command. So I'm going to introduce a new command here that can take care of this problem. So we have a command called curve boolean in Roe. A pretty powerful command with many applications in different parts of Trey modeling. But for now, I'm going to use this to identify the enclosed space between these curves, regardless of how many curves there are and how they are intersecting each other. So all I have to do is just select the curves, hit Enter, and it has several options here. You can either give me curves or if I click it, surfaces. So I just have to click inside of this enclosed area, and as you can see, it just automatically detects all of this space. It works pretty much like the hatch command inside Autocat. So I hit space, and now I have my surface. So I just drag it upwards, and let's give it a thickness of 20 centimeters. And I'm going to rotate it along this red axis by 90 degrees and also by the blue one. And I'm just going to position it into place like so. Now we have our perforated wall perfectly into place. Now I'm going to create two other walls between these two spans and I'm going to use this wall as a base. I'm going to copy this and rotate it by 90 degrees and move it into place for the first span. You can see that it intersects with my wall here because I designed this for a different length. We can fix this using the split tool. We have to go to the top viewport and just draw a line at the intersection point. Make sure that the line covers the entire intersection of these two objects. So I just use the split tool now. And select my object, hit Enter and select the cutting object. Now, it has cut this into two pieces and I can just delete the extra one, which leaves me with only the wall between the span. Now, there's also another way to do this using the trim command, which we're going to perform this with the next span here. So I'm going to copy this and place it here. You can see that this one also intersects with my wall. But this time, instead of the split tool, I'm going to trim it away using the trim command. Trim is one of those multi functional commands in Rhino, which can pretty much cut anything with anything else, be them solid, surfaces, curves and other objects. So for the cutting surface, I just Control Shift select only this surface, hit Enter, and just select the side I want to be trimmed. Like this. So you can see that it has perfectly trimmed this, and now which leaves me with a completely clean surface. So this is it for this side of the balcony. Now let's go on and create the railing, which faces the pool area. Now for the railing, I'm going to do exactly as I did with the balconies here since they have the same design. And the first thing I'm going to do is to create an edge here with a height of 30 centimeters. So I'm going to draw a box here. And you can see that we don't have any place to snap it to at the end of this wall. So I'm just going to leave it here, bring it up by 30 centimeters, and then I'm going to use the end surface of this wall and drag it with the gumball and align it with one of the lines at the exact distance that I want. So the next thing I have to do is to just copy paste some of these railings and the top rail because they are exactly the same over there as well. So I'm going to select these and drag them with the gumball to make a copy. I'm also going to align them with the middle of this wall here. And I'm going to snap them to one of the edges for a start. And I start copying these panels with the same distance that they already have. I can use a trick here and use a point from the previous panel and bring it to the current panels, which gives me the same distance like this. Now, you can see that it offshoots my length a little bit and intersects this chimney here. I can fix this using the scale one decommand so let's just select our panels. And run the scale on the command and click this point as the base point. And starting from here, I'm going to drag this until it touches the edge of my wall. And for the top rail, I'm also going to move this into this position. And I'm going to use the gumball trick. So I'm going to place my gumball at the edge here and drag it until it fits here. And for the other end of this top rail, I'm just going to trim it away using the trim Select this surface and select this little edge. Now, we are left with a completely fit railing inside our span here. As a finishing touch, now let's add this door here, which is exactly the same as these curtain walls. I'm going to select just a couple of these and copy them up there and rotate them by 90 degrees. Like this. I'm just going to move them into place from this point to this. And also, I'm going to inset them a little bit, let's say, by 5 centimeters. So we have a little wage here. Now, that's it for this video. In the next one, I'm going to work a little bit on the landscape here, including this pool and the garden that wraps around our site and also talk a little bit about what to do with this space behind the building. 12. 12.Modeling_Landscape: In this video, we are going to design our landscape and its different elements. Let's take a look from the top viewpoint. So basically, our landscape consists of this big pool in the middle, a garden that wraps around our site and provides protection against the climate and also some privacy. I'm also considering to design a toolsd at this corner here and an area in front of the toolsd that can be used for outdoor dining or more private gatherings during the summer. And I'm also going to add a couple of platforms in front of my openings here to be used with the pool. And at the back here, a pretty big area filled with trees. I'm also going to add an independent entrance from the right here to the garden in addition to the one from the house, and that's it. So let's get started with modeling our landscape. So let's first create our door for the entrance into the yard. We have this wall here. I'm going to consider a door with a width of 1.5 meters. So I just have to bring this edge back by 1.5 meters plus 10 centimeters because it is the width of this slab here. And right now I don't have any way to select this, so I'm going to isolate this and select our surface. Now I'm going to bring it back by 1.6, and this is our opening. Later I'm going to add some models for the doors here. But for now, let's just have the opening here. Now, let's model the garden here. I'm going to use one of the existing lines that we had from when we modeled the wall, isolate this line, and I'm going to delete this part and also stretch this one by 4 meters because this is where the toolsd is going to go, we don't need to bring the garden all the way down here. Now, I'm going to offset this line by one meters. So we have sort of a band that runs across our site, and I'm going to select this and bring it back by an additional 4 meters because this is where we want all of our trees to go. Now let's see how it looks. You can see that we end up with a pretty large open area between our garden and the pool, which is not what we want. And I'm going to the reduce the size of the entire site, so we end up with an optimum and usable area. Let's bring the pool back a little bit here because we also don't need all this space in front of the pool here. And assuming that we got the size of our site wrong and now we want to correct it, but you can see we already have the wall here. So do we need to draw it from scratch? Absolutely not. So there's a trick we can use using the gumball like this. So control shift and drag from the left until it engulfs everything that we want to move, including these edges. This is a very nice trick using the gumball because it can bring back the edges of our model without distorting the other parts of it. So unlike scale, which basically scales everything in the model, this trick only moves the desired areas and doesn't touch anything else on our model. So I'm going to bring it back by, let's say, 8 meters, like so. And now I'm going to finish modeling my garden. So let's isolate this and I want to add a little wall or edge at the interior of my garden. So I'm going to explode my curve and select these ones and join them back together and use the offset. This time we have a width of 20 centimeters towards the inside. Turn them into a surface and bring them up. By 20 centimeters. Here's our little edge. And for the soil, which needs to be at least a surface, I'm going to use the curve bullying command. So select everything and hit Enter and make sure the output is set on surface. After selecting the area here, we can hit space and we end up with a surface like this. We can even bring it up a little bit like 10 centimeters is okay. By 10 centimeters, and we end up with a raised surface. So now that we have this, let's do something about the pull. Before we model our pull, let's change this curve a little bit so that it fits better inside this area. I'm going to select the curve. You can see that it shows up at some points. These are called control points, and they usually exist to modify the smooth curves or surfaces in Rhino. You can easily drag these and change the shape of your curve or surface. And here I can just use them to shrink down this side of my pool because I think it's too large on this side. And also, I'm going to bring it back from this side as well. And I'm going to stretch these two a little bit towards the outside because I want the lines of my platform to meet the curve of the pool. That's it. So now let's draw the lines for our two platforms. I'm going to use the edges of my openings. I bring them all the way until they show an intersection with this curve. I'm going to draw the other line from here. And I'm going to delete this one and start drawing from the other edge of my chimney and the last line from the other edge of my opening. It can get a little bit tricky when you do this. So make sure you have automde activated so that you accidentally do not draw an oblique line, and it stays on the axis. Like so. Now I'm going to turn them into surfaces. Let's use the curve bullion command. Now, I just have to select all these lines, and I'm also going to select this, which is the line that I had from before. Now, if I run it, it's probably not going to work. So when I select, it doesn't give me these two separate surfaces. The reason is that I haven't selected this small area in here. So for this to work, I have to select the lines in a way to give me enclosed areas. So let's run the command again and this time, I'm going to select the chimney edge here as well. So you can see that these lines don't exactly have to be curves. They can also be edges of my tree poly surfaces. So now hit Enter and just pick the two enclosed areas and also make sure that it is set on surface. Now, hit Enter, and it gives us our two surfaces. Now I deliberately modeled these before I modeled the edge of this pool because I wanted to show you another trick. Let's assume that we wanted to add a little edge here. Let's give it I don't know, 40 centimeters like this. And we wanted our platforms to meet the outer edge, and now they are going to the inner one. In order to fix a situation like this, we can use the trim command. As you have seen before. And I'm going to just select this as the cutting object and just click inside the areas that I don't want, and you can easily fix the situation for me. Now that I have these, I'm going to raise them by 10 centimeters because if you remember, our floor at the ground floor here was raised 10 centimeters. So I'm going to bring them up by 10 centimeters like this. Let's hide a couple of these curtain walls so we can see it better. These are two floors. This is the interior one and our platform. Now I want to stretch the edge of my platform to meet the interior floor there. I'm just going to rotate very carefully here and select this one and drag it in until it meets one of these edges. Now, there's a problem here that our curtain walls are intersecting with the floor now. Let's bring the other two back, and I'm going to increase the height of this span by 10 centimeters and bring up the curtain walls to fix this. Now, select this little edge here and drag it by 10 centimeters up. And I'm going to move everything, these curtain walls and the wall between them by 10 centimeters. Just click on this and hit 10 centimeters and Enter. I'm going to do the same thing for my other curtain wall here. That's it. Now, let's bring this gene side as well and fix this gap. Going to bring this by 20 centimeters. Like so. Now, let's add a couple more platforms to our landscape. So I'm going to start with the entrance at this side of the yard, and I'm going to add a little concrete floor that goes from the entrance up to the other ones by the pool. So let's zoom in here, and you can see that our garden is intersecting our entrance. We can fix this by using the previous trick of control shift dragging from the left and selecting everything here. And I have to note that it has the ability to select the edges and surfaces of more than one object at the same time. So here, we have both the wall here and the soil surface here selected, and we can move them both at once. I'm just going to adjust the gumbo position by holding down Control and dragging it to the right and just drag everything to here to get them out of the way. Now, I'm just going to create a simple box by clicking this edge first and this one and then give it a height of 3 centimeters. And now I'm going to drag this surface until it meets this one. Now, for the space between these platforms, I'm going to add some sand and decorative elements and small plants. But we'll get to that later. So now we have to add some other platforms here for this outdoor dining area. Before that, I'm going to model the tool shed here. I just basically need a wall in front of it here, which I'm going to draw using this line. I just then drag it up until it meets the sidewall. And before I give it thickness, I can just drag a vertical rectangle at this corner and just to create a door. With a height of 2 meters. And instead of a split phase, because this is only a surface, I can just use the trim command and use this as the cutting object and cut away this part. Now I just have to drag it back and give it a thickness of 20 centimeters like this. For the roof, I'm going to add another simple rectangle, simple box and drag it down by typing -20 centimeters. That's it for our tool shed. Now I want to create a couple of platforms in front of the toolsht for the outdoor dining area. So I'm going to start with a box with a dimensions of five and five and the height of 10 centimeters. So I'm going to use this as a base to form our platforms. I'm just going to drag it and snap it to this side, and I'm going to drag the other surface to meet with this wall. And then I'm going to bring it back by an additional 20 centimeters. Like so. I'm just going to bring it back by 10 centimeters again, and it is positioned in a way now that it is 10 centimeters offset from this side and from this wall at the same time. Now I'm going to drag it back here. I can just place the gumbal at this side and just align it with my wall right here. Now, I'm going to copy this by holding down Alt, and I'm going to bring it by 5.10 and make another platform. Let's make this more than 10 centimeters. So I want to make this the same distance as the distance between this edge and this one, which is 60. I just have to add another 50 to this ten, and that's it. So I'm going to leave this area and fill it with some decorative elements later. Now, I'm going to add another smaller platform between these two big ones here so that they can have access between the two. Now, I just draw a box with dimensions of, let's say, 2.5 in 2.5 and give it a height of 10 centimeters. Then because the distance between these two platforms is 3 meters, which is the width of chimney, I'm just going to drag it back by 25 centimeters, which places it exactly at the middle of these two big ones. And for the distance from this side, I'm just going to give it one meters. So I just bring it back here and type in one like so. Now, I'm going to create the surfaces between the platforms. And for these, I mostly use the curve bullying command, which is pretty versatile when it comes to filling in the enclosed areas between irregular surfaces and curves. So let's just run it. And now we have to start selecting all these curves manually. There's a way we can make it faster. We can just drag on the area around the part that we want and like so, and you notice that it also selects a couple of extra curves, which is okay. However, we have to be careful not to select anything in a different height that could possibly interfere with this operation. So let's just test it. You can see that it perfectly selects it and turns it into a surface. I'm going to do this again only this time, I'm going to select also the upper edges here, so you can see what happens when we accidentally select these curves. Now, when I run the command, you can see that it only creates a surface right here, which is because it's trying to calculate it based on how it sees perpendicular to my construction plane, which is basically the grid on the ground here. And I have to look at it from a plan view to see what's going on. So from this view, only this part is visible, and it's basically projecting this onto the ground. I can keep clicking and hoping that it would complete the other ones and join it to the ones that I already have, which it does in this case. Or sometimes it just can't create a lot of problems for me. In which case, it is just safer to select objects which almost have the same height as the area we're trying to turn into a surface. So I'm just going to turn this one into a surface and keep doing this for the other ones as well. But before proceeding, I'm just going to add a couple of lines here, separating the area behind the pool from the one in front of it, because later, I want to add a different floor design in here, and I don't want bony to be the same surface. So I'm going to add another line, which is perfectly aligned with this one by holding down on the end of this line, which gives me a temporary temporary point which I can use as a guide like this. And it is now separated. So run the curve volon again, and I keep selecting all these curves carefully. Like so. Now I can select in the middle of them and it gives me my surface. Now, the same thing for this part. In order to not select any curves from the upper floor, I just rotate my view like this and then drag and select everything here. Let's see how it works. Okay, it seems to be working fine. So it even gives me the small area between these platforms and the wall. I just hit Enter and you can see how easily and fast I can create these surfaces using the curve bullying tool. Now, I'm going to model the pool, and I'm going to start by modeling this ribbon that runs around the pole here. I'm going to use the planar surface command and also give it a height of 10 centimeters to align it with my platforms. So for the pool itself, I'm going to select the inner curve here and drag it down by, let's say, 2 meters and just turn it into a surface. I'm going to select the curve again, bring it down and turn it into a surface again, which gives me the bottom of the pool. That was easy, and I only need to create a water surface above it, but I'm going to do this later when I'm going to make the materials and prepare the file for the rendering. For now, that's enough for the pool, and now I'm going to create the floor that is behind the pool area here. For this, I'm considering to do a design where the lines of the small concrete slabs run perpendicular to the pool surface, and then they meet the edge of the garden. I'm going to add a little grassy surface between these concrete slabs. I start by selecting the curve at the outer edge of my pool and also these two curves which mark the start of my new floor. I isolate this, and now I want to trim away the upper portion of this curve and use the remaining one as a guide for drawing my perpendicular lines. Now, I want to introduce a new command here called array curve, which basically copies objects along a path curve, and it also has the ability to change their direction based on the direction of the curve at that specific point. Now to demonstrate this, I'm going to run it and give it this object, this curve, and I'm going to give this as the path. Now it wants me to either tell you how many items I want to copy or the distance between these items. Now, let's give it ten objects like so, and you can see that it already rotates them based on the direction of the curve. However, we have to be careful with this because if our object is not perpendicular to the curve at the start point, it's going to remain so for the rest of the operation as well. So I'm just going to cancel this and draw another curve which is perpendicular. We can verify this when it shows on PRP. So I'm just going to draw a curve with an arbitrary length and run the command again, select it and select a path. I'm going to give it ten again. You can see that it has now perfectly aligned the objects along the curve. Something to note here is that when we draw our objects, not on the start of the curve, but somewhere in the middle like this, it can run into trouble. So if I run the command now and select it and select this one as the path, you can see that it makes a lot of mistakes in determining the orientation of these lines along the curve. So the best way to use it is to actually draw our objects at the start of the path in any direction that we are considering and then run the command. So I'm just going to run it again. And actually, I'm going to make this a little longer because I want it to intersect with the lines of my garden. So I'm just going to draw a perpendicular line with quite a long length and use the array curve command. And I'm going to give 20 for the number, which gives me this. And let's give it 25 to make them more. And now let's bring everything back and see how they look. This looks pretty okay except this part where the curves are meeting. So I'm just going to fix this in the design by drawing a couple of lines here and removing this part of the curves, which basically makes it a big tile. So the next challenge is to somehow turn these regions into closed curves, so I can then offset them, which gives me some tiles and a grassy area between the tiles. I'm going to use the curve bullion command for this. So let's run the command, and I'm going to select everything in this area. And one thing we have to be careful about when we select these is to make sure that we have our option on combined regions equals no and output curve because we want curves in this instance to offset later. So if it were on surface, it will give us surfaces. And if combined regions is enabled, we will end up with one big region instead of several smaller ones. So let's set these options, and I can now keep clicking until I end up with many small curves here which I can use for the offset. Or there is an option to make this faster called all regions. So once I click it, it automatically gives me everything that falls between these curves. However, we have to be careful with this because it can give us many unwanted closed areas that we have to spend time deleting after running this command. So there's basically a trade off between individually selecting every region and using this option. And spending time deleting the unwanted curves, which highly depends on the use case or how we select our curves. So let's cancel the command, and this time, I'm going to be more careful with selecting the edges of my selection. Like so. Now, when I run the command and use the all regions option and hit Enter, let's see what we have got. So I isolate these and you can see that I already have some unwanted curves here. One of them is this and the other one here, and you can see it has turned all the intersections into separate closed curves. So now I just spend some time deleting these It's pretty easy in this case, because it won't intersect my other curves when I drag from the left to the right. So now we end up with our closed curves that we can use for offset. We have to offset these curves. I can do this with a distance of ten or 20 centimeters and the way it is done is to just click every one of them and repeat the offset command until all of them are offset it towards the inside. However, there is also another way we can accomplish this faster. There is a command called offset multiple, which basically, as the name suggests, offsets several objects. I just select all of my curves, set the distance, which is correct in this case, 10 centimeters and hit Enter, and all I have to do now is to either click outside the curves or inside one of the curves. It doesn't matter which one. If the curves are closed, it automatically does the same thing for all of our curves. So let's select inside of them, and you can see that it offsets everything inside. Something to note about this command is if we have open curves, it could run into problems or offset curves towards the wrong direction. But this is a very good command to use when we have a lot of closed curves that we want to offset either in or out. So the next thing to do is to actually feel these smaller curves using the curve bullying command and turning them into a surface. So let's just run the command now. And this time, I'm going to set this on surface and start picking inside these areas. I'm not going to use the all regions option this time because I could end up with unwanted surfaces because I already have the bigger closed curves here as well. So I just quickly select inside of these areas. I have selected this by mistake. If you select something by mistake, you can just click it again and it just removes it from your surface collection. So keep clicking until all of them are selected and then hit Enter. Now we end up with our tiles here. Now, all I have to do is to also create a surface for the grassy area between the tiles. Now, I want to use a couple of tricks to get the surface between these tiles. But before anything, I may need to select these tiles later. So let's put them in a layer so we can manage it better. So I create a new layer, call it tiles and just right colick and change object layer. Now turn off this layer and I'm going to make a surface, which basically is the union of all these small curves. So run the Boolean command and select everything. Make sure it is on surface and combined regions is enabled. So now I can just click all regions, which gives me the Boolean surface here and hit space and we end up with one big surface. Now I want to use the trim command to trim away the interior parts of these curves from this big surface. So just deselect everything, run the trim command, and select everything as the cutting object. And once you hit Enter, you can now just click inside these areas to remove these portions from the surface. Like so, which leaves us with this surface that we can later use as the grassy area between the tiles. One thing to note here is that the reason I cut these tiles from the grassy surface was that later on, when we render our project, I want to have treaty grass in these areas. If I just use a big surface for the grassy area, it just could show up through the tiles which is not what we want. So that's the reason I cut this. But otherwise, if you're just using a grass texture for rendering, you can just use a big surface instead of spending time cutting the interior parts. So let's bring everything back and turn on the tile layer. Now the only thing I have to do to finish my landscape design for now is to add a couple of wooden logs here to use as shading for the outdoor dining area. So I'm just going to draw a couple of vertical rectangles here. With a width of 20 centimeters and a height of, let's say, again, 20. So I just put the gumball here and drag this up and also bring it to this side. And I'm going to give it some depth and make it into a three D log and bring it by, let's say, 30 centimeters. Now I'm going to make an array of these to cover this area. By using the array command. This is the Y direction, so I need to add, let's say, ten in the Y direction and one for the other ones. I'm going to give you 30 but let's make it 50 to account for the width of the log itself and click. So that's it for this video. Now we have modeled our landscape, and in the next video, we're going to talk about adding something for the buildings around our villa and also how we model the lawn in front of our building and the street which comes after it. 13. 13.Modeling_The Urban Environment: In this video, I'm going to add a little urban environment for our villa, which basically consists of some buildings, a lawn, a street and a sidewalk. I'm just basically adding some embellishments so that it won't look empty when we enter it. However, I have to note that when you're designing a real villa, you have to get plans from the municipality's office and design the environment based on the existing site plans and the buildings that exist there. However, because we have an imaginary villa, I'm just going to model a couple of imaginary buildings to fill the space. So I'm going to start by drawing the sight lines for a couple of other lands around our villa. So I'm going to need about five of those, which is basically enough because when we want to look at our villa, for example, this angle, I want it to be filled around the villa and not fill empty. So I'm just going to start drawing some lines here with a length of, let's say, 35, and I'm going to bring it all the way to this line. And fill it. I'm going to do the same for the other side. Let's just mirror this. And I'm just going to drag this and add a couple of more lines behind our Biz well. I'm going to make this 40. Also, I'm going to copy this or mirror it. Like so. So now we have a couple of lines that actually mark different neighboring villas around villla. And I'm going to just draw a couple of blocks here that fills the lens. So let's just draw a box here. I'm going to draw it with a length of ten and a depth of 20, just like vilala. And I'm going to give it a height of three, a little less than vila and let's rotate this. So if I hold down Alt when rotating, it also copies it as well as rotating it. And I can release alt now and hold shift to make it oro like soap. And I'm just going to drag this upwards by another 3 meters. And I'm going to give it a sloped roof, by a split face. Like so. I'm going to Controls select this edge and drag it up by let's 2 meters. So I'm just drawing very conceptual blocks here. So I don't need to add a lot of detail to them. I think this is enough for this fella. Let's bring it in the middle here almost. I'm going to copy this to the other side and to make it a little bit different, let's just split the other face as well and make it a little sloped roof. Like this. So I just keep copying these and turning them into different buildings. So I'm just going to rotate this by 90 degrees and bring it to the side or maybe in the middle. Also, let's make it a little bit smaller. Yeah. So I keep coping a couple of these and give them a little slightly different designs. I'm going to make this one flat. And remove this one. And let's make both of these flat here. And I'm going to drag this out like this. I think that's enough. So to make it a little cleaner, I can just select this couple and run the merge all coplanar pass, which removes the extra phase. And now I can just draw a couple of walls here just by extruding these lines. I'm going to give him a height of 2.5 meters like villla I actually don't need to turn them into solid because we're going to see them from far away and we don't need to add a lot of detail to these lines yet. Now let's draw these walls in here as well, and I'm just going to drag them to the two sides of our buildings. And this curve is actually one big curve, so I'm just going to drag it here and then turn it into a wall like this. So I'm going to mirror this to the other side, let's say, based on the middle of this line and just fix it or I can just move our villas to fit between these. Okay. Now, let's add a little lawn area in front of our building and the street after it. I'll start with the sidewalk here and I'm going to draw the lawn after the sidewalk. So let's just drag this line to the two sides here, so it covers our entire area. And I'm going to create a sidewalk by dragging these 2 meters inside. Now for the lawn itself, I want to have a grassy area and some paved areas for the pedestrian access, the garage axis, and the yard axis. So I'm going to draw these all using a line. So I'll create a line here, drag it all the way to the end of my villa to create the grassy surface, and then I'm going to use the curve again to draw separate surfaces in front of these openings like this. Let's just have a smaller one here. And a couple more here. Now, I want this surface, this one, this one, and also this one to have a grass surface. So just create a layer, call it grass, and just put the objects in that layer. I'm also going to give it a greenish color so we know it's grass. And for the sidewalk and the axis here, I'm just going to create another layer, call it sidewalk and put our objects in that layer like this. And let's also create a little lawn in front of the neighboring buildings so it won't look empty. I'm just going to draw a very simple lawn by drawing this line here, one here and one here. So let's just put these in grass and this one in sidewalk. I'm going to do the same over there, but we can also mirror these using, for example, the middle of this line like this. So that's it. Next, let's draw the street here. I'm going to give it a width of let's say 15. I think we're done with the street because when we render, we're going to, for example, take a shot by standing here, and we won't see anything behind the street there. So it's not necessary to model everything behind as well. I'm just going to add some surfaces for these villas as well in case we're going to see the floor in some of our views. So let's just drag these lines and fill these spaces. Okay. Now, we're pretty much done with our environment. And in the next video, I'm going to make a little adjustments to our Villas design and also add some elements such as doors and some other windows in some other areas in our villa. 14. 14.Modeling_Design Adjustments+Staircase: Video, I'm going to make some design adjustments on our Villa, as well as add a couple of elements such as entrance doors and some interior design elements. Although a full interior design is well beyond the scope of this course and requires its own project, I'm just going to design some main elements because they can be seen from the exterior. And also later on, when we want to produce some technical drawings such as sections, these elements can be visible, and therefore, it's best to just design a couple of them so that they can be seen in those technical drawings. So I'm going to start by making some quick adjustments to the exterior elements of our vela. So taking a look at the back of our villa, I noticed that these two parts at the two sides of our pool do not have a direct connection that basically someone on the platform has to pass through the sand to get the backside of the pool. So I'm going to fix this by adding a couple of ties at the two sides to fill this gap. So I'm going to start by dragging this small surface back by, let's say, 2 meters. Also, this one, and I'm going to use a command called arc, which basically draws a part of a circle. And in that command, it asks me for the center arc, which is basically the center of the circle. I'm going to use another option called start point, which basically gives me the ability to pick a start and an endpoint. And then use my mouse to adjust the curve like this. So I'll just click here and I'm going to create two tiles here, and I'll do this by dragging almost from the middle of this surface and dividing it into two tiles. Now I'm going to use the curve bullying command to create two curves here. Make sure that the combined regions option is off and the output is set to curves. So I'll just create two curves here, and then I'll just offset them by 10 centimeters. Like this. Then I can just delete the other ones and turn these two into a surface. Now I just put my surfaces into the ties layer. Now I'm going to do the same thing for the other side as well. I just draw an arc using the start point option and put the end of it almost here. Like so. For this one, I'm going to draw a couple more. So let's just draw some perpendicular lines. Now, I'm not being exact here. I just want to show you the technique, but you can basically make it very exact by using commands such as array curve or divide to have an exact distance between these tiles. So I just use the curve boolean command and turn these areas into curves, and I'll just use the offset. Let's use the offset multiple command here. So I'll just pick a point inside and turn them into curves and just delete the other ones. Like so. Now I'm going to turn them into surfaces. And put them in their appropriate layer. This is very important because later on, we might need to select all of them, and we need to be able to do this quickly. Let's just do this now. Now, I want to add a little depth to our ties here because right now they are just surfaces. I'm going to select all of them and drag them up by, let's say, 2 centimeters. As you can see, I just extruded all of these tiles simply by dragging and holding down control. So the next thing I'm going to do is to do something about these wooden logs here, this shader here. I'm thinking that the low height might make some people uncomfortable and make this space a little bit claustrophobic. So I'm just going to add some height to this part. So let's select our wooden logs. Okay, let's put them in a layer so we can more easily select them later and also to give the materials later on. So I'll just create a layer, call it shader. And put these objects in that layer. I'm also going to create some new objects in this layer, because when we drag them up, for example, let's say, by half meters, we need to add some other elements to connect them to the wall down here. So let me just switch to the shader layer, so the new objects go directly to this layer. And I'm going to create some boxes. I'm going to give this box a width of 20 with a length of 20 and drag it out here and move it into place by dragging to this part. So the next thing is to just copy it along. I can use the gumbal for this and hold down all and keep copying or I can use the array command and make ten of these and make one in the Y direction in the X direction, make ten in the Y direction and one in the Z direction. So I just copy it like this. Okay. Now we can also do some cleaning up here by turning these two polysurfaces into one clean polysurface without extra edges. We can do this by a combination of Boolean union and merge coplanar faces. And we can also speed things up by selecting everything in this layer and performing the boolean on all of these objects. So I'll just run the Boolean command, and then I'm going to use merge all coplanar faces, which turns them into clean polysurfaces, like so. All right. So the next adjustment I'm going to make to the design is this roof over here. I want to turn this into a glass surface to provide some proper lighting for the staircase beneath it. So let's do this. And also, another design consideration is that when we turn it into glass, even if it has a slight slope and there is a drain to direct the rainwater down is a danger that some water might be stuck between the frames. So let's just make this roof a little slanted so that the rain comes down more quickly. And also, it adds some aesthetical value to our exterior design. Okay, to make this slant, I'm going to cut cut the profile of this wall from a side view using the trim command. So let's find a proper view the front view sounds okay. So I have to draw a slanted line with a specified angle here. Let's say I want a line with an angle of 20 degrees. In order to draw lines with an angle and no, you have to select your base point. And after that, you have to add this symbol, which is the smaller dance symbol in math and then type in your angle and hit Enter. You can now see that the line is constrained to that direction. So I'll just draw it with an arbitrary link and just click and place my line exactly here, which is the start of my wall. Now I'll just run the trim command and trim it away using this line. Let's see how it looks like in our treaty view. So I'll just get rid of this and cap this surface here. Next, I have to draw my frames and the panels between those frames. So for the frames, I'm going to need these lines. However, I don't have anything here. So I'm going to use another command called duplicate edge. Basically, this selects these edges and turns them into curves to be later used in other commands. So it gave me the edges as curves. I'm going to shift select and select this one as well. Now let's offset them to create our frames. But before offset, I'm going to isolate them to see them better. And also, I'm going to create a couple of extra frames, one in the middle here and one here. So now I can use the offset tool to create my frames with a width of 5 centimeters. However, I can also use the curve boolean command to create four closed curves and then upset each of them inside. In this case, it's going to run into a problem where the middle part is going to end up with a ten centimeter frame and we have to manually adjust it later. So instead, let's just directly use the offset. Let's just start the offset and I'm going to give it a distance of 5 centimeters. And start offsetting these lines here. For this one in the middle, I'm going to use a distance of 2.5 centimeters and turn on both sides and offset like this. Now, for the one in the middle here, we might run into a problem. You can see when I offset, it's not lying on our profile here. The reason for this is that it is offsetting in the horizontal direction, which is basically the direction of the construction plane. Now, the construction plane is this grid that you can see on the ground here, and many operations in Rhino are performed relative to that plane. So in order to fix this, we either have to adjust our construction plane and set its direction to our slope here or we can use another command that doesn't require the construction plane, for example, the copy command. Now, the copy command is, of course, very much more simpler. But I'm going to introduce the construction plane command to you to talk a little bit about it and see how it works. So let's just delete this one and this one as well and run the command called C plane. In this command, you can do many things with the construction plane. You can set its position or direction using different options. So the options we are looking for right now is called three points, which basically asks us for three points. The first one is the origin, and the second one are the direction of the two axes. So for one, I pick this one and the other one the other line. You can see that it has placed the construction plane on our slanted curve here. Now, I can repeat the offset command. And this time, for example, when I turn on both sides and offset, you can see that it perfectly lies on our curve. So let's offset by 5 centimeters on this one as well. And now we can clean this up and turn it into a surface using the curve bullying tool. So for this, I'm going to use a trick where I run the command on all of these curves, and let's keep this option off these combined regions and have the output on surfaces. And now I just click all regions and hit Enter. And you can see it has turned into a lot of surfaces, but if we zoom in, you can see that there are a lot of smaller ones which we need to join. So I'll just select these panels and put them on a layer. Let's put them on curtain panel glass. So I change their layer and turn them off, and then select everything and join and then run the merge all coplanar faces, which gives us one clean surface as the frames. I can put this in the frames layer here. And now let's bring everything back. You can see that the construction plane is still slanted, and we need to fix this. Run the CPlane command again and this time, click on the world option and select top, which basically aligns it with the top viewport, which is the default option. Okay, so now let's bring these glasses back, and I'm also going to give a shorter name so we can find it better next time. The next thing I'm going to do is to work on the interior details here. And for that, let's hide these two surfaces. And I'm going to now draw a spiral staircase that goes from the ground floor to the first floor. And the height difference between these two floors is 3.9 meters. So now I'm going to draw this spiral staircase. I'm going to start with a small circle with a radius of 15 centimeters, which is the column in the middle. And then I'm going to draw another circle with the same center that has a radius of 1.5 meters. This one's the radius that we designed this staircase based on. So now I'm just going to draw one of the stairs. And the shape of these stairs is totally a design choice. So I'm just going to design one based on my own taste, but you can just apply this method with different shapes of stairs. I'm going to offset this curve here, and I'm also going to draw another circle here to give me a distance of, let's say, 40 centimeters in here, or let's make it more. Let's make it. 60. I want to have a pretty white stair. So I'll just draw lines from these two sides until it shows up ten, which stands for tangent. And then I'm going to remove this circle and this one. And also, I'm going to trim the interior part based on that, which leaves me with this shape here that I'm going to turn into a surface like so, and then I'm going to give it a thickness of 5 centimeters. I'm going to apply the thickness in the negative direction here because I want this to start at a height of exactly zero and then copy it along spiral to reach the other floor. Now I'm going to introduce a new command called spiral, which as the name suggests, basically draws a spiral. So just type in a spiral and it first wants us to pick an axis, which in this case is vertical, so I just pick vertical here. And it wants me to give it a height difference, which should be the height difference of our floors. I just type in 3.9 at Enter. And click. And now you can see that it gives me an spiral that starts from the first point and moves up to the next. Now, it has a lot of options. For example, I can determine the number of turns before it reaches the height. So if I type in five, you can see it turns five times before reaching my desired height. In this case, I just want one, and now I have to type in the radius, which in this case is 1.5. I hit Enter and I have to pick the start point of this spiral. So if I click here, now it wants me to determine the radius at the top. So I just type 1.5 again and there is a spiral. Now, I can draw this again this time directly on our stair, so type spiral, pick vertical and pick this point in the middle. And start drawing with a height of 3.9 and giving it a radius of 1.5. For a start, I'm going to pick the start of my stare right here. And for the end radius 1.5. This is the path curve that I'm going to use to copy this sloong to fill up my staircase. I'm going to use the array curve command here and select the path curve. And this time, I'm going to select items and give it a number of, let's say 20. You can see how it copies it along the curve, but it is changing the direction of our stairs. We have an option here called orientation, which we can play with. So if I select to rod like, this only rotates my objects in the horizontal direction and leaves the vertical ones unchanged, which is exactly what we want in this case. So I just hit space, which finalizes the command, and as you can see, it created the staircase very beautifully and very quickly. So technically, we don't have the first stair, but I just added it here so we could run the array curve command. So I just delete this. And in order to check how much height I have between each stair, so I just run the distance command and it here and put it on this point, which gives me 20 centimeters. It's pretty okay, but if I want, I can just go back and repeat the command. And this time, I give it like 21 items. So you can see very easily I can do this without having to copy and rotate objects individually along this path. So this time, when I measure the distance, it is 19.5. You can pick any number that you want and determine the number of items based on this number. So I'll just delete this one, and my stair also has a column in the middle which I'm going to use this curve for. I'm going to drag it up and turn it into a solid. I'm also going to cap it, so it is filled. And finally, we have to add a support structure for our stair. So we can do this by using this line and turning it into a metal sheet that actually holds our stairs. And I'm going to do this by dragging this line up a little bit so it covers our stairs. If you have problem when dragging this up, you can just hold out, which disables snaps temporarily, and we can just smoothly bring it up here and release the mouse. And now I want to turn it into a surface using the gumbo by dragging and holding control. I also hold hold to drag it smoothly and then release the mouse. So now we have our metal sheet here, but we have to cut this upper part and this lower part and also give it a thickness. So I'll just go into a viewport such as the right viewport. And then I use the trim command and pick this curve to trim the lower part, and let's draw another curve to trim the upper part. Like so. And next, I have to give it a thickness. We usually do this using the gumbo, but in this case, because the surface is not planner, it's going to fail because once we drag it and give it the thickness, you can see that it only operates in one direction, and in other directions, it's going to turn into an invalid model. So let's control Z, and I'm going to introduce a new command called offset surface. So you basically offset a given surface based on the direction in each point of that surface. So, to give you a demo, let's give it a large distance, for example, half a meters, and just hit space. You can see how easily and precisely it has offsetted the surface and turns it into a solid. However, you have the option of not turning it into a solid. In this case, you have to just uncheck this and perform the command again, and you can see it has created another surface which is offset from the previous one. So let's just repeat it again. Turn on solid and give it a distance of, let's say, 2 centimeters. And hit space. Now we have our support structure around our stair, and we can delete these extra curves now and bring this staircase into our project. So let me just turn this into a block so we can select it together, and I'm going to give you a base point in the middle here and call it stair. And now I can put my stair into place. So I'm going to use the top view port, which makes it a lot easier. And since the base point is in the middle, I just use the gumball to drag this stair and put it into place here. Now, I have to place it at the center of this curve here. So because we have the center option enabled in the snaps, I can just drag this on the edges of these curves until it shows me the snap in the middle. Sometimes it can be a little tricky, and it won't show it from the start, but you can see now I have snapped it to the center, so I can release the mouse now and it fits perfectly into place. So let's take a look at it in the perspective view. Now you can see that our stair is perfectly placed only it needs to go up a little bit because our floor starts at 10 centimeters. So I'll just drag it up by 10 centimeters, which fixes the height problem. Now, let's take a look at it from the other side. In here, we have to rotate it by 90 degrees so that it faces the first floor when we reach the last stair. So I'm just going to rotate it by 90 degrees, like so. And lastly, we need to add a little floor here to join the stair and the floor together. Now for this, we can use the curve bullion and draw a couple of curves. But let's see a little new trick using the gumball. I'm going to click this edge here. If you can't click it, just draw a line on it like so, and I'm going to extrude this using the gumbal up to this edge here. You can see that because they have different angles, they don't sit perfectly on each other. I'm going to fix this by Control Shift clicking on the intersection of these two edges, which basically should give me a point, which is called a surface vertex and dragging it into place. I'm going to do the same on the other one like this. And it creates my floor. If you want to connect it to the wall here, you can do another command called extend surface and basically pick this edge, which extends the surface while preserving the direction of the edges. So I just extend it until it reaches the wall here and it gives me my floor. So now I just have to give it a thickness of 30 centimeters. Like so, and then I'm going to join it to this one using the bulling union command and merge coplanar faces. Okay, that's it for stair. Now I'm going to add a railing to this part, a glass railing, much like the ones on the outside. So I'm just going to run the polyline command and draw one polyline here, drag it up by 1.1 meters. And let's put it on railing glass layer. For the top rail, I'm going to move this curve upwards, run the offset command and put both sides option and give it a distance of 5 centimeters, like so. I'm going to turn this into a surface and give it a height of 2 centimeters. I'm also going to put this on the top layer. I'm not being very particular about this because this is only going to show up in our documents, and we're not going to render this part. So the next part is to draw a couple of rooms, both on the ground floor and the first floor and also a little bathroom next to it. So we already know the commands, so I make this quick. Let's draw a line from here by length of, let's say, 4 meters, bring it all the way back. I'm going to draw a circle here with the length of 2 meters to give us a distance for the bathroom. And I'm going to use 1.5 meters and bring it back. Now, let's just join this together and this And now I'm going to extrude both of these up to this point using the gumball. And now let's add a couple of doors to them. So let's give it a 90 in 2 meters. And let's give it a width of 70 and height of 2 meters. Now I'm going to trim them away like so. And for the thickness of the walls, I'm going to use the offset surface command, which is faster than using the gumball here. Now, give it a distance of 20 centimeters and just bring it in. Do the same for the bathroom. And now I can just use merge coplanar faces to remove these edges. Now, I have to copy these to the ground floor as well. So I'm just going to bring the gumball down here and then copy both of them and use one of these edges as a reference. Now, in our ground floor, let's take a look at it. It's 1 meter outside because the first floor was offset by one meters. So I'm going to just bring it back by one meters like this. And also, you can notice that it is intersecting our floor up here, and we can bring this down by isolating it and selecting the surfaces and bringing them down by 10 centimeters. Okay, now, the next thing I want to do is to move my bathroom to the other side because it is interfering with the living room here. So I just move onto this side, and now I have to drag this edge to here. Which fixes my problem. Now we have to add doors to them later. But for now, let's just go back here and draw a couple of walls for the garage and the kitchen behind it. So I'm going to height this, and let's take a look here. You can see that the floor is reaching to the garage as well, and it has a height of 10 centimeters. We don't want this height for the garage, and we want it to be at the street level. So I'm just going to draw one line from this intersection and give it a length of 5 meters. I'm going to return it to the wall here. Now I'm going to use split face to cut this part from our floor and let's bring it back also by another 1 meter to keep some space for the entrance and maybe use this places to put some tools. So let's drag another floor for this part. And also, let's fill this small space here as well. I'm going to join this together and merge co planer pass, and there we go. Next, I want to draw some walls here. So I'm just going to drag these up up to this edge and place the entrance door right here. So I'm going to give it a width of 90 and a height of two. Like this. And let's join these two together and offset surface. To this side. Okay, that's it for our parking, and now I want to add a small kitchen to this side. So I'm just going to drag a polyline from here up to here and offset it by 60 centimeters, which is a normal depth of a cabinet of a ground cabinet. I'm going to bring it up by 90 centimeters and cap it now, I'm going to copy it for our upper cabinets. And in copy, we have an option called vertical. And if I turn this on, it only goes up and doesn't move around in the horizontal direction. So I just copy it up here and move it by another 50. Now, the upper cabinets usually have a lesser width than the ground cabinet. So I'm just going to move the back by 20 centimeters. Like this. And also, I'm going to just move this one back by, let's say, 3 meters. And also, I'm going to move this back by one so that we can put a fridge at this point. Okay, we are almost finished. Now, there are a couple of finishing touches and cleanups that we can do on the model before proceeding. So let's just get to them quickly. I want to join the separate surfaces that are intersecting, and there are also other intersections between the chimney and the walls and floor and chimney and so on. So it's important to clean this up because we want to produce our documents such as sections and elevations directly from the model, and having these extra lines can make our model inaccurate and also can increase our time. So let's just get to it fast. I'm going to boolean union these two surfaces and merge coplanar faces. And also, I'm going to run boolean difference between these walls and the chimney. Make sure the delete input is set to no. So as you can see, it subtracted my walls from the chimney. I'm going to run the Boolean Union command again and this time, I'm going to join all of these poly surfaces together and merge coplanar faces. Now, let's take a look down here where a wall is intersecting the upper wall and the floor. Let's run Boolean difference and select these and subtract our walls. Now we are done with the cleanup. However, for the doors and openings here, I want to add some simple doors. You can, of course, pick more complex doors and design them individually. But since this is a minimalistic villa and I don't want to spend so much time on this because the commands are almost the same, I'm just going to drag these edges down and make very simple doors. I'm going to put them in a layer called doors. And I'm going to give them sort of a blackish color to contrast with the walls up there. I'm also going to fill this space here. So it appears we have brought it down a little too much, so I'm just going to return it to this surface here and this one as well. I'm also going to give them some depth, like I don't know, 2 centimeters. And let's do the same thing for our interior doors. I'm going to hide these and I'm going to pick the edges here and here and just drag them down like this. I'm going to put these on another layer called doors interior. And let's give it a brown color. Later on, I will add some wood materials to them. But for now, let's just make them different so we can identify them better. I'm going to drag these two down as well and put them on the correct layer, like so. Now, let's take a look at our chimney, where it is intersecting the floors. I'm just going to use boolean difference and subtract all of these floors, including my ground floor from the chimney, like this. And now we can make the chimney hollow by drawing a rectangle on top of it, offsetting it by 20 centimeters and using the split face to cut through it like this. You can see we have a chimney that is not intersecting anything now and we can also delete all these curves, and now we are done with our model. So in the next video, I'm going to work on materials and how to assign them and how to preview those materials based on layer. 15. 15.Presentation_Materials: In this video, we are going to learn about materials. By using materials, we basically can enhance the look of our objects by adding images or textures to them that represent real world materials, such as bricks or stones, and so forth. And we can also enhance those images using effects such as reflections or bumps. So we have seen how we can enhance the look of our objects on a preliminary level by changing their color. We have done this through the Layers panel, but we could also do this on an individual basis by going to the property tab and changing the display color or print color of our objects. Materials basically work the same way. So we can change them either individually per object or we can change the material for an entire layer. So to start, I'm going to middle click and click on this blue sphere. This is called the rendered viewport. As soon as I click it, you can see that it changes my objects to a single color and applies shadow to them. So in this viewport, we have the ability to add shadows, sunlight, as well as materials to our objects. This can also be activated by clicking this drop down and selecting render. So I'm going to use this to show how we can apply materials to our objects and how they are going to look on them. So to start, I'm going to assign, for example, a stone material to these surfaces to the surfaces that I have here and also our chimney. So you notice that they are on the default layer. So let's put them on a new layer. I'm going to call them stone and change the layer of my object. And you notice that we also have an option on the layers panel here called material. So we can simply click this small circle icon here, which brings another menu for us called the layer material. And here we have the ability to either choose an existing material or make a new one. So I click this large drop down at the top and select this top item here, and it gives us the ability to choose from a variety of different material types. Basically, we can create most of these using the custom materials, which is a general purpose material we can use for most of our needs. So I'm going to just click this, and it brings a sort of properties for me that I can change. And by these, I can change how my material looks in the viewport and the final render. So first, I'm going to name this stone. I have learned by experience that it's very important to name your materials, your layers, and everything else very correctly according to what they do because you can easily get lost when you have a large number of objects and materials that are applied to them. So I'm going to call this a stone and hit okay. So now the layer has a material called stone, but nothing is shown here. It's because I have to change the properties of that material. So let's click it again. And this time, I'm going to change the color here. For example, to orange color, you can see that immediately it is reflected on my objects. I hit okay and if I change back to the shaded viewport, you can see that we don't see it anymore. It's because Rhino displays the color property in the shaded viewport and it displays the material only in the rendered viewport. If you want to see our material, we have to go into the rendered viewport. So let's go back there, and this time, I want to change this color into a texture. So I'm going to open up my materials menu again. Notice that in addition to clicking in the layers tab in the layers panel here under material, we also have the ability to go to another menu here. By clicking materials up there, and it presents us with a list of all the materials that we have in the project and their properties once we select them. So we can drag this up to see the properties better. And here, I'm going to click this drop down, and this time, I'm going to pick assigned texture. This opens a dialog for me that allows me to select any image file as my texture. And now we have the ability to select any format, for example, such as JPEG, PNG, Bitmap, TIF, et cetera. So for demonstration, let's just pick this brick texture that was already opened in the dialog. And see how it looks in our object. The first thing you'll notice is that the size of our material on the object is not quite correct. So fixing this is one of the most commonplace operations that we do when we assign materials to objects in any TreD software. So in Rhino, we can fix this by clicking our object, going to properties. And here we have a tab called texture mapping. Which basically refers to all the techniques that we can use to determine how the texture looks on the surface of our object. Now one of the most commonplace types of surface texture mapping that is used in architectural visualization is called box mapping. So in Rhino, the default is set on surface, and we can change this to box. You can see that we also have other varieties, and we're going to use a couple of these throughout this course. But for now, let's just select box. What this does is basically tries to project this image from a different of a box to our object. Works very perfectly on objects that are usually rectangular or have their side in the main axis directions. It can run into some trouble when we are working with curved objects sometimes, but it won't be much noticeable, and in those cases, we can also use other techniques to fix that. So let's now fix the size of our breaks here. Now the options we have to control the size of our texture are down here. The first one is called X Y Z size. So here we have the ability to change the texture size in any of the main axis directions. So if I change two to three and this one to three as well, you can see that it is actually changing how my texture is stretched along the two X and Y directions. If I change the Z to one, you can see that it actually compresses my texture because it is telling it that the height of the texture is one meters. So I can set these numbers based on the real dimensions of my texture to have a physically correct texture on my object. So let's just, for example, put this two or even 1.5, like this. And I'm going to make this, for example, 70 centimeters, which looks quite okay. We also have the ability to change down here. This is called the UVW repeat, which basically is another way to increase or decrease the size of our texture by changing the number of times the texture is repeated on our objects. So I can, for example, change the two and you can see that it repeats twice as much or in other words, makes it twice as a smaller. So I'm just going to set this to one. We usually are going to deal with the upper option here because it is more accurate to change the texture on our object. Now, let's just turn this into a stone texture for the wall here. So I'm going to go into the menu, and this time, I'm going to click Replace texture and pick your stone texture for it. I'm going to click this one, which looks quite okay. And for the size, I'm going to set it to a size of, let's say, 3 meters in the horizontal dimension, and let's put it to 2 meters here. I'm going to make this five. And it looks quite okay. I'm going to put this to 2.5. Like so now we can keep doing this for the other objects or we can match the properties of the other objects to this one that we have already fixed. So to do that, we should just click an object and use this option, which is called match mapping. And then I click on the object that has a correct mapping, and you can see that it changes my target object to this. And another way that I can speed up the process of texture mapping is to select several objects before starting this mapping and Use match mapping to change the mapping on both objects. So now let's keep adding textures to other objects here. For example, the next one I'm going to add a texture to is the grass. So I'm going to go to my grass layer and here, add a new material. And add a grass texture to it. So I already have a lot of textures here that I use in most of my projects. You can just easily look up most of these textures by typing, for example, grass texture or stone texture. I'm going to talk a little bit about the correct way a texture should be to be using the software. But for now, let's just add a couple of these and see how they look in our objects. So again, you can see that different objects are stretched differently. So having our objects inside a single layer helps a lot in selecting and fixing these problems. So I'm just going to select objects, and in texture mapping, I'm going to put them on box, which gives them the same size. And this time, I'm going to lock this and change this to three, which changes all the numbers together. And you notice there is a little line that can be seen when the texture is repeating. This is not very desirable, but in case of our grass, it's not very noticeable, but in other cases, we might want to avoid this. I'm going to talk about how we can do this. When you use textures in software, it's very important where the texture starts and where it ends in every direction. And if they don't match, we can end up with lines like these, and as a result, it won't look very realistic in our model. So one way to make sure that this doesn't happen is that when you're trying to look up your textures, make sure to add keywords such as seamless or tiilable or repeatable. Or alternatively, there are a lot of websites that already offer high quality textures for free, and you can use them to download your textures. And in this way, you can make sure that not only they can be repeated without having these edges, and they are also very high quality and offer very realistic results in your model. And I'm going to demonstrate what could happen if my stone texture had a problem and was not repeatable on my model. So let's just go into the layer and I'm going to click on replace to open the dialog here. And in the stones, I'm going to edit this texture a little bit. And let's say I want to crop it a little bit so that the end does not match the start of the texture. So I'm going to set a copy, for example, in the same folder. And I'm going to give this to my object here. So let's hit Okay and see how it looks on my object. Now, if I zoom in, you can see this line clearly and how the stones don't match. So this is a problem that can happen if you don't use correct texture. Other instances that can be problematic is when you have different lighting on the two sides of your texture or your texture is not directly facing the camera. For example, the picture is taken from an angle which has a perspective depth. So I'm going to just bring back the correct texture for this. And by using these techniques, we can make sure that our textures are correct and realistic and we can use them for our objects. Now, I'm going to talk about a different kind of material, and that is the glass material here. For the glass, we usually don't add a texture. Instead, we want the light to go through the object so we can see everything behind it. So I'm going to make a material for the railing glass layer. And here, instead of changing the color, we need to increase transparency so that light can get through it. And this is done very easily by using this slider under transparency and sliding it to the right. So I'm going to slide it all the way to 100% and hit okay. And you can see that it is now transparent. So I'm going to apply the same material to my curtain panel glass as well. So just click this and hit Okay, and you can see that it easily applied this material to my glass. Now, there are other settings that I could tweak in order to make this more realistic. But that's enough for now because we're going to get to that in another video. So I'm going to keep adding materials to my other layers as well. So let's add a material for our sidewalk here. So let's make a material. Call it sidewalk and give it a texture. As I said, I already have a collection of these materials, and I'm going to put them in the project files so that you can access them later as well. So I'm going to just give this a simple paving material. And now we need to fix the mapping. So let's select them and put it on box, and I'm going to give it a size of one, and it looks good. Next, let's take care of the street here. We can put it in a layer and change the layers material. However, because this is the only object with this material, which is the asphalt, I'm just going to change the material for this object only without creating a layer. So to do this, go to the properties and select second icon, which is called material. And here, I'm just going to create a new material and call it asphalt and give it a texture. And let's change the size as well. And I'm going to put it in three by three, and we can also come back and change this if the need arises. So now let's take a look at the yard. And I'm going to change this soil material here. And let's give it a material, call it soil and give it a texture again. That looks okay. And I'm going to put it on box mapping and give it a number of, let's say, four. Looks pretty good. And now for these tiles, we already have them on a layer. So I'm just going to select the material for the ties layer and create a new one, call it concrete, and I'm just going to assign a texture to it. This one looks okay, and it seems to be pretty okay when I look at it now, so we don't need to change the mapping for this. But if we do, all I have to do is just select the objects and go to the mapping and just put it on box and set it to the appropriate size. Now, I'm going to also put these in the ties layer as well. So I'm just going to change the layer. However, they have a wrong mapping on this part, so I'm just going to match their mapping with one of the tiles. Let's also add these two platforms here to the ties layer. So I'm going to match their mapping with this. Now, about these two platforms here, I'm considering to make them wooden panels. So with a direction that runs towards the pool, I'm going to create a layer, call it platforms, put my objects in there and give it a material. I'm going to call it wooden panels. And let's give it a texture. I think you already have one here. This one looks okay, so let's give it this material and see how it looks. Okay. So in this case, let's just go and put it on box and see the direction here. So the size seems to be okay, but the direction is wrong. So how do we fix that? So if you want to fix the direction of a map, you can do this under here by UVW rotation. So I'm going to try the first one and set it on 90. That doesn't work, so I'm going to use the second one. And then the third one, which does the trick. So you can play around with these and see which of them just suits your needs better because each object might have different rotations. It's not very easy to tell which of these three axes are going to work on your particular object. So let's make these also a little bit smaller. So I'm going to just set the size to 1.5 like so. And next, let's deal with these gravel surfaces here. So I'm going to select them and put them on their own layer. I'm going to call it gravel. And let's give them a gravel material. Now, these are basically small pieces of stone that are common to use in some modern villas. So I'm just going to go here and look for gravel and let's select one of these. Let's see how they look. This one looks good. So I'm just going to give it this material and it okay. Now, I need to fix the size of these gravels, and for these, I'm going to give them a size of, let's say, three. Make them a little big, but not too much. Now let's deal with the grassy surface under here. So I'm just going to put this on the grass layer. So I'm going to change the layer and let's reduce the size a little bit. I put this on five. Looks pretty good. And now let's give a material to this pool. We got two surfaces here, and I'm going to join them together, and for the material, but I'm going to call this pull tiles. And let's give it a texture of blue pull tiles. So I think it was here, something like this. And now let's adjust the size and put it into box. Looks pretty cool. Now, for this edge here, I'm going to add a concrete material for now, but we can change this later. So I'm just going to give this concrete and adjust the size again like this. The next thing I'm going to do is to give material to this little edge here and the wall behind it. So let's give both of them the stone material that we had here. And let's set the same size as our other walls like this. Now let's add a material to these frames here. They already have a layer. So I'm just going to go to the frames layer here and add a new material. I'm going to call this frames. This is basically a simple blank material. So I'll just put this color at this position here and you can see that all of my frames are changed. So I'm going to also apply this to the top rail here. Like this. This creates a very nice contrast between the white color of my facade and the black color of the frames. So from a design standpoint, I think it's better to add some flushing to the top of this wall here and also to the edges of our roof up there to enhance this contrast. So I'm just going to do this very quickly using a couple of polylines. And offset them, and let's give it 30 centimeters for this. I'm going to drag it up by 3 centimeters. As you can see, it creates a very nice effect. So let's just add another one up there. Okay, I should have picked the interior edge. So let's offset it by 20 centimeters without the cap like this, I can delete this one, and then I'm going to offset it again this time with depth of 25 and with a flat cap like this. I'm going to give it a depth of 3 centimeters again. Let's also offset this small part here. Like this. Okay, so we are pretty much done with our exterior elements here. Let's just add material for these floors at the first floor and the ground floor of our villa because they are visible from the outside and also we need to apply different materials for the balcony for the terrace and for the interior. So this is one big surface because we use BoleonUnion before to turn it into one big surface. We can separate small subsurfaces from this using the split face command. So I'm going to just draw a couple of curves here so that I know where the walls begin like this and also another one here just after the door frame. I'm not going to draw this all the way. I just need a placeholder so that I know where to cut. Then I can select these along with my surface. Like so and isolate them. Now, we can see pretty clearly that this line here needs to go all the way to here and from here as well. And also, I'm going to extend this line until it meets this edge. Like so. Now split face, and I'm going to select all these curves and split it. Now we can select these surfaces separately, and for giving them different material, we need to detach these surfaces from our floor. So to do this, I'm just going to run a command called extract surface, which is basically called extract RF in the command here. So after running this, these are turned into different objects and I can select them differently. I just have to give them a material. So I'm just going to put them in a layer and call them, for example, terrace, and give them a material with a corresponding name. For the texture, let's give it a simple exterior tile. Let's take a look at our tiles here and This one sounds okay. Let's fix the size. Okay, that's enough for now. I'm going to give the interior floor also a different material, but we have to be careful because if we apply the same material to all of the object, it's going to show up in the ceiling in the lower floor as well. So I'm just going to extract the upper surface from this and give the material only to this one. So because we have also the ground floor as well, I'm going to create another layer for this and call this interior floor. So I'll just put it in this layer and give the material. I'm going to use the same name. And for the texture, let's give it a large tile texture here. So I'm going to use this tile. And because we got four tiles in the picture, and I want the width of each tile to be almost 80 centimeters. So I'm going to give it a dimensions of 1.6, like so, which makes each tile exactly 80 centimeters. So let's bring everything back and also apply this material to our ground floor here. So let's rotate inside and extract this surface. And I'm going to put it in interior floor and also fix its size like this. Now, we are pretty much done with materials. If we need to, we can change the material of other objects later when we are preparing our project for the rendering. So in the next video, I'm going to talk a little bit about how we can make this more realistic and by tweaking the settings of our sunlight and also adding backdrops and some reflections and final controls to our materials. 16. 16.Presentation_Rendering: In this video, I'm going to use a couple of rendering techniques to enhance the visual aspect of our design. But before getting into that, let's talk a little bit about rendering in general. We already know what it means, and I have used the term during the course. But let's take a step back and see what kind of rendering techniques exist and where rhino stands in this spectrum. So when I say rendering, I basically mean any process or technique that can help to display objects in a treaty scene. So by this definition, what you see here right now in shaded viewport is also a rendering, however, a very simple one. When we turn on rendered mode, this is also a rendering. Only this time we have new layers of visual information laid on top of our model. And this is basically what rendering does. It adds layers and layers of visual information on a treaty model. So in this case, we have textures and a default lighting that is applied to the scene. Now we can keep adding these layers until we reach a satisfactory result based on the type of project that we are doing. Sometimes we might want to have an animation style rendering. Sometimes we might want to have a realistic one, like in architectural renders. So these layers can be a sunlight and environmental lighting, some reflection, and so on. And these techniques are not only limited to render settings inside the software. They can also mean we can tweak materials and the model itself, and we can keep going back and forth between these until we achieve the result. Now there are generally two kinds of rendering. One of them is CPU based and the other one GPU based. And you might have heard the term real time rendering, which is what you see right here. It basically means you can change the model as it is rendering, and the changes are reflected immediately in your render. So it requires the rendering to be very fast to be able to reflect the results. However, in this case, we might lose some accuracy because it is trying to approximate things such as indirect lighting and some high quality effects. The other hand, in CPU rendering, it takes a lot of time to render a single frame. However, that rendering is physically quite accurate. So we've got very accurate reflections and indirect lighting based on our settings, but it takes more time. Now, I'm going to take an approach using real time rendering. Because of it speed, it is suited much better for architectural projects because in a realistic setting, the client usually makes a lot of changes, and we architects also want to make a lot of design changes and see the result very fast. So real time rendering helps us to save a lot of time, and it doesn't break up our creative process by having to wait for the rendering to finish. Now Rhino has the ability to use both kinds of rendering. For example, the rendered viewport is real time, and for more accurate renders, we can use the Rhino render to get more accurate results, but it takes more time. We can also install plug ins, such as Inscape or VRA. In this case, I have Iscape and I'm going to explain this in another video to see the potential of using this rendering engine in enhancing our visuals. Okay, so now let's light up our scene. Generally speaking, when we want to add lighting to any three scene, we got the option to either apply a daylighting or artificial lighting, which is often used for nighttime renders or interior renders. In this tutorial, I'm going to focus on daylighting. Now, for a daylighting scenario, we need sunlight to simulate the direct light coming from the sun and also an environmental light to account for the indirect effects of the light on the scene. Now, these settings can be found in the rendering tab next to layers up here. And I'm going to scroll down until I find the setting for the sun. And if I check this, you can see that the sunlight is activated, and it has also created a shadow. The setting for the sun is on the sun settings, which brings up this menu for me. Now, there is an option to change the intensity and also the direction from which the sunlight is coming. Now, if I increase the intensity, you can see that it increases the sunlight, but we have to be careful because it can create burnouts in some areas. Now, I'm going to set it back to 0.5, and we also have the ability to change the altitude and the horizontal direction or the Azimut of the sunlight. Now, I'm going to just leave it here. We're going to get back to it later. We also have the ability to set the sunlight direction based on the time of day and month of the year and the geographical location. It can be activated by unchecking manual control up here, and you can see now that we got the ability to change the month the time of day and also the geographical location. This is very good for simulating a certain lighting scenario in a building that we are doing. But for this tutorial, because this is just an imaginary building, I'm going to just disable this and control the sunlight manually. The next setting which is very important is the skylight, which accounts for the indirect lighting in the scene. Now, if I turn off this option here, you can see that the shadowed areas in our model become completely dark. And the reason for this is because there is no indirect lighting contributing to those areas, and only areas that are directly visible to the sun become lit. So you can see that this is a very important option. Now, let me just turn this back on, and to understand it better, let's take a look at what happens if I change the background color. I'm going to scroll up a little bit and change the solid color on the backdrop. To, let's say, a red color. Now, you can see that it changed not only the background color, but also the lighting, the indirect lighting on the model. This means that indirect lighting is calculated based on the color of the background. Now imagine that instead of a single color, we have a picture as a background. For example, a picture of a sky. Now, in that sky, there might be bright spots such as clouds or the sun or even objects such as trees in the background. Now, the way indirect lighting works means that the color of those trees and the blue color of the sky is going to affect the lighting color in our scene. Now, to see that in action, now let's put a picture for the background and see what happens. Now, there are certain file formats that can be used for these scenarios. Actually, there are formats such as HDR files that are specifically designed to be used in treaty softwares. They're pretty much like panoramic pictures that try to capture an entire scene in a 360 degree environment. Now to activate those, we have to use the option 360 degree environment here. And I can add this file to the project by either clicking this dropdown and defining a new environment, or I can just drag and drop the file directly inside of my rhino project. So I'm going to just bring it to the site, and I have this file already opened here. Now, after dragging this, it asks me what to use this file for. I have this check which is okay, so I just hit okay. And you can see that it applied the environment automatically to the background. Now, you can see by rotating around the model, it also rotates the background, which is the important feature of these kind of files. And also, it is applying lighting to our scene based on the color of the pixels that are inside the file. So for example, if I look at it from the direction of the sun here, you can see that this side of my model is lit up by that sun. However, on the other side, there isn't much lighting. So to compare, let's just turn off the sunlight and take a look at how it is applying light to our scene. Now, we can increase the intensity of this environment by going to the drop down here and clicking on this pencil icon. Now, it brings up a menu where we can edit the intensity and the direction of this environmental lighting. Now, I'm going to scroll down and increase the intensity to, for example, three. Now it updates a preview for me where I can see how it affects a couple of objects. When I hit Okay, you can see it applied to our scene, which made it better. Now, if I turn the sun back on, you can see the shadows come back. Sometimes in an HDR file, the shadows are not that strong. So we may need to combine an actual sunlight with the skylight to get a proper effect. But you have to be careful to align the sun direction with the sun picture inside our environment because otherwise, it could create some discrepancies in the lighting. So I'm just going to go to the sunsettings and rotate the sun. So it is almost in this direction, which is logical based on the direction of the sun in the picture. And there is also an option for using a custom environment for skylighting, which basically means that it uses another environment file other than the background to receive light. I personally wouldn't do this because it is kind of counterintuitive to have a background and the model receiving a different light. So I'm just going to turn this off the next thing I'm going to look at is a couple of settings that can enhance our shadows. Now, I'm just going to zoom zoom in on this shadow here and go to the properties panel. Let me just drag this to the side so we can see our shadows better. And let's bring this up a little bit like this, and that's fine. Okay. So in the properties panel, let's go down here to view display modes and rendered, which is the activated view right now. So if I expand this, you can see that there is an option for shadows. And in this part, we have a couple of sliders that we can change to change the quality of the shadow inside of our viewport. For example, the one called skylight shadow quality. I can change the quality and you can see its effect on contact shadows in our walls here. So higher numbers are generally better, but it comes at the cost of your hardware resources. So you have to be careful not to slow down your viewpoint very much when increasing these numbers. Another interesting option is called soft edge quality versus speed. So if I drag this slider up, you can see that my shadow edges become smoother, but it comes at the cost of speed again. Sometimes I just might want sharper shadows for certain scenarios, so I can just decrease this slider. I'm going to put this in the middle to have a soft shadow here. Now, there are other options that you can tweak and see how they affect the rendering. There is also an option to change the shadow color. I recommend to leave it at black because if you change it to another color and here okay, you can see it affects our model like this, which is not very natural. It might be desirable for certain scenarios and certain styles of rendering, but for our purposes, I'm just going to leave it on black. And we can also change its intensity by decreasing this number, which is a personal preference. So I'm just going to put it on 100 to have a nice contrast. So that's it for a general lighting setup for our rendering. We can always come back and tweak these settings. In the next video, I'm going to work a little bit on my materials and how they interact with the lighting. 17. 17.Presentation_Materials 2: In this video, we are going to increase the realism or scene by using some material techniques, including bump maps and reflections. So to understand what a bump map is, I'm going to show you how it works in action. So let's zoom in on this platform here on these wooden planks and open up the material. Now, I'm going to scroll down, and in this section where it says bump Normal, I'm going to click on this and choose this picture. I have made a smiley face picture as a fun example to simply demonstrate what a bump map does to our surface. So let's open this. And you see that it has created a smiley face on our surface. However, it has not used the colors in that picture, which were black and white. So basically what a bump map does is create an illusion of depth on our surface without actually modeling that depth. Which is a very important feature in every rendering engine to create realism and add realistic details to our surfaces. So there is a slider next to it. I'm going to increase the percentage, so it has a more stronger effect. And you can see this here and let's look at it from the front. So in that picture, there was a gray area around the eyes of this smiley face. And the way bump maps work is the more darker the darker the pixel is, the more depth is going to show in the bump maps. So the darker areas in the middle kind of has more depth, and the gray area around it has less depth. So that's how a bump map works. And now to make this useful, we have to choose a picture that resembles our color map. And the dark areas in that picture should align with the parts that we want to be recessed in the material. So for our wooden planks, I'm going to use a picture that, for example, has dark areas for these parts. Actually, I can use the same picture that I used for the color map for the bump map as well. And it has some interesting details on it that can be used to create the illusion of depth. So let's click the material, and now I'm going to right click on this texture and copy it. And on the bump map, I'm going to paste. So it has used the same map now, but the effect is not very strong now. If I check and uncheck this, you can see there's a slight difference. However, it is not showing very much. So it is very important what picture we use for the bump map and where the dark areas are defined. So let's choose a more appropriate picture for our bump map. Now, I'm going to browse, and this time, I'm going to select one of these files. Now, when you download a picture to be used as a texture, you might come across additional files in the same folder. These files are intended to be used as maps, such as bump maps, normal maps, height maps, reflection maps, and so on. However, some of these maps are not supported by rhino materials. So I'm just going to use bump and normal maps to demonstrate how they can be used. So before going to do normal map, I'm going to choose one of these maps that has some dark and light areas in it. So if I choose this, you can see that actually, it has not improved the bumpiness on our material very much. So if I check and uncheck this, you can see it does not make much of a difference. But now let's choose another one called the normal map. So I'm going to select this one. You might have come across pictures like this with these coloring. Now, the difference between a normal map and a bump map is that normal maps not only include height information, but also direction information as well. So it basically tells the lighting what direction the edges of these planks are facing, which creates a far more realistic result compared to a simple bump map. So let's choose this normal map and see what it does. And now that's a big difference. So you can see that when an appropriate picture is used for bump or normal, it can make a large difference in our scene without the additional time required to model these individual planks. Now, let's do the same thing with another texture in our scene, for example, this wall here. So we got a stone texture here that if you look at it from the side, it shows that it's only a flat texture. So we want to add some depth to this one as well. So let's open up the stone material and give it a bump map as well. Now, I'm going to repeat this same procedure and start with one of the simple black and white textures and then go on to the normal map. So I'm going to assign this to our stone and increase the percentage now it has created some pretty nice shadows on these stones, it creates some depth. And now let's give it the normal map. Yeah, it has some details. However, in this case, I personally think that the bump map that we use was more effective at capturing that depth. So you can see that using a normal map does not necessarily give you better results. So it totally depends on the kind of texture that you are using and the size and the details in that texture. So I'm going to just select this bump map again, which has a pretty good visual appearance. So I'm going to keep adding these details to other materials in my scene to make it more realistic. The next one I'm going to give it a bump to are the walls here. Our walls are micro cement, which basically has no color, I can have some fabric, some depth in its surface by having imperfections in the cement. So I'm going to select all these walls, and I'm going to create a layer for them. So let's create a layer called walls and put the walls in there. I'm also going to create a material called walls. And now let's give it a bump texture. Now I'm thinking that I can use the same texture that is used for the concrete to be used as the bump map for this wall. So let's open up the material, and on the bump map, I'm going to browse to my concrete texture. Now, let's hit Okay and see how it looks. It's large, so let's fix its size as well in the texture mapping panel. So I'm going to let's zoom in on it, and I'm going to give it a size of five. You can see that it already creates a very interesting effect on our walls. And this is certainly making a huge difference in how the scene looks in our rendering. Now, let's keep on going and adding the same texture for our concrete. So let's find this, and I'm going to copy the same texture here and paste it here. I'm also going to increase the intensity to make it look more realistic. Now the next thing is the gravel on the ground here. Now, this one can use some bump to show the imperfections in the gravel as well. So I'm going to open it up and give this one a bump as well. I'm going to crank it up to 100 to show the effect better. I'm going to keep doing this for a couple of other materials. For example, for this flooring here, I'm going to use the same texture that I used for the color map. So let's open it up and copy paste this to bump map, and the intensity is okay. Let's also do the sidewalk here. So it is affecting our scene very well, and we can get back and make changes to this later as we see fit. So the next thing I'm going to do to increase the realism of our scene is to add some reflections that can enhance the look of our scene, especially on the glass surfaces. So let's open up the glass material. And now let's take a look at the settings that we can change to set the reflectivity of our material. The first one is, of course, called reflectivity, and it's a slider that we can change 0-100%, and let's set it on 100. But it is still not showing in our material, which normally does. The reason for this is because in Rhino, the more transparency we have the less reflectivity we get. So we have to decrease the transparency a little bit to make the reflections show. Now it is showing our environment picture that we used for the background in every glass surface. Let's take a look at how this is inside our viewport. Now, every glass surface is reflecting the environment. If you feel this is too much, you can just go back into the material editor and either decrease the reflectivity or increase the transparency. So there is a trade off between these two. Although in many other rendering softwares, you don't have to make this compromise because you can have total reflectivity, total transparency and have reflectivity at the same time. So this is a limitation in rhino materials. Another option that you have to be careful about when dealing with reflectivity is called FresnRflectivity. Now, this is something that exists in all rendering engines and is actually an effect that helps to make the reflections more realistic. And the way it works is when you check this, and reflections are going to show only if you are looking at the material from an oblique angle. So directly looking at the glass won't show any reflections, but if you rotate and look at it from sideways, you're going to see the reflections. Now, this is a very realistic behavior because every material, for example, a wooden table, um, is going to show a lot of reflections when you look at it from site. But once you look at it directly, it's not going to show anything. So this is a real behavior of materials. But Rhino has limited options to tweak this effect in contrast to other softwares. So I recommend to use this with caution. So it might diminish your reflections. So let's get back to our material here now, and I'm going to just uncheck this because I think this is more interesting for our rendering purposes. I'm going to take a look at some of the materials and change their reflections as well. Another one are these wooden planks that are here. I think kind of a half glossy reflection would be well on these surfaces. Okay, so let's bring up the material editor and increase the reflectivity for the wooden planks. All right. Now, instead of reflecting the building itself, the wooden planks are now showing a very bright color which is not very desirable. The reason for this is a limitation inside in Rhinos rendered viewports. Now, it tries to approximate reflections by showing us a picture of the environment. At some angles, it can show up as this bright color which is not very good, and to get around it, we have to use another view mode called ray traced. Now, this basically uses a technique called ray tracing, which is very prevalent and very important in render engines because it tries to calculate precise reflections and lighting by shooting a large number of rays from the camera and interact with the scene. To activate this mode, we have to go to our view mode and click on Ray trace. And as soon as I do that, you can see it presents us with a much higher quality version of the scene where reflections are very precise and the curtain walls, the chimney, and everything else is completely reflected in our wooden planks. In fact, if I increase the reflection, you can see the effect a lot better. Now, this is a very powerful view mode, and the reason we are not using it very much is that it comes at a heavy cost to our hardware. Basically, displaying this takes a toll on the graphics card and the RAM. And right now, if I try to rotate in this scene, you can see it's doing so very slowly, which is not very efficient when I want to add something to the model or make change. But if you want to have a high quality render out of your project, you got the ability to save this file and present it to the client. To do so, we're going to use another window that has additional abilities for our render. So let's get back to our Render viewport and this time, I'm going to go to the render tab, and down at the bottom towards the right, there is an option called render. This basically brings up the same rendering for me, but this time, I have the option to save the file, and also I can add some image effects to the file to enhance its visuals. So an important concept to know about this render is the concept of path tracing samples. Now these samples means the number of iterations or the number of steps the rendering engine tries to improve the quality of the render. The more numbers it goes through, the more refined and higher quality your render will become. Now to control these settings, we have to go to our render tab and look for an option called quality. It is set on good quality which determines the number of samples that it's going to process. Another option is the dimensions that you want to export your picture. So if I put it at a high resolution and start to render now, the image that it creates is definitely going to be of a higher quality, but it also comes at the cost of the rendering time. So now you can see that the samples are advancing much more slowly. Now, this is the main downside of trying to create higher quality renders. So in this project, we're going to focus on a speed over quality. So I'm going to use the rendered view port as a basis for displaying our models. However, I'm going to also show you how to use one of these higher quality renders and use it as a picture inside our design sheets. So let's close this for now and get back to our rendered viewport. I'm going to bring these wooden planks to the way they were before the reflection. That's it for this video. So in the next one, I'm going to show you how you can add some embellishment to the project by importing some tree models and some bushes and as well as some furniture for the interior. 18. 18.Presentation_Embellishments: In this video, we are going to bring in some objects into our scene to increase its visual richness. These objects include some trees and also some furniture. So you can get these objects either from the Internet or you can bring them in from other design softwares. I have taken the liberty of collecting a couple of objects that are provided in the project folder. And this includes some furniture that I have exported from TSMAx and a sofa that I have exported from ReVT. I have also downloaded a tree model from a website called bemobject.com, but you can use any other website that provides free three D models. Now, there are certain file formats such as FBX, which is a general purpose format, most design softwares have the ability to export their furniture and objects into FBX. And you can also import into many softwares using this format. We are going to use this format to bring objects into Rhino. So let's just drag and drop this into Rhino and see what happens. Now, in the menu that appears, make sure that it is set on import file and herky. This brings up another menu, which basically asks us whether we want things such as lights and cameras to be imported and also whether to ask if the file has a corrected scale. So I'm going to make sure this is checked and her okay. Now it has identified the file to be in fit units, and Arno project is in meters. So it asks whether to automatically scale the file so that it is displayed in the correct scale. So I'm going to hit yes, and you can see it imports the file and automatically selects it. So make sure it stays selected and bring it to an area where you can select and edit it separately from different objects that we have on our scene. Now, sometimes when you bring in models, you might see that they include extra objects that we might not want in our design. For example, in this case, because I exported this sofa from Revit, it also exported some level symbols, which is not what I want. So I'm just going to delete these and zoom in on my sofas. And you can see that they are pretty clean and nice. However, they do not have any materials applied to them. So we can get back to this later and fix that. But for now, let's just select all of them, and I'm going to group these objects so we can select them easier. And now let's bring them into our scene. So I'm just going to move them in almost here and let's bring them to the first floor. Now, a trick to use when you want to exactly position these objects on your floor is to move the gumball to the lowest point of this geometry and then move the entire set to a point with the same elevation as the floor. Let me do that again here. So now it's positioned exactly on our first floor. Now, you can also change the scale of these models in case you feel that it's not correct. Because I think in RVT the model itself was a little bit small. So I'm going to just scale this a little bit to become more realistic. So let's give it a 1.3, which looks better. And I'm going to put this, for example, here. Now, sometimes you might see that other objects are obstructing our view and make it harder to position other furniture and objects. In that case, we can just hide this roof here and easily place our model. I'm going to rotate this 90 degrees. Because I want this to be a sofa that is facing the TV set that is in front of it. And I'm going to add that later on. But for now, let's just copy a couple of these sofas to the lower floor to place in front of the chimney. So if your object is in a group, you can select it by Control Shift Select, which gives you the option to either select a single pace or the whole object that exists in the group. So I'm going to select the whole object and Alton drag which copies the object, and then I'm going to fix the gumbal again for this object and bring it to my ground floor. Now, to position this object correctly in front of the chimney, we can either repeat the same process and hide everything above it, which could take some time in this case, or we can go to the top view port and make sure it is on wire frame, and then we can see everything regardless of whether they are on top of each other or not. So now I'm going to place this next to the chimney and rotate it a little bit. Et's turn off auto mode so we can rotate it freely. I'm also going to copy it and place another one right here. Now, I'm not going to spend a lot of time on interior design. We can keep adding other objects and furniture, but this is just to demonstrate the point and show you how it's done. Now, let's take a look at it in three D and see how it looks. Nice. Okay, so now let's move on to our next furniture. So I'm going to minimize this. And now let's bring in the pull chair. So I'm just going to drag and drop this into the project, Here Okay, and there it is. So let's bring it here and take a look at it. It seems to be okay. So I'm just going to fix its rotation first and then group it. So let's go to the top viewport and rotate it a little bit, so it's facing downwards. And then instead of a group, let's turn it into a block so we can have several copies and change them at the same time. So I'm going to turn them into a block and call it pull chair. Again, we can get back and change the material later. So now let's just position it in our project. And also, I'm going to increase the size a little bit. 1.3. So that's fixed the position as well. I'm going to bring the gumbll down here and then snap it to the edge of my platform. Now, let's rotate it to face the pool. And I'm going to copy it a couple of times and give it different rotations to feel more natural. All right. Now, let's bring in another furniture. So let's minimize this. And this time, I'm going to bring in this outdoor seating. Let's take a look at how it looks in the project. So It looks pretty good. I'm going to group this since we're not going to copy it anywhere else. And I'm going to bring this to this area where we were supposed to have a seating area to be used, for example, for outdoor gatherings and lunch. So I'm going to just make sure that is touching the ground correctly. So like this and also scale it a little bit. Looks okay. Let's also close this edge by drawing a surface, turning it into a door. And let's bring it back by, say, 10 centimeters. Okay. Now, we are done with the outdoor furniture. Let's see what else do we have? Alright, now we have a couple of rocks here that I used another one of my projects, and I think it's a good idea to see how to bring them into rhino. So let's just drag and drop this. And I'm going to bring them here. And now let's zoom in and take a look. Alright, it's showing completely yellow because there is a high number of polygons or faces in this object, which means it has a very dense geometry. So if I deselect this, you can see the object and how it looks. But we need to be careful about these kinds of objects because Rhino is inherently not a visualization software like TDS Max. And because of that, it does not handle high numbers of polygons very well. So We can use these objects a sparingly only in certain areas that we want to have a great visual effect. But generally speaking, we should keep the number of polygons to a minimum when dealing with objects and embellishments. Okay, so now let's scale these up and make them larger, for example, two times. I'm going to use these as a couple of decorative stones and place a couple of plants between them. So let's bring them a little bit down. I like this. All right. Looks pretty cool. And now let's get to the plants. For the plant models, there are basically two ways we can use them in the project. One of them is to use a tree D model just like the furniture, and the other one is to use a two D texture, basically a plane, which shows a picture of a plant. Now, a tree model has more details, but it also slows down the scene just the same way a high polygon model can do that. And we have to be careful when using these. So I'm going to show you both methods and how you can bring in trees into your model by using both of them. So for the first method, I have downloaded a treaty model of a tree. And let's try to bring that in. So I'm going to open this folder, and I have downloaded this from mobject.com, and it has a native Rhino format, three D. Sometimes when you download these models, they come with their own textures, and it is a good idea to check these models before you bring them into your project to see if the textures are correctly assigned to the object. So I'm going to do just that. So let's open up this model. All right, now that it's open, let's take a look at the model. I'm going to go to the rendered view mode and take a look at the textures. Okay, the textures are not apparently assigned to the object. So the first thing we're going to do is to go to the materials tab and find the materials, which one of them is for the leaves and the other one for the trunk. So I start by fixing the textures of this object. So let's minimize that and I'm going to drag and drop these texture onto the object. So for the color texture, let's drag this leaf texture here and take a look. Now, there is a big problem here. Although the leaf texture is assigned, it also has a background, a white background, and it is not how leaves are supposed to look like. To fix this, Rhino also supports another kind of texture or map called transparency map, which basically tells the software which parts of the texture to show and which parts of it to hide or treat as transparent. Now for that, these text textures usually have a certain map called Alpha texture, and it can be used to tell the software that only the white parts of the texture are going to be shown. So I'm going to just drag and drop this in my transparency map, and you can see that it fixed the problem. If I zoom in on the leaves, you can see only the leafy part is showing and the white background is removed. So let's go on to the trunk and fix that as well. So the trunk texture also has a bump map which we can apply. So let's just drag and drop the color map and the bump map. Now let's lumina and see how it looks. Looks pretty good. Now, a good idea is to turn this into a block. So I'm going to select everything and create a block and call it Tree. All right. Now I can save the file so I can use it in my future projects as well. And to bring it into our project, we can simply copy paste it there. So I hit Control C and copy it to clipboard and bring it to my project. Like this. So now let's place a couple of these trees in the backyard there. Make sure it is having contact with the ground and it is not floating above the ground on the air. So I'm just going to copy this a couple of times and give it some random rotation to make it look more natural. All right. Now let's bring in some other plans. But this time, I'm going to bring them as pictures and not as tree models to see how that works in Rhino. So let's minimize this and close this. Now I have already collected a couple of textures to be used as trees. So you can see these tree pictures here, and these have a PNG file format. Now, I have downloaded these directly from the Internet, and they originally had a JPEG file extension. I have brought them into Photoshop and remove the background and save them as a PNG. This means that when I bring them into Rhino, Rhino has the ability to detect this and automatically remove the background for me without using any Alpha channels. So to see how that works, let's bring up Rhino and just drag this picture inside the software. Now, be careful about dragging it because if you drag it accidentally on an object, it's going to assign this as a texture to that object. Now let's control Z and drag it again. But this time, let's rotate the scene, so we have an empty space in the viewport. Now, drag it into the empty space, and it asks you what to bring it as. So I have the ability to set it to picture, wallpaper, material, environment, et cetera. Now, I'm going to set it on picture and hit okay. So it asks me to draw a picture somewhere like this. And when I finish drawing it, you can see that it automatically removed the background. Now, what it actually did was to create a material and assign this texture to it to this plane. And we can check this by going to the materials tab and finding this material here. Now, the type of material right now is set on picture, but we can set it on custom to modify it like a normal material. So if I scroll down, you can see that it has activated an option called Alpha transparency, which basically uses the Alpha channel inside the PNG file to remove the background. So let's bring this picture into the project. But before that, let's decrease the scale. For example, I give it 0.2, and let's also rotate it 90 degrees in the direction to make it look upward and bring it up like this. So I'm going to drag it here and place it next to these stones. Now, you can see that you have to work on this to make it a higher quality model. So to fix that, let's just turn it into a block first. And I'm going to call it bush one. And in editing the block, I'm going to create a copy of this by holding down Alt and rotating the object by 90 degrees. So now I have two planes with the same picture. Now, this is a trick that we can use sometimes to create the illusion that this is a highly detailed treaty model, while, in fact, it's just a couple of tree pictures. Now, I can make another copy with 45 degree angle. And I can keep doing this until I think it gives us a satisfactory look. So that's okay. Now, let's bring in another picture and put it in our garden. Let's bring this tree back a little bit. All right. Now, let's minimize this. And this time, I'm going to bring this one into empty space and Give it a small size. The same procedure can be done for this picture as well. I'm going to rotate it by 90 degrees. I'm going to snap my gumball down here, turn it into a block. I'm going to call this push two and I'm going to rotate it by some degrees to make copies like this. Alright, so let's place a couple of these bushes in our garden. Now, I think the scale is a little bit small, so I'm going to just give it a scale of, let's say, 1.5. And to copy it along the side of the garden, let's make an array of these. So let's give it 20 in the X direction and one in the other ones. And let's bring it here and it enter. All right, now, it exactly fits our garden. I'm going to also create a couple of other copies along this side. So let's lt and drag and make another array. This time, I want to array it in the Y direction. So I'm going to get this one, give 20 in this and one in the Z direction. I'm going to click here and see where it goes to. All right. There might be I'm going to delete the last one. So for the other side, I can just copy paste the ones that I just created. So let's just select these. And copy them right here. I'm going to add a couple more to fill up the remaining part of the garden. Like so. Very nice. All right. Now I'm also going to bring in a couple of short trees and let's import it as well. Same procedure. All right. Now, let's bring it to here. Now, this picture is a little bit higher than the lowest part. So if I place it based on the gumbo, it feels as if it's floating on the air. I'm going to place it a little lower than the ground to properly show up. By the way, if you have trouble placing these objects because of the snap, when you're moving these objects, you can hold down all to temporarily disable the snap so you can move them freely. Now, I'm going to also copy these a couple of times along this direction. And because it's just a few trees, I'm not going to use the array tool here and also copy it to the other side and make sure it's placed correctly. Right. If you need to change these trees, you can simply do this by editing the block. For example, I feel that I need to make these trees a little bit thinner because they're intersecting with the wall here. Now, I can just open one of these blocks and change the scale on the direction a little bit. Right here and let's also decrease it on the wide direction. Like so. And once I hit Okay, you can see that every tree is updated. So this is a good thing that we turn them into blocks. Let's also create a couple of copies of this plant and these stones. I'm going to make another copy here and also another one right here. And let's move these stones a little bit to bring them, get them out of the way. And these ones look nice. Now, the only thing we have to do is to first, put them all inside their own respective layers because later on we might need to height them based on the direction we're looking at the model. And let's also give these furniture some materials. So open up the blocks, and let's give them a layer. I'm going to create a layer and call it vegetation. And let's put everything in that layer. So change object layer, and to test it, let's see how this works. All right. Now, do the same thing for the other bushes. Change object layer, and also for the tree. Now, something that happened with our tree is that because the materials of the tree were based on its layer, once we changed it, it automatically changed it to the default material. Now, to prevent that from happening, one thing we should do is to instead of opening up the block and changing the layer of the individual components inside the block, we can close the block and select individual trees and then put these on vegetation. Now, this way, we can make sure that they preserve their material while we are able to turn it on and off by this layer. So that's it for the trees. And now for the materials, let's find let's put them on another layer and give them a wood material. Now, something that has happened here is when I imported these models, it automatically brought in a lot of layers into the project. So to clear up these layers, first we have to put these objects on another layer and then delete these layers. One thing we can do to get rid of these is to use a command called purge. Now, once we run it, it has many options here, which basically asks us if we want to remove extra block definitions, hatch patterns, layers, and so on. So I'm going to check if the materials and the layers and blocks is on and then hit Enter. And you can see that it has got rid of the extra layers that we had here. Now, let's select everything inside this block, and I'm going to make a layer. Let's call it wood and put these objects into this layer and also make a material for it. I'm going to call it wood and also assign a texture to it. I have already added the texture in this folder here. So now, something that has happened is that although you have although we have assigned the material, but it is not still showing on the object. The reason for this is that properties in the properties of this object, the material is assigned manually, not based on layers. So we have to put it on use layer material. So once we do that, it fixes up the material, and we only have to check if it has the correct scale, which it does in this case, and we're done. So once I hit okay, it automatically fixes all the chairs. Now, let's do the same thing for these chairs in this area as well. And let's put it on layer and put it inside the wood layer. And let's also do these. Apparently, we have forgotten to put these in the appropriate layer. Let's check it out. It's already in the layer called shader, I'm going to just assign the wood material to that layer as well. Like so. And let's also fix the size of this texture and make it a little bit smaller. I'm going to put this on box, which is already okay. All right. So let's take a look if we have left anything to do. Let's also give a texture to these stones. So they are on the default layer. Let's give them a layer. Yeah. Going to call this rocks and give it a rock material. I have already added the texture here. Let's change the object layer and I can't see the texture right now, but I'm guessing that it is not properly mapped. Let's change the texture mapping to box and give it a size of one meters. Now let's take a look at the rocks. They seem pretty okay. So now let's take another look and see if we left out anything else. All right, the final thing that I'm going to do before going to the next video is to add some water to the pool. I'm going to select this curve, bring it up here, and turn it into a surface. Now, let's create water material. Create a layer, call it water and put this object in that layer. And for the material, it's pretty much like a glass material, but we can also add a bump texture to it, you know, to create these wavy patterns. So let's create a material. Again, I'm going to call this water, and instead of changing the color, I'm going to go to bump normal and assign a texture. I already have a texture in this folder, and I just downloaded it from the Internet because it showed a wavy pattern to be applied on water. So let's apply this and see how the texture looks. Now so far we can't see anything. Let's increase the reflectivity of this texture and see how that shows. I'm also going to increase the transparency. Apparently, now it's okay. So it shows that we need to fix the size a little bit. I'm going to put this on box. Let's give it ten. Looks pretty okay. Now let's make some adjustments to the water surface. All right, let's see what happens if we increase the reflectivity and transparency all the way and turn on fresnel reflectivity. Now this works pretty well on our water surface. So depending on the situation, you might want to turn this option on or off. Now, this works very good, very good on the water. So now that we are done with the visual embellishments in our scene, the next thing to do is to create layouts to display these renderings and also to produce technical drawings of our villa. In the next video, I'm going to talk about how to create these layouts and how to add certain viewports and renderings to those layouts. 19. 19.Presentation_2D Documents: In this video, we are going to discuss the different ways we can produce technical drawings from our treaty model. Now, generally speaking, in Rino, we got three ways we can do this. One of them is to use the treaty model directly inside of our design sheets. For example, I can go to the front view and use this view inside the design sheet with a certain scale. The other method is to use a projected two D version of our design using certain commands and then keep working on that and adding other two D details. The third method is to manually draw these two D elements using lines and poly lines. Each of these methods have their own pros and cons, and I personally use a combination of them depending on the use case. So let's get started. But the first method requires learning about layouts in Rhino, which I'm going to do in the next video. So I'm going to start with projected two D drawings and manual drawings of our treaty model. Now, let's introduce a command called Make two D. And to demonstrate how this command works in producing projected drawings from our treaty model, I'm going to copy one of these furniture for example, let's bring it out here and let's change the view mode to shade it to see everything better. Now, if I run this command, while selecting an object, it's going to bring up a menu which basically asks me several things. For now, let's just accept the defaults and heat Ok, and it has created a drawing on the origin of the coordinate system. I'm going to just move this out here and take a look. Now, if I rotate, you see this is a flat drawing on the construction plane. Now, what it actually did is to produce these line works from the angle I was looking at the objects. If I change my viewing angle or for example, change it, look at it from the side and repeat the command again. Now this is going to produce another drawing from this specific angle. Now let's bring it out here and take a look. So basically, that's what this command does. It produces two drawings from a treaty model from an angle that we specify. Now, we have the option to give it predetermined angles based on the direction of the sea plane, the view that we are looking at it, or we can use third angle projection or first angle projection that is very common in technical drawings. So let's see what happens if we choose third angle projection. Now, it's going to produce several technical drawings from this object. And depending on the complexity of our model, it can take quite some time. So now let's bring them out here. And now you can see that it has produced a plan view and two elevations plus an isometric view of the chair, and all of them are flat drawings. So this is the power of this command that can quickly give us these neat and technical drawings from the treating models and saves us the time to manually draw all of these. So I'm going to use this now on the building to, let's say, produce a site plan. Now let's go to the top view port and select the entire project. Now, I'm going to run the M two de command and draw a box around the whole project and also deselect this surface. I'm also going to deselect these trees here. Since these are highly complex geometry, it can take a lot of time to process these trees and also, I'm going to deselect these stones here. And let's deselect these chairs. In extreme cases, selecting highly complex objects for this operation can even crash the software. You have to be careful when using this command on complex geometry. All right. Now let's hit Enter. Now, I'm going to click I'm also going to check this option here, hidden lines to see what happens. Now, let's set it on view and hit okay. Okay, that was pretty quick, since we didn't select any complex geometry. Now, let's zoom in and see how it produced the projection. Now, the first thing you'll notice is that some objects that are behind or other objects, for example, these chairs and sofas that are behind the roof surface are also seen inside this projection. If I zoom in on them, you can see they are drawn with dashed lines which usually represent hidden lines. That is because we checked the hidden lines option when we were projecting. Now, you can see that it also has created a separate layer for these projections under m2d which include visible and hidden curves. So let's do this again. Only this time, I'm going to uncheck hidden lines so we don't see all these line works here. And also, I'm going to turn off our vegetation layer because I want to add a specific two D tree models that look better inside our two D viewpoint. All right, so let's just delete this, and I'm going to run the command again. And let's also select the furniture. And let's turn off the vegetation layer. All right. So let's uncheck hidden lines and hit okay. Okay, so now we ended up with a pretty clean drawing where the hidden lines are not showing and the trees are not here. So we might need to do some cleanup on this drawing and add a couple of to the elements to complement it. But this is generally the way we produce these two the drawings from our tree model. So now I'm going to show you how we can add detail to this drawing using auto cat blocks that are imported into Rhino. Now I have already prepared a couple of models to import and show you how we can bring these into Rhino. So let's go to File Import. And one of them is a plant model, and the other one is a car that can be used in the ground floor plan that we get to in a minute. So let's just bring in the plant. So let's hit open, and the same menu comes up that we saw in the previous video for importing models. So let's just hit OK and take a look where it to import it. So I'm going to drag it up here and take a look at it. Now, some of these models might include extra objects. So I'm going to just delete this text here, and also I'm going to turn this into a block. Before doing that, I'm going to create a layer for our two D elements to stay more organized. So let's create a layer, call it drafting and inside that layer, I'm going to create a new sub layer called plants. So let's bring this object into that layer and also give it a green color. And now I'm going to turn this into a block. I'm going to call this plant one. When we imported this object, it also imported its layers. Now we have put this in another layer so we can delete these other layers. I'm going to run the perch command to get rid of those layers. Now, I can bring it up here and scale it a little bit and make several copies of these along the two sides of my plan. Let's use the array command and let's give it 15 here. Like this. And also another copy here. I'm also going to copy them to the other side and delete these extra ones here. Let's also place a couple of trees here. I'm going to scale the same block to represent the tree. Let's put in a couple more here. These are just for embellishment purposes, so we don't have to be precise about it. Now this is basically the way you do this and add two D details to drawings produced from our tree D model. Later on, I'm going to add other to the elements like dimensions to this. But for now, let's just put this aside so that later on we can use it in our layout. So I'm going to keep producing a couple more of these drawings. Now let's get to the ground floor. But there is a challenge. Up to now, there was no problem because we only wanted to see the roof, but right now we only want to see the walls of the ground floor, and we have to somehow hide everything above it. There are several ways we can do this. One of them is to actually use a command called section, which basically cuts the model and gives us the intersection points. So let's see how that works. I'm going to go to, for example, front view port and use the command called section. And let's select everything here. And it wants us to draw an imaginary line to be used as the cutting plane. So considering the height of the doors, I'm going to just cut them a little bit below the doors like this. And click here. Now, let's go to the Treaty view port and see how that looks. Now, it's basically is giving us the intersection point between this imaginary plane and every model that we selected. Now, let's hit Enter and bring everything to the side. So upon closer inspection, you can see that it gave us very precise intersections even up to the profile of the doors. However, there is a problem with this kind of representation, and that's because in plans, we also have other elements that are seen in elevation, for example, the lower stairs here that are not necessarily cut by this plane. We also want to see those. However, this command does not provide us with those objects. So let's use a more advanced command that can actually give us those results. Now this command is called clipping plane, and it is a very important part of Ryne that I'm also going to use in the next video to produce technical drawings from the treaty models. So let's run the command. And basically, it wants to draw a surface. So I'm going to just click the corner of my roof here and draw it like this. Now you notice that this surface is actually cutting every treaty model inside the viewport. So if I move it up and down like this, you can see it is cutting everything in real time. Now, this is a very powerful command that we can use for many purposes. But now I'm going to bring it almost down to here. To a height that is a normal height for plan view. I'm going to use this to produce my plan. Before that, let's make another layer for this, and I'm going to call this clipping plane and change the layer. Now to use this, we have to combine it with the M to the command. So let's go to the top view pot to see it in plain view. However, when I go here, you see that the building is not cut anymore. And the reason for this is the clipping plane works differently in each view. Basically, I have to separately enable or disable the clipping plane in each of these views. And this is a powerful feature because it gives us the ability to have several cuts of the building at the same time from different views, while the model itself is intact. So let's enable this in the top view port by running a command called enable clipping plane. All I have to do is to select it. Draw a rectangle to the approximate location of this clipping plane and only the clipping plane will be selected. So I'm going to hit Enter, and now you can see that it is cut. Now, I'm going to run the M two decommand again. And this time, I'm going to select the entire project again, and let's also deselect these again. And I'm going to keep these chairs. So let's set it on view and it okay. Now, it can take some time because of chairs. All right. Now if we zoom in on this, you can see that in addition to the cut plane to the lines that were cut, we also can see the lines that were in elevation, and there is a lot more closer to the plan view that we're looking for. We also have the ability to separately view the cut lines and the lines in elevation. So here in the m2d layer, you can see another layer appeared, which is called clipping plane intersections. And this basically gives us the ability to separately work with these cut lines. So if I select the objects on this layer, you can see only the ones that are cut are selected. And also, let's drag this to the left and see another option called print width, which basically means the line width used for printing is different, which is technically correct. Now, I'm going to preview this print width here by clicking here and choosing print preview. Now this draws these lines using a higher wit. So this is a good base to start designing our plan. And as you can see, we have to still add other symbolic elements that did not exist in our three D model, for example, the door symbols or the hidden lines of the stair that go beyond the view direction. So this plan still needs some work, but this is a good method to get this using a combination of the clipping plane and the make to the command. Now let's use the same technique to add other details to the plan. For example, the hidden lines I just talked about, some of them can be added manually, but for some of them, we can use the clipping plane, for example, the edges of the first floor and the shaded logs above this part of the yard. So to use this, I'm going to just rotate the clipping plane by 180 degrees. And if you look at it, now it's showing the upper part. But to use the m2d command, we have to view it from the bottom like this. But we don't have a bottom view right now. So I'm going to just right click on one of these views and add a new viewport. And let's set this to the bottom. And now I'm going to enable the clipping plane. And run the m2d command on this. So make two D and select all the objects here, and that's okay. Now we can't see this because the clipping plane is cutting everything beneath it, including the newly created plans. So I'm just going to drag everything here and disable my clipping plane. All right. So now we have this and all I have to do is to add this to my existing plan. But we have to be careful about something because this was a bottom view, everything is flipped, so I have to flip it back before I'm able to use it, like so. So let's give it a scale of minus one. And now we are good to go. But I also have to delete some extra lines and only keep the ones I want to use as dashed lines in my ground floor plan. So let's start cleaning up a couple of extra lines. Now for this, I only need the outer edge to represent the first floor. So let's just delete these extra lines. The last one is the storeroom at the end of this yard here, which I don't need. And let's drag this all the way to the end. For this one too, I'm going to remove these. And also, I'm going to remove all these parts right here and the yard these as well. Basically, I'm deleting every part which is not seen as dashed lines. So All right. And we also need to clean up on these stairs here. Let's use offset here like this. Now let's put all of them inside a new layer for displaying the hidden lines. I'm going to go here and create a new layer, call it hidden and change everything's layer. But I also need to make these dashed lines. And for that, I'm going to just drag this to the side and change the line type to dashed. Like so. Just something to notice here, in case you can't see the dashed lines or they are very small or large, you can use another command called line type scale. Or set line type scale. In this case, you can give it a number, for example, if I increase this, make it 50, that will make the line pattern larger. And if I make it smaller, that will make it smaller. I'm going to just set this on 20 for now, and you might need to set it to a different number depending on your project. So now that I have these lines, I'm going to just select them and place them on top of my plan here. So let's use the center point of this column here as a reference and move them right here. Like so. And let's do a little cleanup here as well, and also here. Okay, so that's basically how you transfer your treaty model into to the documents using the tricks with the clipping plane and the make to the command. Now, I'm going to leave some other parts, like, for example, adding the columns to this structure because it's a little bit scanty lever the structure is protruding a lot from the building and probably need a couple of columns at the two sides. And I'm going to just leave that for now. For some other details like the name of the spaces and the doors, we're going to return to this later when we place it on the layout to see how they can affect our drawing. But for now, I'm just going to set this aside. And let's go to the method of drawing details directly using the commands like lines and polylines. Now the detail I'm thinking about is, for example, the railing detail for this edge here, and I'm going to draw a section of this and introduce some elements on it using the Rhino commands. So let's get back to the top viewport and start drawing this. First, I'm going to create a new layer to put these drafting elements on. So let's go to drafting here and make a new layer. I'm going to call these lines let's set this layer. Now I'm going to draw this detail using normal dimensions. I'm going to draw a section of a wall here, actually the edge and give it a width of 20 centimeters. Now I'm not being particular about the height because I'm going to just remove some parts of it later. Now, let's draw the remaining part of the railing and I'm also not particular about the height of this because I'm going to just put a cut line later here. Let's have an offset of 1 centimeter to each side. And let's draw a cat with an arbitrary size here. I'm going to bring it a little bit down, and I'm going to use the polyline to draw a line here and let's give it 5 millimeters. Like so. Alright, I'm going to complement this later, and let's draw another power line to draw a bracket at the bottom here. And let's draw it like this. And I'm going to mirror these lines to the other side. Let's join these. And now let's bring this curve segment up by 5 millimeters. Now I'm going to offset the let's also move these two edges and these by 1 centimeter. Same for the other side. I'm basically just experimenting with this design. I'm not being particular about any details, just to show you how this process is done inside the Rina. Now, let's bring these down and trim away this part of the glass and actually let's bring this a little bit up. I'm going to hit F ten to activate the control points at the ends of these lines. After that, I'm just going to drag a line around them and bring them up a little bit like this. I'm going to add a connection material down here. Just to show it like this. It's actually where the glass meets the profile. Let's add a bolt down here to connect this footing here to the wall beneath it. Let's draw it like this. Now let's draw something up here using arcs to show the sealant material. All right. And for the upper part, I'm just going to draw a couple of lines here, just a standard detail of these capping. Let's mirror it to the other side. Like so. All right. And let's also draw a couple of break lines in the middle to show that the height of this actually does not matter in the detail. We're just naming different parts of it. So let's just draw a line and a couple of other lines like this. And join them together and make a copy of this, bring it here. Now, let's trim the lines inside of it. This basically means that the height is variable and the detail is the same for any height. So I'm just going to copy this down here too, and let's Drag these lines to cover our entire wall and trim away the lower parts. Now, in a detail like this, you usually want to add some text to specify the name of different parts of this detail. So now let's just, add a layer here and call it text. Now let's add a couple of texts. So just type the command text, and a menu appears where you can specify different properties of the text and, of course, the actual text that is going to be shown. So let's just type in both for now and accept the defaults. You can see it's a little bit big, and to change that, go to the properties and you're presented with the same menu. And here we can change the different properties. So the first one is the style, and I'm going to explain that later in the next video. But for now, let's just decrease the height. Let's set it to half or even lower. And also, we can change the font, which is okay, in this case, and I'm going to bring this here. So next let's draw a line from this bolt to here to show that this is the text that detail is referring to. And I'm going to copy these up here and call this one bracket. Copy another one up here. Let's add another edge to this arrow here and I'm going to call this sealant. Let's bring one for the glass. I'm going to call this safety glass. And for the upper part, let's call this capping. All right, so this is just an example. We can add many other details as we need to. Let's also add a little pattern here to show that the wall is actually cut here. For that, let's make another layer, call it hatch. If you have worked with autocat, you already know what a hatch is, which basically is a pattern that shows up and fills an enclosed area. In Rhino, this works pretty much like the curve boolean command. But instead of a surface, it gives us hatch pattern. So I'm going to just run the command and it asks us to select the curves. Just make sure you check the boundary option so that it can recognize the closed areas inside these lines. So I'm going to just click select these and keep selecting these parts. And when I'm satisfied, I just hit Okay and presents us with another menu to choose the pattern and the rotation and its scale. So I'm just going to select this one and give it a 45 degree rotation and let's decrease the scale. That's 0.1 or even lower. Like this. And here okay. So this is the standard way you go about making a detail inside Rhino. Now, this detail is okay for now. We can change it. It's a scale later as we need to. So I'm just going to drag it to the site for now. And let's also scale everything to make it bigger. So you can see the text and the detail can be scaled together when we need it to, like so. So that's it for this video. 20. 20.Presentation_Layouts 1: In this video and the next one, I'm going to talk about preparing our documents for printing. I have also taken the time to add a couple of details to this plan view, including these furniture, the cars, the bed, and I have also added hatch patterns for the walls and some door blocks. You can find the files for these objects in the project folder. Now, there are also additional layers here that correspond to these objects. For example, we got furniture layer that we can turn on and off and I have also fixed the layer of some of my existing objects. Now, to see how we print in Rhino, we got two options. The first one is to directly print from the viewport, which prints exactly what we see here. And we also got the option to use a new environment in Rhino called layout. Now, let's start with a simple one and see how we can print directly from the viewport. To start the print command, we can either type print or simply hit Control P, which brings up this menu for us. Now, this is where we can tell the printer the size of our paper, the scale of the print, and other options. So we can use different printers for this. If you have a printer connected to your system, you can set it on that to directly print to paper or we can set it to PDF exporters to give us a PDF file. I'm going to go with Rhino PDF, and the next setting is to choose a paper size. And you can also set it on custom to determine the size of your paper. I'm going to go with the default A four, and we can also set it to landscape or portrait depending on the document that you have. We can also set its resolution or DPI, which is basically a setting that is specific to each printer. The more this number is, the more detail you can see inside your print. You have to check your printer to see what number it supports. There are additional options here that we get to when we want to print our documents. So I'm going to show you with examples what they mean. For now, let's just accept these defaults and scroll down here. And let's take a look at view and output scale. Now, the first part is where you just tell Rino which part of the viewport you want to print. Now, let's set this on the approximate location of our plan view like this. And it asks us whether we want to change the scale inside the print settings to fit the window area. If we click yes and hit space, it tries to fit everything inside this paper. Now, when it does that, it has no scale because it basically just tries to fit everything here, and the scale option changes to scale to fit. For most architectural drawings, we want to have a scale, specific scale so that we can measure it with rulers later on. So I'm going to change this. And the way this works is that it basically asks us that every unit on paper is equivalent to how many units in the model. So, for example, when I say each centimeter equals to 1 meter, it basically means that we have a scale of one to 100. Or if I set these 2 meters, now it changes one to 200, which basically means each centimeter is equivalent to 2 meters in the real world. We can also use this drop down to use various predefined scales in different formats. So I'm going to go with one to 200 because it fits on my A four paper. We can just click Print and just save the file. Let's take a look at it and see how it looks here. All right, it looks pretty good. And that is the simplest way we can export our drawings into PDFs or directly printed. Now, we can keep printing like this and add different parts of our design for printing or we can use Rhino's layout environment to automate some part of this process and speed of our design. But it also offers some unique abilities that do not exist inside the normal viewport. For example, we can individually turn off some layers and control the visibility of certain objects in each different layout. And this does not exist inside the normal viewport. For example, we can't have the furniture in the top viewport and hide them inside the right viewport. It hides them or shows them inside all viewports at the same time. But with a layout, we can do this, which gives us additional options when dealing with printing. It also gives us the ability to use an important concept called annotation scaling, which we'll get to in a minute. But for now, let's demonstrate how we can use layouts by printing the same thing only this time with the layout. So let's go back into Rhino. And to create a layout, all we have to do is to click this plus icon and click New layout. This brings up a menu for us, which basically wants a name, the printer, the size, the orientation, and also another option called initial detail count. Now I'm going to set this to zero because I want to explain what a detail is. So let's hit. And this presents us with basically a blank piece of paper. And the way this works is we add different views of our model onto this piece of paper, and we set the scale precisely for each detail. And you can see the properties of this layout by going to properties and click on Edit, which brings up the same menu again and you can change these options whenever you want. So let's hit Okay and add something to this. And the way we edit is that we go to a tab up here called drafting, which is found next to the other tabs up here. And this tab basically gives us the ability to add some annotation objects and also the option to manipulate or sheet or add something called a detailed view. A detail view is basically something like a normal viewport only with the additional option that we can set the scale precisely for this viewport. Let's click on this and just drag a rectangle like this. Now, this is basically a top viewport by default. So we can open this by double clicking. And you can see I can just move around in this and zoom in and out just like a normal viewport. I can even change the orientation of the view to anything that I like. For example, I can set it to the left view. Can even say it to perspective and for example, to add renderings of my project or perspective views to the sheets. So let's get back to the top viewport. And I'm going to navigate to my plan here. And notice that on the right side, I have the ability to set the scale for this viewport, something that we do not have when dealing with a normal viewport. Now, let's just type in one meters as an example. Now, this means that every millimeter on the layout on this detail view is equivalent to one meters in the real world. Now, I'm going to type in, for example, 0.1, let's try 0.2, which is equivalent to 1200 scale. Now, I'm going to pan a little bit, and if you want to get out of the detail, you can just double click an empty space or outside the detail view, like so, and then you can click the border, which brings up the same scale option for you. You can change the scale here as well. You can also drag these points to basically see more of the model inside this detail view. Now this is okay for my plan view. And it also gives us the ability to lock the view in case we accidentally change the scale by zooming in inside the view. For example, if I open this and zoom in, you can see the scale is changing, which is not what I want when dealing with views with precise scale. So let's just put it back to where it was and lock the view. Now whenever I pen or Zoom, it's not going to change the view. I can, however, change the objects or select different parts of the model. So let's get back from this, and now we have basically a layout with our plan in it, and now we can print it just like before. So let's hit Control P and for this to work, we have to set the scale to scale to fit because the scale is automatically determined inside the layout itself. Just make sure that the paper size is the same. Now, let's click Print, and I'm going to replace this. And now let's take a look at the printed document. All right, it's pretty much the same. Only this time, if we zoom in, you can see the scale of some of our objects has changed. For example, the text here is larger than the text inside our model. Now, it is the same inside the layout. But when we go to the top viewport and compare it, you can see, for example, the text for the bathroom is smaller. The hatch patterns are bigger, and also the line type pattern is a lot bigger inside the print compared to the model. To understand the reasons behind these differences and how we can use them to improve our printing, we have to understand what annotation scaling is. And for that, we need to understand what annotations are in Rhino. So let's take a look here, and we have some objects like for example, these texts, these hatch patterns, line types, and we also got dimensions, which I'm going to introduce in a minute. Now, these are certain objects that do not physically exist inside the project, but help us to add extra information to our models. Basically two D elements that only exist in plan views and sections and so on. These are called annotation objects. And when printing in architectural studios, we want these objects to have a fixed size on paper. For example, I want all of my texts inside the plan to have a height of 4 millimeters. Now to maintain that, we either have to play with this value so much and take a lot of test prints to make sure that the size is correct, and this can take a lot of time and it's not very efficient. Alternatively, we can use capabilities of design softwares, for example, the layouts in Rhino to automatically take care of this problem for us. Now, so basically, this is annotation scaling. So it automatically scales up or down these annotation objects so that they have the same size on paper regardless of how much I zoom in or zoom out, or in other words, the scale of the drawing itself. Now, let's introduce dimensions quickly before we get to the different properties of these annotation objects. So I'm going to type in DIM to add some dimensions. I just have to pick a couple of points. You probably already know what they are and what they do in architecture. And in Rhino is no different than other software like Autocat. So I can just keep selecting points like this and draw dimensions. I can also run a command deem aligned to draw an aligned dimension with an angle. So let's just pick a couple more points and add a couple more dimensions to our projects, just like that. Now, I'm going to use these as examples to show you how we can change their properties in. All right. I think that's enough. Now, we have some problems with these dimensions. The first problem is that the precision of these dimensions needs to be higher. For example, this wall here is not exactly 3 meters, but the software is rounding the number up to the nearest integer. So we need to fix that. And also, we need to change the size of these objects to make them smaller. Now for a text object, you have already seen how we can change it by going to the properties and changing the height. We can do the same thing with dimensions. For example, we can change the height, but there's also a much more efficient way of doing this, and that is by changing the style of the text or dimension. Now, a style is basically a set of properties that is globally applied to many dimensions or texts, and we can change it once, and it automatically applies to all texts or dimensions that use that style. And that saves a lot of time in our process. So let's see where we can access this style. We can either select one of the objects and click on Edit Style or we can go to file properties and go to annotation styles up here. Now, here you can see a list of the styles that exist in our project, and you can do different operations on them. For example, you can make a new one, you can import, you can edit, and so on. So the one that is used in our project by default is miters Architectural. So I'm just going to click on Edit, which brings up another menu. And here you can see I can change different properties of these objects like the font, the text. We got specific properties for dimensions, for arrows, and so on. Let's start by changing the length units for our dimensions. Now, in here, we got a property called linear resolution. And if I set it to 0.01 and hit OK, now you can see that the precision problem is fixed. So let's go back and change a couple more properties. This time, I'm going to go to Edit Style from here, which brings up the same menu. And let's change the font size. Let's give it two, and hit okay. Let's see how that looks. It looks a lot better. Let's also change the tick marks here. So I'm going to go to arrows and you can change the shape of this and also the size. And I'm going to give you a size of 1.5 like that. Alright, now that we have seen how to control the properties of our texts and dimensions using the styles, it is time to take a look at the properties of our other annotation objects. But before that, there's something to be aware of when dealing with text sizes. Now, you can see that the size of the texts in this detail are different than the sizes dictated by our style in the other texts. And in other words, they do not follow the size dictated in the style. So for example, if I change the text through the style here, let's set it, for example, to one. You can see that every text and dimension changes size except for these ones. And the reason is because we have manually scaled these objects, including the texts, or sometimes we might just type in the height directly inside the properties. That basically breaks the link between the style and the text, and it no longer follows the style. You can tell this by looking at the color of the property, which is blue, which means that it no longer follows the style. If you want to reset this and make it follow the style, you have to click this drop down and hover over the style name and click on remove override. Which resets the text. But in this case, I wanted to have a different size since this is not directly related to my plan, I want to have a text. I want to have a larger text just for this detail. So let's control Z. And now let's take a look at the other annotation objects. For the hatch pattern, we have already seen how we can change these using the rotation and the scale. There is another option when it comes to annotation and scaling on the layout. We'll get to it later on when we want to compare it with the layout. But for now, these options are accessible by clicking the hatch and manually changing them on the properties. So this is nothing new here. But for the line types, we can choose the type through the layer, but we can't quite change the spacing between these lines inside the properties. That we need to use another menu by going to the properties and going to line types. And here you can see a list of different line types that exist in the project and for example, this dashed line type that we use. And when clicking on every one of them, you can see a couple of numbers appear at the bottom here. And these are basically the pattern definition. And these numbers dictate the space between these line segments and the empty space between so to change them, we can make a new line type by selecting one of them and clicking on Copy. And let's change the name by hitting F two. For example, I'm going to call this dashed underscore custom. And when I click it, now, we can edit this field. And the way this works is that it wants us to enter the size for the line segment, and then the empty space, the line another line segment, empty space, and so on. So for example, this one, you can see four numbers here. So it has a line segment with a length of 2.5 units, an empty space with a half unit size, another line with a half unit size, and finally, another empty space. After which the pattern automatically repeats itself. So I'm going to enter, for example, six for the line and enter three for the empty space, and you can see it automatically shows it in the viewport. So now let's hit and test this new line type that we created. So let's go to the hidden layer and change its line type to dashed custom. You can see it automatically changes. So we can come back later and make other changes to this. Now, each of these annotation objects have settings that can change its size and scale only inside the layout or only inside the model space. Now, in this way, we can have different sizes and scales for the layout and different sizes inside the model. And that's how annotation scaling is determined when we want to have a specific size. So to see how we can change this for these objects, let's go to our properties and take a look at our meters architectural style here. Now, to understand this, I want to introduce another multiplier here called model space scale, which you can see up here. Now, this means that whatever you see on the layout is additionally multiplied by this number, and the resulting size is displayed inside the model viewport. So what you see here is a different size than what you see on the sheet here. Remember, the text size was set to 2 millimeters, sorry, set by two units inside the style. And that means that whatever unit layout or the model is using, this unit this is the size that the text will be displayed in. So if I measure it inside the layout, you can see it's almost 2 millimeters, which corresponds with what we see inside the style. However, if I go back to my model viewport here and make the same measurements, it's going to have a different size. Now it's 33 centimeters, which is a lot different. To understand this difference, let's go back to our properties here, and this time, I'm going to set this scale to one, basically eliminating any change between the model and the layouts. When I hit a K, something strange happens and instead of making them smaller, the same size, it makes them larger. The reason for this is that number inside the style is a unit less number. It basically interprets the size based on the unit of that specific viewport. So inside the model viewport, we use meters as unit and inside the layout, we use millimeters as unit. You can tell by going to the edit and taking a look at the unit here. So inside the model, if I make a measurement now, for example, here, you can see it's almost 2 meters. And from Rhino's standpoint, this is a correct number, and the reason for this is the difference in our scales. And we can fix this difference by using that multiplier and giving it a small number. So in this way, we can have a corrected scale inside the layout and at the same time maintain a readable text inside our model. There's also another way we can approach this, but I want to recommend that one. So let's just take a look at it. I can set this to one, hit Okay, and again, go back to properties. And this time in the unit section, you can see that we have options to change the units inside the model space and the layout space separately. Now, let's see what happens if I go to the layout and change the layout scale, sorry, layout units to meters instead of millimeters. Now, let's set it to meters and hit OK. It's going to ask me to scale the geometry to correspond with the new units. Now, regardless of what I choose here, it's going to have pretty strange behavior. So let's zoom in on this. And apparently the model itself has scaled correctly. And when I measure it, it's going to show up in meters here. But you can see the picture is almost black, and the reason for this is that let's zoom back and take a look here, is that the annotation objects have become so large that they cover the entire detail now. And the reason for this is now they are measured in meters instead of millimeters. So the text a text size of 2 millimeters, now it is interpreted as 2 meters in A four text in an A four sheet, which is a lot smaller than that. And that is why they take up a lot of the viewports here. So let's go to properties, and to fix that, we have to edit the style and make every number a lot smaller. So for example, if I give it a very small number 2000 and make this also very small like that. And let's also decrease the extension lines. To a very small number and it okay. Now you can see that it fixes some of the problem, but I still have to adjust many of the other settings to make up for this change. I personally prefer to use millimeters for the layout and meters for the model, not only because it is already set inside the template, but also working in millimeters for the layout makes it a lot easier to set things such as text and dimension sizes. So I'm going to just bring this back to meters and millimeters. Like that. And so for the other parts of our drawing, let's take advantage of using these multipliers to fix the sizes on our layout. So I'm going to start by going to properties and in meters architectural. I can just change this height to, for example, one point 1.5. All right, that's a lot better. And it also has a scale inside the model viewpoint. So we can go back and set this model space scale a little larger to make up for this change. And next, I'm going to change the size for our line types. So going back to the page, you can see that it is displaying a lot larger than what I see inside the model. So let's go back to properties and choose our line type and make these numbers a lot smaller. So I'm going to give it, for example, two and another two. Let's say okay, and you can see it has become better. Inside the layout. But when I go back to my model, it becomes much more smaller. So to have a better display inside the model space, I can change another global multiplier for the line types, which can be found down here, which is called line type scale. Now, let's set this to, for example, 50 and hit Ok, and you can see that it has fixed the problem for us. But at the same time, it has not changed the size inside the layout. So now let's take care of the hatch problem. So you can see that the density of the hatch is a lot more than what you see inside the model space. Now to fix that, we can run a command called Hatch scale, and we can set the model space hatch scale to something small, like, for example, 0.3, and let's go back to the model. It makes it smaller, but we have to set the actual scale number on the properties to a higher value to be reflected inside the layout. So let's just select these hatches. And I'm going to change this to, for example, one. Let's make it larger, 1.5. And let's check it out inside the layout. Now, it's looking pretty good inside the layout, and inside our model, it is also looking good. So you can verify this change by typing Hatch scale again and let's just enter something else. And now you can see that they become too large. And now but it won't change inside the layout. So going back here, I'm going to just type in a smaller number again, and now they have a correct size inside the model while maintaining their size inside the layout. But notice that you can also disable scaling for the hatch pattern. So if I just disable this, Now it maintains the same size inside the layout and the model itself. Now, I wouldn't recommend this because that eliminates the whole purpose of using layouts to properly display these patterns on the paper. So to avoid unexpected behavior and sizes when you print them, just let's enable scaling here to automatically do the job for us. Now, when I zoom back inside the inside my model in the layout, you can see the hatch scale automatically adjusts itself to my zoom level. So they have the same size relative to the paper. And this is exactly what I want inside my model. So let's just put it on 0.2 and position is here and lock it into place. That's it for the hatch pattern. We are pretty much done with annotation and scaling, and the only thing that remains is the line widths that are going to be printed on our paper. So as you can see, these are also different from what you see inside the model viewport. And although the print preview is activated, so let's fix the size of these line width as well. So basically, what you see in the print is determined by the print width that you set on the layer. However, when it comes to layouts, you also have the ability to determine a separate line width to be used for printing. So let's slide this layers menu to the left side, which reveals new options that appear here that are specific to our layouts. When I go back to my model viewpoards, you can see these options disappear, which means that they are specific to our layouts, and one of the advantages of using layouts is having these options here. We're going to use them in the next video, but for now, let's pay attention to layout print width. Now, an interesting thing is that we can control these individually per every detail view. So if I open my detail view, you can see the name of these columns changes to detail as opposed to layout when I'm outside the details. So right now, the layer for the walls here has a detailed print width of 0.3. Now, I can decrease this to 0.13, for example, and hit ok. And when I exit the detail, you can see the effect and how the lines have become thinner. So let's just accept the values, these values. And now let's test how our model looks in the print. So let's hit Control P, and let's take a look at the settings. They seem to be quite all right. And now let's also take a look at another setting for line types and line width. Now, when we scroll down here, an interesting option appears here, and we can control the line types either by pattern definition, which is the one we define inside the properties or based on viewport display, which basically means it takes the pattern size from the model viewport exactly the way they look inside our model viewport. Well, obviously, this is not what we want to do now because we took all this time to set a fixed size for these patterns, so they look good on paper. And another setting relates to the line width. Now, basically, it has a scale value, which means that when we print it, it's going to scale every line width by this number. So if you print it using this value, they're going to look much thinner than what we see inside the layout. So let's test it and see how it looks. I'm going to replace it on the previous file, and let's take a look at it again. So now you can see the line width are very small. This is not very desirable. So I'm going to repeat the process, but this time, I'm going to set it to, for example, one, basically eliminating any scaling here. So let's replace it again and take a look at it. Now this time you see that the line widths are displayed correctly. You can set any linewidth that you want in here and it displays correctly inside your print. That's it for annotation scaling and the different options that relate to them when it comes to printing your documents inside the layout. In the next video, we are going to start bringing different views from our model inside the layout and see how they behave when we change the model. 21. 21.Presentation_Layouts 2: In this video, we are going to use the model to produce different architectural technical drawings, including plans, sections and elevations, also treaty renderings and display them in our layout environment. So I have taken the time to create a sample of an architectural sheet. So this basically is a couple of linews and some texts that provide some information for each of our sheets. Now, I have drawn this inside the model space in our viewport, and now I want to use it in my layout. So can just select everything and just copy it and paste it here. Now, something happens here once you paste it is that it becomes smaller, and that is because of the unit difference between the layout and the model that we talked about in the previous video. So this measures exactly 21 units in 29.7, which is the size of an A four paper. Now, inside the model, these units are in meters and inside the layout, these are in millimeters. So the distance between these two points is exactly 21 millimeters. But the layout itself is 210 millimeters. So to fix this, I can just scale this and give it a factor of ten, which will make it fit exactly to my sheet. Also, I can just place it in a corner like this and run the scale command again and scale it manually, like so. So anyway, once we scale it, notice that the texts have become a lot larger, and that is again because of the unit difference and also the annotation scaling that is applied in our model viewports. So let's fix this text. And I'm going to manually scale them down and give it, for example, smaller size. By manually changing the size, I can make sure that they get detached from the style. So if I make a change later to the style, it won't show up on these texts, which is desirable because I want them to stay fixed on the sheet. Alternatively, I can just create a different style for only these texts and use it for my sheet. So this is okay here. And the next thing I'm going to do is to just turn the entire sheet into a block so that I can transfer it to my other sheets more easily and make changes to all of the sheets if the need arises. So let's just create a block. And I'm going to call this sheet. Alright, so now we have a plan view inside our sheet, and I want to introduce to you one of the unique features of the layout environment, which is the ability to control the visibility of different objects individually in each detail. So let's copy this entire sheet. And select page one and create a copy, to. And now we have an exact copy or page one. Let's just change the name to something more readable and helpful here. So I'm going to rename this and call it plan, underscore ground floor. Underscore furniture. Now the reason I changed the name like this is because I want to have two plans of the ground floor, and in one of them, I only want to show the furniture, and in the other one, I only want to show the dimensions and the measurements. So let's rename the new sheet and call it plan, ground floor, underscore measurement. So notice that the detail view here is referring to the same place inside our model space. So normally, when we want to do this in architectural projects, sometimes we just copy the entire plan just like that, and start working on these details differently. So in one of them, we only have the furniture. In another one, we only have the dimensions. Now this also works, but you need to duplicate some work here because sometimes you want to make a change to the plan and you need to repeat that change in every plan. For example, if I want to, for example, put this door in this wall, now I have to repeat that two times because I have two plans of the same level in my building. So using this method, using the same area inside our model in the layouts, make sure that we can save time because it's referring to the same place. Now, the way I'm going to hide the different parts of this plan view is to double click it and expand the layers table here. And notice that we have a separate option for the visibility of our layers inside the detail. Now, the difference between this light bulb and the normal visibility light bulb is that once you turn off a layer using the on property here, for example, turning off the doors. It also turns them off in every other viewport. So this is a change that is applied globally to every view and to every layout. However, if I go back to my detail view here and open it up, and just for example, let's turn off furniture here. Only this time in this column, it only applies this change inside this specific detail view. So if I get back to my model, you can see the furniture is visible here, but inside my plan, it's now invisible. So let's open it up, bring it back and I'm going to turn off these dimensions. Now, let's see what layer they're on. They're on the default layer, so let's create a layer for them and call it dimension. All right. And now we can just turn off this layer for the detail, which only leaves the furniture for us. And I can go to my next plan, and this time, I can open it up and turn off the furniture inside the detail view. So now I have two plans of the same level of my building. One furniture plan and one measurement plan. And whatever change I make to any of my building elements is immediately reflected in both views inside the layout. So that's one of the advantages of using layouts. And now let's create the rest of our technical documents. In the previous videos, we talked about using the treaty model directly inside the layout for creating technical documents. Now, I'm going to use this method to create two elevations, one from the south and one from the north. So let's create a new layout, and let's call this one elevation South. And let's add a detailed view here. And now we want to change the views so that it faces the building and looks at it from the south. Now, this would correspond to the front view. So let's set it on the front view, and let's zoom in, and we have to make sure that this has a correct scale. So in the properties, let's type in 0.2 for one to 200 scale. I want to have it at a larger scale, so I'm going to type it 0.1. But the problem is that it won't fit inside my A four paper. So let's take a look at how we can fix this. So outside of my detail view, let's click on Edit, and I'm going to try to rotate this sheet like that. So that it is in landscape orientation. Now let's move our detailed view, put it here, and expand the borders of this view and see if it fits inside the paper. Now let's expand that to the edges of our sheet. Now, I want to open it and just pan until I see the whole facade here. Let's put that on shade to see it better. But you see there's a problem. We need to see from this wall up to this edge to the left, but we can't fit it inside the paper with this scale. So to fix that, we need to make our paper larger. So let's get out of the detail view here and let's choose a different side. Let's go with an 83 paper. This is a pretty good size for this. Now we can make it larger. Let's expand the view right up to this. One of the good things in Rhino about the detailed views is that you can snap the borders to three elements inside the view. So let's just snap it to here, and that's the extent of our south elevation. And there are some of the pool is showing from under the building. So let's take that out of our view, just like that. And I think it's good enough. Now let's just to make sure it won't change, let's just lock it. And that's looking pretty good. So the next thing we have to fix about our elevation is the visual style or the display mode that it's using. Normally, with a technical drawing, we only see the lines and contours of our objects, and the surfaces are not visible. So we need to use another display mode to take care of this problem for us. And now let's take a look at the different display modes that we have here. If I set it on wireframe, you can see it takes care of the surface problem, but the objects behind the surface are also showing, which is not technically correct in an elevation. So let's use another one called pen. And this basically hides the object behind the surfaces and only shows the lines and contours, which seems to be okay for our purposes. But let's zoom in and take a look at it. You notice that there is a background image in this visual style. It's supposed to make it more interesting, but for our purposes, we need to have a solid color behind the elevation here. So let's now talk about how we can modify the existing display modes in Rhino and customize it to our needs. So let's go to Properties and under display modes, you can see the names of our different display modes that we have used so far in addition to a couple of extra ones. Now, let's select pen here, and you can see a couple of options down here, and one of them is copy. In this way, we can make a copy of this and customize it to our needs. So let's copy this, and it brings us to the properties of this newly created display mode. Now, the first thing, let's change its name and call it, for example, layout underscore technical drawing. And the first setting that you see here is for the background, and now it's set on image file. So let's open it, and you see an option for solid color by choosing this and setting this on, for example, a white color and hitting okay, now we have taken care of the problem. So let's confirm this and come back here, and this time, I want to choose layout technical drawing. So you can see the name of our newly created display mode is automatically added to this drop down. So let's select this and now you can see it looks more like an elevation that we want. Now, let's take a look and see what else we can improve about this. The next thing is the trees here that do not look very good. So let's hide those trees, and I'm going to just select them and hide them here. But if I just go ahead and hide them using this light bulb and get back to my perspective view, you can see it also hides them inside our treaty model in every other viewport. That is not desirable because we also want to add TD view ports with renderings that show these trees. So let's just control Z here and look at another method that we can use to only hide them inside this detail view. So far, we have looked at using the options in layers panel. To individually hide layers inside the detail view. But there's an alternative to this, and that is to select these objects and only hide them and nothing else on the layer in this detail view. So inside this light bulb, you can see that there are other options here, and one of them is to hide objects in detail, which basically hides only these objects only in this detail view, and that is exactly what we want. So if I do this and get back to my perspective view, you can see the trees are showing here, but not in our elevation. So that's another good feature of the layouts that gives us more control. Now, let's take a look at it. We also want to hide the buildings around our villa. So let's hide them in the same way, just like that. And now let's take a look at this, and there's the corner of one of the models showing through the wall here. So let's hide that as well, like this. And there are also a couple of lines here that are curves that basically exist from the time we model these curtain walls here. We can delete them or hide them, but we can also use another ability of display modes to hide them only inside of this display mode. So let's go back to display options. And with our display mode selected, we can go down here and take a look at these options. The first one of them is a check mark for show curves. If you uncheck this, you can see that immediately the lines are hidden inside our display mode. And this is much cleaner. So that's basically how we try to simulate to the elevation using the treaty model itself. There are still a couple of extra information that we need to add to this elevation, for example, the height of different levels and some dimensions. So let's add those to our elevation. Now, Rhino's layouts have another ability, and that is we can add other objects, especially to the objects to them without them showing inside our other viewpoints. So let's, for example, add a line here to show the height of this edge. If I get back to my model, you see this line does not exist anywhere, only inside my layout. However, if I open up the detail and try to draw it inside of it, you can see that it also exists inside the treaty model. So whatever I do inside the detail is also drawn in every other part of the project, basically exists inside the project. But if I draw objects inside the detail, they only exist inside the detail and nowhere else. So let's delete this line and this time, let's draw our elevation symbols inside the layout. So I'm going to just draw this line. Let's also draw this triangle here and let's add a hatch pattern to it. And let's also add a text. Now for the text, we need to read the elevation of this point. So in the perspective view, let's measure the height of this compared to the ground level. So using the distance command, let's, um, let's measure the height of this edge or let's measure it from the edge of the roof itself without the guard at this edge. So I'm going to just pick a point at the ground elevation. It doesn't matter where. Basically, I'm trying to just read the DZ value, which is the height difference in the Z direction. And that is 8 meters. So in my elevation, I just have to move these lines so that they are aligned with the roof elevation. Now, to see the roof line here, we have to enter this and set our visual style on wire frame. So let's do that. And now we can see where the roof starts. So I'm going to get back again and just move this by putting them at this height. Now I can get back to my detail view and put it on our custom display mode. And now let's add the text Make sure to do this inside the layout and not in the detail view. So I'm going to type plus 8.00. And let's make it a little larger, for example, like three, and that's it. We can also add another one for the first floor, and we can use this line here as a reference. So let's just draw something from here. As a guide, and I'm going to put it here and copy this line and move it to the edge of the other one and then I can delete this. And for this, the height is, of course, 4 meters, and I'm going to type plus four. So I can keep at other details. If we had designed our columns, we could also have added axes in this elevation that show the distance between the columns. So let's just instead add a couple of dimensions. So let's go to our dimension layer and using the DIM command, just add a couple of dimensions to different places. Let's disable the center snap because it's interfering with our measurements. And for example, I can measure this which is 10 meters and let's also measure these. Now, this is just an example to show you how we can do this. We can do it much more cleaner if you need to add more details. So this is the basic idea of adding extra to the information to a detail view that is basically directly taken from the treaty model, and there is no interference between the two as long as you do it inside the layout itself. Now, let's also add the same elevation but using a different visual style. So I'm going to just copy this by holding them out. And in this one, I want to change the display mode to render. And now you can see it shows up with the material applied. Now, let's also bring back the trees we just hid in the other elevation. So we need to go back to this light bulb, and on the same option, only this time, we just right click on this and it brings back everything that was hidden only inside this detail view. So now let's finish up by adding our title block to this sheet as well. So I just copy this and paste it in here. But you see that the title block was designed for a portrait orientation in A four size, and now we need to modify it to fit it to our A three paper. So I'm going to just explode this and select these two lines here and drag them all the way to the edges of my sheet. Like that. And I can just finish this part by drawing a line here because we don't need to fill the entire length of the bottom of our tile block. Let's also make another line here to make it look better, just like that. And we can turn this into another block and call this sheet a tree landscape. All right. Let's also move this detail down a little bit, but you have to be careful when moving details, especially when we have added to the elements to them because once you do that, you can see that some of the two the elements do not move along with it. So it's best to draw a rectangle around the whole thing here and move everything together. Like that. You might get the message that dragon broke history on several objects, and this is okay in this case, because it means the dimensions here are no longer attached to these edges. So if we move the edges without the dimensions, they're going to be left in place. But if you move everything together, that shouldn't be a problem. Okay, that's it for this video. And although there are a couple of things that need to be done, for example, we have to add other extra dimensions to this elevation to show different heights of our models better. And we also have to add north elevation. Because the process is the same for those, I'm going to take care of those before the next video, and in the next video, I'm going to focus on our rendered view ports and how we can improve their representation inside the layout. 22. 22.Presentation_Layouts 3: In this video, we are going to finish our technical documents by adding a couple of renderings to them, as well as a section of our treaty model. And then I'm going to talk about a couple of techniques that we can use to improve our renderings inside the layout. So since the last video, I have taken the time to add a couple of details to our layouts, as well as two new layouts here that you can see. One of them is the north elevation that I used the same technique that we discussed in the previous video, and I have also added a first floor plan using the combination of the clipping plane and the M to the command. Now we have these documents, but before going into adding perspective views to the layout, let's talk about these elevations. Now, we use the treaty model directly to represent this elevation without using other commands like m2d. Now, this method offers several advantages and also disadvantages. And I'm going to show you quickly with an example what these are. Let's go to our perspective view here and take a look at the model. Let's disable this clipping plane that I used for the first floor plan and take a look at our model. Now, let's say we wanted to add a couple of elements. For example, a couple of columns at the two sides of this protruded volume here to support its structure better and also an entrance door for the yard and a window for the room behind it. Apparently, we forgot to add these in the previous video. So let's start with the columns here. I'm going to put it on the walls layer and just draw a cylinder. And for the radius, I'm going to give it 0.15 to give it a diameter of 30 centimeters. Now, let's drag it all the way up to the roof here. And in our top viewpoints, let's position it at the corner of our walls, almost here. Let's also mirror it to the other side. Just like that, and taking a look at it looks pretty good. Okay. And for the door, let's put it on another layer. Let's make it layer, call it door exterior. And in that layer, let's use the black material. For example, the one we use for the frames. All right. Now I'm going to just draw a couple of boxes here to represent some bars that we use in the door. I'm going to give it an arbitrary size. And let's make an array of these, for example, I don't know, eight in the X direction, like that. Just a quick design to represent the door here. I'm also going to add a top bar like this. And let's also add a metal sheet behind the door for privacy. So let's take a look at it in the render view. Also, let's add these two doors to this layer. All right. And next, let's go here and add a window for the room in the ground floor. And for that, I'm just going to draw a vertical rectangle up here with an arbitrary size, let's say, I don't know, 2 meters in 60 centimeters down here. Let's also bring it down by half a meters. And I'm going to use the split face command to cut it from the wall. Like that. Let's also add a sheet of glass. I'm going to use this edge to extrude it up here and let's put it on the glass layer. All right. Now, we made these adjustments, and now let's get back to our elevations and see how they look there. So in our south elevation, you can see that the door here and the window is automatically added. Also in our new display mode, they are shown here. However, there seems to be a problem with display of certain surfaces. Now they appear to be shaded, but we wanted them to only show the edges around the objects. We can take care of this problem in the options in the properties of our display mode. So let's go to display options. And in our layout technical drawing display mode that we created earlier, we have to tweak a couple of settings to fix this. Now the first one is a part called color and material usage, and this is set on objects color. Now, I'm going to set it on single color for all objects and put it to white, and it appears to change the appearance here, but it's still not fixed. So let's go down here and in lighting method, set this on no lighting. Now, this way we don't have any shading and no lighting in our display mode. So let's hit Okay and take a look. It appears to have worked, but you see that the layout has a background itself, which is in contrast to the color that we see on some of these objects. If I open this up, you can see that everything is displayed in white, which is okay. And it also is going to show up correctly when we print it. But if you want to see a correct preview of this, we have to change the background color of the layout to white as well. So to change that, let's again, go to the properties. And this time, in the appearance section, there's a part called for colors, and in there, in viewport colors, there's an option for the layout. Now, just set this to white and head okay and you can see it fixes the problem. That's it. Now let's take a look at the north elevation here and you can see the columns are automatically added. We can see the door here and the columns in the other viewport as well. But there's still a problem. If we had a wall here and now this wall is missing. And the reason it's missing is because when I added this north elevation, there were some objects blocking our building. For example, the perimeter wall was blocking it. But if I bring it back, let's, for example, right click this to show other objects inside the detail. For example, I want to bring this perimeter wall back. You can see that it covers my elevation, which is not ideal, so that's why I hit it. But in doing so, I also hit every part of that wall, including the one that was next to our door. So you can see that when I hide it, the other part also hides. Now, to fix this, one of the ways is to separate the front part of this wall from the parts in the back. So when we hide them, it won't hide the one in the front. So I'm going to use the split command for this. I'm going to just draw a line, for example, here and using the split command, you make sure not to type a split face here because we want to split the whole object. Now, we have to select the perimeter wall and hit Enter and select this line as the cutting object. So now we have two objects here and can safely hide one of them while keeping the other ones. So going back to our north elevation, now select this wall and just hide it inside the detail view. Now, you can see the other part of the wall, it's still visible inside the detail, which is technically correct. So now we have seen the advantage of using the treaty model directly inside the layout, but let's also talk about its disadvantage. That is the lack of the ability to control the line width of our treaty model here. Now, for two D elements like our plans, we have the ability to control linewidth from the layers menu here. And which is a crucial element of architectural drawings. But when we use the treating model directly, we don't have that ability. And basically, these edges here are controlled not by millimeters, but by pixels. So this is a limitation that you have to be aware of when you use this. Sometimes it's okay because we don't need to have very precise line width for some of the drawings, but in case you do, just notice that then you have to use the make to the command to turn this into a two the view. So Let's print this to see how it looks in the final print. So let's hit Control P, and I'm going to accept the defaults here since the scale is correct and just save it. Now, when you use a rendered display mode inside the layout, it can take more time to print because it has a lot of pits and information to process, and the file size tends to become larger as well. So now let's take a look at the file. To see how the line widths are looking. Alright, so you can see that they are too thick, and this is not ideal for an architectural project. Rhino offers abilities to reduce the thickness to a certain extent. So let's test them and see how we can improve this print. So we have to go to our display options and display mode on their objects, there is a section for lines, and this is where Rhino controls the thickness of these lines on the model. And this is in pixels. So what we're looking for is the seet line width, and we can set this to a lower number. Actually, one is the minimum. So let's hit Okay and print again and see how it looks this time. Okay, so let's open it up. And it appears it's better because we can see more details now, especially in the thinner areas where objects are closer to each other. But it's still not ideal compared to a two D drawing. So it depends on your use case. So if your office needs to have these documents in exact linewidth, you have to go with the m2d command. But in some cases, it's okay to use this technique because we don't have to have exact line width for our elevations. So that's it for this method. Now, let's go back here and add a couple of perspective views to our sheets. So I'm going to add a new layout here, and let's call it perspectives one, and the rest is okay and it okay. Now, I'm going to add a detailed view up here, and I want to add another one down there later. So let's just set the view for this one. And the first thing that I'm going to do here is to set the view to perspective and also the display mode to render it. Now I have to find a good view that I want to see the project and lock the view so it won't change anymore. Now, I think this is pretty good. So now I can go here and lock it. I won't change anymore. But there's another option when it comes to perspective views that we can use to enhance the way it looks, and that is an option called lens length. Now, in real cameras, when we reduce the lens length, it basically increases the field of view or the amount of objects that can be seen inside the camera. So the lower this number is, you can see the more of the scene, I can see here. Have to be careful not to reduce it too much because it can lead to some exaggeration inside the treaty viewport. Let's put it on, for example, 30 like this and also change the view a little bit, just like that. Let's put it on 35. And move the camera. Now this is very good, especially for scenarios where you have a very tight space and there is not much room to move the camera. You can use this method to capture a lot of information inside that view. Now I'm going to lock this and just get out of this detail and make a copy of it. Let's just drag this down and now I can enter the view and look at it from a different angle. For example, here. And then lock it again. Let's also hide the clipping plane layer, so it won't show up here. Let's hide it only inside the detail. And also for the one up here. Alright. Now, there are a couple of options that we can use to increase the realism of these rendered viewports. Now, the first one is to disable all these lines that run across our models because in a realistic rendering, we don't usually see the lines and edges of our models. So let's go to our display mode. And in rendered, we have to disable these lines. Now, just to be on the safe side, I'm going to create a new display mode based on the rendered display mode too, so it keeps the rendered intact. So let's call this rendered underscore layouts. And now to hide these lines, we have to go to objects and find surfaces. Now, under here, you can see the options for displaying these edges. Now, the edge thickness in pixels is specified here which we can set to zero, and we can also use the option, use surface edge settings for naked edges as well, and itok. Now, to see these changes, we have to change the display mode for these two detailed views. Now, let's open them and put it on rendered layouts. Let's also change the other one. And now you can see that no edges are shown inside these views. All right. And the next thing that we have to be aware of is that once we open the detail view, you can see the sky becomes visible or the HDRI image that we supplied for lighting and the backdrop. But once we get out of it, you can see a single color is shown. Now, you have to be aware that once we print it, depending on the settings, this sky can show up inside the print. So if you want this to appear in the print, you have to make sure that background color is checked. So that the sky color is shown inside the print. Another important option that we can use to enhance the realism of our renders is to have a correct sun position and orientation for better lighting. So let's go to our rendering tab and change the sun setting a got a bit. Now, I'm going to just rotate the sun a little bit here. And the reason we're not seeing it is because we have to activate a detail view so that we can see the changes in real time. Now, let's, for example, change the orientation to this and also change the height. Like that, and hit okay. Now, although this method can have a great effect on improving our renders, it also introduces another problem. And that is, when I zoom in, you can see that the other rendering also updates with that lighting. Sometimes we might want our different renderings to have individual lighting for themselves. We don't want to have the same lighting for all the renderings inside the project. But we can't do that in this case because the sun settings are globally applied to every viewport inside the in. Having a live view port in here, although it offers many advantages, it has the sole disadvantage that it can't have separate lighting for itself. So to fix that problem, we have to use the CPU rendering inside of Rhino to produce an image and then import that image back into Rhino and use it as a rendering. So let's just see an example of this and how we can fix this. So let's go to our perspective view. And okay, you can see the sun settings are also applied to this rendering. I think this looks pretty okay for a render. So let's just hit render here. And because this is not real time, it can take quite some time to finish. And also, as you can see here, some of the settings that look good inside of our rendered display mode are not looking good inside the render. For example, the water here is not looking good. So we might need to change some material settings as well. So let's just stop this rendering and take a look at our material. Let's change the water material for this layer. And for this, I'm going to just decrease the transparency a little bit so it shows a better inside the CPU render and then render again. We might need to have a couple of trials and errors until this is satisfactory. So let's just also turn off ResnaRflectivity and render again. That's good enough for now. So let's just save this and give it a name like R one. Now, this basically saves a picture of this, and now we can go into our layout here, and let's delete one of these detail views. And instead of it, I'm going to import a picture. Now, let's make it smaller and let's just drag and drop this inside the layout. We can just drag it like this and maximize. Now I'm going to position this inside my layout like this. Let's bring it a little bit down. And also this one. So for a rendering, you have to check your settings before you take your rendering. For example, in this case, that was the resolution that this rendering used, and let's also see how it will look inside the print. So if I just print this layout here, but before that, let's also make a couple of changes to this. And also, let's add a title block to this. So it it's better with our other sheets. Okay, let's bring both of these up a little bit. And now let's print. Let's just replace it on the other one. Now, this again can take some time because we have a lot of pixel information inside the sheet. All right. So now let's take a look at it. This is how it's going to look. Now one of these views is a live rendered viewports that can update automatically. But the other one is just a picture that shows up and we have to update it manually if any change happens inside the viewport. So each of these methods have their own pros and cons and you can use each of them depending on the use case and your project. Alright, that's it for the rend drinks. Although we forgot to turn on a couple of layers that could show up in our rend drinks, for example, the rock layer. Let's just turn them on here. And also, let's turn on these plans here. Now, as you can see, inside of our live rendered viewport, this will automatically show up in the render. But for the other one, we have to repeat our rendering and save the picture and import it again inside Rhino. That is the clear advantage of using this one compared to a CPU render. All right. Anyway, so finally, I want to produce a section of our building and place it inside the layout. Now for a section, we can use a clipping plane and show it directly inside the layout. In which case, we lose the ability to control the line thicknesses and line width, just as we talked about before. Or we can use the m2d command and produce a two D drawing of it. I'm going to go with the first method because it's faster, and in this case, we don't need to have exact line width inside the section. So let's just add a new layout. And let's put it on a tree and landscape orientation, just like this. And before adding a detail, let's add a clipping plane inside the model. So inside the clipping plane layer, I'm going to create a clipping plane, a vertical rectangle here. And move it inside the building like this. Now I want this to pass through the stairs to show the vertical connection inside the building. Let's also rotate it by 90 degrees like that. Yeah, that looks to be okay. But also let's move it in a little bit, so it shows the garage as well. And now, let's say we wanted to have this section inside the layout. So I'm going to go to my new layout and add a detail view, for example, like this and inside the detail view, I need to look at the model from the direction of the clipping plane. In this case, it is looking at it from the back side. Let's just set the view to back and enable the clipping plane. So I'm going to run the command, enable clipping plane, and carefully select around the area where I think it is. So I have to be careful not to select the other clipping planes inside the model. So when I hit Enter, you can see that it is cut with the clipping plane. Now, let's set the view to technical drawing. And also, let's hide a couple of extra objects here. All right. And finally, let's u set the scale. So that's the corrected scale. Now I'm going to lock the view, and outside of the view, I'm going to adjust the borders to the edges of my section like this. Now, I can also add a hatch pattern for the ground underneath the building here, for example, a totally black hatch pattern. So let's go to the hatch layer and just draw a rectangle up to here and add a hatch. Let's set it on a solid color and hit okay. That sounds pretty good. Now I can also add hatch patterns for the places that are cut with the clipping plane, but I'm just going to leave it at this. It was just to demonstrate the point. We can finish this with as much detail as we want later. And now let's make it a little bit more interesting and add a three dimensional section in the layout. So I'm going to add a detailed view here. And let's put it on perspective. In this perspective, I'm going to enable my clipping plane that we use for the section. So let's enable clipping plane. But disable this one and have a three section of our building right here. Now, let's also hide the clipping plane layer and also hide the environment around the building. I'm going to just hide them inside the layout. Let's also hide the vegetation layer for this particular detail and also these. Now, we have a treaty section of the building and we can even set it to isometric instead of perspective to make it look more technical. Now we can just zoom in here and pick an appropriate angle to look at the building from here, just like this. And let's also change the visual style to, for example, technical drawing. And that's it. So you see we can add various details side by side and compare them together in here. Let's also add another detail view. So I'm just going to put this aside. But let's also add the title block. Alright, I'm going to move this up here. And let's also make this a little bit smaller and bring it up here. Now, I want to add the detail we drew from the railing and show it inside the section. So I'm going to add a detail here. Let's bring it down a little bit. We're going to set it to perspective and zoom in on the railing. Right here. Let's also set it to technical and also turn off the clipping plane in here. And also, let's turn off the vegetation to have a cleaner picture here. All right. So now I can add another detail view that shows the exact section of the railing. So in here, I'm going to draw another detail, and let's let's adjust the borders. Give it a little distance from the side. And now into detail, I'm going to zoom in on my railing detail like this. And let's put it up here and also put it on technical. But some of the lines are not showing here because the curves are disabled inside this display mode. So I'm just going to put it on rendered like that, and let's just click out of it and adjust the border again, bring it up here a little bit. And let's also make the hatch pattern larger. Like that. Let's also the view. And now we can draw a couple of curves. For example, I can draw a circle right here and then draw an arc that connects the circle to this. So basically, I'm just trying to give you a graphical representation of details and show you Rhino's ability to mix three reviews with two the technical drawings. Okay, that's it for this video. So in the next video, we are going to finalize the layouts and our architectural sheets by giving proper names for the sheets and also discussing methods to prepare our final documents. 23. 23.Presentation_Exporting: In this video, we are going to take the finishing steps in our project and prepare our documents for export. So let's take a look at our title blocks. And here we basically need to add a couple of information. And if you remember, we turn them into blocks, so we can just open the block and add any common information inside the block so they get repeated everywhere else. So let's just fill in this information. So, for example, let's type Rhino course uomi and for the client name, I'm going to add my own name. Let's close the block editor. You can see that the same information is reflected in other instances of this block as well. For the sheet name and number, because they're unique to every sheet, we have to enter them outside the block. Let's just add a text, and for this one, let's call it ground floor furniture plan. Let's also make it a little bit bigger for the sheet number, I'm going to follow architectural standards and call it a one oh one. For the scale, because in this paper, every millimeter is equivalent to 0.2 units inside the model space, which is a meters. I'm going to just type in one to 200 like this. Now we can copy these and bring them to the other plan that we have here and change them a little bit. Now, this is a measurement plan. Let's also bring them to the side. So that's basically it. So for this 83 paper, we can just copy the information that we had inside this block and paste them right inside of it. Okay. Like that. And let's hit Okay, and for the other information, we can also copy these texts to make the process faster. I'm going to call this South elevation. And a one. And the scale for this is actually one to 100. So let's just type in the correct scale. Et's go to our other elevation and paste in this new information here, and one of four, and this is the north elevation. Again, with a one to 100 scale. Let's also modify this and hide these trees inside the detail view. Looks nice. Now, something that you might notice, sometimes when you open your layouts, you might notice that the line type scale is quite large inside the layout. Now, if I check it with the plan, you can see that the other line types are looking okay, but the reason it is showing you like this is that we have to enable an option to show the correct scale of this when printing. So run a command called Print display and you have to turn it on so that the line types can display correctly here. So now when I look at it, you see it has the corrected scale. All right, so let's move on to the next, uh document here. This is our first floor plan. Now, if you want your plans to be next to each other down here, you have the ability to do that by right clicking and selecting move or copy. For example, I can say move it before our elevation south. So you can see now the plans are next to each other. Let's just copy these information here and paste them right here. So A one oh two. Now, I think this should be a one oh three. So everything after it should get an additional number here. So we have to be careful about the order at which these documents are placed. Let's call this one, one of four and this one. One of five. And, uh, for our perspectives, let's fix this typo here perspectives. We can add other perspectives to the project, but you already know how to do that, and we demonstrated the point in the previous video, so I'm not going to spend time on that. You can add whatever other views that you like to the project, the procedure is basically the same. So let's just copy these information and paste them here. I'm going to just call it perspectives under square one. And this basically is a one oh six, and it has no scale, so I'm just going to put a horizontal line here. So let's put this in the middle here. And let's go to our next page, and now let's give it a proper name, call it sections. And let's paste that information again here and call it sections. Now, I'm going to call this one oh seven, and the scale is one to 100 for this one. And we can add individual names for these details inside the layout if you want to, but I'm just going to leave it at that. So that's it. Now we can print these and export them into files. Now, let's start printing them. So when I hit Control P, you see it automatically recognized as the sheet size because we are in a layout space and it reads that information from the layout. So basically, we don't need to come down here and set the scale explicitly. Now, another interesting option that we have with layouts is the ability to print all the layouts at the same time. Now, because we have set the properties in each layout separately, we can just select this and hit Print. And let's just give it this location and save the files. Now, it can take some time because we are basically printing everything all at once. So let's wait for it to finish. Alright, now it's printed the file, so let's take a look at it. So you can see the file is quite large and when we open it, it has our plans and this is where it runs into a problem. Now, some of those layouts were a three paper, and the other ones were a four. And these A three papers were in an landscape orientation, and that's why half of them was actually cut from the print. So this is not a desirable behavior. Now, to fix this, we can either print every sheet separately, which we'll do in a minute. And also we can use another option in printing. And that is this multiple layouts option. Now, this basically gives us the ability to pick which layouts we want to print into one file. So the way this works is that we have to type in numbers that correspond to the layouts from left to right. So let's count them. And the first one is the furniture plan, which is an A four paper, and because we want to print in A four right now, so let's pick it. Type one and hit comma. And the next one is the measurement plan. So let's add that as well and the next one, which is the first floor. So our elevations are not in A four paper, so we are not going to pick them. They correspond with numbers four and five, but the perspectives are in A four, so we can pick them. So I'm just going to type in six head comma, and the sections also are in an A three paper. So let's just print these four layouts. And let's replace the five All right. Now let's take a look at it. So now we only have A four papers here, which is better, and there are no mistakes in the files. Now, we can keep printing the A three papers like this as well, like this as well and place them in a different file. But personally, I want to print them separately and then join them together inside another software because in this way, I can make sure that the sheet names are correctly ordered after one another. So right now, it's a one oh three and immediately after it is one oh six. Now, I don't want to work like that, so let's just print them separately. So I'm going to just delete this and go back to my furniture plan and hit print. Just put it on this and keep printing them. So for the first one, I'm going to number them in order. The second one third one. Now, these are printing quite fast because they only exist of lines. Now for our elevation, when we print it, let's give it number four, you can see it takes a little bit more time, which is really because of the rendered display mode that is used for the elevation here. L et's also compare the fine sizes. So number three, which is our plan, is taking 500 kilobytes, and the next one is taking 22 megabytes. And the reason for it is exactly this rendered display mode here, which shows the materials here as well. So that's because the file has to store the textures in it as well. To reduce the file size when we have a realistic image inside of it, we can use a trick here. Now, let's print that again. But this time, let's decrease the resolution of these images. Now, 600 DPI is quite a large number. Many printers do not support this. So I'm just going to put it on 150 here and print it again and replace it. Now, that was pretty quick. Now, let's check out the file size. Now it's only 1.5 megabytes. And when I open it, the difference in quality is not that much noticeable, especially when printed on an 83 piece of paper. So this way you can optimize your file sizes when printing. Now, let's also talk about an important option that exists in the files that we print. So I'm going to open a couple of these files now. And have a comparison of the quality of the image in these two files. Now, inside my plan, notice that no matter how much I zoom in on the file, the lines and the dimensions and the texts automatically improve their quality. Now, they have this behavior because they are vector objects. Now, by vector, in general, we mean any kind of two D or TD object that is generated procedurally using a mathematical formula. So regardless of the zoom level, it automatically regenerates itself. Now, these kind of files are ideal for printing purposes, especially on large papers because they do not degrade in quality when we zoom in on them. So this is very good for our technical documents, and there is an option in the print dialog that we have to check for this to happen. But in the other file where we have pixel information, for example, we have a realistic image here, when I zoom in, you can see that after a while, it becomes a little bit blurry. And that's why because it is not generated, in real time, it is basically just pixel information stored inside the file. The same is true for this elevation here. And these files are basically called raster, which refers to pixel data. So let's get back to Rhino and let's print our next elevation here. So in the print dialog, you can see this option here. Now, in the output type, we can either choose vector output or raster output. If you put it on raster, even if it is two D plan using lines and other two D elements, it's going to output it using pixel data based on the resolution that we tested before. But it is a good practice to set it to vector. So whenever there's a picture file inside the sheet or something that can be represented using vectors, Aina automatically prints it as raster. But otherwise, it will print as vector, which is a lot more precise. So let's just print this. I'm going to call this five. And let's go to the next one. Well, this is a completely raster sheet. So let's just print this as six. And the sections here. Now, you expect them to be actually vectors. But interestingly, Rhino is going to export this as raster because the section that you see here is actually part of the treaty model that is cut using the clipping plane. This is not a two D drawing, and anything that is not a two D drawing in Rhino will be interpreted as raster. The only thing that is a vector here is the detail up here, which will be exported to a vector. So let's see what happens when we export this. Let's call the seven. All right. Now let's open it up and, all right. So let's zoom in on these details. You can see a little bit of pixel artifacts appearing on the edges of our documents here. Of course, we can improve this by increasing the resolution, but let's now zoom in on this detail. Now, this has an excellent quality and is improving once we zoom in. This is because it's a vector file. So that's basically two important file types when it comes to printing your documents from Rhino or any other architectural software because these are common concepts that exist across different softwares. And that's it for this video. 24. 24.Presentation_Optimization: We are pretty much done with the project. And in this video, I'm going to take a look at what we can do to optimize our project. And by optimization, I mean making the file size smaller and also making the viewport faster. And the main method that we're going to do that is by reducing the number of polygons and lines that exist inside the file. Now, when we prepared our documents, we produced some two D models from the three D ones. And for example, these chairs here are produced using the m2d command on a tree chair. Now, when you use that command, one of the downsides is that some of the models can end up with extreme numbers of lines and two D elements. So for example, if I just drag a line around this in the properties, you can see that I got 1,992 curves selected, and that is way too much for a normal chair. And plus, it's going to increase the size of our file. Right now, the file is 50 megabytes. So let's take a look at how we can optimize this and reduce the number of lines that exist in here. So I'm just going to go to my furniture layer, and let's just draw a simplified version of this chair here. Now, of course, you can use another model imported from Autocat for example, but I'm just going to quickly draw a simple one just to demonstrate the point. So let's just draw a couple of lines to show the wood panels in here. And let's also make an array, for example, 15 in the Y direction like this. Just like that. And I'm going to use this simplified version instead of these complex ones. So I'm going to turn it into a block, put it here and call it pull chair one. And making blocks is also important. If you notice that none of these are blocks. So even if I use these complex models and turned one of them into a block and copied it, it still would be a lot more efficient and it would have reduced the file size a lot. So let's just put this block here, let's delete the old ones and just replace them with a simpler version. So I'm just going to put these here, you know, just rotate it a little bit, put it there, just like that. I'm also going to repeat the same thing for this other plan right there and use these chairs. Let's also delete this one. And we also got a table here. Let's see how many lines it has. It's got 1,200 individual lines, and that's way too much. So let's just delete it and replace it with a simpler version. So I'm just going to draw a table with a couple of rectangles representing the chairs around it. So I'm just going to make a couple of these chairs here. Just like that and put the whole thing in here. Let's also copy it here. And for this, let's make it more realistic by trimming away the parts that go under the wooden logs in the ceiling. We can just drag a line like this and take care of that. All right. Now let's compare it with the previous file by saving the file now. I'm just going to hit Control S. As you can see, it's already reduced the file size by almost 10 megabytes. So that was pretty effective. We also have other objects that have a lot of lines here, especially those that were made using the m2d command. Now, this single chair has 90 curves in it, and we can also optimize this by using a simpler version. So I'm going to just delete these and let's open this and copy this chair here. Let's also turn it into a block. Let's call it chair two in case we have another chair. So let's just place a couple of these here. Let's also copy it to the first floor. All right. Now, let's also replace these with a simpler version. I'm just going to copy the entire set in here up there as well. Just like that. All right. Now let's hit Control S. And there's also another command that we can use to make the file smaller. And if we have block definitions, materials, line types, and many other things that we do not use in the project, we can automatically erase them and remove them from the project by using a command called perch. Now, when we run it, this basically asks us what we want to purge. So block definitions, annotation styles, groups, hatch patterns, layers, line types, and so on. So let's set hatch patterns and line types on no because later on, we might want to use some line types that we are not using right now. But let's delete any extra information in these objects. So you can see how many objects it deleted. So it only deleted one unused lock definition and one empty layer. So it's a good practice to keep our model tidy. Alright, so another thing that can effectively reduce the size of our file is to remove the number of polygons that three objects use inside of our project and also turning objects into blocks. Now, I guess the heaviest object that exists inside the project are these stones. You can see how many polygons they have. So let's try to optimize this and also turn one set of these stones into a block and copy it for the other ones as well. So I'm just going to delete these. But and optimize these 3 stones before copying them and turning them into a block. So let's isolate them and let's zoom in and take a look. Now, Rhino has a lot of capabilities when it comes to working with meshes. Well, of course, we didn't work with them because it was beyond the scope of our tutorial, but just as a quick demonstration, let's introduce a command called Reduce mesh. It can be found in the mesh tools up here, and you can see it by going into here and basically reduces the polygon count of the mesh, or we can just type in reduced mesh. So when we run it, it brings up a menu for us that basically asks us how much we want to reduce it. We can either type in the exact number of polygons or we can reduce by a certain percentage or we can optimize the mesh by only removing the extra edges that are planar. I'm going to reduce it by a percent. So let's type in, for example, like 70 and for comparison, it shows us the number of polygons before the optimization and the ones after it. So you can see now we got 141,000 polygon selected here, which is a lot. So let's just hit Okay and see what happens here. Now I can take some time because it's a pretty heavy process. So Okay. Now let's take a look at our stones here. They might seem a little rugged, but when we go into rendered mode, you can see it's not much different than when we look at it from a distance. So depending on the kind of object, this might work well in optimizing the object and reducing the polygon count. Let's run it again and this time, let's reduce it by another 50% and see how that looks. Not bad. So I'm going to just turn this into a block and just call it rocks. And bring everything back. So now let's just copy these here and here. And now let's save our file and see how much it can reduce the size. Now, we got 40 megabytes here, so let's hit Control S. All right. Now it's 23 megabytes, so it is pretty effective in reducing the size. Well, in case you're wondering what we can do to make the stones look better, for example, to remove this rugged appearance on them. Also, Rhino has a command for this called a smooth. So if you just run the command smooth and hit Enter, it brings up another menu with some properties that we can set to determine how many steps we want to smooth it or a smoothing factor, basically how round and smooth we want to make the surface. Depending on your object, you might want to set these differently. So I'm just going to accept the defaults and it k. So now you can see it's smoother than before. So I'm going to just run this on these two objects. Notice that this command does not change the number of polygons in our stones. So it's a pretty safe command. Now, I think I can even reduce the number of polygons in these stones even further and then use the smooth command again to smooth them out. So let's have the size of these polygons. All right. They look pretty good. I don't even have to use this smooth command on it, so let's just hit Okay, and let's bring it a little bit here. And now let's save the file and see how that affects it. There isn't much difference here because we already optimized it and it had a huge difference. Now let's go to another point when it comes to optimizing our file and making working with it better. That is an option that was already activated in our file. But let's assume that we don't have it activated. I'm going to save save as to save the file here. There's an option down here that asks us to save textures. Now, if I check this and save the file, for example, save it as a new file here. What happens is that Rhino tries to collect the different textures and store them with the file. So if you look at the file size now, it's 63 megabytes. Now, the reason for this huge increase in the file size is because all of these textures, including the HDR file for the background, are now stored inside the file. And this can be actually pretty good if you want to send your file to another computer or give it to someone else to keep working on it without losing the textures. You also have the option to send the textures separately and keep the file as lightweight and small as possible. So let's test and see how these affect our workflow. So I'm going to just make this small and come back here to our textures location. And I'm going to just cut this and paste it somewhere else, for example, here. All right, it wants us to close the file. So let's just close it and paste it again. All right. So now let's open our files again. I'm going to open both of them to see how that affects the files. The first one, the one with the textures outside the file project itself. Now, when I open it probably is going to give me a message saying that the textures are missing. Alright. And that's the menu. So if you look at the file, you can see that it's not showing very well, and some of the textures that are listed here cannot be found. Now, the way to fix this would be to select all of these using Shift Select, and there are various options here that we can either replace them, we can browse to a location and individually find these files or search online, or we can click on this bulk replace. And in this case, it just lets us to browse to the folder itself and find the files. So let's just runs to the new location here and hit okay. And you can see all the files are replaced. So if I hit Continue now, you can see I got my textures back in the file. So that's one way to fix this problem. And let's not close this and open up the other file. Now, remember this file stores every texture inside of it, so that's why it has a larger file size. All right, so you can see it gave me no error, and all the files are contained entirely within the project here. And once it opened the file because it couldn't find the folder with the textures, it automatically created a folder in the project location containing the textures that it could not find. That's another thing that you should keep an eye out for. And obviously, I'm going to just replace these textures here back where they were. And let's keep working on our actual five. I'm going to just delete this and open it up. That's how we can optimize our scene to be faster and lighter. 25. 25.Conclusion: In this course, we went through the entire process of designing a villa completely inside of Rhino from the initial concept to the technical documents. Now, because this course was aimed at beginners, I tried to keep the commands and the geometry as simple as possible. But Rhino also offers a lot more complex ways to deal with geometry and create a lot more interesting shapes and complex objects. And what we covered here was just the tip of the iceberg. So before concluding our video, I'm just going to give you a heads up on the possibilities that Rhino has in case you want to pursue this and learn more about this awesome software so you know where to look. So one of the capabilities of Rhino that was not covered in this video was its ability to create complex surfaces very simply by using a couple of commands and some base curves. For example, I can just draw a couple of curves here, just like that. Let's, for example, draw one like this and another one like that. And let's stack them up together like this and I can now just run the loft command and connect these together and create a surface like this. Now, you saw some of these commands when I modeled the staircase inside the building, but it also offers a lot more commands with much more complexity that you can use to create very complex geometry in your scene. Let's, for example, copy this here and for example, let's run a command called blend surface and stitch these two surfaces together like this. See how easily and intuitively it works, and you can also control all the aspects of these surfaces using these control points. Now Rhino has a lot of commands like this, and I'm sure you will enjoy working with them and learning new commands. Another thing that Rhino is quite famous for is the grasshopper visual programming environment. And you might have seen it being used to design parametric objects, but it's not limited to that, and it can be used to create pretty much anything that can be expressed as an algorithm. And it's a quite powerful tool that I use a lot in my projects, and it makes work a lot easier. So for example, let's bring it up by talking grasshopper and just bringing the surface into this. And I'm not going to go through the details here. I'm just going to just give you a demo of what it can do. It has a lot of commands that you can just simply drag and drop onto this canvas, basically nodes that you can connect together, and you get a lot of complex geometry simply by using these nodes. So for example, here, I got space frame structure now that I can modify by changing the points on the surface. So for example, if I drag them up like this, it automatically updates. And I can use this to explore many different architectural options and forms. Quite quickly and also automate a lot of things. I highly suggest that you look it up and see the different possibilities that it can offer for your design process. Plus, it's a lot fun and easy to use. It also has a lot more functionalities that it takes a lot of time to explain. I suggest you look them up and find out on your own how many things you can do in this software. But let's also point out that during this course, a new version of Rhino was released, Rhino eight, that offers up a lot of other possibilities, and I totally recommend you check them out. So for example, here, you can see a list of all the new things that are added to Rhino, and it includes many different aspects. But interestingly, they also include a lot of new functionalities with the gumbo and modeling the modeling procedure, and also with the clipping planes and producing two d documents from our drawings. So I highly recommend that you check it out and see every new functionality that is offered here. So that's it, I guess. I enjoyed a lot making this video and sharing it with you. I hope you enjoyed learning from it just as much. And I guess goodbye and happy designing. 26. Update_Rhino 8 new features: This is an update for the course. Originally, the course was recorded for Rhino seven. However, after Rhino eight came out, it added some new features and abilities that can affect our process. The general process should stay the same regardless of the version. So if you follow the steps, you're going to get the same result, whether you're in Rhino eight or Rhino seven. However, using these new features, we can enhance our process and speed it up, as well as use some new options that were unavailable before. So let's take a look at these new options. And specifically, we're going to take a look at some of these in more depth. For example, we're going to take a look at the modeling improvements that are introduced in Rhino eight and also clipping and sectioning, which can help us in producing our two D drawings with more precision and also it gives us new options, for example, dynamic vector drawings that are basically two D elements that automatically update with the model. We're also going to talk a little bit about the changes in materials and rendering in the new version. 27. Update_Rhino 8 New Modeling Features: In this video, I'm going to use the new modeling features of Rhino eight to recreate our Villa here. But before that, let's have a quick introduction of these new features. So let's draw a cube here. And in the original course, when we wanted to cut away geometry, we use the combination of split phase and extruding using the gumbo. But Rhino eight introduces new features to simplify this process. So I have opened Rhino seven as well here just for comparison. So let's copy the cube here. And this is the procedure that we took in the original course. For example, we have a curve on top of this box here, and we use a split phase, select the phase, select the curve. And now that it is split, we select it using Control Shift select and extrude it downwards by dragging and holding control and releasing the mouse. Or alternatively, we can select it and use this little dot here, which is for extrusions and extrude it all the way down. And in Rhino eight, we have a new option here. So let's draw the curve here. We don't have to use a split face anymore, so I can just select it and for comparison, let's select the same thing here, select the curve here. And if you pay attention, the gumball has an additional icon here. In addition to the little dot and the arrow, it now has a line, and this line is used for cutting geometry using curves. So if I just hold this and drag it down, you can see that it has cut away the geometry without using the split face. I'm going to use this option a lot for modeling the Villa. But before that, there's also another command in Rhino, a new command that can give us the same result in this case, but has some differences with the cut option inside the combo. So let's introduce that as well. This option is called push pull. And the way it works is that it recognizes the enclosed areas between curves that lie on a surface. So if I click in the middle of this, it automatically detects it and can either make an extrusion or make a hole inside the solid here. So if I just click here, you can see it gives me a hole or it can give me an extrusion right here. And in this case, it also joins it with the previous volume and basically performs a Boolean union on the result. So it can simplify the process by merging several commands together, and I don't have to split face anymore or merge the result using Boolean Union. And you might be asking what's the difference between this option and the CUT option inside the gumbal for performing our cuts inside the solids. So to see that, let's control Z here and make another copy of the cube. So I'm going to place it right here. So I'm going to run the pushbll command and select the area in the middle here and drag it all the way down. So you can see it makes a hole in it. But if I do it again and drag it through the second cube as well, it does nothing to it because it's a separate object. Basically, push pull works on the same object. It doesn't work on everything else. But if I select a curve here and repeat the same thing using the cut option and bring it all the way down, you can see now it has cut both cubes, which means that this option doesn't care about how many objects are in its path or whether they are joined together or are separate objects. And this is a very powerful feature of the cut option that I'm going to use. However, this is not the only difference between the two commands here. So there are other differences that are not going to be used a lot for modeling this lala, but I'm going to mention them quickly so you can know the difference between the two. Let's maximize this and I'm going to draw a cylinder here. Like that. And let's say I want to separate a band from the middle of the cylinder. Now, I have to do this by splitting the face so that I have a separate region in the middle and then use a command like offset surface, which we covered in the course to have an extrusion or inset, which we can then subtract using Boolean subtract. But using push pull all I have to do is just select the area between these curves, and it automatically recognizes it. In other words, in addition to planar surfaces, it also works with curved surfaces as well, and this is a huge advantage over similar commands that you see in other software. For example, the hatch command in Autocat that can recognize the areas, but it cannot work with curved surfaces. So when I hit space, you can see that it gives me a preview of how the result is looking. So if I click here, you can see it creates an indent inside this surface here. And this is a very powerful feature of this command. But I can't do that using the gumbo. So if I wanted to extrude it or cut away the geometry or bring it in, it doesn't work because the cut option only works in a single direction at a time. Cannot move according to the normal direction of the surfaces, and therefore, it can't work like the push pull in this case. So now that we have cleared up the difference between the two, let's start modeling our Villa and see how we can use these abilities to speed up the process. Because I have already covered the design aspects of the villa in the course, now I'm going to just quickly draw it without explaining the reasons for the measurements. So let's draw a box 20 and ten and with a height of four. And for the second block, I want to copy this using the gumbo. But here's another difference with Rhino seven. To relocate the gumball, I had to hold down Control and drag it in Rhino seven, but now the process has changed and I have to double click it in order to move it without moving the object. So I'm going to stick it down here and make a copy of it and then rotate it by 90 degrees. Let's relocate it again by double click and put it here and here. I'm going to bring it back by 2 meters. And bring it to the left by one meters. That's it. So the next step would be to cut away the roof here. And in Rhino seven, we did this by drawing a rectangle on top, offsetting it, using a split face, and then extruding the interface downwards to create the whole. Now we can simplify all of this using the cut feature inside the gumbo. But I'm going to combine it with another command, a new command introduced in Rhino eight called inset. And it asks us for a face, and after that, it can offset it inwards. And in addition to offsetting, it also automatically splits the face. So let's give it 20 centimeters. And as you can see, it's already split in two parts. And now I can easily just drag it down using the extrude dot here and it gives me my walls here. So that was a lot simpler than running all those commands to get the same result. Okay, so now let's create a roof here. And I'm going to use the gumbo again to put it into place and make another copy down here. Let's also drag this space down. For the ground floor, I'm going to use the same approach and use a combination of inset and extrude to hollow out this block down here. The next thing to do is to create the opening towards the street for which I'm going to use inset again. So I'm going to insert it by 20 centimeters. And in addition, I'm going to select this edge and bring it up by 10 centimeters and the upper edge, I'm going to bring it down by 10 centimeters. And then I'm going to extrude it in words to make the cut. As you can see, it's quite simple and fast using the gumbo. For the other part of the block, we have to draw a vertical rectangle to use as a base for our cut. And for that, I'm going to introduce another new feature of Rhino eight called auto Cplane. Normally, we have to draw a vertical rectangle by using the vertical option in the rectangle itself or aligning our sea plane to this vertical phase. But with autos plane, if I activate it from down here, any planar surface or curve that I select, it automatically aligns the sea plane to that surface. So for example, if I control shift select this surface and rotate, you can see that the sea plane is aligned with it. I can do that with any surface, and it doesn't matter what direction it has and it automatically snaps to the direction of that surface. So with that surface selected, I can just draw a rectangle and without using the vertical option, it automatically aligns with the surface. So I'm going to draw a rectangle with a width of 2 meters and a height the same as the block. And I'm going to bring down the top curve here by -30 centimeters, and the bottom one, I'm going to bring it up by 60 centimeters. So let's also bring the gumball here and drank it right here. And then I can use the cut tool to cut away the geometry. And the next thing to do is to create the curtain walls inside the openings here. So let's just draw a line here. And extrude it upwards up to this point. And for the openings, I'm going to just draw a couple of rectangles. And because of auto seaplane, it automatically aligns the plane here. So I can just go ahead and draw them without using the vertical option. And I'm going to create a rectangle with a width of four and a height of 2.5 meters. Let's just drag it inside and align it with the wall and bring it in by an additional half meters. So I'm going to copy it again and bring it back by an additional 60 centimeters, which makes it symmetrical in this axis. Alternatively, we could just mirror it in this axis here, which gives us the same result. So anyway, once we create these rectangles, we have to cut them out from this surface. Normally, we do this by using the trim command, and the way we do this is we select these curves, hit Enter, select inside of them twice, enter again, and then we use the extrude command to give a thickness to this wall here. But I want to simplify and speed up the process by using the new features. Let's control Z. Before using the trim command, I'm going to give the thickness and for example, type in 20 centimeters. And now we have a solid. And now I just click the two curves here and just drag them in using the cut tool. And as you can see, it completed all the steps without having to run the trim command. Let's mirror it to the other side of the block as well. And now we have it on the other side. So the next move is to finish this floor here and attach it to the other floor that we have up here. So I can just simply draw a box here and give it a depth of 30 centimeters. Let's isolate these two to sit and better here, and I'm just going to drag this face up to here and use the Boolean Union command. And that's it. So now we are ready for the next part, which is the chimney here. If you remember, we use the Bullion difference command to subtract the building volume and the walls from the chimney so they don't intersect with it. And this time, I want to use the cut tool to simplify the process. So basically the chimney is based on a rectangle three by two, and I want to place it at the intersection of the two volumes right here. And originally, we extruded it by 9 meters and subtracted the volumes. But this time, I just drag it using the cut tool just like that. And as you can see, it just cut away the volume from all the building elements. And now I can just drag it upward and extrude it by 9 meters. And I can also use the inset command to instead it by 20 centimeters and just drag it inward, using the extrude to hollow it out. Now let's see how we can speed up the modeling of the terrace. To begin that, I'm going to place a couple of openings in this side so we can place the wall in the middle of them, which also acts as a guard for the terrace. So I'm going to select this face, and using the auto seaplane, I'm going to draw a couple of rectangles. What of them with a width of five and a height of 2.2. And then I'm going to drag it all the way here plus another 20 centimeters, so it won't intersect with the wall. Let's also draw another one. With a width of 1.2 and a height equal to the garage door. And now let's place it next to this and bring it back by 1.2 meters. And now let's make it 2 meters like that. And then I'm going to just cutovy the geometry using these two curves. And then let's draw a box here with a width of 2 meters and a depth of 10 centimeters. And I'm going to bring it up here. So let's place it exactly right here. I'm also going to bring it up by an additional 1.7 meters. Now that I have this, I can just copy it and place it on the two sides of this face as well. So let's rotate it and just drag it into place. Let's make another copy, bring the gumball here and drag it here as well. We can also mirror it to the other side because this is a symmetrical side here. Okay. The next step is to add the walls behind these slabs here and create the perforated guard here that also acts as a facade element. In the original video, I created a couple of boxes here, and I created a profile for this pattern on the ground and gave it a depth and then placed it along the edges here and cut away the extra parts, so it fits inside the span. But now I'm going to directly create the pattern on the wall and use the new abilities to cut away the geometry. Now let's create the wall behind the slabs. There are several ways we can do this. And I'm going to show you a way to do this without using any commands with using just the gumbo. So I'm going to get this edge and extrude it down here and further extrude the resulting pace to make a polysurface. And let's select this face and drag it all the way up to this edge here and extrude it to add an additional face. So I can select it and extrude it again up to this wall. And now we have our wall, and we can finish up by using merged Cplanerfass to get a unified solid. This is a pretty fast method, but we can also become faster by using the pushbll command. So let's delete this and try again. I'm going to draw a couple of lines, one here, and one at the intersection of these two volumes. So if you can't get the intersection, it's not a problem. So we can start a little behind it, for example, here and run the pushbll command. And bring it up here. And I can fill this gap by just dragging this face up to the wall right here. And that's it. And it was faster than using the gumbel and speeds up the process. Now, let's create the perforated pattern on the wall. I already know the measurements, so I'm going to be quick about it. Let's select this face and draw a rectangle. And I'm going to give it a dimension of 5 centimeters in 30 centimeters. And let's position it on the wall here. I want to bring the gumball up and place it here plus -20 centimeters, and let's break it here and place it here. And now let's make an array of it. And in the direction, let's say we want eight and one in the other dimensions. So I'm going to copy it with a distance of 60 centimeters like that, and, uh, I think we can have another copy here, 60, right. And then I'm going to copy all of them down for another two rows. So let's bring it down for another 60, and again, another one. And I'm going to offset the middle row by 30 centimeters. So I have to select the middle row now, and a trick for selecting it would be to drag a box around all of them from left to right and deselect the upper row and the lower one. Just like this. And let's move it by -30 like this. And now I can select all of them and make another copy here. So let's deselect these and maybe these are enough. Okay. So I'm going to bring them here, place the gumball here and align them with the wall right here. Well, maybe I can copy these two to have another row. Like this, and that's it. So I can now use the cut option in the gumball to cut away the geometry. But before that, let's also copy them to make another perforated pattern on this side. So let's select some rows here and bring them here, rotate them by 90 degrees. And I'm going to use the move command to put them right here and bring them down by -20. So now let's copy these and fill the span. So I make a copy with a distance of 1.2 and another one right here with a distance of 60 centimeters. And let's make another copy of this like that. And we're all set. So all I have to do now is to just select all my curves. Oh, I'll select that one and also this one. And now I just use the cut option to cut them away from the geometry as simple as that. And I'll do the same over here as well, and cut them away. And that's it for a perforated wall. And this was much faster than creating them separately on the ground and placing them up there and try to deal with the excess length of the wall here, which needed trimming. So this is another advantage of using the cut feature in the gumball. We can continue by adding the railings to the balconies here. But since they have the same process in Rhino eight and seven, I'm going to focus on parts that make use of the new features. One of them is the new volume in the building that is added because of the staircase. So I'm going to draw it here. But before that, let's subtract these volumes from the floor. So we have some edges to use as snaps. So let's use the bull subtract boolean difference, and let's subtract the walls from the floor. And also, let's subtract the upper floor and the wall from the lower one, just like this. And now we can start adding the opening for the staircase. I'm going to copy this line with a distance of 2.5 meters right here. And let's measure the line. It's 1.5 meters. It's okay. So let's have another copy with a distance of 3 meters. And now let's connect them together using a half circle. So I'm going to draw a circle here and use the two point option just like that and trim away the extra part. And now I have to add another line right here to have an enclosed shape. So all I have to do now is to select these and drag them down using the cut option to cut them away from the geometry of the roof. And you notice that I didn't even have to join them together before performing the cut. So Rhino automatically recognizes this and cuts the geometry away with the lines. Okay, so the next thing to do is to create the opening for entrance to the first floor. And for that, I'm going to just draw a rectangle. So I select this and draw a rectangle with a width of minus tree and a height of also tree. And let's cut away this from the wall as well. And that's it. So I'm not going to remodel the stair here because the process is the same, but for creating the walls around this opening, let's select these lines here. And join them together. Let's perform an offset. And let's check out the settings here. The distance is 20 centimeters, and it should have a flat capping, which is okay. So I'm going to offset it towards the outside and then extrude these curves up to the roof plus an additional meter, which is the exact same height as the chimney. So if you remember in the original course, we use the line in a side view to cut away the geometry from this shape to make it slanted like this. But here, I can make use of the auto sea plane and draw a line directly in the treaty viewport and make sure that it stays in this plane. So I'm going to just give it an angle like 15 degrees. And just drag the line all the way here and then select my line and cut away the geometry using this line. If I just drag it up to here, you can see that it splits the volume into two independent pieces. That's another point about using the cut tool is that if you use open curves to do the cutting, instead of removing one portion of it, it just splits the shape into two parts. So now I can remove this upper part and also the line. And now I have this slanted edge that needs to be filled with a glass panel. In Rhino seven, I use the Ciplne command to orient it to this slope here so I could run the offset command correctly for creating the window frames here or the opening frames for the roof here. In Rhino eight, we have new features that can help us simplify this process. So let's start by creating a line here, and I want to turn this area into a surface. So let's select these curves and make our surface. And now I'm going to use the inset command to bring it in by 5 centimeters. It's already set on 5 centimeters, so I just hit okay and it's a split. You're going to see why I did this in a minute. So I'm going to draw the frame lines. There was one horizontal and one vertical and use them to split the surface using the cut tool. We have four pieces right here. I'm going to use the inset again only on the interior faces here and hoc. Now you can see why I did it. Now we have frames that are 10 centimeters wide on all parts of the model. If I had splitted the model first and then use the inset, edges, the frames at the edge would only have 5 centimeters width, while the ones in the middle would have 10 centimeters. I did it to make the frame width uniform across all the opening here. So the next step would be to extract the faces in the middle and put them on a glass layer. Like this. And now let's select the ones here and join them together and run the merge coplanar faces. So that's how easily we can do this without changing the s plane. And this truly simplifies and speeds up the process. So let's also fill this part. I'm going to use this line, extrude it downwards and then select this pace and extrude it again. And then select this one and drag it all the way here. Okay, so that's it for this part. The rest of the modeling process should follow the exact same recipe, and I'm going to leave it at this part, and you can combine the new features with existing techniques to speed up and optimize the modeling process. From a design standpoint, using these techniques can be extremely efficient for an architect because we can focus on the actual design instead of thinking about what commands to run to accomplish the tasks. So I find these new features extremely useful as an architect. 28. Update_Rhino 8 materials and rendering : In this video, we're going to take a look at some of the changes in Rhino eight versus Rhino seven regarding materials and rendering. So comparing them side by side, let's bring up the materials menu in both versions. And at a first glance, you can see that in Rhino eight at the right, the menu has become more readable and some of the icons have changed. You can see the shape of these sliders are updated and also some of these checkmarks in Rhino seven have turned into icons, which is more legible to the user. Another difference pertains to the rendering speed inside the viewport. So if I rotate the viewport in Rhino seven, you can see that it gives me almost 25 frames per second. Doing the same thing in Rhino eight, I get a much smoother frame rate compared to Rhino seven, which means it has been optimized for speed. And you can also spot another difference here. If I zoom in on this tree, you can see there is a white border around the tree in every model that uses the Alpha transparency option in the material. But in Rhino eight, apparently, this problem has been solved, which gives us a cleaner look on the model. To see the speed difference between the two versions better, I'm going to switch to trace mode in both versions. This mode puts more burden on the hardware and makes it easier for us to see the speed difference caused by the optimization in Rhino eight. I'm going to start with Rhino seven, and as you can see, when I rotate around the viewport, it gives me five to ten frames per second, which is not a lot. And doing the same thing in Rhino eight gives me a smooth 15 to 20 frames per second. And that is again, because of the optimization. But with this advantage, we can see a new disadvantage here, and that is the trees are not displaying correctly and their background is showing, which is what's supposed to be cut away by the Alpha transparency option. I looked it up, and apparently, this is a bug in this particular version, which is supposed to be fixed in a new update. Keep an eye out for any updates that come that might fix problems like this. But in the meantime, if you encounter this problem, I'm going to show you a workaround to fix this. So let's switch back to the rendered mode and open up one of these blocks and you can see the material type is set to picture, which we covered in the original course. All I have to do is to just switch it to physically based, and that solves the problem for us. So let's go back to atres mode. And now you can see the problem is fixed. For the other plants and other objects that use this kind of material, we can do the same thing to get rid of the background. Now, this is supposed to be a basic score, so I'm not going to get into details about physically based rendering and physically PBR materials. But generally speaking, they are pretty much like our custom materials, but the parameters have been changed to correspond with the real parameters in real materials that exist, so they can simulate the materials better inside different softwares. And this option usually exists in most of the rendering engines that are available. Of course, there are a lot of advanced techniques and parameters when it comes to rendering, but this should suffice for our course. 29. Update_ Rhino 8 new features for 2D and drafting: In this video, we're going to look at the new features of Rhino eight in drafting and TD documents. In the course, we use clipping planes to produce TD documents in different ways. Clipping planes in Rhino eight have undergone changes and become much more powerful compared to Rhino seven. So we're going to take a look at those first. Going to a top viewport and using the clipping plane command, when I draw the clipping plane and go to the treaty view port, you can see now it has two handles at the side, and these handles make it much more legible and easier to select compared to Rhino seven. And if I rotate it by, let's say, 90 degrees and go to my plan view, you can see that it looks very much like an architectural section now. Now let's learn about its new features by comparing it to Rhino seven. So I'm going to move it to the side, and in Rhino seven, I'm going to select an existing clipping plane, for example, the one in the middle of the stair there, and selecting both in two versions, you can see that the one in Version seven is pretty hard to select sometimes because it can be hidden behind some objects. Rhino eight, it is very easy and simple to select because it has these two handles to the sides and these handles can be dragged, which make it look larger in the viewport and it's a lot more efficient for us to work with. That's the first difference and the next one is the user interface. If you look at the properties in both versions, in Rhino seven, it shows us an option to flip the direction of the clipping plane and also what views to clip. And in Rhino eight, in addition to those options, you have the ability to give it a label which comes from the name, for example, if I call it Section one and use the text option for the label, you can see that it acts pretty much like an architectural section showing the text at the two sides. And we don't have this option in version seven. And another new feature is the ability to specify a custom depth for the clipping plane. And once I do that and go to the perspective view let's enable it here. You see, it only shows me the cutaway regions. And if I increase the depth, I can customize how far the clipping section sees when it cots to geometry. Not only it affects the Tre display of the objects, but it also gives me an ability to control how far the details are going to be shown when I use the M two the command. This is another new feature with the clipping plane and another one is the ability to determine what objects to clip or what objects to exclude from clipping. Basically, it gives me selective clipping of objects and we don't have that ability in Roy seven. To demonstrate, let's u disabled custom depth and instead, I'm going to put it on include and give it a layer. I'm going to give it the was layer. Here. And as you can see, only the objects on the walls layer are cut using the clipping plane. This is ideal for showcasing the different layers of an architectural project, for example, the finishing, the structure, the floors, and so on. So this is another new feature that we can use. And of course, the views clipped option here also exists in Rhino seven, but has become much more readable and we can see all of them in the same tab in the same panel here. Next, let's talk about another feature of Rhino eight, which helps to speed up the process of producing two the documents and also adds very interesting effects to our drawings. And that is called section styles. If you zoom in here and we take a look at the part of the wall that is cut, you can see that it has applied this hatch pattern to the cut section. This feature did not exist in Rhino seven and in Rhino eight, we can add these on a per layer basis or based on the clipping plane. So either way, it applies dynamic hatches to the regions that are cut, for example, if I go back here and cut everything again, you can see that all the regions that are cut by the clipping plane have a hatch pattern applied to them. Now, I have a set this in the layers tab. So you can see that there is a new column in layers here and called section style. Here you can click on this and brings up a menu where you can determine the pattern, the color, and other properties such as rotation and scale. So with this feature, we can easily produce patterns on our sections without having to manually draw them inside the layout. However, when using disability, we have to pay attention to some details. Let's zoom on our floor here. As you can see, the floor is not showing any hatch patterns while the object next to it does. The reason for this is that for objects to be properly cut by the clipping plane and for hatch patterns to be shown, they have to be closed. And if I select my floor object, it shows as open polysurface, and the next object shows as a closed one. So the reason this is an open object was because we detach the top surface in the course to give it a different material. Now let's close it again so we can take advantage of this new ability. However, it gives us a new challenge, and that is we lose the material on top and it all gets the same material. So let's solve this challenge as well. Let's start by deactivating our clipping plane. And now I'm going to select all the surfaces that comprise this floor. Okay, now let's isolate them to see them better. And these are the three surfaces that have different materials and the floor itself, which has a white material applied to it. Actually, it has no material because it's on the default layer. So the first thing to do is to join all of these together using the joint command. And if you look at the type of object in the properties, you can see now it's closed solid polysurface. Now, these solves our hatch problem, but now we have to apply different materials to these. So let's take a look at it. It's already on the default layer, and all I have to do now is to somehow apply different materials to these surfaces. And the way to do so is to go to the materials tab and find the material for these areas, which is the terrace, right click and click on assigned to objects. This way, it only assigns it to those particular faces. Also, I need to apply one to this interior floor here. So let's right click and assign apparently we have to fix the UV of the material again. So let's go into properties in texture mapping and put it on box and the size is okay. So now that material problem is fixed, let's go back there and enable our clipping plane and see the result. Now if I zoom in, you can see that the floor is also properly cut. Let's also clean up this area by using the Boolean difference command. All right, now that we know about the new features of the clipping plane and also section styles, let's use these new features along with others to explore the new methods of producing two documents from the Treaty model. Okay, previously, we used three methods to produce two D elements from the model. One of them involved using two D commands like lines and hatches to draw these elements, and the other one involved using a clipping plane to cut the model and then using the result directly inside the layout. We could even enhance it further using other two D elements like hatches here. And if I zoom in, you can see that the new section styles is also enhancing the drawing that we made in the previous version. So the third method involved using a combination of a clipping plane with the M to the command to extract to the elements, and then we could enhance it further by adding other to the elements and furniture to it, as you can see here. This third method also offers the advantage of giving us control over drafting features like the line width that are essential to an architectural project. So the new features in Rhino eight can enhance these methods in terms of speed, and also it offers a totally new method that can basically combine the merits of both of these previous methods, meaning that it can extract to the elements that can be controlled exactly in terms of drafting, while at the same time, they can be updated when the model changes. So let's take a look at these new features. So let's start by drawing a clipping plane. I'm going to go to the top viewport, and this time, I'm going to introduce a new kind of clipping plane called clipping section. So this is basically a normal clipping plane that has been optimized for architectural projects. It asks me for objects to cut for which I'm going to hit space to include everything in the scene. And as you can see, it gives me a preview of the section and I have the ability to change its parameters before placing it in the scene. For example, I can flip it and change its direction, and also I can rotate it perpendicular to the previous axis. I'm going to go with the defaults and place it right here. I can keep clicking and place other sections in the scene, but I'm satisfied with this. Once I'm going to hit space, as you can see, it already applied a label and the size is okay for an architectural section. So this is the main difference with a normal clipping plane. Before that, I had to rotate my clipping plane and manually type in the label, as well as adjusting these handles to make it look properly for an architectural project. But Rhino already takes care of this for us when we use clipping section. And in addition, it's extremely easy to place in the scene with just one click, and it's already vertical. So I can do it in the plain view, just like an architectural project is supposed to be. And now that we have it in place, let's see the new command that can produce a dynamic drawing using this clipping plane. But before that, let's do a little optimization here. Before recording the video, I tested this command once, but it took a lot of time because of all these trees here. If you remember from the course, some of these objects are extremely hard to process for commands like m2d because they have a high number of polygons. So we can use the new options inside the clipping plane and exclude the vegetation layer. So it's easier to process and faster to show the results. So now that we have taken care of this, let's introduce this new command, it's called clipping drawing. And when I click it, it asks me for the clipping plane. And when I hit space, it asks for a place to place the drawing. So let's click here. And see, take a look at the result. And you can see that it has produced two D drawing that includes the sections and also the objects that are seen in elevation. But it needs some fixing because it's showing surfaces instead of hatches here. So this command also offers the ability to edit the existing drawings because they are dynamic. So that command is called Edit clipping drawing. And for that to work, I have to select the clipping plane again. And once I hit space, it brings me to the same options that showed me when I created the clip drawing. So the option I'm looking for in this case is show solid which I need to disable. As soon as I click it, it automatically recalculates everything. And now it's fixed, so I can just hit space. This is basically how this command works. We make changes to the objects and the model, and they are automatically reflected in the two D drawing. To see how this works, let's move the clipping section. For example, I'll move it here. And you can see the viewport is lagging a little bit, which means it is processing the new section. So let's go back here and as you can see, it has been accordingly updated with all the objects that are shown in this section. But this needs a little bit of cleaning up. Some of these objects are not necessary to be in a section, and they are again, high quality objects that can take some time to process. So I'm going to go back here and in my clipping plane, I'm going to exclude other layers as well. So by holding down Control, I can select several layers to exclude here. I'm going to select the rock layer. And let's also find my furniture. Well, they are not on a layer, so I can add them later. So let's sit okay and update the drawing. To update it, we have to either move the clipping section or we can use a command called update clipping drawing. In this case, I only have one, so I'm going to click A, which automatically updates everything that I have in the scene. And now you can see the stones are removed from my section here. And that is the power of this command. As you can see, it automatically calculates everything and it gives us to the elements that can be configured and precisely adjusted for drafting. So let's move our section back to where it was right here. And let's also exclude other objects like these buildings at the two sides. So I'm going to select objects and select all of these and hit space. And when I go back here and update my drawing, you can see that they are gone. I can also remove this pool from under the building. Let's go back going into our perspective view, select our clipping plane and exclude objects. Let's also select this one. I'm also going to select these walls. Let's keep this one. And hit space. And again, let's update the drawing. As you can see, we can easily clean things up by excluding layers or objects from our drawing. We can also enhance it further by placing it in a layout and keep adding to the elements to it just like a normal to the drawing. Just bear in mind that if you make any changes to the model and update the drawing, any annotations that you place might become out of sync and you have to place them manually again. Now let's put our newly created drawing inside a layout. So I'm going to just create the layout here, and let's call this Virgin eight test. And let's add a detail to it. And I'm going to zoom in on my section here. And let's also fix the scale. So it's one to 100. And this is how easily we can put it in a layout, and it will update once we change the model. However, I'm going to compare it to the other method of producing sections that we saw before, and that is using a clipping plane to directly cut the model. I version eight, this method also can be improved, and the speed can be increased by using a new trick. However, we didn't encounter it in the original course because we use one of the predefined views for the section. And if I open it, you can see that we're looking at it from the back. Several of some of these views like top and bottom, left and right, and front and back are already predefined in Rhino, and we can use them to produce sections and elevations of our model. However, in another scenario where we need to, for example, cut the model from an oblique angle, for example, have a 45 degrees section. This could prove problematic because we have to somehow orient the camera to that specific angle. And there is a way to do this in Rhino seven. However, in Rhino eight, this process have become simplified and easier to do using a new ability that has been added. So to demonstrate this, I have to first do this in Rhino seven, and then I'm going to repeat the same process in Rino eight to show you the exact difference. So let's bring up Rhino seven again and here, I'm going to rotate the section that we already have here by 45 degrees. And if we go to our sections layout, you can see now that the model is rotated and so is the section. However, to see the problem, let's enable the clipping plane. And let's also put it shaded. And that's pretty much how it's cutting the model right now. And in our section, we are looking at it from this direction, while in an architecturally correct section, we have to be looking at it directly like this. Or in more technical terms, the projection lines that are used to draw the section have to be perpendicular to the section line. So to make that happen, we have to somehow orient our camera to look exactly in this direction. To do this, the procedure is almost the same in both versions with a little addition of a new technique in Rhino eight. So before introducing that technique, let's introduce another ability that exists in both versions, and that is called named views. And named views are basically certain viewing angles that have been saved, and they can be accessed later if we use the menu to access them. So let's just type named view, and you can see that this menu comes up. This is pretty much the same in both versions. And if I just click on this save icon and give it a name, for example, view one. If I rotate and change my view, I can come back to this again by double clicking and it will get back to that exact viewing angle. And this is the name viewability in Rhino that also exists in many other softwares. It's pretty much like a camera that we place in a certain position to be accessed later. Let me just close this. Now let's talk about how to orient our camera to this clipping plane. In in seven, we have to do this by going to camera set camera and place camera and target. So now we have to pick a place for the camera, which in this case, could prove problematic here. Let me just go into wireframe mode and repeat the same process again. Now I'm going to zoom in on this to really select the middle point of the clipping plane. Then for the target, I'm going to select this line. Now the camera is oriented to the clipping plane. However, in a section, we have to look at it in parallel projection. This is a perspective view and not suitable for a section. So let me just change the view to an isometric view like this and then repeat the process again. So I'm going to set the camera to this point and the target here. And now it is fixed to this specific angle. So let me just put it on shade it to see it better or I can set it to my technical drawing style. So now that we have this, we can save it in a named view. So let me bring up the named view panel again and save this one as well. I can call it view two. So if I accidentally change the view by rotating, I can go back to it by clicking it. We can also dock this panel here, for example, up here or among one of these existing panels that we have so when I click it, it brings up the panel for me. And the next step of the process is to go to a layout view. And in this layout view, we have to add a detail, and inside the detail, we can set this to our named view. For example, if I set it to view two, it goes exactly to that place and I have to just adjust the display mode. And that's the general process, regardless of the version to set the view to a certain camera angle. So going back to Rhino seven, this process has become simplified. So let me just repeat the same thing. With this section here, I'm going to rotate it by 45 degrees, and it also updates the dynamic drawing that we created. Okay, now we have to save the direction of the clipping plane in a named view. So this is where the new feature of Rhino eight comes in handy, and it basically allows us to automatically create a named view without having to orient our camera manually to that direction. So the command to do this is called save clipping section view. And once I run it, it wants me to set a few options here. About the projection, which is parallel, whether to clip it or not, which is set to yes and whether to set a C plane, which I'm going to accept the default here. And once I click space hit space, it's going to create a named view based on these settings. To see it, let's bring up the named view menu here, and you can see that it has created a named view with the same name as the section. Let me just dock it to the side here. And once I click it, you can see that it changes my viewport in a way that is perpendicular to the clipping plane, and I can look at the section directly. So that is how it simplifies the process for us, and now we can use this inside the layout. Now, let's go to our layout and place the detail. Before placing it, you see that the detail that we already placed has somehow disappeared from the layout. And the reason is once we rotated the Cplane, it updated the drawing and somehow it has been misplaced relative to the placement point. So we need to find it again and zoom on it, and also fix the scale again. There is a workaround to prevent this issue to some degree, which we'll cover next. But for now, let's just place the other detail and compare them side by side. So I'm going to draw a new detail view here, open it up, and use the set view to set it to our newly created named view. So it is experiencing a little lag here, so let's wait for it. All right. And now I'm going to Zoom, and let's also change the display mode. Okay, the reason is because of these trees again. So once the detail view is open, I can go to my layers panel, and as we saw before in the course, we can separately turn off layers in any detail view that we have. So I'm going to turn them off inside the detail. Now, let's have a side by side comparison between the two methods. But before that, let's fix the scale of the second detail and also pan it into place so it reflects the first detail in appearance. And now we have two details, two sections that look almost identical. And the next question is, what is the exact advantage of using one over the other, considering the new features in Rhino eight? We already covered some of these differences in the course, but now let's focus on the fact that the upper one has been produced using a dynamic drawing, which can be updated when we want it. And also, it is technically correct in the sense that we can determine the line type and print width of these lines precisely using the Layers panel. In contrast, the second section, which is produced directly from the model and really is the actual model that is displayed from a certain angle. These lines that are produced by cutting the model, these lines cannot be controlled directly from the layers panel, and our best option to control them Would be to modify the display mode. So we have to go to the display options and go to lines. And here we have a couple of options that we can change. So if I increase the edge thickness, you can see that it increases their thickness inside the viewport. However, these thicknesses are not technically correct because they are based on pixels rather than exact measurements that can show up inside the print. So if you're looking for technical precision, this is not the method to choose. However, it comes with its own advantages, and that is the first one is that you don't have to run the update command to update the drawing. So any changes that you make on the model will automatically and immediately be reflected in this section because it is the actual model itself. And the second difference is because it is the model, you have more options when it comes to visual richness of your documents. Remember that the upper one is just made of line works, whereas the lower one is the tree model. So if I open it, I have access to different visual styles or display modes here. For example, I can set it to rendered. In which case, it shows up with the materials and I can apply different lightings to it. I can't do that with the first one. So considering these differences, you have the option to use both of them or one of them depending on your project. Okay, so finally, let's talk about another new addition to Rhino eight regarding line types. Normally, when we want to change the print width of a line type, we use the layers panel and the printwd column. However, in Rhino eight, we have a new option to change the print width of a specific line type directly from the line type properties. And to see it better, let's compare it to Rhino seven as well. So I'm going to go to properties and line types. Let's also open the same menu in Rhino seven. And as you can see, this menu has undergone a lot of changes, and there are a lot of new options added to it. In particular, the one that I'm interested in is the width option where you can specify a thickness or width for this particular line type, which will be consistent across the drawing across the project. And instead of specifying it in the layers panel, you can do it directly here. Let's explore these options and see how they affect our work. Okay, so another addition is that I can use this panel separately from the properties. So let's bring it up. I have to type in line types. Which brings up the same menu for me. And actually, I can dock it to the site here so I can access it anytime that I want. Now, let's select one of these lines and make it duplicate, and now it becomes editable. So I'm going to call it test. And let's go to the model viewport, and let's maximize this let's also set it to the top viewport. I'm going to draw a line here. And let's select this and right click on this line type and assign to selected objects. And here, in addition to the ability to design new line types by specifying line segments and the gaps between them that can be done like this. For example, I can type one, comma two, comma five. You can see that it's changing in real time. In addition to this, I can also change the width here now, and let's try that and see how it looks. This line width is consistent across the layers. So if you check this, you can see that it is on the furniture layer, which has a default print to it. Let's also create another line on this layer which has another thickness. So let's draw the line here and assign this line type to it. You can see that they are exactly the same. So let's also talk about the unit of the thickness here. Right now it's set to pixels. However, we have the option to set it to a real world unit such as millimeters. In which case, it is measured exactly 47 millimeters at this point. Let me just increase it to see it better. And let's set this to exactly 500 millimeters. And now if I use a distance command to measure it, you can see it's exactly half a meters. All right. Now, these line types are also consistent between the model and the layout. So to see it better, let's create a layout and place a detail. All right. Now, it appears to be covered in black. This is because that the units in the layout are different from the model. And this width parameter here is interpreted as an extremely large line here, as an extremely thick line. So to fix it, one of the ways is to use this checkmark here, use model units. And if I check it, you can see that the lines are now displaying the model space. However, this is not an ideal solution because depending on the zoom level, the line width becomes different, and this is not technically correct. So let's uncheck this option here. And instead, let's reduce the width to a reasonable size according to paper space. So I'm going to set it to, for example, 1 millimeter. And these fixes are scaling problem. And if I zoom back now, you can see that the scale of the language stays the same relative to the paper. So this is technically correct. Now let's try to print this and see how it looks. So in the print preview, I'm going to maximize this, and it looks to be okay. However, let's point out an inconsistency here. If I try to print a vector drawing instead of a raster, you can see that the line type scale is displayed incorrectly and different from the layouts. This is an issue in this version, and there is a forkgound that I'm going to introduce. However, keep an eye out for new updates, which might fix this issue in later versions. So let's see how we can fix this. Apparently, we have to change the display mode to something else other than wireframe or a technical view, for example, shaded. And in this way, you can see that although it is on vector, the line type scale is displaying correctly. So at the moment, this is the workaround to fix this issue, but keep an eye out for updates. Let's also point out another inconsistency that exists when using these line types. I'm going to go to my top viewport and take a look at this drawing here. Now, this drawing is placed on a couple of layers down here, these locked layers, and their line type is set to continuous. I can set the line type to my newly created line type to see the difference. However, nothing changes here. And the reason for this is that these are explicitly set to the continuous line type, not by layer. So to see this better, let's open a couple of these layers and take a look at the properties of this line, for example. You can see that the line type is set to continuous on a per object basis. So I have to set this to by layer to make it work with a new line type. And I can just open all of these layers, select the sub objects, and in their properties set everything to by layer. In which case, it displays correctly according to the properties that I defined inside the line type, both the width and the pattern. However, the problem is this drawing is not static and it's supposed to change when I change the clipping plane and update the drawing. So let's try a little change here. For example, I'm going to drag it down a little bit. And now let's take a look again. As you can see, the line type has been reset to continuous again, and this happens every time the drawing is updated. And this kind of defeats the purpose of not having to manually do any work when working with these kind of drawings. And I believe it's an easy fix and will be fixed in later versions. So all it needs is to set an option or setting the default line type when creating these drawings. But for the moment, such option doesn't exist, and I just wanted to point this out. However, we already have the option of our traditional method, and that is setting the print with directly in the layers panel here. And if I go back to my layout and activate print preview, you can see that I can easily set a line type here. So, using this method with the new line types, setting the width directly in there is not something that is necessary in all architectural projects. In fact, many architects are already used to organizing their work into layers and setting the line width according to layers. This is a new option, but we can stick to the previous ways and choose any of them depending on our project. Okay, so that's it for this update. In this update, we used some new features in Rhino eight that can speed up our process and give us new options. And, of course, all the new features of Rhino eight are not limited to the ones covered here. And since they were not used in the project, I did not mention them. And they were also inconsistencies and the occasional bug that I hope will be fixed in newer versions. Thank you for watching.