Rhinoceros 3D FULL Beginner to Advanced ZERO to HERO

1. Course Introduction: Hello and welcome everyone to the Crash Course, Rhino3D zero to hero. My name is wassef. I am a Senior Architect, parametric designer and BIM Manager with many years of experience using a teaching 3D modeling software and parametric tools. My first experience with Rhino3D was during my master's degree in the USA. I have been since using it on a daily basis, solving complex geometric problems in a streamlined strategy and providing early design solutions while combining them with BIM using Rhino inside Revit, as well as other parametric tools. My teaching passion found its way first at the FabLab Berlin, as well as other design companies, institutions and universities in Germany and Europe. Participants from all over the world with various design backgrounds joined my courses and benefited tremendously from them and are able to implement their knowledge in their studies and professional career. We will first explore Rhino's interface, layers, viewports, and all the basic stuff. Then we will jump to basic modelling techniques and learn about geometric elements such as points, curves, surfaces, and Polysurfaces. You will learn how to model with primitives as well as using curves and other elements with advanced commands, will discover how to rebuild curves and surfaces and the difference between their degree levels, as well as how to modify geometries, different techniques. We will explore how to extract geometric elements from extinct objects and Rebuild them according to your preferences. Will also learn advanced modelling methods and commands. When and how should the various commands be used. Difference between nerves, Meshes and sub D, and when to use each of these types and what is the best workflow to follow from your design objectives. For active projects involving short exercises and solutions will give you a deeper understanding of most important 3D Modeling Techniques and Rhino. In just over 12 h, you will go from zero to hero and be able to present your ideas confidently and competitively. The course also includes Instructions to Advanced sub D modelling, tactics, rendering techniques, drafting secrets, and a quick intro to parametric design with grasshopper. Whether you are an architect, engineer from all fields, a designer from all fields, including but not limited to Product design, Jewelry Design, Fashion Design, Graphic Design, or a student of these fields, Rhino3D will be a great addition to your toolbox and will push your design abilities to a whole new level. Alright, if you want to learn how to use this amazing 3D Modeling platform and get a headstart in just a few hours. Get on board, and let's get started. 2. Interface General Intro: Alright, so let's start first by opening Rhino. Now click on this icon. And now it's something Rhino. Now this intro window, if I move my mouse away from it, that's going to disappear. This is like a standard window that opens up whenever you launch Rhino. And it includes interesting information on this side here it includes the news data's views about various things regarding Rhino, either courses, webinar's, new plugins, etcetera. And here are tips regarding, Let's see, in this case for almost seven years and he Rhino seven. The course files include Rhino, different versions. So also you can use them in Rhino six or five. If you're using or an eighth as well. You can do that. However, the tips are regarding the software that you originally the version of the software, and this gives me 017. And it's interesting because it tells us about the latest developments and information and updates relating the version of Rhino that using the recent projects that you have opened or used. Here you can go to New, for example, this tab. And here we can actually click on template files that you can open up regarding Units. So you may either want to work with centimeters or meters, or millimeters, or inches and feet, etcetera. So you can click on these, one of these templates to launch your project from scratch. However, I'm going to show you later on that, even if we start with, without using these templates, you can still change the project Units really easily. You can click on this to open a file origin check the license information. So this is basically the opening intro window. When I move my mouse now away from it is going to disappear like this. Alright, so Rhino, although it looks at Start for beginners to be intimidating software with a lot of functions and Options and tips and techniques. It's actually very user-friendly when they also show you this while working with it Step-by-step. Now first, before diving into it, I'm going to first show you the interface of it to what, what we are seeing now in front of us. What does this mean? Here? We have the top toolbar here. The toolbars there. And it includes like the things related to Rhino like Curve Surface SubD the solids are all of these include all of the functions and commands and modelling steps and techniques in there here. Here we have the command line, and this is the command prompt. So basically whatever you right here, and then you execute, then we're going to see what happened here. So this is now it's empty here. You can see nothing because would not do any anything yet. But even if without doing this, even, let's say by clicking anything else and then doing something, then this step is going to be recorded there. So kind of like seeing your steps, your previous steps there. And this is now here, the tabs, you have the standard Tab, which includes like the standard functions and buttons regarding to open new file or opening the previous file or Saving cetera, panning, undoing. And like just general information regarding the, say, viewports or showing and hiding, blocking, layers, properties, etcetera. So here let's say we have enough, for example, viewport layout. This will see a more detailed tab, includes more detailed functions that 3D viewports. But this standard one or the glutes like this kind of like mostly used or one of the main viewport functions. But of course we only go there. Then you want to see more information regarding visibility, Let's say showing and hiding objects. If you click on this visibility, that then you have more options, right? So this standard one relates to general functions also here on this side. So here we have also the same the channel functions regarding drawing. Let's say points, Lines, Curves, polygons, surfaces, etcetera, etcetera. Editing by moving, splitting, cutting, copying, etcetera. Visit, let's say in general also functions. But for example, if we go, let's say to the surface tools, for example. Here, now we have more detailed functions relating to surfaces. If we go, let's say two solid tools. You have more information and more detailed functional, 3D to solids, etcetera. Subd the tools, mesh tools, render tools. Right here, we have this rendering button, but if we go to the render tools and have more information, more details. One of the interesting things about trying to also is that here we have also this tab. Remember when we saw that you have this kind of like under the news, we have this tips regarding the development. So here this tab is called new end V7, which actually shows us what is what are the new functions and features that have been added inside of Rhino V7, for example. This also interesting to teach us as users what's going on, What are the latest up-to-date functions and techniques, ways of modelling that we need to just be aware of in order to use them. Let's go back to the standard. And so these are, as I said, these are the, let's say the tabs. These are also the toolbar as well as the general one, general standard toolbar. The site as well as the standard side one. Here in the center we have for Viewports of the top perspective, front and right. These are standard digital viewports. I'm going to show later on how we can change these Viewports just to shoot our working flow. On this side here on the right, we have, generally speaking, for the abs properties, we have the layers, we have the display, and we have here the help. The help is one of the also helping, let's say, user-friendly functions where let's say you are now new to Rhino and you want to use a certain command or function, then you can write it here and then you will get a small short tutorial about how to do it. The steps to follow this, I found it was really interesting that it helps us understand how things should be done and in what sequence. And the bottom here. So here you can see these, let's say tabs as well. The bottom wants to show us, let's say which one is activated. So now you can see this is now highlighted in blue. This is the perspective. If I click on this one, the top is being highlighted. The fact that it just click here. Now, the front is highlighted. So when I'm working in the front of you, I can also let say add more viewports. If I want to do. Here, we have the snapping options. Whether I want to let say snap to an end point or a near point on. Also see how these work and when we want to use what let's say here. When you want to less activate the project yes or no, or disable them altogether as well. That could also be useful sometimes. Here, Let's say we have the C plane, let's say where on which plane are written on. I'm going to also show you when that would be needed and when and how we can do that and what functions from the sea planes, that toolbar here we can use. And what do these mean basically? And here we have, let's see the location of the cursors. You can see when I move the cursor around and have the X, Y, and Z. We have the units. In this case now it's set to millimeters. We have the active layer. If I go now to the layer, this is the layer called default. That's activated layer. Now, if I, let's say Draw Anything is going to be included inside of this layer. Here we have the different Snapping options. Either I wanted to say to snap to grid or I want to snap orthogonally while working or to be planar or as well. Oh, snap smart track Gumball, if it's activated, yes or no, record history. And then filters. And then visceral is the CPU usage. And like what's going on, let's say in terms of the computer usage record history, we're not going to see use it a lot because grasshopper, part of this course is an intro to Grasshopper the very end. And Grasshopper actually does much more. So record this just for you to know. Before even Grasshopper existed. Grasshopper is a parametric design over parametric plugin. It's a visual programming plugin to rhinoceros. It's like a kind of becomes like a small software inside of this bigger software Rhino. It's hosted inside of Rhino. And within that one, then we have, we can do, let's say, a lot of steps while designing something. And then these are recorded and saved. So you can always go back to one of these steps along the way. And then you can change those, you can affect those, you can change the parameters. I'm going to also show you what does that mean when we do that? Record is still there, but for me, I don't really use it. And it while you work as well, while designing something, it might then gets, might be or become broken, quote-unquote, get the message called Broken history. Because for some reason, let's say you move the object or you changed already scaled or something, that it doesn't work anymore anyway. So this like a detail but just fruit, you know that the history of recorded history is way old and it exists before parametric design. And then Grasshopper when it was invented. And it overrides the use of record history. I'm going to take these off. Alright? So this is basically a main overview about the interface. And now let's see how we can work inside a friend 3. Simple Box Geometry & Graphical Modes: Alright, so now let's see how we can say model a simple box and just see how we can do it. Here I have the layer default activated. Now, as a good practice, I would always keep this layer, Let's say, empty and work on new layers. So let's now click on this new layer. I can now type box. Now, although I made a new layer, but this is not activated yet, and I can see that the default is activated and this default is in bold. And it has this tick. It means that this, the current one. If you activated one, I have now to double-click on this box that are activated. It's now current and then now I can draw a box and you can see you because I did that. Now, berkshire is also where I can see it there. Right. So this kind of like getting organic me on just knowing where I'm working on in which layer. The reason for that is that sometimes I wanted to say to turn on and off some layers. And if there is already includes the geometry than it might not be. Let's see. Good to me to also turn off those ones because maybe I want to see them. That's why it's good. Keep one layer empty. In this case, the default one extrude up to you to just use whatever you want them. You can call it zero or you can call it empty. Wherever you want to call it. I can keep it as default and then work and make new layers and in new layers. By the way, if one wanted say, to make a sub-layers and we'll call it new sub layer. Now you can see that I have a new sub-layers, will also see how we can use these ones. And when we have to use these ones, they drawn. Moving now to undo control Z. This is now activated. And now I want to draw a box. You can see here that this is the command. Like showing me, like what I just did. Showing me the steps that I was doing. This back up again. Alright, so now I want to draw a box. So they are different ways of drawing a box either. Now I know that I can click on this one to get a box. And also, while doing this, I want to show how Rhino makes it easy for you to understand, like what you need to do. If I hover over this, for example, it will show you a small mouse logo or shape with the left click button highlighted right. And then it says box corner to corner height, right? Sometimes you may have, let's say one function, let's say one command that includes more than two options, maybe the curve. So if honestly we draw a curve, you see if I click on the left mouse button, then I will get to control point curve. But if I click on the right most, then I will get a curve through points. So sometimes let's say one. Let's say function has different options based on what, what, which mouse button you have to click on. Also, if I click on this drop-down arrow, then have more options. I can draw a box or cylinder or sphere to turn. So these are primitives called primitives. And even like you're under the box, I can draw here, let's say box corner to corner or box diagonal or boxes points or bounding box. So this will say more details. So this is one way I can either click on this or I can type in the command line box how to do that. And you can see here, like before hitting space-bar or enter, Rhino is guessing or giving me options. What do I do? What do I want from it to do for me? So do I need the box or the box Edit? There's another function called box edit or maybe like SEL box for select box or sub D box or mixed muscle even function that includes whatever you typed, but it's not in the middle, but maybe in the end or in the middle of it. Then it will also show you those options as well. So it's kinda like helping you reach what you want to do, trying to guess what you want. So it's kind of helping you. You don't mean to say to really memorize by heart whatever you wanna do, just need to know what you want to do. Type it in here, and then you will get the options. I can also go to in let's see, Solid and box rights also, I can get it from here. Box corner, corner height. So I can either go from there or I can type it in here, or I can click on the box here and can get it. Or I can go to solid tools and I can click here on this one box. So there are many different ways of how we can do things. It's going to do the same thing, but in different places and different methods. Either retype it and you click on it. Now let's, let's just click on this one. Now, I am in the top viewport. Ok. And you can see my cursor, I did not do anything yet. And you can see now here I have here Message written in the command line. First corner of Base. Here we have the diagonal three-point vertical centers. These are the different types of boxes. Now if I double-click on any of these, now it needs from it requires me to click to determine where is the first corner of base of the box. You can see here when I move my cursor around here, you can see that's all. I can see it in the perspective view and the front view. Right view. I can see it over here, I'm here now. It will change the way it's working. You can see also when I move around, now, the top is highlighted in blue. Now the perspective in blue. So it's activating which one based on where my cursor is. Now sure, before clicking here, I wanted to show you how we can actually navigate. So if I can zoom in and out with the wheel, that's one way I can pan by clicking on the right mouse button. That's banning. I can do that. And we'll the wheel. If I click on the left mouse button, then I can sell. This is for Selection. So from left to right, it will select whatever is inside of this Selection square or rectangle. And if I click from right to left, then it will select whatever is hitting this one. And you can see that now it has these dashed boundary of the selection window right here. I can also pan with the right mouse button. And in the respective is the 3D view. If I click on the right most button, I can orbit like this. And if on a pan I have to click on Shift and click on the right mouse button to pan around in 3D. So that's for panning in 3D. And That's for orbiting. Orienting your view in 3D by clicking on the right mouse button. Alright, let's go back to the box again. I want to click on the box and you can see now how I'm going to use different Viewports while drawing it. So it requires me to click once to determine the first corner of Base when I click. And now I can see there's a polygons rectangle now being formed, but it's not yet determined, it's not yet finished. Now I have to click again other corner of base or length after click again. Now, I can click either here or in the, also the perspective. Now if I click here in the right view, or if I click on the front of you can see now here, the plane of the base is changing. So whenever in the front view, now the plane is like this. It's facing the front view, this one, or finding the right view, you can see now that was the plane, right? Now, usually speaking, normally speaking, I would do it like this, like starting with the base there and then make giving height. But also just to let you know that in case you want to make it box starting from the front view or from the right view, or from another view also that you want to set. Also we can do that. Anyway. Let's go back to this normal way. So other corner of base. Now I click here. Now for the height, you can see that if I move my without clicking yet, if I just move it above the, this point, I can see now in the 3D view, the perspective view, it's giving me a box with the height in this direction. If I move it below this point, now it's giving me a height and the other direction. Also can see what's going on in the front and the right view, right? So actually I would like to hear now before, without left clicking on the mouse, I can still orbit. While drawing the box. I can orbit around with the right button. I can also click on Shift and pan around while still drawing it with me before finishing the box. You can see I can orbit around and I can see how it's being modeled or exclude are designed. And the last step is, so here I can see now the height. I can click. And that's now I have a box that has this volume. Basically. You can see here that the box looks like a wireframe, right? Don't see like the surface of the box. That's because the view mode here is set to wireframe. I can change it. This, I can hear you this 12 shaded, and now I can see the box as a solid box, as you can see here. Now. There are also different ways of seeing things in Rhino. So I can click on this drop-down arrow from the perspective. I can now click on Rendered. And if this box has been assigned immaterial, which can also see later on. And it will also be given, we're gonna see it with that material If, for example, we choose ghosted, then surrealism as 3D shaded one. But we can now see the box becomes a see-through object. And this is, I find also really handy while working so that I can see things that are behind other things, or inside or the other things, etcetera. So this is really handy, Let's say View mode for working. There's an x-ray as well. Objects will look like this. We have technical. So basically whatever is, let's say edges that are behind other surfaces going to look like this and dotted form like that. So this, Let's say for technical drawing. People interested in architectural drawing or detailing or Product design, technical drawings, blueprints extra. This might be then useful for you. There's the artistic one. When I look like this, we have the pen. Odd. It looks like that with a nicely slightly thicker edge. And then we have the Arctic. This is one of the really interesting View Modes that have been introduced. I remember with Rhino six or seven, but not in five. And this one is really helpful to make quick diagrams. It gives us a nice shading. Not realistic though diagrammatic, not totally. Let's say abstract. So it's a nice volumetric. Let's say feel. If you've let say different shapes, different colors, and every slice diagram you can pull out from, from Rhino using this Arctic mode. You mode of the Raytraced as well. So this the silica live rendering would whenever as well, like I was just having assigned materials, then you can see that. And then this limit Raytraced is going to render live your viewport basically. Let's go back to maybe ghosted. You can see that when I was doing these changes, these genes were only applied to the perspective viewport because I was doing it from here. Right? So if I wanted to sit Apply the same mode, I will have also to go to the top view and then click on this case, ghosted, and then have to go here and have to go there as well. This might sound a bit kind of manual or time-consuming. There is a faster way of applying same view mode to all of the viewport. And it is by going to this small sphere. There's this drop-down arrow. And you have, let's say, different options. But some options actually, you can click on these options and they will apply one view mode to all of the Viewports. If let's say I right-click, I just hover over. Let's say this one, it looks like a wireframe and this is what it says. Wireframe viewport. If I click on the right, on the left mouse button, and if I click on the right mouse button, then it's going to set all viewport displays to wireframe. This let's say if I'm in top view, for example, if I click on this one with the left mouse button, it's going to On Only convert this one to wireframe only. But if I click with the right-click mouse button, is gonna convert all of them to wireframe. And now if unless I want to have all of them converted to ghosted, this is the ghost that it looks like, ghosted sphere. If I click on the right most button is going to set all viewport displays the ghost, it like that. So there's, let's say one-shot, one-click converts all of the Viewports to certain mode that you want to work with. Now, having seen these View Modes, and also we can see that the background slightly changes like so. If I go back to wireframe, you see that now it's like kind of like one grayish color, Warren gray color. If I go to shaded as like unflagging gradient, dark gray. Light gray. If I go to Arctic, is like white, right? So different backgrounds. And these settings you can access, these settings can change them by going either, let's say to display this, Let's say display that quickly changed. Now these ones, so let's say Amazon ghosted. I can change the background gradient two colors to let's say, a solid color. So the ghosted mode then it's going to have one solid color that could be, in this case white. You can change it, you can share it. Maybe to read. Just depends on what you want to, how your work, what is your workflow? You can change this, let's say two gradient, four colors as well. You can change this to different transparent image file if, let's say as a background to really depends on what you want to. Let's say do with it. And what do you prefer, what is your preference? And the workflow. Also, you can go to Tools, Options, and then we can go to View Display Modes. Click this one as well. And here I also change these settings from here. So I can go, let's say to, let's say now are those that second goto ghosted. You can see here, this is the setting that we changed. And you can see here as well that dryness also helping us understand which of these modes have been changed. So in this case, this one is like in blue because it's saying this one has been changed. If I bring this back to, Let's see, gradient to images like that. This is still, let's say not the default. Click on restore Defaults like that. And then now you've gone, okay. It brought these ones too, like this. So going back to Tools, Options and then go there, then I can change these ones, for example. Or I can click on this one, Edit acoustic settings. It's going to also take me to the same place where I was from tools, options. So also reaching the Settings from different places as well is what you can do actually in Rhino shaded as well, like this as well For changed Rendered as well. So we can see my shadows like these shadows were not turned. Let's say now on out there, they were now brought back to the standard Settings, etcetera, Arctic as well. So flat shading, cetera, all of these settings that I've reversed the change of up to you to change them or restore everything to default. So just, just depends on your workflow, what is your preference and what you prefer me know what you want to see as background colors, etcetera, dislike more comfortable for you. Now. That being said, we can always see the spread which that not yet talk about. This is the grid. It's called the grid, right? You can see it in all viewports. And we can also change this. We can either say change the size of the grid. We can also change, we can just remove it if you want to. I'm going out to hide this layer. Since this box layer inside of which have the box modeled excurrent, I cannot hide it. And you can see we have this thick saying that this is the current one, but I won't hide it. Now. Activity default one. And now I can click on this light bulb. And now this layer of what's always there. Now it's hidden, it's not now seen anymore. Alright. I will go to Tools, Options, and I will now up not the view but to Grid. And then this is where we can change how the grid looks like. So either we can change the grid line couch or from 17, this case as default, and go to 500, for example. Now it's like a bigger grid. Maybe I want to do that. Maybe aren't, let's say all of them. Most of the area on which I'm working to be covered by the grid as a background. Going back to Tools, Options, and then bring this back to seven years where it was. Now, I can even now here, turn the grid lines altogether off. By clicking on this one. You can see now we still have these red and green axis that are the Grid axis. I can also take these off as well. And so we'll just leave this one like that. So again, going back to the options, I can move this window just to show you. The last one. Is this one the World Axes icon. This health of Azuela like orient ourselves where, let's say rotating objects instead of the viewport. Especially when 3D. This might be helpful. Also, they get out if you want. I'm going to prefer to keep this on. Always. Depends. Now, when I'm working, if I want to keep the grid and good access on an average, just as personal preference as well based on workflow. But always you can go back to Tools, Options, and then Grid and it can affect these Settings. Alright? Now talking about the axis here, you can see that now have the X axis, that has the red color. We have the Y axis that has the green color. And we can actually also turn on the z-axis by going to the Display tab, this one going down. And we can click now on the z-axis like this. And now we can see this one. If you want to see it in blue, I will take it off. That's for you. But what I wanted to say here is that if you are, let's say in 3D and for some reason let's say, or orbited or rotate in a certain direction or location. Then these, when they are on, they will help you understand where you are by understanding their colors because red, green, blue for XYZ is also similar to the RGB Color convention. So RGB and XYZ are interchangeable. So this will help us understand as well where we are by just I'm coloring the x-axis and red and green and the Z in blue, right? So RGB XYZ for us to understand, even if we don't have, let's say the small one here. I can go to their for example, if I don't want to have this one there. But I understand without reading anything from the color is the X, Y, Z, RGB. Alright, I'm gonna now turn, take this off again. I will bring these options back to standard like that 4. Simple Box Precision Modeling & Navigation: Now we saw how we drew a quick box like this, right? But without precise measurements. What if we want to draw a box but with precise measurements? Alright, I'm gonna make a new layer and call it box two. Okay? And I will activate this layer now, actually autoimmune activity I want to wind drawing the box does to show you that you can activate the layer that you want to have box in while drawing. Although this might not work always, but just to tell you that this is possible. So for example, draw a box. But to be first instead of this box too. So while after having launched the command to draw the box, I can now double-click on this one. And so I now shifted the layer from default to Box2D to be the current layer before even, let's say, starting to draw. But while having launched the drawing of the box. Also before, let's say I'm drawing, I can orbit, move around, position myself where I want to be positioned. Zoom in and out for example, to be in an all, have some good view. And I can start drawing. Now. I can either click anywhere if the box doesn't have any specific location, or I can hear specify where the first point should be. So if I can click anywhere, I can start like this and then I can specify the length first. So I can say like this has a 100 mm. The units are in millimeters, right? 100 mm of length. Now, I did not click on Enter yet. I should now click on Enter to lock this. But before even doing that, you can see that now this has been locked with 100. I can still now change the 100s. I can go just click Backspace. I can type 50, right? So while doing it yet, before clicking on Enter, I can still change the value. So let's keep it back to 100. But now, once, now I click on Enter. Now I have locked this length. Now it's asking me for the width of the box, right? And I can either now click anywhere if it doesn't have a precise width, or I can now click maybe on 50. Let's get back 50 to specify that the width should be 50 or I'm not sure and I'm still did not click on Enter. I can I don't know, like type 100s again, just depends on what you want. I can still orbit around while doing it in the middle of the modelling of the box. Position myself. What I want to be positioned, where I would like to see what's going on. And I say, okay, now I am done and I like it and it should be 100. Okay, fine. I don't want to change my mind again. I will type now and I'll click on Enter. And now it needs, it requires prefer me to give the height, right? You can also, I can go to the other views. I can type the height. I can click anywhere if he does not precise or I can as well here now, type it here. So maybe I want it to be 50. And you can see now it locked it to 50. So this is now the preview of my final box, but it did not yet Make it because I have to click on Enter. Once now I click on Enter. Now my second box is done. And it's placed inside of the box to layer because we change this to the this layer while doing it, while modelling it. And yeah, so that's now how I modeled a precise box. Now, I said in the beginning that what if the very first point has a specific location? So I will make a new layer box three. I will activate this one. I will maybe also click this one and I will say, okay, my very first corner of the box is at the location 000 should be there like at the very center location. And I wonder now while dealing with owners like hide this first box and I want to add the second box. I don't miss any of the boxes. Now I'm Making new box inside of the layer box three, and this is highlighted because it's in bold and it has this ticked on, right? And instead of clicking anywhere, I will now write down the coordinates of the first point of the first corner of Base, which are in this case, if it's the center, is going to be zero comma zero, comma zero. Now you can see that the point has been locked there. Even if it changed my cursor, move it around. The point has been locked. I could have maybe given another point like another height like the Z, because this is X, Y, Z. So zero for the very first number is for the x-coordinate, the second one for the y-coordinate, and the third one for it's for the z-coordinate. Maybe I would have chosen, I don't know, maybe one comma, one, comma one, which means it's in the first X And the first why. And also in the Z starting they're not flat on the plane, working Plane not flat there. So it really depends on what you want to have, location or locate the first one. But now let's go back to 000, right? And I click Enter. And now I can now click on the second, let's say length right here. So I can click on 50, enter, 50, Enter, and 50 cube enter. Done, right? So this is how I can also start by a specific location in mind and I can specify it while doing it. And it will get a is going to give me the box like this, right? This is also a third way of, let's say, more than just putting in the same box. You can see that I'm just wondering the same type of geometry, but with different ways to show you that are three different ways. And now what I wanted to show you, now, even if, let's say you did the second box. So I'm going to go to the default one. I will turn off the first box and the third layer. So Box also maybe call this one box one. So just to have box 123. Now, imagine that the box two should be now at the corner of it should be at the center. How can we move it around? Also, there are different ways of moving things around in Rhino out here and there. I can either if I don't have any specific movement as social as I said, ragged around or move it around like that. I can click and drag like that. Or I can type here on move to step, move Enter, and then I can move it like that. Or I can click on this icon for move. Also the same thing. This is the command move. Or when I select it, I have to make sure that they have the Gumball on. If it's not on, I cannot see it. I have to have this Gumball third on. And now I can move it using the Gumball. This off of this function has been used with Rhino five. And it has been really great feature since then because it helps a lot with Modelling. And just like it gives us a heads up, you know, like a quick way of modelling, moving things around even let's say rotating and scaling on shrivel so soon that if you want to move it around along the x-axis, see these are the three arrows, X, Y, Z. Remember RGB, red, green, blue. This represents the movement only along the x-axis. I can either click on this and that you can see now it's locked along the x-axis. By the way, if I wanted to say drag it and I click on Shift. Now it's going to lock the movement along either, depending on the movement of the cursor, either vertically or horizontally. So in this case, either along the X axis or along the y-axis, or in the z-direction. If I am now in a 2D like in the other facing, viewports in the right or and the front one. Arrow up and down. Or in this case in around the X, or in this case lung the Y. Right? So that's without using the Gumball. So the shift will lock in the orthogonal function along one of the Axes. Or as I said before, I can click on this arrow. I have less silica precise movement along the x-axis, maybe on I move it, Let's say this one then Units like 10 mm Enter. So that's like a precise movement. Now I will move with maybe up in the z-direction by 100 units that I've moved the top by clicking and then giving the value, right? So that's how I can do it. I can now control Z to undo my movements again. And along the y-axis, z-axis like that. These small squares represent the planar. So let's say this. You see red and green. So this is the small square, red and green Grid. This says that it's going to move the object on or along the x-y plane. Now, even when I click on this, even if I click on Shift, it will not lock the orthogonal because now I'm telling it from the beginning that this should not be either in this direction or in this direction, but it should be in both directions, like in any direction along or along the x-y plane, right? The same thing. I can move this box along the YZ plane I xE plane economic, the right view. You can see that at the top view is not changing. Even if I move my cursor there should not gonna go. Move back and forth like they're along the x-axis. Because I said previously I just rocked it to be only at the X, Z plane. If I click on the right-click button, it will now cancel the movement. Also the same with the X Z plane. I can move it around along the XY plane by clicking on this. Now, these arrows are for the movements of the object. In this case it's the box. Are these arcs and these are for rotation. So for example, I want to rotate this box around the x-axis, right? Or along the Y axis. Just depends on what movement on a new. Now, when I do this, I do that, right? You can see that now my Gumball rotated. If I deselect that and select again, the Gumball goes back to the standard. But what if I wanted to Gumball to still be aligned with the object? I can go to the Gumball here, right-click and I can see here align to object. And now it has been aligned with the object to the box. And now for example, I want to rotate, I want to move now with this box along this position. Like that, maybe in this direction or I want to move it along this direction. Maybe like it's going to slanted wall of some sort of shape and I want to move it along that slant still, keep, maintain this position but along this direction than I can do this, right? Can relate this back to plan to see Plane. I will also undo the rotation. Now. I can also using the Gumball, scale, things around. I can either scale the box in the X direction or in the Y direction, or the z-direction. Now while clicking on these small squares and I click on Shift, it will then scale uniformly the object in all directions, uniformly speaking. And also one thing while moving things around using the Gumball, I can click on Alt. You can see this small plus sign, this white square with the black plus sign. This means that now it's going to make a copy for me while moving. Click on the Alt. Now Making new copy of the box. Alright. So this is how we can move and copy and scale using the Gumball. Now, if, let's say, I said previously, I want to, and let's say move this box to a certain precise location, let's say to the 000. Now it's not there and move it there on. I move this corner there. So the Gumball now may not. Let's say we're great for me because I cannot now choose this one. I will now move and space. And I will now click on this. Now can see this. And comma Int. These mean the snappings. These mean that my cursor now it's snapping to the endpoint of the box at best at this location or the intersection of these edges. You can see here that I have here the end on near point, on, the point on point center is off now. Intersection of object snap, perpendicular, tangent, quadrant, quadrant, naught, vertex of the polygon. Like a Mesh. I project objects, snaps on or off, ng-disabled. We're going to see these as well later on. But now if I want to move this one, I'll have to have the end on. I click and I have now the end locked to my cursor. And if I cannot let say, click on this because I don't have any object there. I can now actually. So point to move to. I cannot actually type in the location of the point. And since I know that this is at zero comma zero, comma zero, right? As we've seen previously with the box modelling it at zero comma zero, comma zero. I can see on my, so my location, my target location would be zero comma zero, comma zero, Enter. And now I moved the box to that location like this, right? So in this case, if one I'd say move one, coordinate of the box to shoot location. The Gumball doesn't work for me. I have to move to use the move. This one. They will not move, let's say this corner to the 000 Enter, right? So that's how it works. Now what if one I wanted to say now, move on to say have a kind of composition between the boxes. Let's say I will, let's say just scale this down with a shift. By the way, for this Kaling, there are different types of scales. So this is one way of scaling. But I can, if you type here on scale like this, we have scale which is uniform. So I can click on this one. I can, click, can see that it's going to grow in XYZ. That's the normal scale-like that. I'll click on escape. I can type again here scale, but 1d1d means is only in one direction. Along, let's say this direction. That's 1D. Or 2D. 2d means that's going to scale only in two directions without the third direction, two or three-dimensions. So I can click on this. It's going to scale the box like this. What's going to maintain the height of it? So it's like assuming uniform scale is like half a uniform scale, not totally uniform, but only in two directions, two-dimensions. Right? So that's the scale to D. Just for to know these are the basic operations in Rhino. Now as I said before, I want, Let's see now to make Africa small composition of these. Maybe I want to have, let's say to be, these, to be located at the corners of each other. I can click again, click on Move, type, move, our click on this one. And, and I will over to this corner and their outlook on this one also move this one from here to there, right? Or I want to say to move this one, the middle of this edge to the middle of this one. Just to make a bigger different structures to see if you are what's going on. So now I move, move again. Have to make sure that the mid point is on. Click on this mid. You can see, I can see the mid highlighted. And it's not, they're not end or perpendicular or section, but it should be the mid point there, right? And again the same for this one. I will click on Move made in the schema. Maybe it, let's put them together here. Made like that. I can select, I can scale this is going to maintain the midpoint of this edge like that, right? I can scale this. Now. If onesy scale this and this direction, I will lose this edge being there. So I will now type scale 1D. I will start from here. Click on this one and scale this direction. So this is maintained kind of like a stepping right in-between the boxes, for example. This could be like a composing, but I just want to, I'm doing this. Just show you different ways of changing things around, moving things around, scaling things around. In Rhino 5. File Types, Exporting, Importing: Now let's see what are done and you want to save our work. So I have now to go to File, Save As. And you can see that I can have here, can choose from the file formats, like a lot of formats, even from Rhino itself. Like I can now save it with Rhino seven or with previous versions of Rhino or 3D S, the EMF. So the lower floor of different ways in different types that you can say Save As five. Alternative, say exports one specific geometry. Let's say for example, I want to export this box for 3D printing, and I want to export this as an STL file format. So I can either now selected File Export Selected or I can click and I can type Export. And now I can say, say box STL. And I can hear Save As type with the STL format, for example, this could also be an option, or I can now, for example, import a file as well or another geometries by clicking on File Import. And then here you can see that you have all of these different file types that can import from instead of Rhino. And Rhino has been known from long time ago to be very versatile and accepting lot of different file formats. Even let's say Adobe Illustrator, where it was shown and also see later on the course how we can use Adobe Illustrator to help us in Rhino. So you can see all of these file formats that you can use to import files to run. Alright? And once having saved your file, you can see that instead of the folder where we have received it, you have this another file called also like with the same file name, but it has this extension 3D and be a K for Rhino file. Backup around a file has usually it has the file extension of 3D EM. And this gives us a 3D EM be a K for Rhino backup for trade. You know that not to be confused if you see this file while working, oh, what is this file? Where did come from? The Edit not work with it then don't do it. What happened? This is a backup file that Rhino generates automatically. Alright? And also one thing, while working with these boxes, the three boxes, you can see that although this box two is the current one, but since each of these books have been made, each one in different layer that these maintained the layers. If I click on this, now I have this box one. If I click on this box two, stays there. Click on this box three. You can see that now this Show Me like this object, what is its layer? If I de-select everything, it will show me now what is the current layer. And also I can see that from the properties. So if I click on this, I have box three layer. If I click on this box to layer, this one, box1 and all of these have the type of these is called Closed extrusions are all see soon. What does this mean? Going back to layers and will now activate the default there 6. Viewports, ToolbarReset, Navigation: Now I've also briefly talked about the viewport and set that we can still change these. So for example, I want, let's say the front view to be, I don't know. I can go to that and then I can change the other maybe back, not front. So the other way around me, the right, I wanted to be, click on this set view, maybe to bottom, not top. So the opposite of this one, for example, could be what I want to work with. And maybe let's say I want to close this, close this viewport and will only have, let's say this big perspective on this side, one on one side, and then these two to the viewports on one side. Maybe I want this, you know, like maybe you can change things around and maybe let's say you want to bring this back. You can either say go to viewport layout and click on this one. It brings back the original viewports. And if for some reason you have messed up your toolbars for some reason, right? You took things around dips in this way, Side worry cannot now finite anymore. Then you can now use an interesting command called to ToolbarReset. So let's now Type Tool Bar, reset. This one. This is now telling, telling us resending the toolbars will close all currently open to a bar files and open the default Rhino toolbar, be asked to restart trying now to complete the process, I will now say, okay, you must restart Rhino for the toolbars to finish resetting. Okay, I will now Save click Control, Save click Control S to save the file. And I will close it. I will go to the location where I've saved the file, and I will open it again. And now I have now the toolbar having been reset. Again, I can bring all of these Viewports back to the coast it as I was sending them by common, they're clicking on right-clicking on this one. And I've all of them to ghosted front, tried perspective and going back to the standard position. Now one thing regarding Navigation in 3D, Let's say if I now double-click on this, by the way, if I want now to get 4k only on one viewport, I can double-click on one of them like this double-click. I can always see that I have these ones open here. I can double-click again on this one. I bring all of the four 1s together. Thickness, right? I can double-click on the top one. Now I have only work only the top one, like the maximized one. I can double-click again on this one that I can go back to this Layout here I can also, let's say, add more if I wanted to. So for example, I can click on this plus sign. And here I can click on a new floating viewport, for example, not layout, because Layout, we're going to talk about Layouts teacher on. But let's say new floating viewport. This, this like a floating one. And I can show you this, let's say to go to set view with this work and change the viewport Camera position. And I can change this that say, to two-point perspective, for example. Like this. For example. I can close this one. I can click again on this one. And I can click on Split horizontal, like this. And now I have added one. Let's say if I had this one that's activated, if I close this one again, close viewport and enlarge this like there. And I click on this one, and I click on plus and split horizontally, it's going to split this one. So that's how I can add more viewports. Or I can also close this one as well. Enlarge this one and click on the front one. I can click on Split vertical. So to add now here, another one. Here. Let's see what like say Adding more viewports. This is a vector or workflow, depending on what are our needs while modelling something 3D and 2D simultaneously. And at anytime we can now fix it. I can change this one because I have to front views. I can change this, Let's say too, I don't know, maybe back view. At any point in time I can double-click on one of these ones to enlarge them. I can all see what I have already there, but this is the one that has been maximized or enlarged. I can change these ones. I can jump from between. These ones, speculate not these or double-clicking, and then choosing another one by clicking on it. So that's how I can Organize myself while working, sometimes zooming in on one, focusing on one area in certain the viewport, sometimes not. It depends. And if for example, I, let's say maximize the perspective view for example. And I am, let's say I wanted to say work. Let's say at that corner there, one eye orbit like this corner is not somehow less is centered to my view. Like when I orbit, like it looks like maybe like something around this area is like the center of my orbit, but not that coronary. I want to zoom in with the wheel. Now I'm zooming in with the wheel. And I want to move around like this, not let's say centered to my work, right? I can click on Z for zoom space and I can just let say here it says drag him window to Zoom like this. Now when I orbit around, you see now this has been now unfocused. When I orbit around. This area has now in-focus and I can now easily and comfortably go around with the shift or with the right-click, just orbit around like this. Comfortably. Wireless only there maybe, let's say, I don't know, I want to build a line between say, on this one, this edge to that, that's for example, it could be and then space to finish that line. And I wanted to say Make something like, I want to see this also soon like on an extrude the surface like this. For some reason I want to make a corner of some sort. For example. That's how I can do it. Or on other thing to do is I can also do zoom, zoom selected. So for example, a lot of times I would like just the point, quick point like this. And I would selected the point. You see, when I select it, I get two options. Why? Because this is sitting on the boxes edge. And since I'm clicking on the point Rhino's thing, because you want me to select for you the point or the box itself. This also like an interesting thing to know that sometimes you wanted to say to select the box edge or the box itself, sometimes the point. And so sometimes when it's kind of confused and they're going to ask you this question. I don't want to say select point and then I will say now we either Z for zoom selected. I can, again, I can select it and zoom. Well actually it's not, It's Show Selected, but the Zoom S, the set S, If I click on it, it's not. So there's no Zoom selected as like a full word was Z for zoom selected. And now I can zoom only on this selection. I can now orbit around it if I wanted to say to 3D now, zoom more on this specific local area to work on. One. And this one's gonna show you later on how we can work with these extrusions and more advanced modelling. Let's say we have like we have another object that is really far away from these boxes. I'm gonna make it now a new layer called box for all. Activate it. And I will build a box, let's say right there, QuickBooks, right? And let's say we're working here. And I know that I have something that is missing, I cannot find it anymore. And it's not in my view. And when I orbit around your neck and I cannot see it. If I zoom in and out like this, not too much. I'm confused. Then I can click on the zed E for zoom extents. And then it's going to show me everything in there. When doing that. It's good to also show everything. So I have to, because sometimes let's say for an object might be hidden. So maybe let's say this box for some reason I have hidden it previously. I can click on this left click to hide it. And when I now click on Z, extents is going to zoom in only on the things, on the objects that are shown. If I want to show everything, I want to zoom to everything I have now to show everything's have now to click on this show objects. So here I have this message showing one hidden object. You see that now I got this message that saying, Hey, actually there was something hidden and now it's being shown. But I cannot find that if I don't zoom enough, I can now click on Z. I can type set E space, and now show me everything. Again. Really important. Sometimes you might have hidden something for some reason. You don't want to let say C, then you can do that. So it's coming from this light bulb. Does drop-down arrow. Here we have the hide show objects, show selected objects. You have the isolate objects. For example, I can Click on this and I can click on this, so I can show this and hide everything else, right? I can do that as well. There are many other viewing, let's say Options and this also, let's say for logging, objects are unlocking. Let's say I want to lock something that only the sea change anything about it so I can lock it. I can guarantee that's going to be changed or moved or scale or I forget. But anyway, once having worked with this box after isolating it and I'm fine, is satisfied. Then I can click again on show everything and E. Then alkynes everything. Also while having all the layers on, because sometimes let's add the layer off. So even if I show everything, show everything. So no objects are hidden, but this layer is hidden, right? So although the box instead of this is not shown, it's telling me but nobody scores anyway, right? With what? With all of the layers that are shown with their light bulbs on, right? So if you want, let's say to know about everything, like all the layers on F, to turn all the layers on all of them in your file and then show all objects. And then you can zoom extents to show wherever you have maybe lecture of something that is has been moved accidentally like too far away from the working area, for example, by accident. And that's how you can just take to recover your objects to find them. So I'm going to delete this one. I will click on this box now I want to delete this layer, okay? One thing as well to be aware of. That's good practice that I always follow. And It's something that you might not let say always think of. But it might save a lot of time. Sometimes I have, let's see here, like box 123, maybe I have, let's say object X. And then I have here object. Why? For example, right? And sometimes that's see, you want to double-click on this default activated and then you want to hide everything except for object two. I, for example, like what part of the workflow you want to do this. Then you might say by accident, click on this now and I had, have this now. Usually this column Sort is activated. When you click on this small hammer, the tools, you have this thick on. What happens is that if you have this on and you want to double-click on this, and by accident you don't click on this, but you click on this. Now you are sorting the layer by name like this. So they would be the, right. But you might not want to have this. You might not want the sorting to happen because you may, let's say have already organized the default is the first one. And then box 123, or like this. And you have the object X and then object Y like this, and you click on this, then you mess up the order of the layers. And so in this case, in order to avoid this, you can just click on the tool on the summer and then deactivate column sorts. Okay, Now when I click on this, I'm now clicking. It will not resort anything. Imagine now having, let's say tens, more than ten layers and then by accident then re-sort them. And you have already, let's say, organize your layers in terms of, let's say object importance. Like like it's the top of something than the bottom then decides or the walls of something or ambulate, a table top and the table legs and stuff. These layers are not lyse following strictly an alphabetical order, but there are following your workflow or their phone, your project importance in terms of elements. And so just having this off, we'll save a lot of time because if, let's say you're resort accidentally like tens, more than ten or 20 layers, it will become like a time consuming to read sort them again, the order that you want them to be sorted in. So that's just a quick tip as well. Keep this off. I'm going to zoom in here. I'm gonna actually say E to them on extents. I will delete my X. As you can see, I can move things around like these arrows, right? So box 123, I'm satisfied with this order, and I'm going to save this. And you can see here it says file successfully saved as one. That's the negation, basic operations, etcetera. Also, you get this message that you are, your file has been saved. Alright? 7. Curves Types & Degrees: Now let's look at how we can build geometry. That is Geometry Types. And let's start with the most simple form of geometry, which is a point. Now to make your a new layer called zero point or points. And then I'm going to activate it. And here we have from this sidebar, this single-point. Second. Now here, add a single point, or I can click on this drop-down arrow. And I can add also, say in the 3D view multiple points, right? That's how we can add points. I'm going to make a new layer and call it Lines. And here I'm going to add inside of this there now. So if I, if I click now one time with the right most button, and I will get only one line segments. If I right click, click, click, click, like that. If I click on the left mouse button. Both of these, this is a polyline, while this is one line, single lines basically, although I have made several ones. But as you have seen here, if I click on the right mouse button, then I will get single line segments that are connected. Now I can connect them if I wanted to, I can select them like this and I can type Join space. Now, I got this message from here, three curves joined into one opened curve. You can see that Rhino's calling these as curves and not Lines because Lines or a street curves, right? Rhino like lines are considered as curves. There's no, let's say like Line type, but it's like there's a curve type and there is a surface type. I can click. And I have this open Curve selected, which is an open polyline similar to this one as well. If I go to the properties and I click on these, I have opened curve. And we did there as well as this one, open curve as well, right? So that's how we can build, let's say either connected or disconnected Lines also have many more functions. And now one thing regarding what this is Lines. One thing regarding curves now is that we are also here, have also More Options. And we're going to talk now about the Degrees of the curves. I'm going first to make a new year called curves, the very beginning and will activate it. I'm going to expand my perspective view by double-clicking on this one. And then here when I hover over this, also here two options, either clicking on the left mouse button to get a control point curve, or the right mouse button to get a curve through points. Now let's see what the difference between these. Or if I click on the left most button to get the control point curve. I'm going to be asked here about the degree of the curve. If it's a SubD the friendliest or no and if it's persistent, Closed No or Yes. Now, regarding the sub D friendly because sub D is a new object type introduced in Rhino seven. That is a new type. That's why we have many functions writer that also may include some functionalities that would relate to sub D. That's where we have the ears. I'm going to talk about sub D as intro, what sub D during this course, later on. But this course is not focused on sub D alone. There's another course I'm giving that is more focused, unsub the operations of the trucks and advanced Modeling with SubD D. But this course, just, the purpose of this course is to get you on Rhino, give you a heads-up. And Philip comfortable using Rhino and understanding how to do it and all of the main functionalities, but not focused on either a sub D and not focused on Meshes, or not focused on parametric design. But just, let's say for very beginners anyway. So just to let you know that this functions, if let's say you are using a, an older version of Rhino, then you may not see this. Okay? So for degree now, if I keep it as three now without changing it, That's by default, I get a degree of three. Start to click now. So start off curve. And I click Next point you see now get an x-point message. Then also having next month or Enter, press Enter. When done. Like that, you can see that the curve is being affected by these control points. Right? Over, over, over the first starting point. I will get this preview of how the curve would look like. I could actually keep going. Right? Again, still get this preview for I want to hover over this one. Now, I can either click anywhere to keep it open, or I can click on this point to close it, to have this closed Curve. Or I can type C to close it. If I type in C, C and I type enter it, joined it and then close it and then it's done. It finishes the operation. Now have this curve, one I selected. I can see the control points. And I can also select them and move them around to affect the curve shape. Like this. I can also change these in 3D if I wanted to. So the right field, for example, I can now move it down. I can see it how hero it's going against also in 3D here. It looks like I can check, check this one then often move it down or maybe move it up. Let's say I don't know. I have this result. Now. What are Degrees and what do they mean in terms of constructing curves? If I now make a new layer and call it curve one degree, Enter. And I will now activate this one. Go back to the perspective view. Or actually let's go to the top view. Here. If I launch a control point curve again, and I say I want a degree of one, Enter and I start drawing. You can see that now it doesn't have any curvature. And I want to click and finished. Now I close it. So you can see that now this looks exactly like the polyline that we would just like in through here. And this one because the degree is equal to one. So it doesn't have any curvature. If I make a new curve with two degrees. And I will now also activate this one. And again, I'll launch this one. And I'll change the degree to, to enter. And again, let's start from there. Click, click some N while clicking with the wheel. You can see that now we have curvature. That's being affected by the control points. Click, click, click. And now to kind of like try to make things look for color, to make things easier for me to understand. Maybe I'll just change the curve one degree Layer Color to, let's say red. And I will change the color of the curve to Degrees to orange. I will also make an out a new layer Curve three degrees to see the difference activators and also give it now a color of now, I wouldn't I would try to avoid using the color yellow because yellow usually is the color of the selected objects. So I might sometimes get confused. If I get a yellow color to some objects, might get confused as to think, Oh, are these now being selected? So that's why I'm avoid using this color. I'm now going to use the shatters green color. When I select any color, any object, I'll get this yellow highlight. That's why I avoid using the yellow color. Again, I'll click on this with the left button. I will start with this point there. I'm using actually the curve one degree as the guide to construct the curves. Click. Click. You can see that now the curve is not that, say strongly pulled towards the points. I'm sorry, this is the Greek, sorry, this was the grid too. I want to have to change the degree three. Degree two again, I'll have to redo it. So just click on Escape. And I will click again here will change the v23 not to enter. Click and click. Okay. Now can see the bigger difference. Click. You can see that now the curve is being, as I said, not pulled towards the points as much as the previous one, the orange one, click and click and the last clicked, close it off. If I make now a new layer curve for Degrees. And also give this a new color, maybe the cyan liquid, the left mouse button click on this one. Click, sorry, I did not change the 3D. Again. Change the grid to four with a space bar or with the Enter to change it. Click first, second, third, fourth, fifth, sixth, seventh, and close. And you can see now the difference is now really apparent. All of these curves have the exact control points, positions. If I select this one or if I select this one. This one, also, by the way, with previous versions of Rhino, when you select a curve, you will not see the control points automatically. This is starting from Rhino six. You have to, if you don't see them, you have to select the curve itself and then you have to click on this, show object control points. You click on this and then you are being shown. Now, when I click on this, I just clicked on this one. Doesn't show me any difference because I already have them shown. Right. So that's what I mean. It's kind of, I'm not logical to say like show object control points while these are being shown. And that's to say that history of this is that this started or it was existing instead of Rhino before the function, before the, this option that when you select a curve, you're going to see them on, alright? If I click on this, I won't see anything. But this is also handy when, let's say want to show Ctrl points of surfaces and other objects are geometries, then you're gonna see them because Surface Duo on your other gonna see in the control points automatically. But here with Rhino starting from Rhino six, when you select a curve, we want to see the control points that are automatically. And then it gets, the main goal here is to show you the difference between Degrees. If it's one, it will not be given any curve. If it's two more Curve, Three more, Curve four More, etcetera. When you go up with the degrees, then you have the pulling force towards the control points is less and less and less. Now, usually speaking, in Rhino, normally we would work with curves of the use of three. I'm not two, not four usually, but of course you can change the Based on your needs, on your project requirements. If you have a requirement for the Curve degree to be as specific number, you can do that. But usually speaking, we can use the degree of three as the standard Curve degree. Now, we have seen here how we can build these curves based on control points. So the control points curves. Now whatever the curve through points. If I now make a new layer and call it curve through. Now I'm making all of these layers because I could have also made these like one layer. But just free understand, even later on, let's say when you want to open your file and check it out. And maybe you remember something I explained the course so that everything is kind of like saved in steps in here and in Layer form so that you can check, oh, Rebuild the curve one degree in this layer, you can see it, you can check it out. It's well-explained here, well-laid out. With these steps. I'm going to also give this a, another color, maybe blue. And also by the way, these colors, when you click on the, when you click on this square to give the color. Also you can give, let's say colors with transparency are also this transparency feature started with Rhino six or seven. I'm not really sure which one, but anyway, it is a recent addition to Rhino. With Rhino five and previous versions, this color option was not present. And with Rhino eight, we're going to also have gradient coloring. So these things tweaking of graphics is really helpful to help us while designing things to just, you know, just more flexible and better. Let's keep this to blue. And now I will right-click on this to get a curve through points. Right-click our Start. Here. Select points to build curve through. Here. I have to have already like points that are, that have been already placed there. I'm going to activity Points layer. And I will actually now here build multiple points based on the first one degree. Click, click, click. Just put these points there. And then I'll go back to the curve through Points. And I will right-click on this one. Click on this point. Here. Select wants to build curve through points. This order Enter. And now I have this, now I can, for example, let's say close yes or no. Alright, so that's one way and degree of three. So in case we want it to, the curve to like certainly pass through the points, then we can do that And enter. That's one way. Now, there's also a third way which is interpellate curve, which is sometimes like I will, I often use this one curve until interpellate points. This one with the left mouse button. I'm going to hear make this layer called Curve interpellate like that and enter and will also change the color to purple. Here I'll click on this drop-down arrow, and we'll click on the left button. Here. We don't need to have any points. So Start click with the degree of three. Click, click, click, and click to finish it. And you can see also there is a really slight difference between this one and the curve through points. I prefer personally to use the curve interpolates. So it's interpolates a curve through Points instead of the curve two points. And then this one you'd like, you need to also already have points in there while this one you don't. And you can see like when you select this one, it has its own new control points. Because they control points always are therefore curves that are, let's say, not along the, along the points themselves. While building a device n-tuple it like a 1D curve strictly to pass through these points. And it's going to do it. But actually speaking, this curve has contributed a lot there. But outside the curve itself, where these dictate the shape of the curve based on degree that has been chosen. Okay? So that's how we can understand the Degrees of curves, how we can build these main Curve Types. People prefer to use sometimes control point Curve or interpellate ContraPoints like it will give you more fluidity like more, let's say curvature control. And it's always, let's say, good to use less points there other than more points so that you can control the curvature. Or you can use, let's say, the interpellate points curve, which is to make sure that the curve will pass strictly through some specific points that you set, or some specific location or by any objects, locations that you want. Of course, there are many more Curve functions. We're going to also check some of these later on. Not all of them. Alright? So that's basically about curves and Degrees and how we can understand the degree of curves in Rhino. Now what if I have previously drawn a curve and it's not close on a close it. How can I do that? If I make a curve again like Curve open, and I select, I activate this one and I give it magenta color. Draw it here, and just draw a curve like that. I finished it like this without closing it. Then I can close it by just typing, like selecting it and then typing here close curves ERV, and then close it. Now it added a segment trying to close it. And that's where we need to be careful that when you want to close a curve in Rhino, it will add a small add a segment between the starting point and the last point. And that's where I have to be careful here. So usually this would happen. Let's say, if you ever say curve that has the point really close to the end but not closed yet. If I click on this and I go to the properties you can see that have now an open curve. Alternatively speaking, I can actually start, continue building the curves. I can click again on this one. Have to have this end or not. There to click. And you see I have the degree of four and I've actually started this with force. It's fine. Maybe like this. And I finished. Now I can now click on this and it can click on this control point that can change it based on the curvature that I want. And once being satisfied with the curvature, maybe on it like this, maybe I want to change this there. Then I can select this one and Shift-click on the other one. And we'll type now Join. Now I have close this, so two curves joined into one Closed Curves. When I click on this and go to Properties, I have this closed curve and I can still no effect the control points wanted to, to just also just the curvature. Okay? So that's how we can let say, close a curve. If it was open previously and make sure be careful when you close the curve with the Rhino Closed curve. They're going to close it with the segment anodic curve 8. Surfaces & Polysurfaces 1 - Rebuilding Surfaces: Now what about surfaces? Let's look at the surfaces. Now a new layer called Surface. And I will also activate this one. Here. We have different ways of drawing surface. So I can either here like click on this drop-down arrow and accurate, we have this surface from three or four corner points. I can click, click, click, click. And I have the surface. I will change the view to shaded. And also maybe change all of these two 3D. Just look at the 3D one. It's also wireframes. I'll go to the, this one actually going to go to all ghosted. Alright, so this is the surface. Okay. I can make a, well I can also intro, let's say like surface like this, like a corner to corner for example. Like that. I can also draw a surface like this. So three points like that. I can also make a surface out of curves. So if I curves for surfaces like this, and I will now build the degree of three. A curve like this. This curve should be, this curve should have two conditions. It should be closed and flat in order for me to convert this to a surface. Now I can hear type planar. That's RF planar surface, which means that there's going to use this curve to make a surface inside of this curve, and then I have this surface. Okay? That's how I can make a surface. Now. These are surfaces. And when I click on this, so this all the Trim surface because it's made out of a curve. This is a surface. What if I want to make now a solid? So again, new layer solids or poly surfaces, because technically speaking these are called Polysurfaces. If I make a box there, as we've seen previously, that's a Polysurface. Although it's called here the type Closed extrusion. But this is a solid made out of six surfaces. If I click on this end, I click on this explode. But now I have these made out into surfaces. If I select all of them, I have six Surface Edit to Selection. Or here type six surfaces. And I typed Join, the same one that I used for the curve and Enter. Then it joined this one at the close solid. You can see now, instead of the Closed extrusion now it's saying this is a closed solid Polysurface. Technically speaking, this is a Polysurface and this is a Closed Polysurface because it doesn't have any open, let's say surface of this, of this shape. What I can do if to make it open is either I could, for example, upload it. And I will just, let's say, select these without the top one and Join again. Now this is an open Polysurface. I can click on this and move it up just to show you this is now an open box or open Polysurface. That's a surface. Right? So this is the, how these are called. Right? So that's the difference. So these are surfaces. We can make surfaces out of curves. We can make sense of out of curves in different ways, like with new functions they are going to show you all soon Bye lofting as you begin cetera. And says technique speaking, what is a open Polysurface? And I can now, I'm going to copy this by clicking on this arrow and then click on Alt. Now I get this plus icon. And now I will type Cap to cap this one and then convert this into a closed surface polish Solid Polysurface. This is an open one, this is close to one. Going back to the layers Solids or Polysurfaces. Okay? So this is a quick also intro to understand the difference between these. Now how can we change or edit surfaces now similar to the curves? Remember when we like selected this curve and we started to change the control points, right? Like this. Let's see what happens if we do it. Let's say with this Surface. First, these ones, and then I'm gonna show you what this, how to work with this one. If I click on this, since this is a surface, we're going to get the control points automatically. So we have now to click on this. Now I can see the control points. I can now select, let's say one point. I can move it up and down. Let's see, move it in the x-y direction. So now we're changing how the surface looks like, like this, right? But I cannot let say now change in internal area of the surface. And that's because the surface is not yet Rebuild to with more control points. In order to do that, we need to rebuild it. So if I click on this for example, and let's write them now to rebuild this one, Rebuild space. And here you can see now the preview of the Rebuild. Let's look at what the cerebral Surface window, what does it mean of the point count? We have the UV and the UV are similar with the XY. Basically, these are the local X and Y directions of this surface or the domain of the surface. We have the degree as well along the U and V. We have also the options like needed input or if want to keep the input, current layer, etcetera, read Trim or not. Now I'm going to look at more of these options, but just mainly at these ones. Now it's saying that this surface has two points and two points along the U and V. Suggesting for us now to rebuild it with ten points. Notice before going to attend point at the strike five points, five like this and click on preview. And now it's going to now show us the newly to be rebuilt Points On the, on the surface without affecting the surface. So when it will rebuild the surface, we don't change the surface how it looks like. We're just now changing the structure of it, like the core of it, but without changing it itself. Once we rebuild it, now we can now after that, choose the point, select the point and then we can move them around to change the shape of the surface. But after a while rebuilding it and after rebuilding the surface itself, it will not change. The surface is gonna look exactly the same. But with more cultural bonds. In this case, you will have more portable Modes. Sometimes you want to rebuild it with, let's say, less control points, maybe let's see. Here we have, let's say 100 and hundred and you want to make it, let's say 2020. So you can also like Rebuild that with less control points, right? So it's not always increase the Corresponds, but can you go, you can also decrease the control points. The degree here is, I just think now it's currently 1.1. You can suggesting us to use it as three or three. Okay, That's fine. It input, it's fine. Okay, Now we're going to click Okay. And now I see nothing because nothing changed, I just rebuild it. Now, if I click on cultural and show points, now you can have more points. Not only for points, but I have no more ContraPoints that I can now select and move up and down. Select equal to moles again. I can still also move back and change the shape of it that can affect how it looks like. Then also I can move this one is ones here up and down itself and entertain them as well. So that's how we can Rebuild, shape a surface. And then after rebuilding it, we can then affect the control points accordingly. Okay? Now these surfaces because and I'm going to click on Escape, Escape to now, go out of it. Since these surfaces were built with these functions, right? I only have this as a starting point shape, right? But this one, this second one, because I made this as a planar surface from the curve, right? There are different ways, either, let's say I want to change the shape itself. I can, I'm going to now copy it. Copies. I can either type Copy and click and drag the curve. And with a Shift to keep the ortho snap on and space. Or I can, I'm going to undo here, I'm going to click on the curve again. Click on this arrow Within Alt. And then here I get the plus sign and then now I'm going to release, right, so that I made a copy. I can now here change the points. If I have before making the planar surface, if I have the record history on, let's do it now like this. This is now activated. And I change the points, right like that. And I click on this and I'm going to just activate this one curves for surfaces. And I will type Planar Surface enter, right? This one. If I now change the curve that was building the surface. Sorry, before that. Before that, because this was not on record. History on click Planar Surface Enter. Now this is went off. If I click on the curve and change it, you see that now the surfaces following it is very important to have the recorded history on before planar surface. I can see that after having made the surface, this went off. But this is now keeping the surface following the curve. If I move with the surface away, they're going to say dragging broke history on one object. I can either say now here, OK, or Cancel. To undo this move, I can look on the curve and I can move now with a point like this. If I move it up and down, it will maintain the surface because it's kind of like projecting it flat. But you can see now here, when I do this, I lost control. So here actually you see here, history Failed to update one object because I did that, although I did not get the message. So be careful with that. Will undo control Z, undo, undo, undo, undo, undo again. So here before moving it down for click on the curve again and move the points only along the X, Y. So that's bringing this back to the history. If I move, again, if I move the Surface, Go away from it, is going to break it, cancel. And if I now, let's say, want to scale it. If I scale, Let's say this one is going to also break it, right? So that's why I like this. Record, this kind of like a limited function. There is a more advanced and more, let's say, developed way of doing this based on the curve always to be kept. And that's by using Grasshopper, which going to also see during this course at the end of the course as an intro to Grasshopper that you get all of the steps are saved there. And it's something called the parametric definition. And even if, let's say you move the surface away, like the curve is going to be kept, etc. budget is for you to know that the coordinate recorded. So we'll just kinda help you out doing that. Now. Even if I have this curve and I can change the shape of the curve, right? To have the Surface always following it. I still need to rebuild this curve to add more points. If I wanted to make it more complex. If I select the surface and I say Rebuild, and I want to let say now add maybe ten points. Ten points, keep the degree at three. Rebuild command, history on one object, that's fine. I don't want to always be kept following it. But just for now I click on the surface and I click on Control Points On. You can see that here. Remember before when we talked about this one and we said that this is a trimmed surface because it's made out of fake Curve. Now when we turn the control points on, we see that like basically this surface, the base, the untrimmed nature of it is actually a square that is in which, inside of which surface is located. This, these are, on the other hand, these surfaces are surfaces or untrimmed surface also in other words, because there's no, let's say like another bigger surface that are, that these are inscribed in. And because these have their own local UV that this doesn't have, and the UV, like the local x-y of this surface, is based on this untrue nature of it, which starts from there and not anywhere there like any surface and Rhino, technically speaking, has It's corner point and me it has four corner points in general, right? And it has UV directions. If it looks like this does not mean that it doesn't have those. And that's why when you, when you select one of the shapes, surfaces that look like this, that don't have any corners. It doesn't mean that they don't have corners, but they do and Rhino understand that they do. And it's telling you, hey, it's actually trimmed surface. It's not an untrimmed like it's not the original one, but there's a bigger kind of like the boundaries that is surrounding it. That techniques speaking includes the UV directions and the main bounds of it basically. So again, going back to the surface, why do we rebuild it? Now I can click on the points and I can affect it locally. I can still move these ones there. And I can one down. I can move this one up, right? So that's how I can now affect the surface. This by rebuilding and then affecting and just Editing, playing with the control points 9. Surfaces & Polysurfaces 2 - Inserting Knots and Rebuild: Another way of editing is surface would be to locally insert more detail, more resolution instead of rebuilding the whole surface. So let's extend. I'm going to now copy, make sure that I am in this layer exactly. I'm gonna copy this one. Drag it. There are new copy of it, and show you what would happen if we don't do anything yet to the surface? If I select it and I want to insert, not like that. And here it's giving us the options to add. More Knots belong. In this case now, starting with the U direction, direction you. And let's say I want to only affect this area, not the other areas. So I want to now add more knots there. But that, and I will now click on Toggle, to toggle the direction. Then add here more or not, you can see that the lines, these nodes have been added to the surface. And I still have like these lines. They're not only there because it's adding along the whole you and the whole V domain. That's why it's just who are forced to have this anyway. It's concepts the only add one point and that's it. If there's any point, should have a UV coordinates, let's say within this surface. Now, if I turn on the points and I wonder now let's say select these ones. Now, if I select from here to there, I will select the surface itself. I'll move the surface itself. That's not what I want to do. By the way, if sometimes you want to really make a selection within the surface and like this, only select these two ones, for example. And do this. When I do that, I cannot select them easily because they are inside of the surface. Then I can change the view mode to wireframe. And now I can select these within the surface, inside of the surface, without selecting the surface itself from left to right, I forgot to do it from right to left. I'm going a second surface itself as well. Okay, so from left to right, then I can read Selection and then I can move these ones up and down. Let's say I don't know, maybe like this. And you can see that now they look a bit kinky like this, like boxy and not fluid, not in a curvy way like that. That's because when we started doing that, the surface itself was not to a second or more degree, but it was two, the first degree. And we'll explain more. If I make Copy again of this Copy and I move it there. If we want to just check out the degree of this by typing Rebuild is going to tell us that now the degree of the surface is set to 1.1, the degree, the point count, the degree. I want, I need to make the degree two or higher in order to, whenever I change the control points that the have a curvature and not something that is, that it has this sharp edge. So if I just say, I want three degrees, three degrees along the U and V is going to say, okay, it works against for me to add four points. And foremost, along the U and V. I will say, okay, let's just rebuilding the surface to have with third-degree. Then I can add now, insert again not. So insert not. I will click on this and now I can look, now we'll add Inserting Knots and the V direction. Let's thing we indivi direction only that area and then I will toggle and along the U direction. And I'll click on space. And I would add these new knots. Now when I turn, I select it and I turn on the points. And I move, let's say some points, like maybe these ones. You see, because I'm orbiting like this and it's not like centered to my window. I can, while doing it like while selecting these types Z to zoom selected. Now these are centered to my navigation, to my View. And now I can move these ones like this. I want let say move these ones up but I cannot, if I select them, is going to select this surface. I'm going to go to wireframe, will select only these ones. Go back to ghosted. And let's move these ones up like that, for example, right? So I'm affecting locally the surface at that area without adding more resolution at the other areas of the surface. However, I am, we have to add these more UV, let's say curves inside of the surface. And then these will define the points. And then we have now this thing happening. We can now change the surface accordingly. I can say select all of these again, move these ones like that to kind of Stretch the corner of the curve. Like that's really depends on what you want to do with it. Well, that's just, let's say different between this end, rebuilding the whole surface altogether and adding a lot of resolution everywhere instead of only, let's say Adding just local resolution and then play with that and work with that. So that's another way of editing surfaces. 10. Surfaces & Polysurfaces 3 - CageEdit for Polysurfaces: Now what if I want to edit a Polysurface or a solid? How can I do that? Let's check out the box that we just made their first with this one. Then you can see how we can make a quick Solid from these surfaces and also try to see how we can change that. So I'm going to click on this. I want to activate this one again. If I click on the show object control points, I doesn't work, cannot turn on points for Polysurfaces. That's what I'm going to get the message there. It didn't give me any window. This error doesn't work, but I got this message there. So again, this is really important area to keep in mind. Always keep your eyes on. If something doesn't happen. Just have a look there and see what is the message that you get there. So why is that? Because this function is, can be applied to either curves or surfaces only, but not to solids, not to Polysurfaces. Now, if, let's say I want to, let's say, affect only one side of it. I can just let's say exploded. I can select the surface now. It's surface not the Polysurface. This side. I can add points on. I can see that only have, let's say four points. I will rebuild this surface as we saw previously. Degree of three at least to make it thicker V, the change is curvy and then I will add maybe 8.8 months. Okay. I will click on that as just to make this centered and then I'll turn it control points on again. I will click on that. These points, then we'll move them out. We'll click on this and move it in. Just if I'm, if this is what I want to do, then I can do this. I can explore it, and I can change the one of the surface. That's good. That's one option. Right? Now I can select them all again, and then I can type on Join, click on Join. And now I have these as back to Polysurface. Now if I click on this, again, it will not work. Even though this has been changed, right? With the control points, actually. But I cannot change that. I have to again exploded, click on this during the control points on and then just continue Editing. That's one way. But what if I have, let's say like a global change applied to the box. So I'm going to make a new box as well. And I want to change the whole shape of it like I want to have just the whole shape, then I can do something called Cage Edit. And that's by going to transform Cage Editing and Cage Edit. Here. I'm going to get here this measure saying select control object. Usually speaking, we can use the bounding box. Of course you can use reliant or rectangle for, let's say flat geometries. I'm going to click on this. And then I'm going to now on space. And I'm gonna click on it, say here I'm going to add more control points. So instead of four, maybe eight Enter. And I'm going to click on the Y point count also eight Enter. And then the Z point count eight Enter degree is three X, Y, Z degree, that's fine of three. And enter again. Region to edit Global, going to keep it like this global for now, enter. And now I have these points that are actually formed by a cage around the box. Now, I can, for example, I'll select these ones and I can move like this. You see that now I'm affecting the whole box. I can go to front view. And I can do this. I can actually see everything in front of me and all the Viewports. And I can do this, that, right. I can select these and I can go to the top view and I can, for example, here, scale inwards. So let's see what happens in 3D there. If I do this, is going to do that, right? So I'm now affecting the box with the Cage Edit and you can click to select it. If I move it. Here is going to move the box as well. If I click on the box and move it, now again, I'm moving the box away from the Cage and then telling me drag and release one object from its cage. So if I do that, then I'm not going to anymore use the same Cage, have to make either new Cage or I will just have to undo it. Just depends on what you want to do with it, right? So Cage control and then control points of the gauge. And then now I can maybe use this as wireframe just to select everything. And then I will select maybe these which are there and move them like that. Right? So it really depends on what you want to do with it. What if now want to apply this but not to a box, but maybe like to a shape that is more closer to these shapes. Activate this one. And I'm going now to make a copy there with the alt. Right? Then I want to give this a thickness, for example, like this. I can either the different ways. I could either click on the arrow and click now on control and keep it. Have this thickness extrusion. Or I can click on this small ball there to extrude it. Or I can type extrude surface, extrude Surface. And I can extrude it different ways of doing that. So now I have this Closed Polysurface and not the surface anymore. If I click on this, I still have the surface. But then I've also this new Polysurface made. I cannot, if I click on this, I cannot see any ContraPoints. I need to use the Cage Edit as well as well. So CageEdit being Cage Edit, bounding box, keep these as they are. And then now this you can change how it looks like with the Cage. As if now we have this shift, has this cage around it and we can affect based on these contact points of the gauge. You can see that we did not like effect this one. So this is staying there. We can actually move it up. Because when we started and this is the shape that we are getting now. So that's also another way of affecting now solids with a Cage Edit 11. Surfaces & Polysurfaces 4 - More commands - Bend, Taper & Stretch: And they're also more features, I'll say function that would allow you to affect solids. Let me show you as well as surfaces. Maybe take this one, I'm going to copy this there. So if we keep this as a surface, we can, for example, Bend this surface. I'm gonna go to the front view. I'm going to look at the perspective as a preview to see what's going on. And we can let second. So Start, start off spine. I will disable this and wake. And now can you can bend the surface itself. That's one way of affecting it. I will click on Z to zoom selected. That's one way I'm going to undo it. Actually going to keep it. Actually undo it. I'm going to also make a copy of this on this side. And if I make a small extrusion, I'm going to this is the new Polysurface, Solid. And let's try also to bend this one as well. So Bend again. So this one also works for solid. You can see them. The cool thing about Ben is that it can bend surface and poly surface as well. We have, if I copy this again and also extruded, see the benefit coming from transform we have here Twist, Bend, Taper said Stretch. If we try the Twist, start off Twist axis. If I click on this and then angle, actually have to do it from the top view there to be aligned with it. Then now can see the angle for say, Start. And so you see now twisting the surface or the Polysurface actually like that. Twisted it. I'm going to copy this that was previously bent. And let's see, we have now the Taper start off Taper Axes as well. Hello, and of Taper axis as well, without changing any of the options. And distance, you can see how can taper it as well. That area of the Stretch, stretch, this one I can click. This is the axis of the end of such axis like that. And I can stretch it. Kind of like scaling one day anyway. Okay, so these are, let's say kind of interesting quick. It is that can be applied to both surfaces and Polysurfaces without needing to Rebuild 12. IsoCurves - What are they and how to use them: And now I think it's a good opportunity to talk about IsoCurves, What they are. Actually. You can actually see that we have started to see that more and more. Let's say clearly when we did the Rebuild surface, remember this one? It was like this. When we just made a planar surface out of the curve. Then this one, we had to rebuild it first. And then we have just moved the control points around in different directions to have this. After Rebuilding, we got this kind of like a more denser mesh or denser grid on the surface. These are the IsoCurves. And in Rhino and IsoCurves, or an ISO, or isoparametric curve is a curve of constant U and V value on a surface. And you can see these represent the present the EU and the V values. Rhino uses IsoCurves and surface edge curves to create a wireframe of the shape of a NURBS surface. Now a NURBS surface is a non-uniform rational B-spline surface. And Rhino is known to be in a NURBS based software. Now of course, it provides also tools and methods to work with Meshes and recently now sub D objects. However, it's main power, its main, let's say. The main thing known about this Rhino is that it uses nerves. And it has a lot of tools that affect nerves and allows for designers to use nerves techniques and methods and nerves in order to design complex shapes and curvy shapes easily, let's say, and not in a complicated way. By default, IsoCurves are drawn at naught locations. If the surface is a single knot span surface like a simple rectangular plane, for example, as the curves are drawn also in the middle of the surface, like this one here, because like it was like one. And so we saw that now these are drawn by default also with these ones like this. And for this one after Rebuilding, then we can see that. And what is interesting is that you can see also here like these are the nodes that we have added. Actually we've added IsoCurves, but only, only locally at that, those areas and then we have affected the points. Now, what is interesting is that when I wanted to say is that Rhino actually, when you are affecting shape in a certain way that would require more complexity, then it would add more IsoCurves automatically. So when we have done this, so this was actually an extrusion of this. If I move this there, if we just redo this, we had this surface. I have extruded it. Control. So move and control. You can see this small line right there was forming when I doing it and control. You can see this, this line there, right? This one. This means that now it's going to have a thickness, right? When it did that, it had this look, right? So the IsoCurves on this surface and the bottom one or matching. And when I didn't know the Bend here, if we do it again now, it automatically now added more complexity to the, to the surfaces. If I do now Apply again the Bend. I started with the start of spine, like click and click when I release. Now you can see now it's much more dense. And this one is much denser. If I undo, it's simpler. If I redo it, it's denser. So here, Rhino automatically added more IsoCurves. And this can happen in those cases where Rhino thinks that like the shape requires more complexity in terms of IsoCurves, in terms of this wireframe structure that forms the surface in order to make the shape work. And it doesn't anymore work like it. It wouldn't still work well if we maintain or if Rhino maintains the low-resolution there according to this shape, this shape requires more resolution, let's say more detail. That's why it adds more IsoCurves. And this also happened the same with the Twist and then with the Taper. So that's what, how does it also with the CageEdit, what do we use the Cage Edit, you can see that now it added much more detailed with IsoCurves on every single surface of this Polysurface. Now, there is a function or we can actually hide IsoCurves. You can put it in Display. Tab And so now I'm the perspective view. I can click on Surface, IsoCurves is now ticked on. I can take it off and now I don't see it anymore. So that's also a way to control the visual, the visual graphics of your workflow. Let's say you want to extract diagram. I didn't want to see all of these IsoCurves. Maybe you want to see them. Maybe it's part of your design to show this complexity. Maybe not. So really it depends, but I'm telling you that this is a possibility to either take these off or put them on, just make them visible. Similar to the wire mesh. So now we don't have any Meshes. And so we're going to show you the difference between an herbs Mesh and sub D. And then also how you can turn on and off. Let's see the mesh wires from here, or the SubD, the wires from here. Now with the sub D wires up decreases boundaries and symmetry. All of these four options may not be, let's say, present in your Rhino. If you're Rhino version is older than six. So I think starting from six of the sub D, seven is more developed and then Rhino eight now coming up as well. It's much more developed and it's much more features. In any case. That's what I wanted to say regarding this because we just had seen these without really understanding what's going on. Why do we got tweeted? Did we get this more complex? It looks like a bit more messy in a way. Encode, encode. Some really messy. It just more complex shape, that's Rhino is Frank to seem or calculate or let's say compute how the shape would look like. How, what, what are the requirements for the ship to work well? And it just adds more complexity to it. Using IsoCurves. Also wanted just to make another, show you how, what I mean by that, when added more complexity, if let's say I just rebuild this again, Rebuild. And you can see now, since this, as we saw before, it's a trimmed Surface. We can see that now this is the see the untrimmed status of the surface. And when I make, let's say less. So now it's actually sorry. Now it's at ten points, right? If I make it at, let's say 5.5, right? I'm having less points previously, okay? Now we can see that now it's simpler and it has less IsoCurves. I can turn on the control points. I can still affect it, but now I have less control points. If I Rebuild this again, and I say, I bring it back to ten, right? Certainly 20 bucks, then we can see the preview. So it's similar to this one. If I make 20 and U and V, you can see that now there's gonna be the preview of the IsoCurves effect. Click Okay. You can see now this is now, let's say double the density of this, of these IsoCurves, right? And it has the same shape still. And now effect, effect. Since I have more points than I have now, more detail, I can work with more moral like a localized areas on the surface. Maybe that's not what I want. Maybe I want, let's say to affect it in a broader way, then that's where I rebuild it again. And I see, Okay, I want to rebuild it. Bring it back to ten so that I want to affect less selective, bigger region of it are the smaller one. And then I can say I want to, let's say now move, let's say this, I don't know, maybe more down. Maybe I wanna move it, let's say in this direction, right? Just depends on what I would do. So it depends. Having less control points means you have, let's say, bigger. Let's say the effect is broader on the surface. When you have more control points, then you have more localized control on the surface or the object 13. Table 1 - Modeling Top Side with Primitives: Alright, so now let's start an interactive project slash exercise where I'm going to model some objects. And then I'm going to ask you please to Continue modeling the rest or the remaining parts of it based on what we start with. And then we're going to show you this, you should do that. So I'm going to start with something, will ask you to continue it. Then we will show you how one of the possibilities of material that would look like. Let's start with a table and let's use here combination of primitives. So modelling techniques of using primitives and curves to build geometry. So here is really important to start with the correct layer structures. I'm going to now make a new layer. And I will call it here table. And then I'm going to make here a sub layer. And I'm going to call it table or just, I'm going to call it top. So this is the top table, top, the top side of the table. And here they are different ways of doing it depends also on your, your design. What is your design? Your concepts, and how you'd like the table to look like. The simplest way is by just, let's say modelling a like a box that is thin and then large in width and depth. I can, for example, click on the box. And maybe then I would like to start zero comma zero, comma zero at these coordinates of the origin, enter. Then here I would maybe specify the width of it to be in millimeters. So then I would say that the width of it will be 9 cm. So this means 900 mm. And then the depth of it would be, for example, 60 cm. And millimeters is going to be 600 Enter. And the height of it, it's going to be, I'm going to know here, move to the perspective and I'm going to orbit with the right-click and with the shift to pan around, I'm going to just make the height of it to be, let's say 3 cm. So 30 mm. Enter. And I'm going to change all of the Viewports mode to ghosted by right-clicking on this icon set all viewport displays to ghost it. Okay. So that is what, and by the way, because I did not activate this there. This table top game inside of the default layer, I want to make, want to change this to the top one and also activate this one when I right-click on this wildest being selected. And I will here click on change object layer. Now, this is inside of the table top. And I'm also to activate this one. This is one way. This is like the simplest way, simple table top. We can have, that's fine. But maybe we want to have a different table, but maybe the corners are filleted. There are rounded, right and not sharp edges like that. Sharp corners. So here I'm going, I'm also maybe rename this to say table. Sharp corners. And then wine. I am ear. Like selecting this, not this one. For selecting this one, I can add a new layer there. Then it's going to add the new layer under the table, like this. This is now under the table. Can click on this one to kind of like assemble these together. And under the table I can expand it to see the other ones. Can say here as well, top round corners. So this, we did this using primitives, using the box. You can do that. Now we found a want to make these round are different ways. Either I can use this one as it is as a base. I'm going to double-click on the top viewport to expand it. And I could maybe draw like the negative part here. And then we'll then trim out this corner to have the round. That could be one option. Or I can start from the beginning with a curve that has round corners. And then I can extrude that curve and get the tabletop. So I'm going to show you actually both methods because sometimes you may let see, you may be, let's say in a certain, a certain stage in the design that you have something and then you want to add to it some changes without maybe knowing prior to that. That's what you want to reach. So kind of like designing and changing your mind and then getting your ideas and then Implementing them. I'm gonna do actually they both. So here I'm going to actually also make new layer called tremors Enter. I'm going to activate this one. I'm gonna move this up to be under this one. Here. I'm going to now draw maybe here I would say an ark. And so here let's say that sensitive, for example, like since the board actually doesn't really matter regarding the thickness, Let's say that I want the round to be 5 cm, right? So there's an ark, right? And the distance from this corner to the point tangent to the park or to the circle that's going to cut. The table is going to be 5 cm, for example, right? So I'm going to just make click like build some lines. I'm going to, and since I have here the smart track on, right, and I have these naps on as well. If I click on the, if I just hover over this, you can see that the point becomes white. So now it kind of like Rhino's remembering this point. I can kind of like snap around it. If I want to. If I hover again over, then I take it out from the memory of Rhino temporarily speaking. I can over again, then I can keep it. So maybe I'm going to just like I'm gonna actually draw a circle. Struggle not neuter line. And here it doesn't matter like if I do project or not. Like where is my circle? Because I'm going to just Trim. I'm going to show you what I mean. If I now build this circle, this is center of the circle. And I say that the radius, the distance from the center to these sides is going to be the rate is not the diameter. This now the Daemon set to diameter. I want the radius. I click on the radius to change the radius, be equal to 5 cm. And since also have the millimeters, then it's gonna be equal to 50 mm. So 50, I typed 50 here and I type enter. Alright, so now I have this circle that has the radius of 5 cm. Then I'm going to, I'm going to now make a line. And we'll just hover over. One-third, Let's see if it takes it. Image just click on this one there as a triangle. And then here I'm going to just move these circles. Move type here, move the circle's center there, like that. So this is what I want. I want this round like this without this edge, right? So I'm going out to build again a line like that. And we'll try now to keep, doesn't really matter if this is straight or not. It's fine like that. And we'll also do that. And I have this shape, right? I want to actually have this part of the shape. I'm going to Control. Click on this one to take it out then. Join. And now I what I want to do now, so this is the open polyline. Now I want to trim this circle using this line. So I'm going to type Trim on a credit out. This one, I click on this. So basically when I type Trim Enter, it says Select cutting objects. This is the cutting object. Space or enter, then select object to trim this circle. And then I click on space-bar or enter. And now I want to join this one and this one together. If I select both and type Join or just J space or Enter. Now I have to curves joined into one open curve. If I go to the perspective view for a moment, you see that it says Open, it should be closed. And why I got this? Because while while I was working here, it was Snapping. Sometimes the Top Side, sometimes do the bottom side. This may happen. That's why sometimes if, let's see, you know that you want to everything to be placed. Planar is leaking on one plane, then you would need activate the project. So that is going to project those geometries on only one plane. But if you forgot to turn this on, because it could happen. And you have these like this and like you want them to be on the same plane, right? So either on the top or the bottom Then what you would you do? Don't want to just do it again. Then what you can do is that in the top view, you can now say project to see Plane like this. And then you say delete input object. I'm going to say yes. You can see now it projected itself to the bottom. And now this is now a closed curve. It was previously an open one because it's close. Now it's closed curve. They came close because rejected. Now, that's how you can also project objects on a certain plane. Now in this case, you are just using the C plane like the main plane, but you may have less silica different planes that when I see also soon how you can Making new plane or specify a new plane, then work on that plane. Alright? So now what I wanna do is I want to make a cut. So basically I want this shape to cut the table only take this out, this part out, and then keep, leave this table with this round, right? So if I do a Trim, I can do it Trim with this curve. Then I'm going to have this as an open edge. Let me show you if I click on either this or I typed gem. So I'm gonna click on this one. Select cutting objects like this. And I type space or enter. Then I say select object to Trim, and I click on the table. That now in W, it looks fine, That's what I want. But you can see that in 3D view you have now this problem, like this is open, it's an open edges. Now, I can fix this, but why do I want to make a problem for myself and fix it? I could select these edges like I can. For example. I could also fix the show how we want to fix it. If you want it to fix it, I could, for example, use dupe edge. So it's going to duplicate edge. And I can click in 3D here on this one. And that's fine without click on the other one. So I'm going only have one, Extract one edge, space-bar or enter. Now I can click on this and select only the curve, not the Polysurface, the curve. And I can extrude curve down like that. Then I have solved it. Now I just need to click on this and click on the whole table and then I will type you can join to join them together. Now I have a Closed Polysurface at a selection. Of course, other edges are not yet done like the same way, but That's one way what this is kind of like a long way. That's what I'm showing, what may happen while designing and how you can solve things that say while designing. Now, another way of making this cleanly and quickly without having to have an open edge. I'm going to undo control Z, control Z, control Z before like you've edge and also before the trimming. And what I want to make out of this is a solid by in 3D extrude. So either I could also type extrude curve as I've done previously. So I could hear type extrude curve and I could this one or I can move this one up with the control, holding the Control button. Or I could click on this and click on this small ball or a sphere and then I can extrude it. This is an open extrude where it's going to export the curve without closing it becoming a solid. I could either do this and then click on this and then typed Cap to close it off because these are flat Closed edges. That's one way. Or I could click on it and then type extrude curve. And then here is say Solid Yes. Automatically then as you are going to get the Solid Yes. So when you type extrude curve here we have more, minimal, a much more options. So you can also say both sides are no direction, the direction of the extrusion, if you want not to be strictly in the z-direction. So many, many options. In this case, I want the solid, I want it to be a solid. Instead of just avoid using my another step of capping could be an option or maybe ONE also make it both sides. Why? Because because I want now when I say if we do both sides, we have to know one. Sorry. Okay, That's good. I thought maybe it wouldn't have, let's say, two mirrored solids. Why I want to science? Because since this is at the bottom, if I do an extrude without two sides, Let's say, say don't and then Solid. Yes. I still need to move slide this one slightly down because I want this to be not flush with it, but slightly going farther from the edge of it. Mulally, there's a good practice in, while modelling and Rhino because it's flush. You may, if I undo, if it's flush, you may face some issues. Maybe sometimes Rhino might not lead to understand exactly what you want or it may not Apply the term correctly. So if I just move it slightly like this to ensure that it's just passing through all of the whole geometry, the whole part where I want to trim. Now instead of trimming. Because if I Trim again, if I click on trim, select cutting objects, I click on this solid and then space or enter. Again, this one, extrusion, this recording object, then select object to Trim, and then I click on the table. And I hide this one. I will still have the same holds. So trimming will not only always give me like open edge Polysurfaces without closing that. So that's not what I wanted Trim trimming. It's actually something called BooleanDifference. If I go to this icon here we have the Boolean union. That's like one of the main functions. But if you click on this drop-down arrow and you're Boolean union, BooleanDifference, Boolean intersection, Boolean, Split, that's really have many operations that deal with solids. I want to BooleanDifference. And what this does is that it's going to main theme for me, the inner edge, if I go into here what it's asking me to do. So select surface or surface or Polysurface to subtract from this one onus abstract. Actually this is still open. I'm going to undo it exactly on ohmic. Bring this back to the original state. Again going to BooleanDifference. Select Surface or Polysurface to subtract from. So not decoding one but this one that want to subtract from space or enter, then select Surface or positive to subtract width. I want to subtract with this one Using this geometry. I want to keep it, I don't want to delete inputs. I want to keep its input equal to know. Click on this and then space or Enter. And now if I Activity default and then I turn off the tremors, now I have a clean let's say Trim or split or whatever on a cut. Right? Without having to having this mess of having open edge and trying to, needing to solve it again, then model the, the, the opening, right? So that's one way, right? That's a quick way. So that's the difference between trimming and Boolean, in this case, BooleanDifference. This is the part. So now what I can do is that I can select this one extrusion of the curve. I can type mirror and I can go to the projected. I go, Oh, they're actually with the middle point because here the middle point of this side is not anymore the actual middle point of the whole table because this has been now cut. So what I will do is that I'm gonna go to the bottom side and I will click start off mirror plane. Now here it's either I could while doing it, and then now I will activate ortho to have this vertical ortho, or without doing it. If I click on Shift, holding it, then it's going to do this. Click release. And then again, click on extrusion, extrusion mirror again. Click on the projected mid point. They're not this one because this one since also the same thing, since this is now the edge of it, it's going to think that the middle bond is not there but slightly there. That's why I'm using the other side that has not yet been cut their memory again, if I go there, it's not going to find for me the correct middle point. But this is where it's going to find three with great point. And then click with a copy. Yes. And then now I can go again to sorry, while doing this. Okay. So these are since this was still in the trend tremors, although this was now we get the current one, but it kept them inside of the tremors. It's important because sometimes you may, let's say while, let's say making an operation that the ordinary you can geometry that it might then put it in the current layer, not like in the layer where like the original curve was made and for example, so just be careful about that. Always like be careful and be attentive to what you're doing and where the objects are being put inside of which layers. In any case. Now, I will click on this. We'll click on this is not this one because you've already done that. Actually not what I will actually go to BooleanDifference. So select surfaces or Polysurfaces to subtract from. It's this one, right? We still have now these edges, right? This has been already trimmed space. And then I'm gonna go click on this one and this one and space are Enter. And then now I can activate me with the table and turn this off. And now I have these nicely around corps that are actually close and that's one way. Let's, I'm taking time to explain to you slowly what This means because are still new to it. But this is one way. Later on, you're going to be much more fast while working and knowing exactly what we want to choose from the beginning so that you can don't waste time, let's say on cleaning the extra steps. Now that's one way. Another way is to directly draw a rectangle with round edges, right? Round corners, and then extrude it. Instead of doing that. What I'm gonna do actually is I'm going to because now it says Top sharp corners but not anymore sharp corners. Right? I'm going to look what I want to do. I'm going to undo, undo. I'm going to select these. I'm going to copy them. I'm going to just type Control C, like this. Control-c, I can just copy them. I'm going to undo these steps before I trimmed the table corners. So undo, undo before chiming, before even mirroring and before even, let's say Modelling this. Alright, so now I have this as a table, sharp corners because I want to show you these steps tremors. And then I'm going to now Based them instead of the tombstone will now, because I copied them than I did Undo. But it still remember is the copied objects I'm going to now. And actually also the 3D just to keep this as flat. And then I'm going to now based so it remembers them and then it pasted them. Even when I undo some steps, then I'm going to click on this and we'll right-click. And then here I will say copy objects to layer. I want to Make a copy from this layer to this layer. And I will now turn off this one, the first one. And I will see here top round corners, top trimmed or actually Boolean difference. Corners like this. So don't understand like what we did or what was the step. And then here, so this is now there. I'm going to double-click on this, it's fine. Then I'm gonna do again, go to their Boolean difference. On this. Click, click, click, click, Enter or Spacebar. And now this is the top BooleanDifference corners. So that's one way. Or we can say now, I want actually top rounded corners rectangle as well. So that's what I said as well as one of the Options. Go to top view. And here I will go to this, this rectangle, and then I will say here, so I'm going to choose the rounded rectangle. So first corner of rectangle is gonna be the zeros 00, enter other corner. So if I click, just hover over this one and this one and I click. And then now it's asking me to. Now if I turn this off as it's asking me to choose the radius, so radius or 0.4 rounded corner to pass through. And we said that the rate is gonna be here. Five frames, said like previously this was the five. Then if I type 50, like this and enter or space, it's matching it. Actually the previously drawn one. And then with the BooleanDifference. Then we said, what did we say? Let's say, let's think that okay, maybe we thought to what was the thickness? How can I find the thickness? How can find out what was the thickness? I can use a distance command distance. I will take project off because if I keep it on and with the 3D, then it's not going to find is going to always look projected point to the C plane. I'm going to take this off now. I just don't know this inferiority. Then it's 30, 30 mm. That was the thickness of the table. Alright, thank you. So I just use distance to extract the distance from other objects. I'm going to take this off. I'm going to now click on this rectangle. Then I'm going to now extrude it. Extrude. She like when you say E XDR, like how Rhino's like trying to guess what you want. Like exude Extract. Lot of different things. Extrude. See RV, Solid? Yes. Extrusion distance. I can now type it in 30 Enter or Spacebar. And now we have a nicely clean table with round edges So no sharp edges without needing to Trim and Boolean and draw these tremors, write spending time on that. So now this comes with experience when you know, like what are the functions available and what you want to achieve, then you will make things faster and faster. But I'm just showing you these steps because in case you still say did something and they don't want to change it later on. You want to change our mind. You want to keep these like this. I want to add another Boolean, a credit or something. Just depends on what you want to do, how you can do those things along the way, okay? Alright. So this is an, again, this is just like one. Optionally just one way of making the table top. It could be like a different thickness Underneath it could be different thickness altogether, not 13, not millimeters, but maybe, I don't know, 10 mm tenths and like 1 cm maybe made out of a metal plate. Can be whatever it can be. Here's showing you quickly how we can build something like this. And with either primitives. So either with starting with a box or with curves. You see now we started with the rectangular curve that has rounded corners and then we'll extrude it, right? So this is another way. Now, once having done this so far, now the exercise now, so now it's your turn now. And here I'm going to ask you to design for this table. It's four legs. That can be like maybe three legs. It can be I don't know, just up to you, but please design for it. Forelegs, that's the Exercise. Two of the legs on one side, let's say, let's just, let's make kind of add some constraints that the extra exercises, let's say clearer. Let's say that the left side legs will be made out of primitives. So made out of something from here. So not necessarily a box, but maybe like a cylinder, maybe sphere, maybe cone, maybe a pipe or tube. You just choose. Just try to explore these and then try to choose to primitives like one type of are two types of primitives on this side. And please then build on one corner. So one corner I want corner two corners, two legs with primitives. And on the other side, please try to build a really similar shape to those ones, but with curves. As we've seen here, like with a table top, we did like a rectangle with round edges. Maybe you want to maybe as an example, if let's say the leg on this side is a cylinder that you made with this component for example. So I can top view, I can do it like this, front view. And then this could be like an example, really quick and simple example. Then maybe in the, on the other side then the idea is that you would want to make a circle and then extrude it. They don't want to also extruded extrude curve and then I'll hear snap to this like that. So both look exactly the same, but I want you to be familiar with the different techniques of either drawing with primitives or with circles. And then the following exercise. After that, I'm going to show you how we can then kind of like trying to edit the shape of these based on some other techniques. Alright, so now we're going to undo these two. And then after that, your size, I'm going to do it myself. Try to hear Model two elements, two legs with primitives. And then on the other side, modeled something really similar with these ones, but not with primitives but based on curves. Alright? So also please, while doing with exercise, try to make correct sub-layers. So for example, have the table, and here I have the, the top sharp corners, etcetera. Now maybe you want to have like a under this one. Maybe I'll also have like I'm gonna say top and I will put actually all of these under the top like that. So I have a sub-layers inside of which there are these layers. And then I'm going to make a new layer here with this one under the table. And then we call the legs. And then under that, then you have now a new layer. Then you can call it maybe Primitives first. And then you're going to say here Curve Based, for example. Then we can activate the primitives and then you can draw something and then you can activate the Curve Based and then also can draw something else and then make the operations necessary. Either extrusion or loft things. Would you just up to you now to try to explore how you can do that quickly. Alright, so let's give ourselves maybe now, I would say 20 min, maybe 10 min on this side to draw something with primitives, and then 10 min on this side to draw something with curves. Alright? So 20 min and I'm going to be back with you and then we'll also do something, Apply something kind of like a solution that exercise so that you understand what one of the possibilities would be to design those elements. Alright, so 20 min 14. Table 2 - Modeling Legs with Primitives SOLUTION: Alright, now let's start with the first side on the left, and then let's try to Model two legs with primitives. And I'll go to the top view. And I would like here, maybe for us as a kind of like guiding geometry, I would like to keep things aligned to each other. I'm going to hear at the new layer and then call it guiding curves like that. And when I move it to the top, we'll activities one and then among and maybe just maybe go again, go from here. And then I will go, let's say 100 mm, so 10 cm Enter and then drag Shift Enter. I'm going to select the line. I will select this control point. It will delete it. And I will select this line and I will move it like this and then I'll scale it up so that this is the center line, the guiding line on which the geometries would be drawn on or girlfriend central line of the geometries are going to also married alternatives on the other side. And also I'm going to rotate one of these, rotate this one. Let's see. I'll also make a line from here, go down 100. That click on this, delete it. Click on this line so that we have intersection of these lines to be the center of the legs. Alright, I'm going to mirror this one as well like that. So these are the guiding curves. Alright? Now I'm going to go back and activity primitives here on this left side. And I'm going first to draw a queue, a box. Sorry. I'm gonna say, instead of now starting with the first corner of base, I'm going to say center, center of base. This one. Here. I'm going to say, let's not make it too complicated. Maybe like other corner of base. If I say 20. Okay, I'm going to undo, maybe i'm, I'm gonna say 40. Enter than 40 again, enters four, 4 cm. Then I'm gonna go to double-click on this to turn on the other Views. And then I'm going to maybe go buy, let's say 9,990 cm. You can see that it's going up. If I say -900. So it's gonna go down and space-bar or enter. And you can see that now it's starting from the top of the table. We can go to the right, to the front, alright view, we can move it down. Or what I can do here. So I want to maintain the well here, the different things. Either I could say the distance from the top of the table to the bottom, to the ground is 90 order the only the height is nothing. Now, if I say that the distance from the top of the table to the ground is 90. I can, in this case use a scale 1D. So scale 1D start from this side. And here I want to make sure that it's project on. So I don't want it to say select points in different planes. I'll click on the one of the corners and select the other one that is to decide not this one but this one. Click and click. And now I just scaled it from that height to this height. Okay? And now if I type this, this does just to double-check distance. From here to there. It's 900 mm or centimeters. Okay. No to perspective. So that could be one leg. What I can do here as it can inflict further, let's say additions to the design. If I wanted to say the leg to not look like this, just like a straight leg leg, straight box. But maybe like either the bottom side or the Top Side to be different in terms of the size. So for example, what I can do is I can either, well, if I say here, move, I want to move this edge. I can either, for example, like Type move edge. And I can click on this one, for example The top view with the project on an icon, for example. Now, move it like this. For example. I just did this move like that. That could be one way. Or I can Control Shift and click. While pressing on Control Shift and click. You can now select an edge. If I don't do this, if I just clicked like this, that typing anything is going to only select the whole geometry. But if I click on Control Shift, click, then I can select this edge. If I hover my mouse to this coordinate Control Shift click, I can select the vertex, the point there. And here because this is the intersection of many other geometries is going to, you're asking me, you mean the vertex or maybe do you mean this edge or that edge? Or this edge or this phase extrusions surface or this Surface, etcetera. Also with the control, the control shift is the kind of like a shortcut to select sub elements of Polysurfaces. Now remember, this is for Polysurface. This is a Polysurface. If you have a sphere, a sphere as a surface, not a Polysurface. So you cannot say select IsoCurves from that sphere using the Control Shift to remember this. If I'm going to also quickly just as a proof of concept, if I make a sphere, a quick sphere, and I type Control Shift, it doesn't work. It can actually select the same for the starting edge. They starting curve of the sphere, that's it, but it cannot, it cannot let say, select this one or this one because these are IsoCurves, right? So that's because it's a one surface. I'm going to delete this one. So they control shift is to click sub-elements of Polysurfaces. Okay? So that's one way of doing that. Maybe I want let say two also, let's see, move this one. So I Control Shift click, and then, then here I will say I will specify a movement of maybe 1 cm or 10 mm for example. That could be one option. One possibility. Maybe I can also, let's say click on Control Shift and click on this face, this surface. I can also move it around. I can even extrude it. I can click and click on Control to extrude it, to add the new part of it. Or I can click on Control Shift phase, and then I can click on this small ball and I can extrude it as well. Depends on what I wanna do. Maybe like the bottom of the table might have like some sort of get bad or something that is straight and not following this. Let's say this line. So it could be an option or it could be something, undo this one. So just free to know. Control Shift is a quick way of selecting sub elements inside of Polysurfaces either would they be surfaces or edges, or vertices like coronary points. Okay? So that's how we using, by the way, this is still a primitive. So we started with a primitive. That's the first technique, right? If you started with the primitive and we reach this result. And of course, because I moved this one, then it's not like a Central but it's fine. Sean, I let you know what I did, how I can make it maybe it can account. So let's say Georgia Tech that and I can also move it. Then, for example or more. It will move the other one more. Let's see. Was it for it? Maybe 20 or just any, any, any number. But the main idea is that I can do that and we can get this. People also wanted to say to move this one to the n-side. So here I would say minus N, and then you would say click on this one also. And then here I'm just going to say actually ten because it's gonna go this direction to the inside. So even in this, in this view is kinda like pointing right, tapering to the inside there, right? As well. At this, we, for example, could be one option, right? It doesn't need it to be like the final redesign, but fully understand what we're doing here. Okay, So the other primitive would be, for example here as Justin playing around with this one, use a cylinder base of cylinder. And then here I can maybe like just without specifying any radius length and shouldn't know, we're going to click and go to front. And again, I will hear have the project on our, on this. And again also, I will okay. So here started directly there. See yes. Why did that? Because we had this table. The bottom of it is the XY plane. In any case. So now we have a cylinder. So just another primitive. Again, I can also click on Control Shift and for example, choose this one and then I can now scale it. Either one D like this, could be an option. Or with a 2D by clicking on this scale. And then with the Shift, I click on the shift just to maintain the scaling two directions. So this is also one way of doing it. Now, let's look at how we can build these. But based on curves 15. Table 3 - Modeling Legs with Curve Based SOLUTION: Now let's start with the first leg here that is based on a rectangular shape. I'll go to the top view, and here I will draw a rectangle. Now, I'm not going to let say exactly Draw the same shape there, but something similar, but based on curves. So I can hear, for example, now click on center. Like also like can, I can specify exactly what would be the dimensions of these sides? Also, I can hear, as you can see, part of the option to use rounded. So I can click and also give it a small round, right? So that also one option. While it's enlisted, let's actually do this. I do this now. That's the first one. Perspective. So this now strong there. I'm going to go to the front view. I'm going to copy. I will activate ortho and then I will hear type 900 enter or space. This is because it's coming from the bottom actually of it. So it's not 3D top. I'm going to actually go coffee, not non-Hodgkin. I'm going to actually just click and drag. And I will try to just snap to one of the bottom sides of the other geometries and click. So now I have made a copy that is at the same level of one of these. Now, here, I can, for example, weekly loft, both actually I could have maybe exuded. So one way is if I say now, I'm going to actually hear Making another lichen sub-layers and say Extrude, just to show you the differences. So extrude, I'm going to extrude curve like that without project tick it off because you see if I keep it on and I click on, this is going to project to the C plane. Take it off. That's one option which I also, I can now for example, Control Shift and drag like this. And then I can now scale these like that, right? I can do that. That can be one option. I want to keep it as extra like that without changing anything. And I'm going to make a new layer, call it loft. I'm going to take this off. We'll keep so we still have these curves that are part of the Curve Based. And then I'm going to now make a loft. So type loft. So select curves to loft. Here's important to use to select the curves formed with the same side. So if let's say I select the square from this side, and I have to also select the square from the same side. And I click in here strongly is going to loft to curves like that. This, Okay? It's similar to the extrude because I did not have, let's see, in the middle, like say more profiles. So let's actually make something slightly more interesting than this one to undo. I'm going to go to the front view. I'm going to actually I'm make it curve as a guiding curve. And I will take off the Vf at the ortho. Like that. Let's worse, this coin, this is going there. Okay, also like you see like it because I've not used project. It snapped there and then end up Snapping there. That's not the best practice about I'm going to undo this. Go to front again. I will actually use in the table so I can see both curves. And I'll again draw this will project and I will that like this. Now, this is because this is and predicting this in this plane. These are in that plane. I can, now, for example, move it, it's fine. I can move this one without the project. The middle, right there. Okay, so I have now this curve and what I will do here as a series of copies, I'm going to click on Copy Be there and then copy there. And then what I want, for example, from this, remember, this is based on the rectangle, right? But since we use the rounded rectangle alone, we have this slight different shape. I'm going to scale perspective, um, and I moved to scale. This is so it looks like also these were, the top view. Will just move this one. So both of them are going to deselect, select, and move like that so that they are, well, this one actually minus one there from middle point there, and this one from 0.2 there. Like that. Okay? Then now I want to, let's say, scale these down progressively. So maybe I'll zoom scale 2D. From this. There will do that first scale. The second one there More, and then the last one even more. That then now I will do a loft. I'm going 123, zoom in more five. You see that these points look slightly different if I, and it's not, let's say in this same orientation with the same direction. If I just do, if I continue like this, I'm going to have lucky not a correct or proper loved that say I will undo this. I will again type loft. So I'm going to type, click on this one, this side, on this side, and on this side. And then they can see this. Then I can click on this, change this there. Click and drag. And also I will change this point. They're like it's matching. All have the same matching arrows and points like that. This is really important for the loft space or Enter. Now I have a nice proper loft. Okay? Based on the rounded rectangle. Here, we have different options. Once you hit space are entered, then you have either the normal style or loose, or tight, or straight sections. So different design options or uniform. I will keep it now to normal. Here. You can also say Closed loft, if you are, let's say, or lofting something around another thing and then wanted to just close around. Split dangerous like evil, let's say More Options now and keep this as with the normal. I will say, okay, this is a loft, right? Of these profile curves. Okay? Also I can use something called sweep because this is also since we have the guiding curve, we can also sweep them together. So sweep like this. When I double-click on this, I'm going to hide these. And I'm going also to type sweep one, not to. Hero has asked me to select a real. Then without typing anything, without typing enter or space is going to ask you, after selecting this directly, select sweep shapes. And I'm going to second is an order on 234 spacebar render as well. You can see here now the direction of each profile curve. Now they look fine. I'm going to click on space or Enter. And again we see we have like They're also really similar form also in this case here, both look similar because they are following the same path. Basically. I'm going to here show again the loft. So this is loft sweep. Can, you can see that here because of the difference of the commands that, for example, this trip generated more IsoCurves than the loft. If I double-click on this and then she, the loft, it has less IsoCurves and different direction than the sweep, right? So it just depends, Rhino that shrunk to compute these shapes and trying to guess, rank to think what is the best way possible to generate this form based on what? With curves or geometry. If I double-click on the loft activity, I'm gonna now turn off the sweep. I can click on this since it has both parts Closed Curves and flat. I can now type Cap to cap it to give it. So now I have it Closed Polysurface. Closed Polysurface or from the properties Closed Solid Polysurface. Again on the Zoom and double-click and then of the loft also going to click on this and then say Cap also to close it. Now, one thing that is interesting in Rhino is that if let's say you are lost with the command and you're not sure how to do things. Or let's say how to make loft, maybe forgot what are the steps. You can always go to this help. And you can hear type, for example, loft, Enter or Spacebar. And it looks like you're evidentiary connection problem and I'm going to solve it. So if I now click again on this and I type. Okay, so my connection was back online. And so you have to have interconnection to use this, help them. And then there's going to connect with the server off Rhino. And then here, when you type any command, then it's going to show you okay loft, where you can get it from. So from there and then you can hear history enabled such row like if you want to say to use shapes that can be, let's say, affected later on with the curves. And then you have like say like interesting short unit tutorials shown you how you can make shapes with loft. In this case. As I've done previously, like when I move the points around to make them correct and then generate a proper loft. Then he let's say, like if you want to say to have a loft between curves and a point as well, I would that be done. So like also these are the options. So strength explicitly, more explanatory section here, let's say a line curves, let's say to cross section. Lofting of these curves. Developable loft for example as well. So a lot of details, let's say ago and in type their sweep for example. Sweep one. Again. It shows you a quick example. Is we would look like how it would work. This is kinda similar to what we have done here. Different options, etcetera. So allows for that is shaped organ to also see later on Sweep do what? We can use that etcetera. Okay, going back to the Layer tab. So this is the first leg using curves. Now let's design the second one. Again, you think are using curves. I'm going to give actually top off. And I'm going to go to the top view. And then here I'm going to now draw. Actually let's just change the limit from the circle to a C to a ellipse. Actually see when I did this sometimes let's say if you want to keep working with a lot of different functions from one sub tab, you can click and then slide it to have it like always there. Sometimes I use that with the Boolean, like I have multiple Boolean operations coming up, let's say in the project. Then instead of like always going to click and then click and click and then changing them than actually saying slide. So click on this drop-down arrow, then click on this top there, and then slide it out to make it part of your viewport, for example. Can also say bring it there or make it part of their or something. I can just keep it there and then when I'm done, I can just take it out and I can bring it back end if we wanted to, cetera. Anyway. So let's, I want to now make a lips. So from center, this right, something like that. And then I'm going to go to the front view. This is my ellipse there. Let me check. Yes, that's the only one selected. Okay. That's also saved it. I'm going to take it out Control. Click to take it out, Shift to add it, to control, to take it out front. And then What I'm going to do now here is to actually use a sweep. But in this case I'm gonna do a sweep to what the sweep on. So this was the sweep one. Make now is to, for the sweep to what is interesting is that it's going to base the sweep, the form shaping based on two rails, not one real. For the three-point, we used only one real. And we could have used either one or more profile curves for this week two, we can use actually two rails and one profile curve. So I'm going out to actually this is there, I'm going to make it just bring it bring it down by -30, Enter or Spacebar. And I'm going to turn off this sweep. And these are part of the Curve Based. I'm going to put them in this way, one or actually this also like we're used for the loft, right? So I'm going to maybe make a new layer, call it profile curves like that. And they're turn this off. Let's see. And sweep. This was part of the sweep one, right? We'll put it in sweep to change objects, right? Profile. Sweep one, right, exactly. That's what I want front. Now. What I will do is I will build with the project now and then I'll can move it later on. I will again make something like this sum over that one. This one did the bottom. Like this. That's the first curve space. Then I will here select the other edge. And this also use this one to do that. This something like this. Actually let me make just to make it a little bit. Because we have seen like how like a kind of like irregularly scaled down shape would look like if I do this for him for a moment, just to just that to see what would happen if we do that. There's to test it out and see what would happen. Because we don't want to see just to make things now like look incorrect. But maybe another project that's what I want to have, right? Thing is that one, just show you what are the possibilities. I'm going to now. I know that these are not now unlike aligned. I'm going to Select, go to top view, and then I will move. Now I am align them with this one. Alright? Now, if I now activate or, and now I typed sweep two, it's going to say here, select first trail. This one, select secondary without hitting any space-bar or enter second. And again here, select sweep shapes, right? Or point. So people often multiple shapes. If I click on this now and I say Now, press Enter when done or space. Drag. Same point. If I wanted to drag it or change it, it's fine. We're going to show me these options for this week to real options don't change cross-section or change it, etcetera. It depends on different options. Now for now I'm going to just keep it standard as we have it. You're welcome. Letter out to test these and play with these lecture on. There are many, many different things. Again, even while doing it, I did not say click on flip or automatic or natural or all of these options like always pop up. You don't always need to change them. Sometimes it works with what you wanna do, like the normal standard Options. Sometimes you want to go and dig Per there and then try to check this out. But for now, I just want to show you the sweep to this cross or this profile curve with these two rails that are not parallel or quote-unquote like gently scaled down, but there are more different. And then say, okay. And you can see now we have the sweep to enlist. Interesting thing about it is they're gonna, is gonna sweep a shape along two rails, right? Based on these two rails. And now since I know that these and this one, this one, these parts are flat, I can Cap them Cap and then it's not a closed. So this is just again, trying to show you the possibilities, the options in Rhino, how you can make shapes like that. I know this crazy. As a table leg, I know that. But that's for the sake of the exercise and the project. To know the possibilities. Can bring back the table top. You can see now it's this and then I have the extrusions there, the normal one over the loft, right? Or the sweep one again. These are, let's say this is our first project slash exercise where I am building something, explaining to you how to do it. And then up to you now to continue on these, I hope that you didn't face any issues. And it's terrible to face issues is totally normal to face some obstacles, some problems sometimes doesn't really work with you. It's okay, That's part of the learning journey in Rhino. But always remember that Rhino is really helpful tool to learn it and to work with it. You can always go to the help more if you want it, then type in what I want to type, maybe sweep to, let's say in this case, and maybe like you miss something about sweep to already get it in TypeScript do then you're going to see different options and different ways and techniques and methods and tips here. More detailed you can read through and then check out these small video tutorials. And it's really helpful, right? So going back to the Layer tab. And that's it for this first project. 16. Table 4 - Modeling U Shaped Legs: Now one additional design concept regarding the table legs that I would like to model and show you also how to model it in 3D. In addition to what we have done so far, is let's say if we have like a you profile Shaped Legs that organic connected together under the tabletop. How we can actually do that. I'm going to now here. I these, as well as these ones on keeping the table top there. I'll go to the right view. And I will here. This is also based on curves and also make a new layer. And I'll say you Shaped. I will activate this 1.4. Now, I'm going to just now draw polylines. Now, it doesn't really matter now, exactly like if there are centered not. But the idea is that stress show you how we can do it like this. I'm going to click with your project on. Because otherwise, actually if I go to the right, again, just open up the other Viewports. Show what I mean if I don't have the project on what would happen if I take this off and I tried to. You see, on the Pre-R&D perspective what is happening now it's trying to guess what, what it wants to snap to. If I do this right to that, Maybe sometimes I might even start with the other side. Depends on you see, so and then go back up, down. So that's why using their project on is helpful. So again, I'm going to click on Escape. Then we'll click again on polyline. Project on click. Now I'm guaranteeing that it's projecting to the xy-plane. Will also do that. That's okay. It looks like in poison centers I can like even let's say here, I can move. Click, Remove the other one there. But again, there's not like super important. The important thing is now to show you what want to do with it. I will turn off the top altogether. I will add the fill IT corner there. If I type fill it. Let's for the curves. Here, it's telling me that the radius set to 50, maybe that's what I want to have. Click and click. Again. Select first curve for the same curve. Basically, even though like to even epilepsy, you can connect to curves together with a full it. But if it's one curve, we can click on one segment, another segment. Part of the polyline curve then is going to fill it to the corner. Okay? Now I'm going to offset. Simple offset Knots differs offset. And I will choose instance maybe off 20, so 2 cm. Click and click to the inside, like that. Alright. And then I want now to close it off. I'm going to make it line between this one and this one. I will either select the three of these. So one, Shift and click this one or this one, and then or do this. And then join. And then I will also type close, see RV close, spacebar enter. Or I could have built this one and then also built this one and then select all of them and then join. And so they make a Closed Polysurface. So it's absolutely up to you to overflow which are doing, I'm assuming here like two options anyway. So the idea is that I want, now, I want this to be on the other side. Move to the front view, move it somewhere in there. It's okay. And I wanted to so here are the different ways. Either I would extrude this and then I will cut it with some additional curves, Trim it. And maybe it's like a standard way or I could rotate this and then do the extrusion out to what what we can have. So if let's say I do an extrusion, like I'm going to collect and click on Control to extrude it like that for now. Okay, That's extruded. And then here I will make selected, you'll hear called tremors. And I will activate this one. Then I will draw a line maybe from here to here. And I will copy. Actually first I will make it just extend Moore's. I'm going to scale 2D or one D, both work. On this case. I'm going to click on anywhere on the line, click and click anywhere along it, and then there's the extended of it. But that copy it Like this maybe. And then I will now move point like that so that it's going to have like going to turnout, Trim this shape. And will leave out this one that is pointing like one's going down, It's like scaled down as well. Then I'm going to Trim. So select both cutting objects. Object to trim. This one, this one like that. And now I can click on this and it can cap it. So now it's a closed poly Surface like that. So that's one way of doing it like that. U-shaped leg for the table. So that's U-shaped by U-shaped one. I'm going to make AU Shaped too. And I'm going to extract this initial curve. I'm going to copy it there, Copy object to layer. And here I will not do these. I'm not going to use these ones. So activities one here, what I'm gonna do is I'm going to rotate this. So if I rotation, rotate, type, rotate, and did not actually use the gimbal, because if I use the gimbal is going to rotate it based on its center point, like that. But I want the, I want these maybe to stay there. Maybe I want to have a gap. We can move this later on downwards, but I want to sort it from the top. So I'm going to select and then type rotate, and then I'm going to hear determine the center of rotation to be there. Okay? And then here I'm going to click and click like that. For example, I maintained the edge there, and this was the axis of rotation. Now I want to extrude it. Now if I do an extrude curve, you see it's going to extrude normal to the curve. Now, I can change the direction of extrusion. I can go here and click on direction. And I can now specify direction. I can click and click with the shift to maintain this direction. And then now, once releasing, I can now extrude it, although it's not in this plane, this plane like this, it's in a diagonal plane, but now we're going to shoot it in this direction. Still. I can do this, maybe like that. And now what I can do as a final step, I can Control Shift and select this edge. Control Shift, select this edge. And then in this view again, that depends. I can now move it like that. Move these ones just to make this kind of feel that it's pointing down like that. You can see that since I moved only these ones that stayed the same, like the thickness of the state the same and maybe this part of the design, maybe not. Maybe then have to trim this part as we've done with U-shaped one where we just trimmed it like all the way. It depends on your workflow and your design intention and your concept. Just want to show you like these two techniques of designing such a shape. Now, if you see this prior like this, you'd say, Oh, how did they do it? How did model? It looks like a bit challenging. It's not really straight. It's all in the diagonal. It's not like orthogonal. It's not like in any work plane or simply and it's not like perpendicular or let's say in relation to the bottom side or one of the orthogonal planes not let's say following those, But actually we start from an orthogonal plane and then we'd rotate, we'll do some rotations. And then we did, we do some extrusions, we change, we just move around some edges and then we get this resolved. Okay, I can now add these back again if I wanted to. Well, it looks like this is too small to this, these ones, I can go back to the front view. I can now click Shift and select these ones and I can move them down. Yeah, exactly. You can, again click Shift and I can move exactly two. Patch with these. Wait a bit Computing. Alright, even there I can Control Shift and click to select only these edges and account do that as well as small kind of like a surgical change there. It's taking some time to compute the shapes. Alright? You see what? Because like we started with have all selected, move these ones as well, like to match them with this. And that's why when we did this and not moving these ones as well, the internal ones. So I'm meaning these ones, That's why you are getting this weird shape this would result. And that's why I like it. Took Rhino some time to think about it and then compute it. Maybe we need like before doing this change this, let's say have the Curve, the profile to the bottom and then do the changes. That's why I'm going to now undo these ones. Just to avoid confusion. Let's keep these as they are. And it is said to be working table exactly what this does for you to understand that if want to say make this shape, we can do it like this way. And in the beginning maybe I have, I had to start with the side, Let's see, started matching my mind. It's okay. Yeah. So that's basically how we can do this kind of like also like a different type of table legs based on these two techniques either let's say start, I'm gonna, you know, with this other leg, Start with us and then with tumors like that. Or and you can see this now. It ensures this Trim, this straight face or surface of this leg all the way. Or we can do it with this rotation than extrusions, then we can change those 17. Vase 1 - Using a sphere as a starting point: Alright, now let's try to see how we can design a vase together Using a sphere as a starting point. Here as well. We're going do it like by steps. So first to make some steps. And then you're going to try to imitate me and do the same. B replied to a ellipsoid, and then we go forward like that. So first I want to make now a new layer. I'm going to call it here sphere, right? That's like as a basic, this is the origin of the vase. I'm going to go to the solids there and then I'm going to click on a sphere. I'm going to click there and then I'm going to just watch like the distance from the point going there this way, this direction I'm going to see here that this distance actually, so if I can, if I move like this, and then I see, Okay, Like roughly like the radius, roughly of the sphere would be like round. I would say like 50 mm. So it's gonna be around 300 or 30 cm in diameter, which is more or less like a I worked in size although there's not, I mean, very, very important, but because I want to, in the end, like place it on the table that we multiplied together and then place different things on that and then tried to render them together is I just want to make them kind of like a more or less like a proper size in any case. So let's click there. And I see only now with the IsoCurves of this, I don't see the surface because it's set wireframe going to click on this and then right-click on this to turn everything goes to zoom out. So I can zoom extent soon. Ease. Enter, enter. Alright, so that's now our sphere. I would need. If I click on this and I click on the points on, I only have these for now. I will have to rebuild it first. I will rebuild it. Degree of three and point can't 10.10. Okay, That's fine. No, don't want to add too many points. Because then applying a general change the shape might be a bit difficult, but then just adding few more points, then I can now start to mess with it if you want. So for example, I can now select these ones and ankle to this viewer can move this up, for example, maybe, maybe I want to, let's say, select only these. But I'm afraid of not selecting these ones. Well, so I can, for example, like do this, select. And I can control and make another window to deselect these ones have to be like one option, like controlling click on this one could be one option. Or I can go to the select Tab and I can click on this one, the last row points. And here I can just draw Lasso like that. And then it's going to select whatever is inside of that. For example. I can do this, maybe can select these ones and I can move them up. Maybe for the vase, I want the bottom side. Maybe all of these, right, to have the same height, the same Z, right? To make the bottom more or less flat, not totally flat, but more or less flat. On which are with which the Vase would then set and not kind of like, realistically speaking, like not to fall. Right? And so that's where what I can do is that I can select these points and I can now type your set point with BT not be empty. If I type B and T, I will not find the command. It said point with only B and T. And I can click on this one or I can type Enter or Space. And then here I can now take off set X set why I only want to set the Z for all of these bonds to be the same Z. Now click on Okay, I'll keep these. Now. This ad is as it is, I'm going to click on Okay. Then now it says your location, four points. I'm going to first take off the project. And I will now click on any of the points to say to give them. Maybe, yeah, maybe there. Or I can type in and I can either type it in here, or I can click choose any of the points of which the Z would be applied to all of the selected points. So if I now click, you see now I just gave all of these points. They're the same Z like that. Maybe I would like to actually select these. Top view will be scale. That Couldn't be like to select maybe with a Lasso again, once and then move them like this. It's like a it's an irregular shape. Vase. So just trying to mess around with this shape, right? You can go forward and then mess with it more if you want to actually stretch. So when I type Stretch, click to give it more, kind of like a more height. You see that now it gave it more IsoCurves. If I turn on the points on, you can see that now I have many more points. So maybe that is not the best thing to do here. I'm going to undo. And instead of stretching, I'm going to turn on the points and I will just select this one then move them up. Instead of stretching the phase altogether upwards so that I can maintain the cloud of points. Alright. I will also maybe move these up more, these up more like that. So could be a way. Now this is the volume, okay? We need to also add some cuts and like give it a shell thickness. But for now, this is the first step. And now please, I would also like you to do something similar, okay, but applied to a ellipsoid. So I'm going to make a new layer. I'm going to take a look like that. And here, double-click on this one. Then here you just need to go to the, this one, the box symbol, and then click on this ellipsoid from center. So you start the same way. So you first define the first acts diameter. That's too big, that like that, and like that. And then you have to again rebuild it. So these steps to build it. And then turn on the points and then tried to play with the points, move them around to reach a shape that you let suitable to. Keep in mind that we need to make a cut sun to the Vase, maybe from the top side and then give it some thicknesses and work with it following steps. Alright, so there's also an interactive project. I'm doing some steps. I'm showing you what I've done. Now it's your turn to try to apply the same steps on your screen. So please less maybe give ourselves five to 10 min to try to shape a vase. This is first the original shape, the base shape, and then I'm gonna take it on forward and then apply more sculpting to it. Alright? So 10 min. Alright, I hope that you have already Shaped the ellipsoid in a certain way that you like. I'm going to actually rename this as exercise. I'm not going to do it again. I've already done it for the sphere, but it's basically the same thing. Again. Since these are surfaces, we cannot let say, move the IsoCurves like iconoclastic, grab the mechanical, say click on Control Shift and click on the other curves. I'm going to select the whole shape. I can select the same curve. But that's the only curve in this surface or in this surface. If I click on Control, click maybe where is it? Start to find it out. That's, it. Looks slightly thicker the other IsoCurves, alright? This is the starting with the same curve of the ellipsoid. Alright? Anyway, I'm going to double-click on this one and then I will turn this off. Now, what do we want to apply to? This is first a cut-over. Let's look at the opening to it. A vase like usually as late as like an opening and then you can put in place inside of it, either flowers or water inside or whatever you want to put inside there, just like the declarative shape. So let's then here Making new layer called Chalmers. I will look at this one. I'm going to the front view and I'm going out to draw a curve, console point curve. And I click. I want it to be, let's say flat on one planes. I'm going to turn on the project. And I'm going to now to this like, like like this, click and release space or enter I will also have just this like that control points, right? So something like this. Now, I want to show you the difference between trimming. So that's trimming, splitting and the Boolean commands which we've seen previously, the BooleanDifference with a table. But now also like, it's a good way as well to see it again here. If I want, let's say to trim any shape with a curve. The best way to do it is to be any 2D view like in this case the front view. I'm seeing now the shape and the curve like that. It could be, the curve could be maybe also in front of it. So I can select the curve, can move it in front of it, away from it. It could be like your wave from it but in front of it or behind it. But it doesn't need to be touching it. If I'm interested in the 3D view, that will be a problem. So let me show you. I'm going, this sphere will also call it so sphere. We're actually sphere vase. Original. This one I make now right-click and then I'm going to make a new layer. And I'll also copy the content of this layer inside the new layers. So I'm going to click on Duplicate Layer and all objects. Click on this one. I'm going to move this down. And then here I'm going to call it serum than vase trimmed. I'm going to turn off this first layer, lock it in case just as guaranteed not to mess it up. Mess with it. Okay. Now, let's check out what are the different effects of trimming or splitting or BooleanDifference sing with this curve. If I click on Trim. So it's asking me here, select cutting objects. I'm not going to now change any of these. I'm going to click on this object, this curve. Press Enter and done. I don't have other objects to trim only this one, so I'm going to press Enter or Spacebar. Be careful. I'm always working in the front viewport, not in the other Viewports. Then I'm going to now. So here it says select, object to trim, select pressing, Shift to extend. I'm going only click on this side. I want to trim this part wave from this main part. So I click on this side. It cuts it off like that. You can see that now in 3D, I have this opening in the vase. I'm going to say click on space or enter and I'm, I'm done cutting. It's like a nice gut following the curve. I can undo and I can see, I can also trim. Let's say from other side I can click, click and then click determines that from the other side. So that is also an option. But I don't want to do that on a drum this one away. Alright, so let's from it again. I'm going to trim, Trim. Alright, so that's trimming. Now what about splitting? If I do again here, this vase trimmed, I'm going to right-click. And then also I'm gonna do duplicate there and objects or move it down. I will turn it on and unlock it. I will turn this off and I will say here, vase Split. And if I use the same curve as well, and instead of clicking on Trim, I'm going to click on Split. So if I click on Split and as, as you're asked me, select objects to split, the object to split is this object. And then I'm going to here, it's going to hear me now Select cutting objects. We see the order of which are the elements, like to choose different the trimming it first asked me for decoding object Y here is asking me for the object to split and then the cutting objects. Now I click on this one and I type space or Enter. You see it did not take out any of these parts. It kept them, but now I have a split. These are Split. I can if you want, maybe I want to keep this maybe like the lead or a like an opening or something. I want to have is Split. I want to separate them from each other, but I want to keep both of them. So this could be also like an option or a possibility. So that's what is the difference between Trim and split. Okay, so that's Split. I'm going to keep them like this actually. And also now I'm going to also do the same. I'm going to right-click and then duplicate layer and objects will move this down and then we'll call this now vase. Boolean. Difference will double-click on this, will turn this off. Now, if I want to make a BooleanDifference operation on this vase here. Let's see what can we do with it? How can we do it? Now with the Boolean difference operation here? The interesting thing is that we're not going to be left out with an opening, like with an open part, but it Closed one. So if I try now to apply the BooleanDifference, BooleanDifference to click on this one, it needs to surfaces or Polysurfaces and not a curve. Let's try first with this one and see what happens. So sex surfaces or Polysurfaces to subtract from. So it's gotta be this one, space or enter. If I was going to ask me if to select Surface or Polysurfaces to subsidize. If I click on this, it will not work. If I Stretch, not work. So this must be a Surface order Polysurface. Now, usually, usually I would make this as a Closed Polysurface. I'm going to extrude this in this direction. Make sure that it's going beyond the shape and not exactly at, at the edge. And then if we try first with this surface, but before making a solid surface, solid Polysurface. If I try it again, Let's see what happens. To subtract from. It's gonna be this one, space or enter. If I click on this, Let's see what we get. Okay, so now it cut out this side. The thing is that we said that delete, Yes. So again, if I try it again, spatial enter, if I type them, it's going to repeat the operation. So BooleanDifference again. Click on this one. Input set to no. Maybe because I selected it from there. If I select it from there. Click. Okay, again, it's cutting from there. So that's why it's better to here to make a solid Polysurface to just control better. The Boolean thing is that even when you look at it, this as in open, like a closed surface is like click on this is going to have the Closed Polysurface. It nicely gave. This part is Surface. I'm going to undo this again. And now I will click on this surface. I'm going to extrude. So move like this with the control. I can extrude now to make a solid out of it. Okay? So that's now a solid. And because I have this current, that's why this game inside of this layer, this one I have one. Just move it to the trend, to the tremors Layer, right-click change object layer. So these are the tumors which include the initial curve. And then this Polysurface. Alright? Now, when I click again on BooleanDifference, and I want to subtract from this object space or Enter. And now I click on this and I say the heat input, no, yes, space or Enter. Now, it did what I wanted to do. I'm gonna hide this and you see that now we have this gut. We don't want to have this surface there, but it's only Fourier as information that if you want to make a cut and have the cut, the cut site to be closed, then you would need to use a Boolean difference. If you want, if we change our mind after that and you want to make it open, you can click on the object again, explore it. You can click on this, you can remove it. And then you can have this. If this was made out of several other surfaces, then you can select all of them and then you can join them. But we only have one surface, so one open surface if that was the intention. Otherwise. Again, that's important to know because sometimes if if you make like a straight cut, so for example, if I if I make a straight line, That's my line and I want to trim according objects. Like I trimmed it. You know, that there Trim will give us open surfaces like open Polysurface or surfaces. I can still kept this. I can want to close it. I can cap it so selected and then cap it. I can close it. But if this was made with a curve, I cannot cap it. When I delete this one. I'm going to add this after exploring it. If I click on this and I tried to cap it, it doesn't Cap unable to Cap one object that that's the semester. Do we get the openings did not have Closed planar loops of edges. That's why if you have a non-linear cut or non-linear cutting shape and you want to maintain that cutting interface to be closed. Then the best way to do with this, to use BooleanDifference. That's the main thing I want to hear explain about. So that's before exploring it, I just clicked on controls several times here. So that's the Boolean difference. Like other Boolean types like Boolean union would like Join to solids together. Boolean intersections, so the intersecting volumes together and then the Split which is going, let's say to maintain everything like both solids and then the intersecting volume as well. But for now we want to have this. Now, actually want it to be open, okay, but I just made this for the sake of explaining the BooleanDifference in this case and comparing it with Split and with Trim. Alright, I want the trimmed actually. So I'm going to now right-click and then duplicate layer and objects and it will move it down. And then here I want now to call it phase trimmed thickness. Now before going forward with this one, before going forward with this one. Please, I would ask you to also now try to apply the same procedure of this trimming on your vase that you modeled previously. So please try to draw a line or a Curve Based on your liking, based on the way that you want it to be open. And then try to trim it. And if you face any issues, then please go back to my file and check out what I've done so far, how I did that and what I've explained. Alright, so now please try to make an opening, Apply an opening to the server, to the vase, and then after that we're going to apply a thickness to it. Alright, so let's maybe try to take 5-10 min to do that. And also please, you can also add test the BooleanDifference by making a solid out of the curve that you want to cut width and just start. Alright. So 10 min 18. Vase 2 - Adding thickness: Alright, now let's see how we can give this vase thickness. Obviously speaking, we can leave the vase as it is right now. But if we wanted to make it seem more real, nobody wanted to 3D print it or manufacturer it, then it must have a thickness, certainly thickness, in order for it to exist as a real-life object. I have previously made this layer phase trimmed thickness. Maybe I'm going to just give it weighs with thickness. And then here I'm going now to apply an offset to this surface. I'm going to click on this. I'm going to type offset. What not this normal offset but offset surface. Here we have this sociolects object to flip direction. If I wanted to say to click, to flip the direction to the offset from to the inside. Let's see what we get if we do it to the inside. The distance. Now let's maybe think of a distance of 5 mm. Alright, Solid. Yes. Now we're actually first, let's try Solid. Yes, Then you're going to see how Solid know what we can get and what would be also the opportunities. Delete input? Yes, I would say no. Want to keep the input both sides? No, yeah, no flip. Alright, so sorted, yes, corner, sharp or rounded. Let's also try this out. So first sharp and I want to know type one space or enter. Alright, so we got this interesting artifacts there. So this is where the solid, yes, and this is the external one at what's kept there. Actually, I'm going to move the offsetted one to the outside. This might be caused by the seam line there. And also maybe because we have this small angle that is causing this to happen. If we do the same, if Apply again the same offset surface but to the outside, the same settings. Let's see what happens. Also, we get this artifact there. I'm going to move this side. Also get this interesting thing right there, which is weird and unexpected. Let's try to maybe explored this and get rid of this. If I click on explode, I click on the service, I remove it, look on the surface and remove it. Now we are left with so the external surfaces. So this one, this one, and this one. And we have now this thickness there. And I select this one and this one. And I joined them Join. Now it says that you have an open Polysurface. Now I don't see the opening where the opening is happening. If I move it, let's say is did we leave any Surface? Oh, maybe that is the surfaces that was left somewhere there. So that's there. If I join this one with the overall still one open Polysurface. If I in this case, if this happens that you, it seems to you that you have a Closed Polysurface, but you are getting an open Polysurface. Then you can go to analyze edge tools, show edges. Then this will show you an, a color that you choose. In this case, it's magenta. The naked edges, which are the edges of the open sites. This case looks like this is an open side. If we try, for example, to Let's try just click and type Cap. Unable to Cap, yes, I mean, that was actually known or expected. But for some reason this is an open one and it's ideally not, should not be supposed open. Okay. If we try to offset this but without a solid, yes. So if I offset again, offset Surface and I don't see Solid Yes. To the outside like that. And now instead of Doing the Solid Yes and SolidPtOn. So I have this, those two different surfaces. I would like now to close these edges together. And I can try to do it by using something called blend surface. If I type blend surface as RF, and I just try to select the Edge to see what we get. This the first edge, second edge again. So just to see again what, what happened. So blend surface, it needs us to on the, or select the first edge, which is, let's say this one, and then second edge, this one. And then here is giving us, let's say the directionality of both edges as well. Dream, drag seem point to adjust if you wanted to do that or not. Space or enter. Now we have this option here, so this adjust Surface blend. And here we have these options. So let's say I can go to position this case, for example, this one, and I can move the left and to the right. I can try it agency. You can see here, you can try curvature. So maybe let's save the edge is like around like this and not sharp edge. That could be like, that could be one like one of the possibilities. Or if we go back to the position, this one like that. And I make this as 00. Okay? And now I click on OK. Now it generate for us this surface. Okay? Now we try to select the external one, this one, and the internal one. And if we try to join these together, now we get a Closed Polysurface. This is actually a good situation now I wasn't expecting this to happen. Honestly. I thought that it would work without having this artifact and for some reason we got this and it's an open Polysurface. We tried to get rid of this by exploiting and then removing and then rejoining. But we still did not did not get a Closed Polysurface for one reason or another. Then the other way around. This. And that's a good, actually it's a good opportunity to show you this because if this did not happen with me right now and it happened with you later on, you may just ask yourself, why did it happened and how can I solve it? Now it's a good opportunity to actually to show you this like real example right now in front of you that sometimes things may not work and then you may want to do it in a different way, slight different way in order to make it work. And so in this case, I had to make an offset without Solid, Yes. So offset get another Surface. Offset it from the main one but without Closing the Gap and then Closing the Gap manually with a blend surface. Now again, this was closing it with just one option, right. But we also saw the options of having this to be around and stuff like an interesting edge, not the sharp edge drew depends on your design in this case, I'm fine with this one to be the it looks like. Right. So that's for you to know it's a good opportunity for you to see this and to understand that. Not always like what you're doing may work perfectly from the first shot, but you may want to make a workaround around this. And this is one of the workaround. In this case. I'm actually going to undo this. I want to keep these open. I would like to actually save these steps. I'm gonna say made actually two layers. Okay? So vase offset open. Okay? I'm going to put Only these two offset. So both actually, this is part of the thickness, right? If I click on this open, I'm going to copy this inside of fear and then I will move this one sort of year. That's exactly so that I still have I still have main one there. And then I'm going to move this one to another player yet. So vase offset, open, blend, surface want to change this to vase not base surveys. And then I'm going to move this one there. So what understand? This is the first step of offsetting open, not Solid. And then this is the blended surface. And then now I can also make a new layer. So phase offset, open plus blend surface joint. I'm going to select all of these. I'm going to copy them to this layer. Turn this off, turn this off, and then I'm going to join, I'm going to activate this one and then I'm going to join the three of them to get a closed. So offset equal to Closed. Just to understand the process. Right? Like that. Okay? So we have this these were thickness. Actually, I'm gonna call this offset Solid. Yes. Equal Solid, Yes, that's what I want. This is the option that I chose and did not work in both cases. And then I didn't offset open or Solid known solids like this. And then this is the blend offset, blend surface, and then this is the them joined together to reach a Closed Polysurface. Obviously the blending, it has different options as well. So also there's 11 of the good things of, let's say, having these steps and layers so that I can also change the blend surface. I would say variant one, right? But I can also copy this make new layer based. And then I will say variant to. And I'm going to activate this one and then I'm going to make blend surface, not edge surface. Here. You see like these options of blend curve, edge Surface, etcetera. And then I'm going to click, click space or enter. And then Anna, I'm going to use tendency. For the sake of having these options there. I will say OK. Now, this is part of the variant to, right? So we can see these options. Either this one or this one. Here it's Bend Surface V1 variant one joint. Alright. Now, please, I would like to now to apply the same thing to the vase that you designed. First, try to use an offset Solid, Yes. And see what happens. Maybe you will not face this issue that I faced here. It's, it's good that I faced it and it's good that I showed you how we can work around it. And then try to make an offset with solid no, so with an open offset. So without joining both offset result and the original Surface together, and then try to blend this Surface together. Now, it may ask you, or it may be if, let's say you have, let's select a different the Polysurfaces. Another, another words. What I would say here, sometimes like this is not now, let's say one surface and one surface. So when I did the blend surface, I click here and then it selects everything. Now, if this was not one surface, but it was made out of many surfaces. So it was the Polysurface. Then you may need to click on chain edges to continue with this first selection, the first edge as a chain, and then check and then click on that one. But in this case it's not the case. That's why it's one-click and then we get this selection correctly. But just to let you know that, otherwise, you may need to click on chain edges and then you can select the chain to close the edges off. Alright? So I would say maybe also take, let's say another 10 min. Please try to apply the offset Solid, Yes. Then offset Solid know and then blend the surfaces together to close off the object with thickness 19. Vase 3 - Editing internal & external surfaces by rebuilding: Now what is interesting is that we can always change these surfaces. We can always let say genes thickness. So maybe the thickness doesn't need to be all the way uniform. I mean, it could be, maybe in most cases, it may be like that. But if let's say you're 3D printing something or manufacturing something that is not regular. Let's say the ship itself is not regular. The whole shape is not regular, symmetrical in any form. And so what I'm here meaning is that we can, for example, increase the thickness or the unit thickness internally. So for example, I can click on this, I can turn on the points. And I can click on this and I can maybe push it to the inside. Maybe that here we have assert more thickness than the other parts as well as this one. It could be like this. I zoom in here and there's to see what's going on, right? And see if this thickness here, right. I mean, you can see that from the inside. It can be thicker just for, for some reason or other. Right? So we can let say increase it. We can maybe click on the external one also like move it. If I click on this and then Points On and see that because we have, because of the operations we did previously it in Greece, the ISO Curve count. And so maybe we need to rebuild this one. Maybe. So actually I'm going to actually undo what I've done. Actually want to click on this and then click on the other one. And then one is say Control C. First. To keep these in the clipboard. We're going to undo my movements there. Okay? I'm going to make a new layer, actually something I make a duplicate layer without the, without the objects. Solid know, but then I'm going to say here, changed control points. Double-click and then paste, right? And then here I want to, again click on the internal one. I'm going to affect some of the points. And when we turn the wireframe on this, click on this one. This one, this one over them, like this, right? And also the, Regarding the external one. Sorry, again, for that. Based actually brought them into this layer. Anyway. So I'm going to just select this one. Select one of these ones. It's okay. Okay. Wait, no. So it actually located I need to again turn this on. I need to only get the one that has been changed. Change this S1, click on any of these because I didn't get effect this one. I will also change it. Turn this off. Okay, I think now we are good to make sure. Here we have original have to surfaces like this. This is now what? Exactly with the different thickness there. I can see it there, right there. Okay. Now, I was mentioning the external one that this is current. I was mentioning that this had more IsoCurves added because of the previous operations that we were applying. We can rebuild this one, we can rebuild it. And then maybe give it 20. I think it's fine. Is there a 55 in the EU and individuals 8 ft 20 as well, 332 input, yes. Did I want to delete input? Okay. So we have now better grasp medical control on the overall shape. I'm gonna use a Lasso. I also love them like this. Will move them. I don't know. For some reason. I don't know. Like this, right? Well, it depends on what you want to do. Another Lasso operation, something like that. Like the thicknesses not the same with this variable, right? And we can always, actually, I'm going to move this to the bottom right. So it's like a new A bigger step with more difference there. And yeah, I think also actually let me just move axis images. Just do this. Again. What I'm saying is that we can still affect the surface. Then we can blend again. So I'm going to know Duplicate Layer and objects are, well not really. I'm going to just know Making new layer and then I'm going to call it. Actually, I'm going to well, let's give it a blend surface. I'm going to call this irregular thickness. And then I'm going to put these inside of this so that we put these on the side separately. And then I want to now blend surface again. Let's keep it sharp. And then I'm gonna say here, close poly surface. And so I'm going to just copy these into this one and Join one Closed Polysurface. Alright? So this is just to show you that we can still always keep going with the design, keep editing, design based on what you want to on your project. And the thickness doesn't need to be regular. I'm going to show you later on with another attempt where like sometimes we might have to have regular thickness or something. But for now let's keep it irregular like this. Alright. Now, it's up to you also for you. I would like also peace to try that out. But if you want, let say to apply these changes, if you want to dislike opportunistic, an optional exercise now that you want to apply these changes, tried to rebuild your surfaces of the vase in case it has a lot of IsoCurves or a lot of added control points. Try to rebuild it, but not too drastically, so not, let's say, if you do unlucky Rebuild, Either way, I kinda do it like this because this is like Polysurface. I need to explode this and click on this and then now I can rebuilt. But of course not like five. And for me, it will not anymore follow the original shape. It's going to mess up your shape. So I'm going to undo this. You want to rebuild it with a, a logical, let's say number, right? So that it works out well. And then tried to apply these changes, try them to blend surface again, thickness to close it off. Alright, so let's maybe take for that also, let's say around 30 min. Try to play around with this, with these functions and changes. Alright, so 10 min 20. Vase 4 - Extracting IsoCurves and lofting new shape: Now another way, an alternative to what we've done, which is to select a surface and then Extract, Rebuild it, and then extract the points and then move them around. Taste actually extract the IsoCurves off the surface. So if for example, now I would like to take this surface, this is external one, I'm going to extract surface is what first from this. So I'm going to say yes, copiers select surfaces to extract, select one and space. So I extracted this surface out of this Polysurface. Okay, I'm going to now make new layer called Extract did Surface external. So this external surface that there's an extracted, I will click on this surface and I will change object layer to this one double-click and then I want to now take this off. Alright, so this is the external one, right? And if, let's say, I want still to change this more drastically and not just, let's say a few points around. So imagine, let's say you already have a surface, maybe from a colleague or from another project. You don't have the building elements that make this surface out. You don't have, let's say the beginning steps like in here of what we have done here previously. What you still want to use this one as a base to update it and apply more changes. Then there's a really interesting command called Extract ISO curves on and I'll type it, Extract IsoCurves. This one. This, What is interesting with this one is that it's going to Extract for us these IsoCurves and put them on this side. I have told to the previously that I cannot, since this surface I cannot control shift and touch. I cannot select these, right? Because this is surface. I can However, select the edges like this one, right? Or the seam, right? This one. But I cannot select the IsoCurves. So in this case I can extract the IsoCurves with the Isaac ExtractIsoCurve command. Select Surface for IsoCurves extraction when to click on this surface. And then now when I hover my mouse along the surface, I'm going to see which IsoCurves would be extracted from me. I can also toggle the direction along the V. For example. Oregon also put direction both can extract both IsoCurves in both directions and the U and V. Now for now, I want to extract only the IsoCurves along the U direction. I'm going to go to the front view. I just went there and ticked on the front view there. Then now I will just click, Make few clicks. So click, click few clicks. I'm going to now orbit with this Shift and right mouse button to position myself correctly. Maybe that's what I wanted to extract from this initial surface. And here I'm going to make a new layer called extracted ISO curves. I'm going to either I could click on the surface, hide it, select these, and move them here. Or I can, since I know that we only have one surface from this layer and then the rest are curves. I can type select curve as SEL see ARV, all the curves in one shot without having to hide anything. Then I can right-click on this Extracting IsoCurves. And then I'm going to say change object layer, double-click on this and turn this off. So now we have the extracted IsoCurves of the main vase. And then now I can change them as they want. So I can now I'm going to know also right-click and duplicate layer and objects. And then I'm going to say edited in capital letters to say that these have been edited, not the original ones. For example. This, for example, I can actually select multiple ones and then turn their control points. And then I can write, just depends on what you want to do with depends on your project. But anyway, let's us do this for now. I can move it, move them up. So I'm just like changing drastically, changing the constituents of the surface, the IsoCurves and making just now a new shape, totally new shape. For example. Let's all of these have similar number of control points. For example, they may be this is what I wanted to achieve. And then now I'm going to make a new layer called lofted edited ISO curves. Double-click on this and then I'm going to type loft. I can do with this. Make sure that they're all in the same direction and the same position looks fine. Space or enter. That's fine. So that's maybe now my view shape. Maybe that could be like one of the options and just drafting change from the previous one. And you can see that now we extracted, we kind of like the reverse engineer process. On the original one. We extracted IsoCurves from it and rebuilt in U-shape based on that. Okay, So maybe now it's not smooth at is fine then just as an exercise or as a step is I want to make, also want you to know that this command Extract IsoCurves exists. And you can use it to extract IsoCurves from previous, from existing surfaces and then make new shapes based on those newly edited IsoCurves. So I would also invite you please to apply this, to try to extract IsoCurves from your vase that you made and try to play with them, change them accordingly and then just make a new curve and we new shape based on the newly changed, on the newly changed IsoCurves. Alright, so maybe also let's give ourselves for this exercise like around 10 min or five-minutes, really up to you as you feel comfortable doing it and see you soon. 21. Vase 5 - Alternative by intersecting surfaces: Now, one thing I want to mention here regarding this extraction of the IsoCurves. It is regarding the extraction of these building curves of this shape. This is one way of doing it, Extracting IsoCurves. However, we have seen that this constrains the extraction to the IsoCurves themselves, which is logical, right? Extracting IsoCurves, right? But the thing is that here the IsoCurves are, well, following the shape, right? The original shape that we did the extraction from, right, from this external surface, right? Then we did the extraction. And you can see that the IsoCurves are doing this because that's how the shape, the structure of the IsoCurves became after we have manipulated the vase from the beginning, right? And that's what the resultant. But what if we wanted to Extract still the building blocks of this shape of the surface, the curves, but not exactly following the IsoCurves. Maybe I want, for example, to extract like more or less here. Even at this stage, let's say linear curve is not like going doing this. And then at the end here I just would like to have like a clean curve. You can see here this IsoCurves, there is kind of broken. If I want Extract IsoCurves, there is not going to work well. So if I tried it, ExtractIsoCurve, select Surface, you can see this. So when I'm moving my cursor here, now I will get in broken if I click Clouds to test it out. You can see now this is broken. If I click on this and I hide it, if you see the issue here. So now it's broken. I cannot really use this one there, right? So this is a good example showing this because a lot of times maybe you will may not want to, you may want may not face this issue. Maybe. Maybe, yes. And so if this happens, if, if the IsoCurves, let's say you're shape is made in a way that at a certain area the IsoCurves are broken or not, Let's say continuous. And you cannot use them to reverse engineer your shape and then make some changes and then make a new shape. Under this, under the extraction there. What can we do? How can we extract then? Not IsoCurves about building block curves that make up this shape in a different way. There's different way. And that's actually a good opportunity here to show you this because after doing the Extracting IsoCurves, because doing this here shows you the imperfection if we reach this area. So I'm going to make a new layer called I'm going to call it here, inter secreting, intersecting geometry. And I'm going to activate this one. Now the idea is that I want to build some intersecting surfaces that would go through this vase. And then I'm going to extract the intersection between the surfaces and the vase. So intersection between to serve tooth-like two sets of services. The first set is the surface and the second set is this, only this surface. And then I'm gonna get the intersecting resulting curves. Alright, I'm going to go to the front view like this. And I can now see only this surface. That's good. I have this activated intersecting geometry. I'm going out to, for example, draw some lines. Maybe I want the starting line to be there. I'm going to activate order within F8 button. Like this. I'm going also to move this point there just to have all of the point, all of the lines are the geometries to be going beyond the surface. I'm going to copy this multiple times. So also with or to on without clicking on Shift, then it's activating the auto Snapping. And do this there. And now here I will draw some curves. So I can, for example, I will take off now the F8, take it off, the auto. Snap. Also here. Maybe I don't want to continue with their and I'm done like that. And maybe also if I wanted to take this, I could also Do something called dupe edge. So I still want to get this one when I just also move with a slightly beyond this point like that. And I'm going to go to the perspective view. And I'm going to duplicate edge one space or enter and that's it. We actually one of intersecting surfaces, curves. But now I still need now to extract the intersecting curves, right? Answer for that. I need to choose. Go back to the front. You need to select all of these quarters perspective again. I will move them like this and then I will move and click on Control to extrude them like that. And now I'm extruding these two intersect the surface at different areas on Escape. And then now I will type intersect, intersect. Select objects to Intersect. Let's see what we do. You do this and I click on these. Select all of these. Alright, so now I got all of these nicely. Extract intersecting curves between the surface and these surfaces. In this case here level say planar surface and the hero that are curved surfaces. I'm going to make a new layer while these being selected before clicking on Escape, I'm going to make a new curve, new layer, call it enter. Think Curve profiles like this. I'm going to activate it and then I'm going to right-click and then change object layer. So these are the intersecting geometries. And these are the intersecting curve. Professor, I need to be careful. I actually extracted this one in the inside of this layer, the duplicated edge of the surface. A moment also right-click and then change this one to this layer. Double-click. And then now I will turn off this layer and also will actually turn off now this layer. So now we want to, what we can do is you can now loft these together to make a new shape. But of course, now the idea is that we want to change these, want to just affect them, change them. You can see here that the point count is much more, many more points then the point count of the Extracting IsoCurves. See here Points, you can see that nicely. I would say, distributed control points of the IsoCurves, Extracting IsoCurves wildly year because we did this intersection, intersection between these geometries and the ways that we have now many more. Once we can rebuild these, I'm going to double-click on this. What we can do is that we can rebuild this, we can select all of them, and I can say Rebuild. And here always gives degree at three. And then here we can see like, okay, this will show us the deviation. These red points are the, are the locations of the biggest deviation from the original ones. A little curves. So I can say the point count here will be not 20, but maybe 30. Escape or enter, or maybe actually this one have a different count. Maybe if let's say I would maybe have this set to be rebuilt, this one and this one to be rebuilt with a different value. So if I say 20 people on looks like more or less like there are good. And then I say, okay, then only these ones, maybe these ones will be also twin in the last one will be more. Because of this, let's say change the geometry that needs to slightly more points to define it. So Rebuild maybe only last one. And then I will see this is like the big deviation with the original one. You can see what I tried to click step-by-step. You'll see where is the deviation. And you can see this is the maximum deviation like this is the number that determines the deviation between the original curve and then the newly built curve. You can see that at number 23 points I have 1.388 something at 24 points. So increased in the point count and bigger deviation. So it doesn't always mean that if I have more points, it strictly means that I have less deviation. This is because like now it's Rhino is distributing the points along the newly built curve and it's still not done yet. I just like strength to estimate to me what this will be presumed to me, the result before making it complete. And it looks like at this area here, like we have a control point that is close by or kind of like the resulting would have this shape that is closer to the original curve. Then if, let's say we have a 24 points and then we have a different distribution of the control points, which will result in a different, slightly different geometry. Although more points. But then in this case here it's not doing the best thing are the best chocolate syllabus result. Can see like 26, 25, really like higher if I go back 23, maybe that's fine, that's close enough. And then anyway, I'm going to have to change the letter. I don't want to scale them on on just like affect them to just make a new shape basically. I mean, that's the main idea is they want to extract these owner, get the section profiles in order to affect my Geometry and then make a new, sorry, I move that to make a new shape, etcetera, and then move them around. But the idea is I wanted show you that this is an alternative way of extracting from the, from one surface, from one geometry. It's building blocks, building blocks, curves, let's say building block geometries that make this surface and then change that and then build a new surface based on the previous one. So that's like just the right strategy to keep in mind for you to know the corrective to the Extracting IsoCurves. Alright, that's it for this explanation. 22. Vase 6 - Modeling the Handle: Alright, so now that they've reached this level so far and wide, so many applications and modifications and changes. I would like to also try to push this design slightly further by trying to add a handle and maybe a spout. And to make this phase also work as a watering can or watering pot. So of course we can keep what you've done so far, saved in these layers and add new layers and then play with them and work with them. I'm going to make now a new layer called Handle like that. And I'm going to go to the front view. And then I'm going to make a sub layer under this one. And then I'm going to call it curves. Activate this one. And then here I'm going to now draw a curve. I'm going to keep this as disabled and don't want to, wanted to touch or be affected by any of the current geometries. This alright, so something like this. Maybe, maybe I can move this slightly downwards. Actually. Keep the Handle like this, right? Okay, could we, that can be like one option. And now what we want to do is we want to draw the profile curves. That would make is going to shape the Handle, then give you the Handle a thickness that there are many, many ways to do it. Either you can pipettes, we can pipe this curve. I can just simply, I'm going to now make it neater called pipe, a simple pipe of a simple regular radius. I type pipe, simply click on this and you can check and choose the radius. This radius. And let's click a different radius for example. And that can be one option. Will click on this to sit in 3D. That would be one working the option. Alright. Not bad. Or we could maybe make an irregular loft or sweep based on circles and ellipses. I'm going to make here. You're going to call this file curves. Again. So this is actually, I would say here, curve, Handle, spine. Just to say that this is one of the Handle. This is the main curve that Active that dictates the Handle shape. Actually, also it is interesting is that maybe I would like it to be not flat, but maybe I would like it to be moving in 3D as well. Actually, I'm gonna keep this as spine flat. And I'm going to duplicate an objects. And then I'm going to call it spine irregular activity. This one. Make this off. Click on this again. I just want to let say keep the flat as an option with the pipe as an option. I'm going to turn off the vase. I'm going to move this one there. This one there. Let's see what happened with the Vase. Yes. Okay. It's still still I'm going to actually lock it to when I touch it. I don't affected. So maybe I have this done, not too crazy, but okay. Like this, I don't know how economic this is, what just for the sake of the exercise that I wanted to be not flat but changing in 3D. Select these points, move them more just to see it more drastic change. Okay? All right. Now What I would like to do next is I want to maximize this view. Hide that layer. And now I'm going to activate this profile curves and I'm going first to go to the ellipse, drop-down arrow and then go to ellipse round curve, select curve. And I can look at the beginning of it here. And this will define, I think yes, the first axis, and this is the second axis of the ellipse. I can also scale it if I wanted to scale 2D. Scale to the take off the table and projects and scale it like actually scale to scale one D. Alright? And then I'm going to go to the circle, drop-down, circle around curve, select curve as well. We'll select the curve and we'll draw circle slightly bigger with the same. That's fine. Let's see. We have now this ellipse, and then we have this circle, and we have this curve. Now let's see what would happen if we try to sweep these together. I will go now to make a sweep. One operation will activate it. I'm going to type sweep one, select trail, select sweep shapes. This one, this one, space or enter. Let's see what happens if we keep it like this. Okay? Looks like it's swept the lips and the circle together along the real the spine of the Handle. I'm going to say, Okay, I'm going to turn back on the phase. And you see that now we have this sweep starting with an ellipse and ending up with a circle. I'm trying as much as possible here to make it irregular as well. Also, the Handle is not an E-flat Plane. Okay? Alright. And I think, I think that's regarding the shape. Now what you want to do is that we want to adjust it so that it's not, of course, you know, like going inside of the vase read but it's like it stops outside of me, let's say has a nice interface with the Vase. I'm going to unlock this one. And what I would like to do is I will right-click and then we'll say Duplicate Layer and objects. And I want to bring this one under the Handle. And then I will say here, so vase with Handle. Alright, and now what I would like to do is I want first to cut off these parts of the Handle that are going inside of the vase. And we can do this by trimming these off. So if I type Trim and I use Select cutting objects as this vase and enter or space. And then I click on this part and this part. And I can see that this is also, there's also like one part in the middle thickness of the vase. I can also click on this one. And on this one, right? Space or Enter. And now I have trimmed off the Handle. For me. This may be a distribution, this may be like it is an option. That could be fine. Maybe I want also to kind of have like a smoother interface between the Handle and domain geometry. Maybe not, maybe that's fine for me. If I wanted on the other side to have the smoother interface between this and this. Then let's see what we can do. I'm going to add here a new layer. I'm going to actually call it Offset Curve on Surface. And what this means is that I want to now to offset first this curve over the edge of the handle. On this surface. I want to have an offset, then I want to cut this off and then on a join both together with the blend surface again. So let me do this step-by-step. First. I need to extract this curve. I'm going to type dupe edge, select edges to duplicate them. I'm gonna click on this part, looks like we have multiple curve is why? Because this is interfacing with the Vase right? At the same line. If this was coming not at the same line, then we may not have this issue. We will get one. So for example, when we do this at this place, we're going to have only one, I would assume. But let's see first, let's do this first. So duplicate edge space. Then while these being selected after having been duplicated, I'm going to join them together to have one Closed Curves. So three curves joined into one Closed curve. Then I'm going to type offset Curve on Surface as RF. Then I'm going to select Curve on Surface, which is the one that I've just duplicated. Then without clicking any Enter or Spacebar, select Base, Surface, this one. Then here we can specify the direction and the distance. So I want this to be absurd to the outside. Notice the inside. So I'm gonna click on flip first so that these arrows would point it outside. And maybe I will choose a, a distance of 15 space, right? So now we have this distance and it looks like we have this one and this one and also like these ones which I don't want, these ones, I want to delete these ones because it's at the interface that we have this artifact thing. So what we can do here is that we can slightly Rebuild these wants to connect them. So I think maybe if I connect, join them to curves with one open curve. But still it's open, not closed because of this, I'm going to move this point to this point and I will delete maybe this. Do you have like a smoother shape and I click on this closed curve. Alright, that's good. That's a closed curve. And now what I would do is I would now Trim with this the external surface on this. Cutting objects to trim this one should work. So let me just try again. If I over this, maybe because I moved this point that for some reason it was moved away from it. I'm going to redo what I've done. I'm going to offset on, on surface, again. These ones offset Curve on Surface, base curve. And then I'm going to save, let say this one. Again. Base Surface and distance of one not 15. And flip. And one. That is delete. This one. Let's see what we have here now. Slightly better. I will join these. I have I think at this intersection small. I think that's fine. When I close it. Close curve by adding a line segment. Okay? Now I'm going to try to trim it. So click on this cutting objects, then. Click on this one. Now it works. No undo. And this, right, exactly. So now it works. Now we have this opening. Now. I want to blend this with this, but not there. So because this will not really work Fine, I wanted to just bring this back slightly. Want to go to the front view. I will make a tremor Layer and I'm going to draw a line, straight line. I think maybe like the connection would start there. So maybe like a line there and a line there. So I'm just passing through there that I'm going to Trim this Handle with this line. That and actually what I will do is I will duplicate this because I want to keep the original action. It was trimmed anyway. But I want to just like keep this before the blend. So duplicate layer N objects. And I'm going here to say, and bull trimmed this one, right? I'm gonna now Trim with this line, the on a turn this off. Alright, and then now I have this. Now let's try to blend this and that. So now I will make a new layer called blend surface, Handle and vase on this one to deviate it. And then I'm going to type blend surface. If I click on this like this without clicking on chain edges, is not going to select all of the edges. I will click on Escape, then redo this and Surface than before clicking anything. I will click on chain edges. Then I'll click on this. On this. It doesn't work. No, it should work. It doesn't work for some reason. It should actually work. Then Surface chain edges, X segments. For some reason it's not working. I don't know why, but it should normally work in the case. Then what I would do here is I would, if this happens with you for some reason, then let's try to blend edges. I'm going to duplicate the edge of this one. So now I have this curve and we have this curve, this one. And if we blend edge, or actually we blend curve, this one. And this one, will that work? Maybe not have the controls that we have. No, That's not the case. Maybe I'll undo. So I think I'll just undo this. Undo. Before splitting here. Again, I will try to investigate what happened there. Maybe this is causing the problem, this point. If I delete it and I keep this, Let's try this again. And Trim. Hopefully should work. Okay, so it shouldn't be working. Click on this. Click on that. Okay. And then now going back to this, and we said tremor. And I wanted to just redo this there. Click. I want to also remember duplicate this one. So it's gonna be trimmed. And turn these off. So Trim, Trim, trim this one. And then now hopefully that it should work. If I make a new nerve called blend surface Handle and vase. This one, blend surface, chain edges. It should work. Okay. It works, it works. Space or enter. And this one as well. It works. Something is weird there. Okay? That doesn't work. Let's try again. Land. Surface. Then Surface, chain edges. X segment for first edge Okay, should work. Now, select segment for a second edge, starting point on the closed edge. Okay? Now it works. So clicked, clicked. And then now we try to see which one of these options would work best. I don't want it to be like this. That's kind of like really bulky and not 3D like with the curve. I can play with these parameters there, these sliders to adjust the curvature. And you can see that this is like a kind of like a challenging shape or you have like an ellipse coming in and interfacing with this surface. And it is, let's say different distances like this, like a wide distance and this is like a closer distance. So it's trying its best to blend both together nicely. We can try the curvature, for example, try to play with these sliders. And we've also tried to play with these points if you wanted to, but want to go to the tangency, I like this. Let's see what happens and then I do this and that like this. That's, I think for me that's fine. That's not bad. And then I will click on, Okay. And now I got this interface, this nice interface connecting the Handle to the main vase body. So that's, it was challenging actually because we're doing it right at the same line. And you saw the issue that happened prior to that. It didn't really work from the first shot. We had to just treat the width, investigate and that curve as well had to be redone, Rebuild and then do not have any small kink in it that would prevent the blend from working. Again, this is really good that is happening now and you can see it now and see the issue that was happening at the solution would have done to solve it. Because if this was not, did not happen and it worked all fine from the first shot. If later on it happens with you, then you may not. Let's say find it easy to solve, right? So again, trying to show you the situation, circumstances, what would happen if that that happens, and how we can solved. So that's the first one. Now I said previously that when we want to apply the same change to are the same blend to this one. We may not face the same issues because this is not along the seam line of the surface. So let's try this again. So I'm going to click on this and I want to also have offset Curve on Surface. I have already hear the way out of it now. So duplicate edge. Alright, and then I will allow offset Curve on Surface, Base, Surface because this has already been selected. Lip and I will also choose 15. Maybe let's choose another number. Maybe let's actually skip it 15. Let's keep it away from the same curve. Alright. Now, I'm going to trim this one. Dice. I'll go to the front view. I will also draw the same line as a drummer to Trim a handle. Now, maybe here, it looks like the View. This one doesn't really work for me because It's not facing it like here. I will actually go to the top view. And I will draw a line. And we'll try to trim it with this surface extrude line. They did this one. So now I can trim it with this surface. Would like to move it slightly to the back. So maybe this is a good connection. This is connection. Alright, I think that's not bad, That's good. Now I'm going to trim. Handle, trimmed actually this is the one. So handled cutting objects, this one. Right? So this is the hand has been trimmed. I will turn off the tremors. And then again I'm going to activate blend surface Handle and vase. And then now let's apply the final blend surface. At this side. We won't need to choose chain edges because it's not at the same. And so this, Let's say one single edge, second edge. So it looks fine like this. Alright, and then here also, tangency. Looks ready, great. Like this. Maybe I will try to see if. Well, actually it's fine. It's fine. Okay. Alright. So you can see again, so this will just apply over the same blend on this. And it looks really nice. I can go to the display and I can turn off show IsoCurves. Even I can turn off Show Surface edges and even curves so that you can see like only the surfaces. That's like a nice handle. These back on. I prefer to keep these as as they are. Let's keep that as well. We can actually go to Arctic View maybe and turn these off. You can see announced like a semi Rendered few and the little trimmed. Alright, so that's in case we wanted to have the interface between the Handle and the main vase body to be smoother and curvy and not like a straight one. Otherwise, we have the option of having the Handle. Not like this, but I can bring back this one. He ghosted without the end. Alright, so now that we have seen how we can do this as an exercise for you. Now. If you could then Add a spout to the vase, you always remember the idea is that we want to transform this vase into a watering tank or watering can or watering pot. So we would like to water plants, right? Not the teapot, but it's watering can. So the Spout might be slightly, maybe long. And so please try to. Now I plow, Apply a spout and it's going to be as a hint for you, really similar to this. It's only gonna be one, actually one. Blend surface when interface. Then we have here let look at chronic. So spout shape that would be going out somewhere from here or from here depends on your design. Then after that I'm going to do it, actually going to do it together. I'm going to show you how we can do it in case you face issues, but leaves before that. Tried to do it yourself. This will evolve. So drawing the spine of the Spout, as I've done here. So they spine and then try to use some curves to make them, let's say from big size, too small size, kind of like an 0 pointy shape. And then you might also want to use offset Curve on Surface and then trim this surface and then blend both parts, the Spout and the main vase body. For that, I may I think maybe like a 20 min or 30 min would be good for this exercise. Alright, so let's take 30 min, maybe exercise time. And then after that, we come back. And then I'm going to show you how we can do it as one of the possibilities that could be working before this. Alright? So thrity minutes 23. Vase 7 - Modeling the Spout SOLUTION: Alright, so let's start with this part. I hope that you have achieved to model the Spout. It's pretty easy 3D. So Azure, this one, as we said, we're going to make a new layer called Spout. And I'm going to make a sub layer called Spout spine. So maybe curve. So similar to the first one here. Double-click on this one, I will go to the front view. And let's draw a nice spine. Maybe let's Let's move these points. Okay, so it looks like a long spout there. Alright, that's the first step. So let's follow exactly the same steps that we have done here. Now I don't want to make a regular radius of this part but to be growing. So here, let's say the smallest radius and then here is the biggest radius. In this case, I would do the perspective view. First. I would like to position the Spout spine. Correct position. Go to the top view as well. We'll move it there. Will also actually give it like this direction there. So something like that. Okay. So as you can see, it's not like totally flat on the on my viewport and it's fine. Which position that based on the, on the Views, 3D view and top view. Now, I will make here the profile curves, similarly the ones that we have done here. New layer profile curves. And let's make a series of profile curves. Lung the Spout based on ellipses. I'm going to hide this one for the moment. I'd like the whole Handle. Air. Go to the ellipse. Ellipse around curve. Will start first with this ellipse to be like the biggest one, the project. And then here what I can do is that if I wanted to say to position the ellipse Axes to be vertical, I can click on Shift to lock it like this. Maybe this is the radius of the first one and then that's the first one. Okay? Spacebar to repeat it. Repeat the same operation. Select curve. I will make the last one. Air have. You may be in this case, wanted the spine to be along the curve itself will disable, actually enable. But I wanted to be, let's see. If I do this. He says Frank to Intersect with it there. That's too small. Actually, if it's too small, instead of redrawing it, for example, this case, I can just let's say offset. So offset, not Curve on Surface or surface but the normal offset. And then you can say, Okay, I want the offset to be, if I don't know the distance, I can click that and then that's it. I'm done. So maybe that's the opposite. Maybe that's the Spout ending opening. And then in this case this looks similar to the same size of this one. Let's maybe make this one bigger. So also offset this one. And then I will go the distance and then click on the center. Click. And again, you all say distances. This much. Delete. Turn on again the Z, okay, it's proportional, is not too big, not too small. I think maybe we're done here. So this should be now, we're going to imagine that a spout is going from here to there. That is the shape of it. And it's going to go from the big ellipse there to this small one there. This can be achieved by a sweep. Sweep one Activities one. Now type sweep one, select trail, select sweep shapes, click, click, space-bar or enter. And okay, so now this is my swept shape of the Spout. An open surface. You see like an added a lot of IsoCurves, that's fine. If I turn on again, spout or the vase also with the Handle. So it does look bad. That's my looks like my initial shape. Now, if I want, let say to change these IsoCurves like it looks like they are too many. I can rebuild this one. We can Rebuild. And I can say set of 19.1, 42 along the V. That's what actually explains this. Like high density of IsoCurves along this one. Along this side. I would like maybe to make it go down to 6.6. Let's see the preview of it. Okay. So it looks almost the same shape but much smoother, right? That's much better. So actually I'm gonna do this, I'm going to undo this, what I've done, just to show you what happened. Then I'm going to say we built spout like that. I will copy the objects layer and I will turn this off, then I will label this one so that we maintain the steps. 6.6, we set 5.5, right? Period prior to that. Okay, that's fine. Maybe 5 ft is not a problem. That's really nice. Okay. Now, on to turn off the Spout spine. And this one, I don't need it. Now. We have few more steps and we're almost done. I want to first build the interface between this one antigen again, this can be like this. The shape of this watering can. Now as now it was, it's converted to maybe that's what I want it to be. Like. I want, maybe I want this to be looking like this, right? Or I want it to be looking at this. Now. This is more challenging to achieve than this one, because if I say I wanted to be looking like this one, then I'm done, right? I don't think do more steps. I just need now for example, to trim this one. So I will do that now. So Trim, click on this one. Then I will click on the surface there and also on the surface in-between, both internal and external one. And I would say, I'm done, right, or and also it can trim this or this or I can keep it as it is now. But I wanted to show you the more challenging part because that's slightly more difficult. And if you want to do that, then I'm going to show you how to do it, right? So it's always better to show you the more difficult step rather than telling you, hey, it's fine. It can be done. Not the problem and you know, but I just want to show how it's done. Again, similar to this one, actually really similar. So what we're gonna do here is we're going to follow the same steps. So offset Curve on Surface, I'm going to actually copy this layer will make a new layer also will base this one there. And here I will see if I need to make a duplicate edge yes or no. First I will try the offset Curve on Surface. If I say offset Curve on Surface. And you see, by the way, I don't mean, Let's say always to memorize exactly what's the command is, I just need to just type the beginning part of it and then it's going to guess for me what I want and then I will choose to try them and now select curve. Okay, So good. So it's selected the curve on this surface. And also it looks like it selected the surface as well as the thing offset distance. And that's not what I want. Okay, so let's first, then duplicate, not border but duplicate edge. Alright. Again, now let's start with the offset Curve on Surface and land. Let's choose this curve. Okay, now it's asking me about the Base Surface. Prior to that, when I selected the edge, it thought that this is also the Base Surface. But that's not the case. This is the Base Surface, not this one. Alright, so Base Surface And then I will flip this one. And I will say offset distance is going to be, let's say then space or enter. Maybe let's make it slightly more than that. Let's redo it again. Let's say offset. Curve on Surface, curve, sorry, Curve, Surface, flip. Then let's type here now 15 Enter or Spacebar. Alright. Now, I want to trim this part of this reference with this curve. I will now Trim. This is this is actually use this tremor prior to that to make, to build this tumor, to trim this one and this one which will also do here. But first let's trim this surface of Trim. Alright, That's a nice term here because, and this interesting because this is continuing right? The inside and it looks like we need to have a hole there. Right. So we need to make it Trim internally to the internal surface. Right? So from the outside is going to be only this opening, but from the inside, this simple opening of this is enough. So what we can do now here is I want to put, I want to just place this curve exactly on this surface are many ways of doing it as well. Many different ways in Rhino, one of the ways would be pulling this curve on this surface. So let's pull bold curve on internal surface and activate this one. I'm going out to type, pull. Just simply pull Selleck curves and points to pull. I only want to select this curve, enter or space. Then select surfaces, subjects, faces, and Meshes that pull, click on this one space or enter. Now we'll pull this curve on this. It just made a new copy on this one. Just pulled it to it. Okay. Now I'm going to trim this surface with this curve. So I'm going to type, Trim, cutting objects, this one space or enter now select object to Trim on this one. And now I have a hole on the internal surface of the vase. Right? Now. I want to hear trim back the Spout. I will go to the front view. And here I will also make a new layer called tremor. I will draw a line between there and there. Check it out in this one. Okay, Looks fine. Back to the front view. Then Trim guarding objects. By the way, if I want to maybe just want to say keep this, I will say also make a new layer called Spout trimmed. And I will copy this to this one. And I will turn this off. And now I will trim this one with this line off. Alright. Now we have the last. Well, actually what I would do here, because this spout also needs a thickness. Now, we did not have needed to build a thickness here because it's one Closed Polysurface. But here it's not really close like this. You're going to imagine that there is a flowing water through the Spout trout, so it should have a certain thickness similar to the vase. Similarly with the Vase exactly. What I would do actually is I would first offset. So what I wanna do here, I want to actually undo this one. It looks like maybe there's not what I had to do. What I will do here is I will also undo the Trim actually what the one okay. Let me explain to you better. I want to trim this, but not here. I want to keep this going there, but I still want the trim to be happening on the external surface. Then I want to offset the Spout externally to the outside. And then that external surface, I want now to blend it with this external surface of the vase. Alright. So I could either now, if I wanted to loft One are going to undo the trimming. Both work just for the sake of time now will actually not enough time. I'll actually prefer to do it correctly. I'm going to actually undo what I've done. Undo until the trimming of the Spout. Undo, undo, undo. Alright there. Okay, if I do redo undo, alright, so that's what I want to continue on. So first I will trim with the Vase, the Spout. I want to keep it like this because I want the this is now the internal surface of the Spout. And I want now to trim with the Spout, the internal. Both of them actually. So now I have a continuity between this void and the Spout. And then now here again, I will do then the offset, the offset Curve on Surface. So I will do an offset, I'll copy this one again. Not a new layer. But Copy make new layer and then paste the name of it. I will don't, I don't have yet here a so here are just need to make it cute. Edge of this. The interface between the Spout and the external surface. Then I will offset Curve on Surface select. Since this is selected before having typed the offset curves reference. Then he's gonna take me directly to the second step which is set up Base Surface and select this one. Flip 15. Alright? And then now I will trim this one with this one. Not this one. This one, extra Trim. One exactly. So I don't know why it shows the other way round, but that's what our Trim and on this side. Alright. And then now I want again to make a new layer shimmer to trim this part of the Spout to bring it slightly to the back. So here, there. And then I will then I will actually also call it so as the Handle trimmed, spout, trimmed, again, Trim. Activate to copy this one to this there, then turn this off the Rebuild spout, then I will hear Trim. Sorry, not this one. At this one. I want to keep this internal one. I'm going to remember this. Now I want to actually offset this. So it's gonna be before the trimmed for the tremor actually is going to be offset spout external surface. And then I will do an offset Surface. You can see now it's time to the inside. I want to flip it. Flip all. And then I want the distance to be, the solution will be equal to 3 mm Solid known space or Enter. So now we have this. Again, it looks like we need to rebuild this one. Let's rebuild based on these same numbers. 55, alright. So it's like a thin spout. Okay? And now we can trim the external one, not the internal one. The third one is kept there to interface with the internal surface of the vase. Back to the front view will move slightly. This tremor line back and beyond. This is the terminal line from this layer. And then now I would say spout, external surface trimmed because now I have to surface for the Spout and then trim it now here. Alright, so now we have to surfaces the internal one meeting with the internal surface of the vase and the external one. And now I can blend this external one with the external surface of the vase. So now I will make and let's copy this and then let's say blend surface, spout, external and vase just to make it clear which part of the Spout surface being blend with what And then I'm going to type blend surface. First edge, second edge, space or enter. Change that as well to look like more fluid on a natural connection. And then, okay. Alright, so that's now we have a spout, we have a whole and the center and in the body, in the internal surface of the vase that will allow for the water to go out. And then here we have the external one being nicely blend in with the surface. And then here the last step is, I would hear them say spout, Closed or closing tip. Just to also separate this into another layer just to keep all these steps separated. Sure that you understand that you're on what to what happened, how we reach this result here. Then we can do also in another blend, blend surface between the first, second. And then I could either, for example, keep it like, like this or I can keep it like that. So maybe let's keep it like this. Safe. Blend just to let you know what I used blend surface spout Closing tip. Alright. So that's I think it completed watering can I watering pot. That was actually started off with being a vase. And you could have like maybe is not planar, like the curve, the spine of it is just not planar. And the Spout here is added on this side like that. So it's a free form. Watering, thank boring. But that we designed initially like all the steps. And also we saw during the, during the design process the different obstacles that you we may face and how we can solve them and go pass through and then achieve our results are our goals. Doing all of these steps and then small-world grounds. I can now change this one. For example, Arctic. I can maybe here, turn off the tremor and the offset curve like that. That's a nice spout. Let's nice geometry. And also can go to the shaded view. What we can do as well like part of the Rhino's, let's say analysis of the surfaces. We can check out the environment of the analysis, analyze surface, the environment map. This environment map actually show us the continuity of the surface. And if there are, let's say, any discontinuities, any discrepancy in the Surface building. Where that would be. If I now say select objects for Environment map analysis and then select all of these. Let's face or Enter. And now we can see this Environment map. Analyzing the surfaces. Of course here you can change this. So these are the options. You can change these image this time, arches, a PNG as it's being used by default and Rhino. And you can see like this nice blend in handle as well as the Spout, as well as these nice edges of the watering. Thank and again, this is just a variant. Of course, you could have made it with a sharp corner and interface. I showed you here like the more, slightly more complex solution. And I hope that this was helpful to you. It was like a constructive project slash exercise that we did these back-and-forth, we're steps. I hope this was helpful to you and see you in the next lesson. 24. Text vs. TextObject: Let's talk about text and how we can make text in Rhino. I'm going first to make a new layer called text and activate it. And then I'm going to adhere type text. Here we have many options. The two main demands I want to talk to you about are the text, text object. If I click on text, I will get this window. Here is going to show me like few options. So the style default. Now, this is style also related to line types and Hatches. And like all of these elements in Rhino, they already have something called style, which is like a template or like pre made Settings, which you can also change the drawn if you want, and making new ones and named them based on new names. And so basically by default now we have this one as called default style. We're not gonna go like in those details, but just want to show you how big can make quickly a text. We have the height set to one in this case, since the file as the millimeters Units and it's going to set to one, the height of 1 mm. We can make this, let's say ten or hundreds depends. And you see once I change anything with these settings here, then the Settings name is going to be now colored in blue. And since this tile has been affected, then it's now saying that this tile is not the standard like the preset one, but it has some changes. I can also use mask if I wanted to as well, Solid Color, I'm going to keep it now to none margins as well. And then here, the margins of the mask. And here I can hear set as well these Model space scale, if this has a different scale than the height, I'm gonna keep this at one as well. Then you'd also, I can choose the font with which font I want to now type the text. And also like either uppercase, lowercase capitalized words and invert case. I'll keep this without changing them and then I will attack here. Rhino, without also adding any bold and italics stuff. Just keep this as it is now. And then I'm going to say, Okay, then here I'm going to have this now preview of the texts that would be dropped in. Here. It says texts location. I can now click anywhere to just drop it in. If I go to the front view, can see that now it flipped to the plane of the front view or do the right view to the plane of the right view. We can see that in the perspective view or perspective, that's the world x-y plane, W the same. Now if I click and release how I got a text. This text is not a geometry yet. It's a text. Okay? If I wanted to, for example, use text, for example two, let's say label elements like I want. I'm for example, manufacturing some parts. And I want to label those parts. I want to add maybe their numbers, maybe they're part name, whatever it is on those geometries, right? And I want to maybe CNC mill them, or I want to 3D print them, or I want to laser cut them. I want to just use any type of manufacturing. I want text to be part of the geometry. That case, I would need the text to be converted into curves or Lights. So we could either in this case, do two things. Either we could explode this text, I click on explode, and then explore this text into curves and lines. And now I can use now these curves and lines to be part of the parts. So for example, if let's say I have a box at the bottom for example. And then I will also change the view, all of Viewports to ghosted. And then I will select these ones and I will extrude them like this. Or actually I will undo, I will extrude them with the solid dS extrude curve and then I'm going to see Solid Yes. Like that so that they are part of the box right together with a box on it. Then when in fact, for this box then I will have this text part of it, right? Thing is that now here the text is like the properties of the texts are gone. Now I have lines and curves that I cannot now double-click on this and then change. Instead of Rhino, I would say Rhino one or something Now behind us, right? So that's why we don't want to change the text unexploded. I will then lose the information inside of the TextObject tract. So that's one thing. We would actually then in that case, if we want it to maintain the text information, and then we still want it to be part of the geometries. So kind of like then exporting it and then making it as Geometry extruded solids. Then we may want to use Grasshopper because in that case, grasshopper part of the definition. Then we can always go back and then change the text and then the operation of exploding it and then extruding it as a solid and then placing it correctly on the surface if we wanted to replace it. All of that followed up, all of these following steps will be then saved. But here in Rhino, like doing it like this, we just need to manually go back and then redo the text again and then re, explode and then re extrude the text just to let you know the process. Okay. So that was a text that hasn't been exploded and then extruded. Want to make a new text now and then new layer and then call it text object. With this one. If I type text and I select text object, then here I will have similar options, but not all of them is going to only give me the height, font and text. And here I can say output curves or surfaces or solids with, if it was a solid than with the thickness, certain thickness. If I keep it to curves. And I have Rhino and I have also the height, let's say of ten. Say. So engraving, using any of these and say, Okay, then I'm going at something similar but not as a pure font object, but directly as geometries, like directly as curves in this case. These are directly given to me as curves and not as texts that I needed to explore and extrude. So it depends. So TextObject, if I try it again. If I try now for example, to use solids with a thickness of ten as well and say, okay, it automatically gonna give me now solids that have the text done, right? So free, extruded, free, so pre-exposure it and then pretty extruded and just given to me directly. Okay. That's if wanted to have this, otherwise, I would need to do it another way around or use texts. And then here on this one, if I use texts and as a text. And I, you know, that's my Rhino text and I click, this text cannot be used as geometry. It cannot be part made part of the geometries to be exported like in manufacturing or in other mediums. I mean, it can still be read, write, I can still have it as part of a drawing. For example, part of a title block, part of a diagram, that's fine. But if I wanted to make a real thing out of it like a real part, real extrusions, like you're part of the manufacturing process, then I would have to convert this into a geometry. Alright, now I have this text. I can go back to the properties. I could either double-click on this to open this Edit Text window or I can go to Properties and then I have this a big a text on that. I could change it from here directly. So let's say this is the Editing window already. Part of the properties. You can have, say Rhino, Rhino one for example. I just like edit it from there. Edit Style or match style, cetera. Depends on what I want to do with it. But again, this is the digital text object or text element. And TextObject will give us, will give us directly geometrical elements that are based on the text. So that's a quick, Let's say I want to just to let you know about texts and how you can use texts and Rhino, either digitally to have text as part of annotations and diagrams or lymphatic manufacturing, how you can convert these into curves and lines or dark. Let's start with TextObject and then have them as solids or curves or Surfaces. 25. Vase 3D Pattern 1 - Base Surface revolve: This is another project slash exercise during which we're going to apply some steps. And then you're going to try to do the same then on your own. And then we're gonna show you the solution and then back-and-forth, etc. until we reach the final result. This is about a vase with 3D Pattern applied on its external surface. Here we're going to start with a different method. In the beginning, the previous vase, we start first with the sphere. Then we rebuilt this sphere. We added more control points and we affected those points. And then we made a cut and then we gave it a thickness, etcetera. Here we're going to start in different way, are going to start with a profile curve first defines the external surface of the phase. And it's going to be more or less like a not so much like crazy organic shape, but more of a simple revolve shape. And then on which we're going to lay down, we're going to just flow on that surface some geometrical shapes and show you how we can do that. Then finally, just finish up the vase. I'm going to draw first in the front view the profile curve. I'm going to make a new, new layer called curve profile. Double-click at an activated. And then I'm going to start with this control point on curve. And I will first just type zero comma zero, comma zero to make sure that I'm starting at the origin enter or space. And then here, you've seen that when I'm moving away my cursor, I can see the distance that I moved away from the point. So now it's at the point just now zero. And when I move away, now it's 20 numerous like this. Then I can go beyond that, right? So let's say I want to go maybe somewhere in there, around that distance there, and then click, just a few series of clicks like that. So now it's then I'm going to do this and that, and that would represent the opening of the vase. I can even move the slide inside. I will also move this point there, this point down to it, more like that. And try to have also, let's say this kind of like more or less than say, tangent to this line and not doing this or doing that. Because we're going to now revolve it and undo this. Want to make it something that's more or less tangent like that? Okay. Also move this down a little bit. This up a little bit like that. Will maybe move all of these slightly to the inside. I think that's not bad. And then now, once having done that, I'm going to make a new layer called Revolve. Click there. I'm going to revolve this around the central axis. So Revolve, Revolve. Select curve to Revolve, click space, Render, and start off revolve axis. I'm going to click on this point and then just move in the vertical direction and then click. And then here it's going to ask me about the start angle zero. And you can see that it looks like a bit too large. That's fine. We can then later on well, what changed after here? Change it if I want to change it right now, but it's fine for me now like this. Start angle zero and is 360 space or enter, and I'm done. Now I made a quick Revolve vase like that. I'm going to want the drop-down arrow and then right-click on this. Two goes to all of the Viewports. The main focus, the main goal of this project exercise is to show you how we can flow 3D Pattern geometries on a surface that in this case is the surface of a vase. Alright. So now I'm going to go back to, well, now to the top view. And before continuing, please now I would ask you to do the same, follow the same steps. Please draw first a profile curve. And one of the orthogonal views, either front alright view and make revolt or flight prior Revolve. And make sure that the revolve axis is hitting at least the end of the curve so that it's a closed surface on the bottom. And it has a, more or less a decent opening on the top one and see later on why it should not be, let's say now too small. Because then we're going to also apply a certain thickness vase. And so yeah, so just something similar to this one. Different, of course it's your design. So please try to apply these two steps. First, let's give ourselves like five-minutes or maybe 10 min. And then after that, we're gonna go up, come back, and then continue with these steps. 26. Vase 3D Pattern 2 - 3D Pattern Triangle: Alright, now I want to create UV curve, which is its going to extract from this surface, It's UV curve. In other words, is going to flatten down the surface, but only as a curve, as a rectangle. So I'm going to make a new layer called Create. You curve. I'm going to also type here, create. You can see that I got the first option, saccades holiday regions by one, create UV curve. On this one to activate this one, select surface to create UV curves and points, space or Enter. And now I got my UV curve. So this represents the surface from this point along the way going up to that point. So basically as if it took this profile and can stretch it to get its height. It's like length basically. And then also the length of the, the revolution of the surface self and the width, the width of it, Let's say this direction. So this represents now that now I can move it around. Alright, I got it and then I move it around. I'll go to the top view. Okay? Now I want to draw a 3D pattern that would be then applied on the second, i'm, I'm working in 2D here. Then after that I'm going to bring this 2D work. And then applied there. It's going to be like 2D and 3D not only to D, but basically the main vase of it is going to be 2D. So I'm going to make a new layer and then I'm going to call it Triangle FERC message one triangle. I'm going to show you here what I mean by this. So I want to draw a Triangular pattern that I want to flow on this surface. That's my main goal. I'm going to go to the polygon, drop-down polygon. And then one here I'm going to say number of Slough sides, three, not six. So it's gonna be a triangle. I'm gonna click anywhere. It doesn't really matter for now. And I'm going to make this shift. I can snap this one up like this and click, that's my triangle. I can now scale it if I wanted to. For example, I can fill it. It's corners. So I'm going out to also right-click and then duplicate layer and objects. And we'll say filleted corners. I will activate this one from this off. And then I'm gonna say fill it. Corners. Click on this one. And then here I can determine the, let's see if two would work or not. If I say yes. Okay, not bad. I'm going to say actually three, let's say regretful it like that. Okay. Once having done that, then I'm going to make a 3D shape out of it. Now maybe it looks like, I mean, I don't know the end how it's going to look like. Maybe that's fine as a size because this is going to wrap all around the vase. I think that would be not be like more or less good. I'm going to, I want now to Extract, actually I want to now to build the 3D surface. That then at that and I clipped S to zoom selected. To just focus on this for now what I orbit around this one. I want to make a 3D surface out of this. With which these, so this curve would be the edge of it, the open edge of it. There are many ways of doing this. I'm gonna show one of the ways, one you with adult use yet, which is patching. I'm going to make a new layer. I'm going to call it point. I'm going to activate this point layer. I'm going to the top view. And I'm going just to draw some guidelines. Like I'm going to draw a curve from this mid quad there, that one, and then from here to there just to find its center point or centroid. Okay? Now that I have this point there, the location, I'm going to now make a point, only one point and click. And that's it. Now I can get rid of these curves. These are just made as guidelines. Then I'm going to move this point slightly downwards. Like that. Then here I'm going to make a new layer. I'm going to call it patch and activate this one. So now want to make a surface that would go through this curve and this point. Okay, There's an interesting command for that will just call patch. Now type patch. Here we're going to say select curves, points, point clouds, and Meshes to fit through a certificate service through. If I select these of that and I say space-bar or enter. And here I have now this patch Surface options. I have these options for now. If I tried to see the preview of it. We're gonna get this as a preview. That's a really nice smooth curve that's passing through the point. And this curve, I can add more points if I wanted to just to force it to pass through these points. For now, I'm fine with this one. And so here let's say just the agency I can check out what that will do. Automatic Trim. Okay. So if I deselect automatic term, it's gonna kinda like make it slightly more overflow, like beyond the curve. Now, one thing if I don't do this, if I don't do this and I go to the front view and zoom slightly to it like that. You can see that this preview of the surface is not totally flat. And I want actually the part to be totally flat. That's really important, really, really important. It may cause some problems if I don't take care of this right now. So in order to actually make it totally flat, I'm going to untick automatic Trim. I don't want to make it trimmed. I wanted I wanted I would like to have it like this for now. Then I will trim it manually speaking. Then I will guarantee a flat, curved edge there. So if I now click Okay. Then actually here I'm going to say auto magic, Trim, know that. And then I'm going to then here Making new layer called trimmed surface or trimmed patch. Because that's one of the patch. I'm going to copy this for this layer. And I will turn this off and then I'm going to trim. This is decoding object space or enter, then click Trim. If I go to the front view again, now I can see that I have well, that's not actually what I wanted to get. Let's see that. Weird. Again. Let's do this again. This should be flat parts. If we go to the front view, that's flat, right? If I could perspective, if I Trim again, Trim. Go to front. Okay. That's weird. I will actually under that section, unexecuted at all. If I say Trim, click, sorry, Trim. Click on this one, not this one. Deselect this one or two front-end and click here. Okay, so maybe I have to do this in the front view. The trimming. That's actually unexpected, but it's good to know this right now. So again, undo to show what happened if I, if I Trim in the perspective view. So Trim, click on this and this is flat, right? If I click on this right now, it will not Trim it correctly if I do this. So if I Trim, click on this space or enter, then select object to Trim. If I click on this, the front view to check zoom in. It's not trimming the surface as it should be trimmed. So I will undo this. I will make use of these viewports. I will again Trim, click on this curve, cutting objects. Then I will move to the front or to the right. Viewports. I will click on space or enter. Then I will now four select object to Trim. Then I would click on this surface and then now a Trim that correctly. So this is this is one of the reasons why I prefer to trim things. If the trimming object is flat, it's better to trim the other surface and it to the viewport, not any 3D view port. That's really important, really important. Alright, so now that we are sure that this is, this has a flat boundary. What I can do this to double-check that as well, I can use the command Cap Alright, so it kept it. So now I am sure that this boundary is flat and the edges is closed, not open, right? Obviously, I'm going to undo this. I'm gonna keep this open. But I'm sure now that this surface has its edge there, flat. I double-check this visually speaking. And the third double-check is I was able to cap it. Okay. I'm going to undo that, but that's only for you to know. It hasn't been now some some few steps that we have done. Please try on your own again now to I'm make the grid UV curve first from the, from the Revolve. Then just to make things slightly more different and more like, just give it like more richness and the work. I would say try please do. Instead of drawing a triangle, try to draw a diamond, which means like it's based on a square. So if I now, I'm going to hear Making new layer called Diamond. And actually here I'm going to make like sub-layers and I will take this, will actually I'm going to, okay, I wanna do here. I want to move these ones under the triangle layer. So I will do this and I will just select them and then I will click and drag on that layer so that these become now sub-layers of this one. Just to know that this part includes only the triangle. Then this part now Diamond will include only now the triangle, the diamonds. And even here I would say, I'll make a new one, I'll move it up. And I will say base curve, and I will select the one from the main layer and then I will move it to this base curve so that the mirror is always empty. Let's, and this one is empty. And then it includes these layers that have just the following steps. Again here. So Diamond and we're gonna make no base curve. I'm gonna show you first, I'm gonna draw for you now the base curve diamond. Go to the top view. Again, use the polygon. Are upsides for, I'll click with the shift. Do this. And then I can, for example, here just to make it more stretch, I can make it like that, for example. Then here you have to fill out the corners. Use maybe a point or maybe two points are up to you. Apply a patch, but with automatic Trim Off. And then show omega1, the patched surface in 2D viewport, not in 3D as we've seen here. Like that, to reach that results. And then also looks, this looks like slightly big moment, just make it slightly smaller like that. Now, it doesn't really matter where the location of it is on that UV. Later on show you, I'm going to eat your own, show you what we're gonna do this. But for now, please make sure that we have this. And then after we come back, I'm going to make it for you can just awesome do it and show you the solution. Or we can do this, okay, and then move forward with the other steps. Alright? For this maybe also, let's give ourselves like maybe 10 min to try to fill it the corners at the point, the center of this patch surface and then trim it. So 10 min 27. Vase 3D Pattern 3 - 3D Pattern Diamond SOLUTION: Alright, so I hope that you're able to apply the following steps on the diamond. I'm going to also now to do it. So first let's hear like you just choose this one. So Diamond and then paste fluted corners. Activate this one. I'm going to use Philip corners. Will keep it at three. Okay. That's not bad. And then I will also add the point. I'm just making all of these, by the way, I mean, you don't need really to make all of these layers, right? I'm just doing it here just for you to understand the process of what I was doing. Basically, that's the only reason because they are now learning it. And it's important to for you to understand these steps and the process overall. And that's why I'm just making these. Otherwise. I like sometimes they would skip making these layers. Alright, I made now these guidelines and added a point or villi. These ones go to the 3D view. Click Zoom S, S, enter. Okay, I will also move this slightly downwards. Then I will make a Patch to dramatic Trim. Know, I will patch these ones. Preview. Okay, looks good. Alright. And then here I will again trimmed Patch also make copy this name of the layer, make new layer and then paste the name of it. Now, Apply it, Trim this recording object curve and then go to the 2D viewport space. Enter then the object to Trim. Zoom N, visually speaking, all looks good. Space or Enter to finish it, then double-checking by capping it is a double-check. Okay. It can be kept so it's a flat edge. I will undo the gap. Alright, so that's now what we have. We have two options, Triangle and Diamond. And we went out to activity default, the empty layer. I will now turn off the diamond layer. I'll go back to the triangle. And now what you want to do is we want to take this off, take all of these off. Now, I would like to expand the top view. I would like to make a pattern, okay, In array of triangles. So let's see now how we can do this. I'm going to duplicate layer and objects. And then here you want to say Array. Double-click, turn this off. Here I only have the surface, only have the surface itself. That's good. Okay, Now I'm going to type array. And Let's see here maybe you would night would like to have in the x-direction. Let's see, maybe 30. In the y-direction, maybe ten. And the Z1. So no move in the z-direction. If I click and drag. So even if they don't fit, That's fine. Actually know what, I don't want this yet, the y-direction because I want to also add some mirroring. So first, I would like to just escape all first array, only the x-direction. So in this case here, it looks like maybe if it doesn't really fit, maybe 20 y1, z1 space or enter. Okay, so maybe that's, that looks like good work. Now it is not fitting exactly. So I can now maybe a copy these. Actually I'm going to undo this. Again, make an array of 25 space because we're Enter and then click, drag. And I click. Okay, I'm going to remove these two ones. Okay? And now after that, so this is the array. Then I will apply some mirroring. So first I will copy. So actually that will just make a new layer, just duplicate layer N objects. And then I'm gonna say, so. I turn this off. And I will now copy this with an x-ray with the shift click. Then I will select this and then I will rotate them like that. And now we'll make an order to make them like centered exactly. I will just like draw some guiding Geometries like this. So this is the midpoint. So that I am sure that this is matching, or let's say centered. Click and move up like that. Will delete these ones now, don't, I don't read them now. And now I want to add some mirroring. So now I would click on mirror and I will click there. That's slightly more space. Then I will move this one up. Now, I would like to say the distance between these and these to be equal to the distance between these and these. So then I will say, I will try to find the distance with distance like magic perpendicular snap, that's 2.488 mm. Then I'm going to now draw a line from here, bottom, 2.488 mm, Enter and Space or enter. Then I will select these Only, and then I will move them to the right there. So now that's my base pattern. Then now I will, actually, what I will do is also now copy these ones. Shift. Again here I will also make a line and then I will say 2.488 Enter or Space. Other ways of doing this, but that's like one of the ways. I will move this one there as well. Again and also try. I mean, I could keep this there. It's okay. I will actually move this one. I will move it down. And I will move in there. It's fine. And then I'll select now all of these, all of these will deselect the line and I will mirror them based on this line like that. Now have enough triangles. I will maybe take of maybe these ones, let's say. Because here we have the bottom side of the Revolve vase. If I go to the perspective view, you would imagine that all of this now will be applied to all of this Revolve surface. And so I don't want to see the pattern to be applied at that area. But I wanted to applied maybe starting from here to there. Not also on this area. Only belong this more or less. Be flatter area there before the curve for the, at the bottom side and the top side. So I don't know yet now where these would optimally optimality be placed. But I would assume that maybe like, maybe even those should be taken out. So somewhere like there. And then later on we can change that. We can also effect that. We can change that. But for now I would say that maybe this is more or less working pattern at work along the middle area of the vase. Okay, so now that we have made this pattern, I want to make sure that there is no line I'm, I've deleted, but make sure if I select SELC or V. I have here it says to curves and this one and this one That's these are the highlighted ones in yellow. Okay, that's good. I don't have more curves that have been drawn as guidelines. That's good. Now before we move forward, pizza would ask you to apply the same with the diamond Pattern, Diamond base curve. So please now try to Array and apply a pattern. So Apply these two steps now with the diamond. And then after we are back, I'm going to show you how we can do it as a solution is exercise this step. Alright? For that, I would assume that we need maybe 15 min to do that. So please try to do that and we can see each other in 15 min, alright? 28. Vase 3D Pattern 4 - Array SOLUTION: Alright, let's see now how we can do this with the diamonds. I'm going to activate this one. And then let's see. So here we have these ones that I don't want to now take off. That's the Trim batch. Just not part of this one. I will actually change this to this one. Looks like we don't will reflect lost the patch. So I will actually also, well, up here, it looks like we don't have this one. It's it's okay, it's fine. Then I'm going to by the patch again, but without this search just to give that step. So patch. So we have this as part of the patch woman extreme know. Okay, and that was the one that was, that has been trimmed. Alright, now let's apply in array. I will copy this to the array. I'll go to the top view. I will move this somewhere there and then I will buy an array. First in the x-direction, 25. Maybe they're Enter will take this off. And then here I'm going to also again to Knox after the array and then I want to make it pattern. So you Layer Pattern from the array. Copy these two, this one. Turn this off. And then here I will copy these to make sure that they are centered. I'm going to make a line. And then these ones along this line. And almost done. Then I will here. Let's see. So in this case you don't have to rotate anything. I'm going to just select these and then I will mirror them based on the center point, the midpoint of these ones like that. That's it. And so I'm gonna select these ones and then also mirrored them based on this one. Like that. Let's see if we can use the same with this is the last mirror. Error them as well. And almost done. Yeah, let's let's do that. Let's keep these. Oh, it looks like something is not totally correct there for some reason. I slide this back that again. Mirror, Shift-click. Select mirror, point, Shift-click. Alright. I will take me with this off. Alright. So this is the solution of a ring and making a pattern of the diamond shapes. Now going to activate this one again. Then I'll turn this off again. And now let's go back to the triangles. Alright. Now, let's see what are the remaining steps to flow these shapes, this pattern on the surface of the revolved vase 29. Vase 3D Pattern 5 - Preparing Base Surface Triangle: The first thing before we apply the Flowing on the surface, we need to adjust this pattern with the boundary rectangle. Here. What I would do is I will turn on the rectangle. I will actually change this skill is slightly to make it fit with the pattern. So what I will do is let's see degree. This is the great UV curve. Spawn this as part of the Revolve, okay, but this should be part of this layer. Change this one to this layer. Now I will right-click and then double-click Duplicate Layer and objects. And here I would say adjusted. And I will edit part of the triangle down and I will turn this off. And this is now part of the triangle layer create UV curve adjusted. Okay? Then now here what I will do is I will select these points. And we'll just take this as a Snapping smart guide and we'll move this one there. And we'll also with the same for other side. It should be Snapping to this triangle or actually what I can do as well. I can select these ones. And I can mirror these ones based on the on this quads. Then go back again to this one. And I, all of these two ones based on this one. Alright, that's the first step. Now the second step, I'm also a new layer called planar surface. I will activate this one and then I will type planar surface. Make sure that this part of the planar surface perspective view. Okay, Then want Apply now a BooleanDifference on that surface with this 3D better. So I'm going to make a new layer called Boolean difference. And we'll copy this one to this layer. Copy, turn this off. I want to keep that as a vase. And then I will now type either BooleanDifference from there or I can click on this BooleanDifference. Click on this will go to the top view. And I will only select the ones that are inside of the rectangle and not the ones outside. Okay, That's the first time. Space or enter and then wait a bit. Might take some time to apply the BooleanDifference. Of course, delete input is set to No, that's important. Don't want to delete the input. So now it's willing the planar surface with the pattern. I can check it in 3D. I can turn off the pattern. And you can see that now we have this surface generated with these inference of the triangles being applied on it. You can imagine now that one Apply, now this whole thing on a rapid round, this vase there. Okay? Now I will turn on again the pattern. And I will do here is I will add these few. Just copy them to the BooleanDifference layer. Copy, turn the Pattern off, and I will a planet BooleanDifference again with these ones. Make them part of this. Once you've done that with the previous will difference, but I prefer to look like in Step-by-step, just avoid any issues if there are any issues that might happen. And then I'm going to use the curve of the create UV curve, adjusted this layer in order to trim out these extra parts. So I will now have this selected. I will type Trim and now objects to Trim set of Trim. I'm going to go click on this one like that. On this one. So one, sorry if you can do that is ones I want to take off. So I will just remove them from this BooleanDifference layer. Remove them. Now have this layer, then I will Trim of these parts with this curve. Click that as well. Alright. So now we have this surface that is ready to flow on the revolve. Now, I would ask before do that, please. I will ask you to again apply the same steps with the diamonds. Okay? So please try to apply these with the diamonds in order to reach this result where we have this surface with the imprints of the 3D pattern on it, part of it. And then after that we're going to apply the flow on Surface. And after they were. So once you try that and we'll also show you the solution, how we can do it with the diamonds and then we can apply the flow itera. Alright, for this may be also, maybe we might want to take, let's say maybe 15 min as well. So please start to apply that. Then we can come back and show the distribution. Alright? So 15 min 30. Vase 3D Pattern 6 - Preparing Base Surface Triangle SOLUTION: I hope that you have, you're able to achieve the Boolean, this part, but with Diamonds, Let's do it together. I'm going to turn off this layer. Turn on again this layer. And then I will take also the name of this one, will make an error here under the diamond. Then copy the name there. Then I'm going to copy this to this layer and then I will turn this off. Okay? Go to the top view. I will actually here, move these points of this adjusted now. See to the top right. So let's do that. So click, click, tangent as well. Both work. And then also do the same there at the end. Make sure that it's aligned. Alright? So it looks like at sculpt, I will delete these ones that are beyond or outside the boundaries. So that's first step. Then I will make a planar surface out of this curve. Planar surface. So that's surface layer. And then I would like to Apply a BooleanDifference layer. And here I will copy this one to this layer. Turn this off, turn this off, keep the pattern on. And then I will type BooleanDifference. Click on this special Enter. Then I'm going to all here, select all of them, even with the ones going beyond the boundary, it's fine. Space where Enter we debit. Alright? So we see that we still have those ones from the pattern. Now we don't see them because they pattern is off. I turned it off. Alright, looks fine. I will turn on again the layer of the curve, and then I will use this to trim out these ones at the edge. Perfect. Alright, so that's now our option or variant with the diamonds. Okay? Now, let's go back to the triangles. Then now try to flow this on the surface of the vase 31. Vase 3D Pattern 7 - Flowing Triangular pattern on Vase: And for this, Let's try now to make a new layer called Flow long surface. And they will activate this one. And let's type flow along surface. This one. Here we're going to ask us few things. The first thing is about the select objects to flow along a surface. It's gonna be this one. Space renter. Then first the Base Surface, select edge near a corner. This is regarding the Base Surface that represents this one. So all of this but without this patterns. So if for example, at double-click on this, I turn this off and I turn this on this one, the parents surface that has been made or extracted from the Create UV curve. Adjust this one. Click on this. Then now here I will have now to click on the target surface. Here, I will just keep these as they are for now, not change anything with it. I'm going to click. So you see this is the SIM curve, right? It's like slightly thicker than the other IsoCurves. I want you to click on this side here. And they will try to have my cursor close to one of the IsoCurves to make sure that I'm clicked on this part and not that Rhino would consider the double-clicking on the other side, on this one, from this side, but on this side. And the cursor close to the IsoCurves. And then I would now click on this and then wait without having to click on space-bar or enter morphed one objects. And that was a thing because of it was done on that one. Yes. Okay. So this was made and put this over the BooleanDifference because this was actually part of that layer. That's why it came in the same layer of this one. Okay. Now, you can see that it looks slightly strange. I mean, it did what I wanted to do, but not in the way I wanted to be made in. But it's not applied. I would say uniformally along the surface. So it looks like here. These are, let's see, a really small and these are like kind of stretched out really big way. This is because this has caused by the original Revolve surface. If I undo this Control Z. And if we look at this, again, this Revolve Surface, we can see that this is the resultant of the profile curve, right? This one. And these IsoCurves high of the Revolve were made because of these control points that constitute the profile curve, right? So Rhino just drew these IsoCurves to be close to these points. However, now, although it looks fine to us as a surface, if we want to flow along this surface and other pattern, it will look like on uniform, non-uniform. So if I undo these, if I, if I undo the deleting of this and I keep this, I'm going to actually keep this as an example because just for us to learn from and to understand that, we need sometimes to also apply some fixings. I'm going to right-click on this and change this to this layer. And also turn off this revolves and I only have this one inside of, also turn off the curve. So now I have this one part of this layer. Here. It's FlowAlongSurface. I would say on revolve, evolved, Surface, original. Then I will make a new layer called Revolve Rebuild. Double-click. I'm going to take this off. I will turn this on and I will copy this inside of this layer Copy. We'll turn this off. Now I want to rebuild this surface so that these ISO curve curves would be more uniformally organized Along the surface. If I Rebuild this and I say degree 33, UV count 8.8, I will not change that or not add more points. I'll just note, Rebuild them so that I will get a better separation of better organization of these ones. I say now, okay? And now you can see that there's like a more uniform distance between these ones. So the difference between, if I now click on this one to see the difference between this one and this one. This is the 3D world one. So slightly kind of not exactly matching the shape of it. It's fine. But now we have this Rebuild surface with a better organization of the IsoCurves of the other Curve Surface curves. Now, I'm going to copy this layer and I will make now a new layer on revolved surface rebuilt. I'll not Apply the same thing. I will turn on this one again. So flow along Surface. First thing I need to select the objects to flow along the surface. Spatial Enter, then Base Surface. I will take this off, take this answer that I just make sure that I'm only selecting this one. And then without selecting or without hitting space or Enter, then now I'm going to click on the, on this side of the target surface. This has been rebuilt. And try to be also near one of the IsoCurves. Click and wait. But escalating any Enter or Spacebar. We're now it came inside of this layer, the BooleanDifference. Let's see what we get as a result. Alright, so now we have a more uniform separation or let's say a more uniform application of these, of this pattern on that surface. And that's because we rebuilt it. I click on this and I will right-click and change object layer. So this game inside of the BooleanDifference layer. I can turn this off, turn this off. So now I have this result now. Okay? Now if we wanted to actually to apply this, but in invertebrates, so I want maybe to have these two, the inside, not the, the outside like this. So going inside, not outside, then I will do the same thing. But instead of feeling on this side of the same Curve, have to click on the other side. This might be initially if you did not know about this, maybe your intention is to have these two the inside and then you always try and retry and then say, okay, what's going on? What's the matter of what's why it's not doing what I wanted to do. Actually, it may just be a simple thing of just, let's say the location of the clicking where you want to select the surface on which side of the same curve. So if I hear, let's say here, FlowAlongSurface on revolved surface rebuilt. Say side one. I will right-click and I will duplicate layer without objects. And then I'm going to just rename this to site two. Or I would say just to also make it clearer side. Let's call this, let's say this is the same curve right? Of the rebuilt Revolve. I would say the left, left side of left side of CME. And then right side. To really be clear about this, right side of seem. Alright. So this was, this is the result based on clicking while applying it to the left side of the scene. Again, I'm going to turn this on and the other ones on. So again, we'll along Surface, select space or enter. Then I will turn this off, this one. I'm going to click on this one. And then now the target surface, instead of thinking on this side, they want to click on this side, also on one of the IsoCurves to be close to that one. And hopefully that now we will have the expected result. Hopefully should be working on that. Okay, now let's turn on the Boolean difference because it's comes covenant side of this one. And we have this one like that. If I now turn this off and I'll click, and I will make this inside of this layer. So now you can see that these are now to the other side, inverted other side. The other side. Maybe that's what you wanna do. Maybe that is your intention, maybe the other way around. So I'm actually just letting you know that it will make a big difference if, when while applying the FlowAlongSurface command, it will make a big difference. The location where you click on the target surface from the same curve or the same line, either from one of the sides is going to make a big difference and you may not actually understand or discovery that the issue if you don't understand this. And I'm telling you this, and I'm showing you those two options that Clicking on the left side will give us this result. Click on the right side will give us this result without needing to flip. The normals or anything, just the location of the clicking will make a big difference. Will be the difference. Okay? And as I was expecting as well that I just left these this void and void because I didn't want to apply these this pattern to this side and this side. So it looks fine to me. And yeah, so that's how we can apply it. I can turn the, for example, the Arctic View. See the results. Looks nice like a semi Rendered view of the vase. And I would also please ask you to try to apply the same steps with the diamonds. Also, I would think maybe 15 min would be good. And then after that, I'm going to show you how we can apply them shortly. Also going to do with them. Show you the solution of that with the diamonds and apply them to the surface. Make sure to make a new layer and then rebuild this one, the original one, the Revolve one, and then follow the steps three clicks, three things to select. First, the Boolean surface than the reference, the Base Surface, then the target surface and thrombin surface. Again. Be careful where you clicked on which side of the same line in order to get the anticipated result. So let's please have 50 min and then we'll have the solution, should solution. Alright, so 50 min please 32. Vase 3D Pattern 8 - Flowing Diamond pattern on Vase SOLUTION: Alright, so I hope that you were able to apply the same FlowAlongSurface, the diamonds there strategy, how we can do it. I'm going to bring this back to ghosted. And let's make this off. All of these off actually. Alright, so the diamonds and I will also use the same interest to see what would happen if we don't rebuilds. Revolve. Alright, first, let's try to see what happens if we do Apply the FlowAlongSurface, but without rebuilding the Revolve objects, then I will click on the surface and then target and click on one of these sides there. Now it's given started with the BooleanDifference layer. Alright? Alright, so the expected result that it was like it's not uniformly spread along the surface. And it's good to have this as a reference for us to understand that this is applied before rebuilding the revolution. Select this and then when I right-click it and change object layer, I'm going to read. So I can actually take the, the Revolve rebuilt from this layer. I will right-click and I will duplicate layer and objects. And I will bring it there. Bring it down. You can see it's off and how turn these off, alright. And also this one. Alright, so this is rebuilt one that we have done previously for the triangles. Now, I will copy this name of this layer and it will make it neater and then paste the name. Copy also this one, Base the name for this one. And now let's try again to FlowAlongSurface. But with this one being the target, I will turn on the Boolean. Difference, will type FlowAlongSurface. Click on this one. Special enter. Turn this off, turn this on, click on this one, and click on this side, the left side, first, the scene. And then now we turn on the BooleanDifference layer in which the result came in. And we have this nicely spread out flown along this pattern, along the surface. The better that you made out of diamonds. I'm going to right-click, select, right-click, and then change object layer to this one. I will double-click on this one, then turn off this one and again Apply the same thing, the same steps. Flowalongsurface, click on this space or enter, turn this on, turn this off. I will click on this and then I'll click now from the right side, other side of the CMB curve on the revolve, on the rebuilt Revolve and the weight of it. Now I can turn on the BooleanDifference. There. Alright, I'm gonna click on this, select these ones, right-click and change object layer to this one. Turn off, this one turned off, turn off. And now I can see these applied, but now to the inside. Alright, so that's the solution. That's how we can apply this effect with the diamonds. Right? Now lastly, I'm going to go back to the triangles. Lastly, I'm going now to, let's maybe use this one. For example. Turn off this one and this one. I would like to of course, obviously give it a thickness, right? I'm going to use the, the Rebuild, the Rebuild revolve. I'm going to offset this one. So I'm gonna make a new layer called offset external surface. This one, I'm going to offset surface will click to flip the normals, the direction of the offset, I'm gonna say distance is equal to five. Spatial enters face or enter again. And now this is the thickness of it. This is inside of the internal surface. If we turn on one of these, so the external one is fine, but if the internal one, is it, are they hitting, are they touching? No. That's good. Because they're depth is less than 5 mm. Going to turn this off. So now we have the internal surface over the external surface, then we can do something. Now I would maybe try to ask you, what do you think would be the command that should be used here in order to close these two together. Of course, it's not only one solution, there are many solutions, but there's one solution, one method that we used prior to this one that would work and would close these together. I'm going to give you maybe like 5 s to think about it before I tell you about it. Then here we need to apply, again a blend surface to connect both together. And I'm making you Surface blend SRF. And I will activate this one. I will blend, blend edge, but blend surface, click, click. Looks fine. Then I can maybe use this one or this one to be like sharp one, but I would like to make it rounded like that. Will not affect these ones, will give them as they are. They will say OK. So now I got this one. Blend surface. I can go to the Arctic View. You can see this like a nicely modeled vase with a Pattern flown along the surface of it. That's one of the options or that's the other option. Now as the last step in this project slash exercise, I would please ask you to also apply the same, which is first to get offset the surface declared external surface of the rebuilt, this one without the pattern first. So you need to make an offset to get the internal surface and then apply a blend surface to blend the interface, the connection between both to avoid have any openings. Alright, so for that maybe I think we may need, let's say five-minutes to do that. And then I'm gonna show you how we can do it. And useless, apply this to the diamond variant. Alright? So five-minutes 33. Vase 3D Pattern 9 - Closing Vase SOLUTION: Alright, I hope that you are able to finish the diamond part by getting an internal surface and bending the Surface together. I'm going to turn this on. I will turn this off. Here. Again. I'm going to make a new surface, new layer, sorry, called offset, General Surface. Alright, double-click. For that. I would need to use this one, original one, and then I will type offset Surface. Click on this one. Click to flip the direction and then space or Enter again to complete the offset. And then I will here make a new layer as well and then call it blend SRF for blend surface. I will blend. So one of these, when this one blend surface, click. So it looks like we have both overlapping. It's sine blend surface again click. And if you are fine with these settings and we can say, Okay, then now we have this blend surface between both internal, external. Now, if you want to join these Surface together, order to get a Closed Polysurface, let's see how we can do it. I'm going to make a new layer called joint Closed poly surface. And I will activate this one. Now we need to select the external one, the blend and the internal one, and copy all of these three ones to this layer. Copy objects to layer because I want to keep these steps. So take this off of, right. I have now have these three ones together. And then now I'll type Join, join, select these. Again. Join that. Or I can select them first and then join. Alright. Now if we get an open Polysurface like that, we would like to just investigate where that opening is, where it could be. I go to analyze edge tools, show edges. And this will show me the naked Azure, so the open edges with that color. If I were, just move around now it looks like it's somewhere there. Right there. And I would guess that this is from the internal side. Maybe that was caused when we did the opposite surface to the inside. So we've got this as a resultant. I think most likely this can be solved by copying it. I'm going to click on this, the open Polysurface and then I'm going to type Cap space or Enter. And now it kept it. So now we have a Closed Polysurface. Usually. That is can, we, can be, can happen if let's say we are having an offset. And then for some reason like Rhino doesn't kind of figure out the interface at that area and then it leaves an open edge. That case, you may be surprised, Oh, why that happened? I mean, you did not let Trim it or BooleanDifference with anything. It should work, but it doesn't really work like that. You need to cap it. And that's why, that's how we can investigate it. We can use the Analyze edge tools, show edges. We can check this out where it is and then we can cap it and it should work. Alright, so that's for you to know and understand that in case you want it to be Closed Polysurface for any reason. And this altogether in one layer alone as one object, then we can do with this, alright, surrenders you. Now, of course, this is just an example to show you how we can flow along the surface certain pattern. And the reserve is also doesn't need to be flat, but it can be curved like this vase in this case. And of course, this can be applied to other design disciplines or situations like an architecture, for example, if, let's say, or Flowing a certain pattern along a facade or infinitive design, if we were, let's say, Flowing a certain pattern along furniture Surface or sofa, I would imagine, or a wall or something, or in Product design, Let's see. If you are, let's say designing a certain whatever like external surface of a mouse or keyboard or shoe or whatever product that would require such a pattern, as well as Fashion Design as well in engineering. So in any design discipline where require you to flow a certain pattern along another surface, then you just have to follow the same procedure and just the same steps. And it's very simple as you have seen. It looks a little bit intriguing at the beginning, but as you have seen, the process is pretty much straightforward and can be applied in any design situation. 34. Image Tracing 1 - Rhino Logo: In this lesson, I'm going to talk about image importing and image Tracing. In Rhino. You may face a situation where you might want, let's say to bring in an image, might want to use it in your drawings, maybe in Rhino, or even let's say, use an image to extract from that image drawings. So you want to maybe trace something from that image, a logo or a text or something. And even let's say you might want to import maybe PDF documents and then extract from those documents some technical drawings. Now, those PDF drawings, if they were vectors, then you will, like, your job will be, let's say 90% done because Rhino understands that and you can quickly and easily import that here. But now I would like to show you how we can import like pure images like JPEG or PNG images in Rhino and show you how we can trace them. I'm going to import first the Rhino logo. Drag and drop. And I'm going here, choose picture. When I do that, I can click and then click, and then I can do it like this. This is an image, okay? It's a surface that has the image applied on it. There are many ways either I would like to treat it manually, right? And so actually I would need to make a layer called image import. And then I would put this one inside of this layer, change object layer. And then I will make a new layer called tracing. And I will click on this one and then I can now Start tracing. Maybe with the antiquated curve. Then I'll just zoom in and click me finish this one here, then look again, then it started again here. I can do that, right? If I want to. That's totally possible. But this might be a little bit time-consuming. There is a really nice workaround regarding tracing images. And it is by using Adobe Illustrator in combination with Rhino. It is really interesting to do that. I'm going to show you how we can do it. I'm going to actually delete the tracing lines. I'm going to open Adobe Illustrator. And this is by, by the way, and not the current version of Adobe CC, but it's an old version of CS6. And despite not being in current version, I would like to show you that we can still use that one and use it for, for this benefit. So I'm going to Import, I'm going to open this image in Illustrator. And I can easily now click on image trace. Then I will click on Expand. And then now I can see that Adobe has understood the shapes and has also extracted for me and a group form the paths and the Hatches. So if I cannot, for example, click on this one and then Control Shift G to ungroup these. Now I can click, separate them each one and I can move them around. So now I have these as vector work as vector lines and not as rasterized image. Now, the last step here and the quick step here is I can now export this as a DWG file. And here I will just keep these as they are for now. I will not really bother with these settings because anyway, I can rescale that in Rhino. This is the Export DWG file. Then I will now drag and drop in Rhino. And I'm not going to say open file, because if I will say open file, then it's going to close this file and then opening that one in a new file. I would like to import this file. So the new file inside of my current file, I'll click Okay. And then here I've also like a window with a lot of options. Doesn't really matter for me now. It's all fine, like the standard, I'm gonna say, okay, we'll zoom out. And now I will see that I have now this gaming like that. I can click here, I have the Hatches, I have the curves. Maybe these audits say duplicates. I can now, for example, if I want to find out duplicate curves, I can type select SEL, do select. It doesn't, It says it doesn't find, didn't find anything because maybe there are duplicates about legs are slightly different for and at some point, it's fine I can click and delete and then I'm now I'm sure that I have only 111 curve. Again, this is the same thing here I have, let's say also more curves. But it did for me 99% of the work. And just 1 s. Let's see a few clicks and I'm done. I got this one. I can now maybe give it this another color or something. I can just use it for my own in Rhino. And that's it. So that's a really quick tip to use Adobe Illustrator in combination with Rhino to trace images instantly. Now, that being said, I'm going to undo the deletion of these ones. And it looks like these came into this layer one. And it just made also this layer zero by default, I think this is empty and we'll delete this one. And I will call this one Rhino Logo, DWG import. Okay. I will delete this one because since we know this trick, Tracing manually now doesn't make any sense, right? We should not do that. Which to the import at that. This is the image important that I showed you that we can do that if you wanted to, and we can use that one as an image, otherwise we can trace it. Now, I would like you please do try to import, to do the same steps, but then applied with the Grasshopper 3D Logo. Alright, this Grasshopper is a plug-in to Rhino. And at the end of the course, I'm going to give you a small intro about Grasshopper and what are its powers. Alright, so please try to use this one. Hope that you have Adobe Illustrator. Otherwise, I highly recommend that you get it. You can get a free trial using it. It's really good software, powerful one. And you can convert those images into vector work and then you can put them inside of Rhino. Now, if you don't have Adobe Illustrator or don't have a license for it or don't have it. Then one alternative would be to use an online website to convert for you. You're the images to factor files and that would be, one of them would be vectorizer.ai. You can drag and drop an image here and then you can then convert it out here. Maybe recommend doing it as DXF for example. If you don't have it. So this is a free while in better. So maybe then literals is going to be paid as well. But this is one of the current ones that are free tools that would convert images into vector images, orange vector files. Alright, so I'm going now to say maybe 10 min. Please try to do the same steps with the Grasshopper logo. And then after that, I'm going to show you how we can do it. Alright, 10 min 35. Image Tracing 2 - Grasshopper Logo SOLUTION: Alright, so I hope that you were able to convert the Grasshopper logo into vector and then important to Rhino as curves. I'm going here instead of doing it in Illustrator because I've already done that for the Rhino logo. We're just doing it with the website. So I'm going to drag and drop this logo to you upside here. And let's see what we get. So this is the vectorized result, and then I will download it. And then I will hear, choose DXF, alright, as a file format and then other, the options are fine. I can keep them as they are. But most important thing is DXF. And then I will click on Download. And now I got the DXF file. I will drag and drop it inside of Rhino. And also I will say your Import File. And I'll keep these settings as they are. And we'll say OK, and now we've got also this like that. Can, maybe you need this one or can keep it? And this is part of the Grasshopper Logo, DXF import. I will delete this one because this is an empty layer. Alright, and that's my Import. Now, one thing that might happen while importing such an image, which looks like this, right? Is that it may only, let's say, get the fill without the curve of the internal sites. So maybe, maybe I will delete this one now. And I will not click. Okay. Maybe you will get something like this, maybe with Adobe Illustrator. And if you want to extract these curves, because then you're going to say, okay, if I click here, I cannot find a curve, like get this boundary right. As, as, as, as a curve. How can I do that? I can do something called dupe border to duplicate borders, I can type dupe border, click and space or Enter. And now it's going to duplicate the borders of this hatch. This is a hatchery fill. And now I can extract the curve, can move it away for one or two. And now I got the curve. Alright, so in case that happened, and that's why I intentionally chose an image like this where have a fill and then the internal, the center is white. So that maybe the software would assume that there's nothing there, it's empty, and it might not even give us a curve. Then in that case you can simply use dupe border. Of course, this has been already converted prior to a vector, right? Dxf file. And then we can do that. Alright, so that's the tip that will also let you know about as a new command, duplicate borders. Which is really important. Alright? 36. SubD 1: Alright, let's talk now about sub D. Sub D is a new object type introduced in Rhino seven. Rhino is known to be interviewed software, and it has lot of functions and commands that involve nerves and nerves, modelling like the Transforms, the Curve tool and the Surface Tools and solid tools. Also it includes some mesh editing tools like under the Mesh tools as well. Here. Although it's not, let's say, fully advanced in that. Mostly we use Meshes, let's say to export or to kind of like prepare geometries for 3D printing or CNC milling or other applications. But the main power of Rhino is focused on NURBS Modelling. Sub D is a different way of modelling which involves the subdivision of faces and not the full division. I'm going to show you soon what I mean by that. We can find this under this up the tools. Now of course, if you have Rhino six or prior, then you may not see this. I would hear invite you to use around a seven if you don't for 90 days as evaluation period to check this out, the new feature sub D. And since this is a new introduction of this object type in Rhino, it's still not, let's say fully developed. Other software have more advanced features and tools regarding sub D modeling. And I'm sure that's Rhino is going to also develop this more prayer. In the days like few years ago, there were plugins that allow users to model sub D geometries connected with Rhino, but not as native Rhino functions and commands. And now it has become part of Rhino with beginning with Rhino seven. Now, what R sub D is, how we can use them and what is difference between nerves and Meshes and SubD these. And then after that it can also show you a small example about how we can use sub D with a small project. Also interactive project. I'm going to do some steps and you are going to follow up on those and then you can finish up nice project together. Alright, so first, if we go back to NURBS, just understand the difference between these types. If I Draw, for example, now a sphere. Sphere like this. For example. This sphere is a surface, a closed surface. If I want to change the shape of it, I could either turn on the points and I can move them around. Or first maybe I could also Rebuild it to add more points and the degree, degree of three in this case, for example, and then have 10.10 in the U and V directions. I have to click and then click on turn on points. And you can see that now these points are not exactly on the sphere, but there are around this really control points. And this also reminds us of the curves. So when you want to draw a curve, for example, as a NURBS curve, you click to manage or to determine the economic points. But you can see that the curve is not exactly, let's say, passing by the curve. And even if you want, let's say to draw an interpellate curve, this one, where you want the curve to pass through the points that you are drawing here. But ultimately this curve has control points that are beyond that, like these ones. These are the real control points of the curves that are simulating, describing the curve that is passing through these points. And each of these points has a degree and a pulling force towards, towards each one of these. This is similar with the Surfaces, right? So when we turn on the control points, then you can also do that, but you can see that it's not touching the surface, it's away from the surface. Of course, if we had Polysurfaces, it's gonna be different. So if let's say if I draw a box for example, right? If I do this, that's a different, even like a different type of surfaces that are flat and coordinate edge surfaces. I want let say now here to move around, let silicon edge or a point I can click on Control and Shift and click to select this edge and I can move it like that. For example, I can move, let's say like a vertex by clicking on Control and Shift and on this point and then again select this one. I can also move it around, right? I can do that with Polysurfaces that include surfaces that constitute this Polysurface. I cannot overdo that with the sphere which has one surface. I cannot let say click on Control and Shift and click on the, on this intersecting vertex. Or let's say on this edge, if I click on that is going to select the whole surface. I don't have this flexibility in a way. I need, in this case to turn on the equals points or I need to use the get Cage Edit or other methods in order to change this, to manipulate this form, right? And you've seen this before previously and how we can do that interestingly and with some previous examples. Now, Meshes another hands. I'll now draw a mesh, mesh tools, and I Draw a same, similar sphere that is a mesh like that. You can see here that we don't have the curviness that we can see with the nerves, right? This is because in Meshes the, we have always a straight line between two vertices. If I click on this and I turn on the control points, these are artists equal to specifically but the vertices, the vertex point, that is, for example, in this case forming this phase. And this vision of this is part of four phases, quad phases. These fields have for edges. This one, for example, has three edges, right? But the thing is that if I click on this mesh point and move it around like that, I have now this hard corner, right? That's the mesh that is different from this one. If I move, if I click on this and I turn on the cultural point, I have this interpolation or this estimation of the shape based on this point, pulling force and the degree of the point, etcetera, right? With measures, we have this type of geometry. When we want to have, let's say like a smooth geometry, we would need to increase the mesh, the vertex count. If we want to have a rough mesh geometry that we would decrease the mesh current. Also, what I can do is, for example, I can convert this to mesh if I now copy this one side here under the Mesh, and I click on this and I type mesh space or enter. And in this case, I just want to make use the simple controls. If I use more polygons, just like move the slider four to the right. And I say, okay, it's gonna hear, give me a mesh that has a lot of polygons trying to mimic or have the same that is mostly close to this Shaped or two, this one that I just moved away from it, right? You can see this I mesh. And I've all of these phases with all of these vertices. You can move these around. If I wanted to write, I can do that. But the idea is that I would need here just to add more vertices to illustrate this shape, the original NURBS one. If I redo this mesh again, I measured out again, but then I use fewer polygons and for all the way they left and I say, okay, then I also move this away from it. You can see that now it's more, it has more edge geometry, it's more, has more sharp corners because I'll hold it. I want to have fewer polygons, fewer vertices, right? So this is in Meshes. If I wanted to select smooth geometry, I would need to increase the vertex card font, refer one. I will have to decrease thicker the vertex count. And we don't have a smoothness, a curvature. With Meshes. We'd needless say, to use other tools like looping. There is also likely a plugin, reverb plugin that deals with Meshes and Rebuild Meshes based on few equations that would smooth out Meshes. This is possible, but it's different, different path, a different workflow. With with nerves when we have nerve geometries that have specific control point counts and Degrees, then we know how we can affect these based on this information. Now SubD these, whatever SubD, these slightly different than this. If I now draw a sub, I go to SubD the tools and I draw up the sphere like this. Similar size. And first you can see the difference between this one and this one and this one. This has these IsoCurves. This one has these mesh faces, and this one that has these sub D fixes. Now, the thing is with sub D is that there are two modes. First, there is the flat mode. And actually we can go, we can toggle between the sub D display. If I click on this one, either the flat mode or the smooth mode. Flat mode like this. Smooth mode like that. Also with the Tab key, if I click on Tab, it's going to also toggle between these two modes. Now, the interesting part with this one is that I can still go to the control points. I can turn these on. I can see them around them. You can see that difference between this and the Meshes that the Meshes like exactly on each vertex is the control point with the nerves. Now similar to the nerve, that's right. It's like slightly beyond a slightly along or let's say on the geometry itself. So these are also similar in a way to nerves that are based on splines. And these lines that form the geometry are based on degree three splits. Alright, this is good to know. Now the thing is that with SubD, if I want to change this shape, I don't need to go and turn on the control points. I can do that. It's totally possible. I can still do that, right? I can do that. I will now going to undo this. Because with SubD these, if I turn off the ContraPoints, I can actually now here select edges and vertices. So it's kind of combining both the nervous and the Meshes. If, for example, Control and Shift and click on this point there, I can move it around and going to also keep the smoothness of it. I can control and click on this edge. I can also move it around. I can control and click on the face and also can move it around. Now I'm also free form modelling a geometry that is combining the smoothness of the nerves and the flexibility of the Meshes where I can also, let's say I can choose the vertex, choose the edge there. I can move it around with the control shift. Or I can click and hold Shift and then face, I can move it around. You see? But this is not smooth and I cannot smooth this out easily. Let's say I need another tool, right? But we sub D is totally, let's say faster, right? I can click Shift, Control Shift, and then click, and then again, select this one again, I can move around. Now I can also let say click and shift and this face and not need, I cannot only let's say moving around. They can also let say, extrude it by clicking on this bowl or I can move this one with the control. Now I made an extrusion out of this face. I click on this face again. I can also extrude upwards maybe with the control. Now, one might ask, when should I use NURBS and when should I use sub D? What is the difference between both workflows? Well, there's no like one. Only correct answer with this question. But generally speaking, you can use NURBS for Precision geometry, for Precision Modelling. If, let's say you're modelling tools, machinery, architectural models are touchy, it'll buildings, whatever that is precise, that is based on firstly curves. So basically you would like to, the workflow would be that you are starting first word, curves with precision. Let's see radii, circles etc. that are offsetted with really precise distances and then extruded or you have some gloves or whatever the workflow is, but it's based on precise dimensions. Then NURBS is the way to go. If you are, on the other hand, sculpting Product design. We are sculpting mouse, electronics, car, body parts, etcetera. You are not so much precise. So much strict with the dimensions and within distances, but more offices sculpting workflow. Of course, you would like to have some precision of course. But it's not to the millimeter, let's say level, but it's more of getting the general feel about the sculpted design then sub D would be the way to go for that being said, you can still sculpt with nerves that with something that they're not precise. And you can still do Precision Modeling with sub D. But this is, this ultimately will be defined by you, by your experience, by project's goals and needs. You can actually consider here. I would just, just to compare this with, let's say like a workshop. That workshop you have many tools. We have a hammer, you have a sore, you have screwdriver, you have a drill. You can use, you can actually make a hole in a piece of food with a drill, right? That's what is you can what you should do, right? That's what the function of drill. However, we can also make a whole with this group. You can still screw and with a screwdriver and then you can take this throughout and then you have a small hole in the piece of food. So both work. But then based on your experience and if you have the correct drill size, small drill size, then you can have maybe the best way to do with the fastest way to do it is with a drill with the small drill head. If we don't have that, then workaround would be to use this screw and to drive in a small screw and the piece of food to get small hole. Right. Because maybe it happens that you don't have a correct drill size. This is the same here. It depends on what you want to do, what you want to achieve. And based on experience and the project requirements, then you will find the correct, I would say quote-unquote weight, the proper way to achieve the results. And of course, you can also combine both together. So it may be, let's see, we're starting with something that is sculpt sculptural, not totally precise. You might want to start first with sub D, and then maybe that part has some more precise elements. Then you can model these ones in nerves. So there is no strict way of living things. You just need to figure out the best way. That being said, I don't have, like I would say like an absolute answer to this question. But generally speaking, more precision would mean most likely nerves and more sculpting would mean, would just go for four with SubD D 37. SubD 2: One other thing I want to mention here is regarding the rebuilding of surfaces and the difference between nerves and sub D. So if I make a quick Surface, NURBS surface like that. And I want to increase the resolution of the IsoCurves to have more control on the surface. So if let's say I pre-built and I will have here 3.3 and then let's say ten by ten, okay, as an example and say, Okay. And then I will activate the control points. And now I can do that, right? We have seen this previously to effect, let's say one part, one local part. Now you see that when we did that, it added in both the EU and the V directions the IsoCurves, right? But maybe I don't want to have that. Another way that will also have seen is that what I can do instead of that is to actually insert naught. And then here, here I can add more knots. I can toggle. And I cannot add not in the phi direction, for example. And then we'll say here space or Enter to finish that. And now I can again turn on the quarter points and then I can no effect that small local area that they won't affect. And of course this is doing this and not curve because the surface was not rebuilt with degree of two or three. If I have to rebuild the surface first to say, and then keep the UV and count 2.2, maybe 3.3, then 4.4 to keep the degree at three minimum. Say Okay, then if I insert not this direction, then toggle that direction, space or Enter. And now if I turn on the points and I move them around, I will have a curved effect like that because now the service, the degree of three, right? But still, the thing is that still here with this example, we have this unused IsoCurves hasn't been added Anyway, along the U and V direction, right? Which is normal, right? Which is understandable with NURBS. However, with sub D, that's not the case. And I show you here the comparison. I go to SubD the Tools tab and I will hear creates up the plane. And then click like that. If I click on the tab, I will see the flat mode. If I click on the Tab again out in smooth mode, if we click on the Tab to bring it back to the flat mode. If I want you to add, let's say, for example, if, let's say I want to move things around, if on, let's say move this phase. I can Control Shift and click, and I can move it. Let's say up Arctic on the tab to see the smooth side. Okay. That's fine. I don't have like anyway, enough subdivisions. That's okay. However, what I can do here, I will undo that. Undo, and undo. What I can do are different things. Either I can add more subdivisions that I can do with sub-divide sub D, this one, click on this one, click on the face. It will sub-divide all of them at one state-like herbs. I can undo control Z. If I click on only this face with the Control Shift and click and I sub-divide the sub D, I will only add more subdivisions here. So that's one way of doing this without affecting the whole surface. What do another hand as another method is to only add one edge. And that I can use with, I can do with Insert Edge Loop. If I click on this with the left mouse button, click on this, click Space, Enter. Now I can add a new edge. Like that. If I go tab and click and go now to the flat mode, click again on this one, and click on this one. Or I can click on this one for example, and again add the new one. Over here. I can say proportional as well. Or I can also do something that is different, which is to click on this one. But instead of the full, I can click on it to make it range. And then I can click on this one, the smart part, and especially Enter. And then now I can add this subdivision and that's why it's called SubD these like a subdivision Within a face without having to add this, all this stretching IsoCurves like this one, right? That can do this. Again the same. Keep it at range. Click on this one again. Now, this one here again, you can see this doing this because it's proportional. Click on this to make it absolute, right? So there are different modes of offsetting this one and adding this one, for example, click on the tab again to bring it back to smooth. And now I can click on this one and I can, let's say move it up. I can click on this edge and move it down, right? So really, it really brings a localized control on adding more solution to the surface and then affecting that Surface accordingly. While with nerves, that's not the case. You have to anyway, add more UV curves, UV IsoCurves in order to affect it. But here it's not the case. I can just say go here, click on that. Click on this one. This one that's like a small subdivision. And also that's just as a history. That's why in old plugin that was used for Rhino. Before introducing sub D tariff Rhino which was called T Splines. It was actually called T Splines because it's actually adding this subdivision that looks like a T. It just looks like a T. That's why it's called what's called T Splines. Want, let say add a subdivision there. I would just go there. And I'll click on this one. This one you can see now it made it small T. And that's why it was called T Splines back in the days when it was popular and it was great plug-in for Rhino, but then after that, it didn't go forward. And then now we have this sub D, which is exactly these plants and much more functionalities. Alright, so I just wanted to also show you this comparison between nerves and SubD these in terms of adding more solution. And what does that mean between both? Now, something to be aware of is that if you want to draw, let's say a curve. And you say, let's say sub D. Friendly. You draw it like that. You can rebuild it. So I can click on this and again Rebuild. And you can see here, and that's why I was saying that sub D geometries are approximations of surfaces based on the degree of three. And that's why the degree here is locked at three. I can add more points if I wanted to. Or less depends. But if we make Sub differently is on, this will be locked at three. I can now make this as not Sub differently. Now I can change the degree to either two or one. And as we've seen previously, or I can bring it to four or five until 11. If I say No, I want it leads to make it SubD differently. Then it will be locked at three. And I will say now, okay, and then this is a sub differently curve. Now what this means it also I can make SubD the, even without being friendly, SubD different cottonwood. Even without being that I can still make surfaces and then make them sub D or Extract subsurface out of them. I'm gonna make actually just also another example. If I make three circles like that and I move this one up. And this one like that. For example. Now, if I wanted to rebuild all of the three ones Rebuild, and I would say SubD differently. So this will be locked to three, remember that? And I will keep this what then? Preview. Okay, so there are so-called, That's fine. Okay. And now I can go to SubD DIY tools. And here we have something called loft, sub D loft, right? So it's exactly like the nerves loft, but it's a SubD the loft. If I select these circles. Here, I have these options where I can add more divisions between shapes or not. I can do that. We have also other options if I see, Okay. Okay. So that's a sub the surface. I cannot rebuild this one. That's important to know. I could have rebuilt another service that was a loft, normal loft again, Rebuild that one. But I cannot rebuild this one. If even if I click on this one and they type Rebuild, I cannot select it. It says select curves, extrusions or Surface dribble, but not this one. This cannot be rebuilt Okay, that's also free to know what I can do as well as for example. But since this is a sub D, If I want to change it, I can, of course, as we've seen, again, let's say grabbing this edge, I can move it around. I can take this phase as well and then move it around up and down, whatever it is. I'll undo this one. There's to keep this flat. Okay. I can cap it. So I'm copying this sub D. I got this good. This Options go further. If I tap again, tap again, crease. Yes. So it means that it will here have a crease and not the continuously curve shape. And then triangles. Yes, owner depends again also say no, let's say it added. So as a closed sub D, it made it like this. If I undo it and I say triangles, yes. So Cap again, crease yes and triangles, yes, I will get this result. Also. In addition to not being able to Rebuild, SubD the surfaces, I cannot explode them. If I now click unexplored. One sub D cannot be exploded into multiple parts. Because if this was not sub D, then this would mean that this is a Polysurface, right? Remember that? And then we have here one Surface, second Surface, and third surface. If this was a Polysurface. But since this is a sub D, This all of these surfaces are understood as one surface and will decrease and not Polysurfaces. And that's why one service is gonna be exploded into more surfaces. A Polysurface, yes, it can be exported into more subsurface or let's say more surfaces like the box. If I make, again, if I draw a box, right? This is a Polysurface, I can explode it. And now I have this surface, this surface, the surface right? Which make the box, but this is not meant to be one, sorry, one Polysurface, but it's actually one surface, not Polysurface. And that's why it can be exported. I couldn't explore it, just doesn't work. The only way to actually open this up, to really remove this is I can Control Shift and select and delete. Control Shift and select for the bottom one and delete. Now I could have done the same as if I wanted to see to explore it and then remove the top and bottom. For example. Maybe for with this box for me, I could have done that, right? But this year I had to re-explore it here, just had to select them and then delete them. Okay, So these are few differences that you should be aware of. You cannot Rebuild a sub the curve with different degree than three. You cannot Rebuild a sub D surface at all. And you cannot explore it. Okay, That's, these are the only thing is to also keep in mind while working and while understanding and choosing which one you want to go 38. Hammerhead Shark 1 - Body & Hammerhead: Alright, now let's try to model in 3D a hammerhead shark using sub D modelling. For that, I have found on this website. This is the link to the website. I found an interesting image that includes to the graphics of the hammerhead shark. And we just need two of these side view and the top view. This is the bottom. If you don't really need for that exercise, based only on these two images are going to try to model this with SubD D instead of Rhino. I've saved this image for us here in the folder inside of the course files. And I just need now to drag and drop this image into Rhino. The top view first. And I'll say picture. Okay. We'll click anywhere. Animal, drag. Now we didn't really give a lot of importance to the dimensions, in this case, millimeters. We don't need to be super exact with the sizes because later on we can scale this. But my most important goal here is to show you and to teach you how we can model. This is Art of Rhino. And later on, scaling according to the real Units can be done. At each stage. I'm going to also make a new layer called image. And I will change this to this layer because this is a default. And also we said that the default layer should always be empty and not used. And so basically, the goal here is that I'm going to use this image to model it. And I will use the different Viewports. So according to the step that I'm in, I'm going to use the top view or the side view or the front view. It's a true case. This is the front view and this is the top view, right? So I also want to see it here. Now. This image is actually a flat here. So what I would like to do now is to make a copy of this on that and kind of like match them together. So if I click on this red Ark of the Gumball, know Jewelry did this image. And I click on the Alt key only once without holding on it. Lord, now to get this plus sign next to the cursor. And now I click on the shift in order to snap it like this. And now release. I just made the rotate, rotation of this image and the copy in the same time. Now, we said that we wanted to match this image basically, so the top view here, so this is W. Are we using this part of it in this image, this viewport? And then at the front view, I want now to move, so on. I will actually maybe move it with the snap downward like that. An order now to try to match the side view, this view here on this front viewport, order to really try to match it with this one. So if I move it like that, just to see, you can see now what I mean by this. I want to match both view so that I have, I can now use this portion of the image and this one that are matching simultaneously to model this Shark. Maybe I think that's good. Alright, so it looks like that's good. Also the length should be matching as well. Alright. Then not scale anything. I just rotated this and we located in order to match This portion which is decided for you with the top portion together. To have this. Maybe if I move it slightly to this side, if I do this, maybe you see that the same, match it as much as I can so that everything matches together. So it's this image that has the side view here. You can see it in this view and then top view, we see that. Alright. That's good step to do in the beginning. Alright? This is the image and in the image layer, alright, they should have been anyway, activated. Alright. Now that we have done that, that we have placed images where they should be. Let's first, before modelling anything, let's first understand the geometry. What is this about? If I try now, I'm gonna actually maybe let's give this. I want to try now to understand this in different views and the side view and top view. Alright. So the starting point Modelling in sub D is with a box. From that box, we're going to extrude some phases in order to reach this result. It's good. However, don't understand from the beginning the subdivisions that may be required or needed for the box so that we start with it with a good amount of subdivisions already. And then we use those subdivisions to extrude and make some manipulations and 3D. So I'm going to go here and make a new layer and call it Geometry, understanding or analysis, let's say. Alright, one would activate this one. And I'm going here to just draw some lines, some straight lines. It's able this, and then we'll turn the ortho on. And then basically what we need to have, let's see a box also going to make the color of this red. So you see like while drawing the line, I can still, let's say change the colors of the year, in this case this one to be red. And then maybe like want something that is there, that is cutting or have, let's say like a subdivision there. I will actually lock the image layer so that we don't touch it over and let's say move it by accident. Make a new line in again. We may want to say like another one there. We want another one there. Can also copy this one like that. We can also scale is of course these are not supposed to be, let's say super precise, but just let's say a guidelines guide geometries. I will copy this and click so something there and there's of this sooner, this top fund in this site Fin as well. And then also this head here. So this might be good also maybe there as well. Alright. So now we're trying to understand or analyze the geometry roughly, right January speaking. And of course, if we need later on to add more subdivisions, we can do that. But just starting from the beginning with a good amount of subdivisions to make things easier later on. Alright. Now I'm going to make a new layer and then I'm call it here box. And I'm going to tweet this one. And also a lock is once. Now let's first count the numbers of these sweat. How many do you have? Let's say subdivisions. If let's say I have the box there, it will have roughly 123-45-6789 subdivisions. Alright? And in top view here, for now we can just keep them to, to. Without having to add more detail. I will go to the sub D tools and I will click on this. Grid is up the box. Click on this. And I will just now Draw, actually before drawing basic and to activate, I just need you just make sure that the count is correct. So gout. Gout. We said that we want nine, so that's already set to nine. If it's not, then you have to change that and then set it to nine so I can click on this. I can say nine. Enter in the white count who said that we only want to. I can click on the soil if it was not to and then type to enter or space. And Zika's as well to, alright. Then I'm going to hear, draw a box that and try it like that. We don't see it well because the image has the background black and it looks like what and wireframes. So these wires are shown like that. So what we can do here are two things. First, we can lower down the transparency of the images because there are two, let's say strong and may not, let's say, help us. Well on why modelling. So I will unlock the layer. I will click on one of the images. I will go to the properties, and I will click on this material. Then here I'll go down and then we have this transparency Panel and then I'm going to just, let's say do that and slide this up. You can see now they just gave a transparency to the image. Alright. Let say, let's leave it around this. I still want to see the Shark, but I don't want it to be that strong to not make me see what I'm doing. And the next thing is I want to change all of these Viewports to ghosted like that. So I just click on this one and then right-click on this set. All viewport displays to ghosted. I will lock again the images image layer. And now what we want to do first is we want to just adjust the subdivisions of the box based on these lines. And of course, before that, locate the box correctly what I want it to be located. In this case here, it looks like just want to do it like that. And it looks like it's pretty much centered to the image. That's good. If it was not, if it was, let's say like that. Let's say move it around in order to match it with the location of the shark on the image. Alright. Now, based on the Georgia analysis Lines, that which is true, I want now to move these subdivisions accordingly as well. I have also locked these ones, so I don't want to touch them. However, I will now click on Control and Shift and do this. Now to select these edges, these sub D Lines of the box. And our can move them around. You can see this in 3D as well. When I do this and this view and front of you can see what's going on in 3D as well as in top view. I'm here, I'll turn on again the project and here I'll move that move and then I'll click and then gives to match it. With the Line Snapping. I will click again, Control Shift select. I will move. And then I will click and collect like that escaped and Control Shift. And then I will move. And I will click there and I'll click there. Always have the project on because if this was not on, it may then snap at different places. So if this was not on, for example, and I click Control Shift and then you can see that it's snapping to the line itself, which is there. Alright, so they can get there. That's why be careful. Keep the project on so that it's going to keep this movement only in this seat plane of the front view. Again, move, click, click. Like that. Shifts more of this one there. Control Shift and space to also apply the move Shift, Control Shift and move these ones. And actually I'm in the line itself may not be super precise, but they can unlock it, that I can move it away. Like this is not to say it's not supposed to be like the nature on something important with just the beginning to be guiding me. And I will move this one there. Right. Now we have covered, let's say in the side view, based on these lines, the edges of the box. I will now turn off the lines. Now, you can see that changing the box in this flat mode, if I click on tab, I will see this is how the box looks like in smooth mode. For now, it's better to model in the flat mode. And then later on, when we start to model a more details, small 3D details, then we can do that in the smooth mode. Right? Now. I'm going to move the box down like that. I did not change it. Changes location in the x-y plane, but only the xy-plane. Alright? And now we can do, we can start to model lets, you can just move these around. So I'm going to make the changes now in the front view. And then you can see what's going on in the perspective view and the top view. Okay? Now before that, before applying the changes, I will make a new layer. I want to show you the step-by-step changes that I just did later on when you open the files again, you can check out the steps, what I've done. So you can understand better the chronology of these steps that we used. I'll right-click and then I will click on Duplicate Layer and objects And you will say now object. So box here I will say edited. In front view. I'll activate this one and I will turn off this one. Alright, so we still have the box here. And this, we just keep it at this layer with no don't change it. And then I will turn this off. I will keep the image on. Now. I will change the box in the front view there and move this one there. I can always reset this one. I want to do this if I want to just have a better look in 3D. Alright, so here I will click on Control Shift and select this edge here and this view. And I will just move it down like that. I will Control Shift and click to move this one up. Our move this one again. So Control Shift and down, trying to match the image, control shift and move this one up. Zoom in war. And also will do this. That here I will move this one up slightly. Here I will move this one. So basically you want to just follow the body, the main body of the Shark without following the fins or any details yet. Control Shift. Move this one there. Control and Shift and then move this one up there. Always release, always. When you want to, let's say make the change. If you now type Control Shift and select again like this without Clicking, then you are selecting also this one. So first have to click outside, then do this, and then click clack that. Alright, so that's the bottom side. Looks like maybe I wanted to say to move this one there. So what I will do, I will move sworn there. And I will move this one there that I'll continue from that side. So I'm moving here. These, again, these edges in the front view. First one down. Again. We don't give any focus to the front end to these details, but only the main body shape. Now here, maybe I think it's better to model this later on, but not to be part of the box, but as an extrusion. So what I will do, this is also a change in the middle of the workflow which can happen and that's fine. You can take this decision anytime that you feel that it's better able to afford the workflow. What I will do is that I will move this one there at the end of the body, but then this tail, then we're going to model as an extrusion that are on as, as if it was one of the Fins going to show it around what I mean by this one. Once we reach that stage. So basically this is here ending. So this is the first step or actually the second step after the box is to model it inside view and different view in this case. But you can see, you can see still that in the top view it's still not edit it that way, right? So only we did that, that thing, that modelling that step. And this view, if I click on tab just to see what happened now and this smooth mode, you can see this What's going on? Alright? I'm going to right-click on this. And also we'll say Duplicate Layer and objects. Because I want to now keep this layer and not change it and then add new changes to the new layer. Here. Now I will say box edited in top view. Duplicate. Double-click on this, and I will turn this off. And now let's try to Edit this box in the top view. I will activate the top view is to make it big. And I will click on the Tab to bring this back to the flat mode. Or I can go to the sub D tools and I can always click on this one, toggle the display. Now, let's also do the same thing, but when it off View, I'm going to Control and Shift drag and then move down. Now, if I do this like that, I may need to work also on the other side, but then that will not be precise. Otherwise, I can do this like that. So control shift and select. And I can scale only in this view if I see the other views. Let's say the 2D here. So this one, 3D to 2D here. If I click on Control Shift, do this and then I scale. You can see that it's only applying the scale in this dimension, in the 2D dimension. But also this may not be, let's say, optimal this case because when we want, let's say to model the side fins and make extrusions for the head. Then we may, this may not work. Actually, there is an interesting function for sub D and it's called reflect. If I undo now what I just did. And I click on reflect sub D and I select subject to apply reflection. I click on this sub D. Now you can eight the refraction axis. I will click on the, well, but this one, again reflect somebody. I will click here on the middle of the box. And now I can do this to make sure that it's like perfectly horizontal. I will flip it like that. And I will see now here, space or enter. Now you can see if I turn off the image that I have here, this thing that happens. So the box now has this grayish color and this light color. This means that whatever I applied to any of these sides, it will be reflected. However, I cannot make extrusions are the dark side. So I can click on this face. I can move it up to two will apply to the other side. We'll undo. I can click on this face from other side also move it up. This works. But if I click on this face from the light side, you can see that I can actually extrude this one with this mobile like that. I can also move up and then with the control added, I can also extrude it like that. But if I undo this and it tried to do the same on the other side. So I've said the face, I cannot extrude it. I don't have the ball option to extrude. And even if I move up with the control, click on the control Now button doesn't give me the extrusion. Possibility. That's the only difference between both sides. I can move the edges like that. I could also do this from this side. I can click on this edge. I can move it around. I can select the vertices that can move them around, right? That can just whatever I wanna do with them. But the extrusion function doesn't work on the dark side. That's the only difference. I'm going to undo what I've done. Bring this back to the state where we just applied the reflection. Turn on the image again. Now I don't need to work on both sides only on one, on one side and then applied to other side. If I actually turn. Now, make maximize the top view, I will select this one Control Shift. I want to move this one like that. I'll Control Shift and select will do this. Again now are only tracing the main body shape of the Shark without a details. In flat mode. Throw, Shift and select. So we don't also need to be super precise, but you to make sure that we're doing things correctly in this case now, just moving these vertices and also the edges in the other view. So again, whatever I see here as vertex actually is whole vertical edge straight. Never, Don't forget about that. So there. And also select this one, which is this one, and then I'll move it like that. Perfect. Alright, so now we have Shaped the body as well as top few ever chipped in the side of you in the front view. If I click on the tab, we can just to double-check my work. So you can see now we are, I would say like more than 50 per cent there, right? With the sub D. Modelling. Now with the only thing remaining is to just model these details right off the image as well. So that's the main Shark body based on these images. Alright, Someone decides view and the top view. I can always just say in this mode as well, like Apply the changes. I can always do this and I can Down these ones to make them match a body lines, right? So it's not really, the only thing is that in box mode is like it makes things easier and it's really up to you, right? I mean, you can just do it in the other mode as well. So they have always click on Tab. That's the shortcut to toggle between both Modes. Alright, now let's model the head. I'm going to also here, right-click on this one and then duplicate layer and objects. And here I will say, I'll call it head Modelling, right? And I will activate this one and turn this off. So now we just saved this stage. What you have done in this layer will turn it off just for it later on to go back and then turn on and off these layers to double-check these steps. Here, we need to make a few extrusions steps on the head. I will click on the tab to turn this back to the flat mode, and I will maximize this view. I will click on Control and Shift and select this. And I will here move this up with the control. Or I can select again and then click on this small ball and move this up like that. As an automatic extrusion will release, you can see that it's applied on the other side because this has been now reflected. And now I will Control Shift and select this one and then there will control shift and move it there. Like that. You can see that this is not anymore strictly parallel to this one and that's fine. Now we're just, let's say are focusing on this side. I will again select this one Control Shift and also add another extrusion. I will select this one and move it there. And select this one, move it to the back. Will also select this one Ctrl Shift and also append another extrusion. Again, we'll also this one. So you can see like these are small steps that you can do. That's also select this one. Actually this phase, and then also extrude. We'll select this one, move it there. And we'll select this corner over there. Of course, these are all edges, right? Or Only now seeing this in top view. Again, we'll select this phase and we'll extrude it. And then we'll move this one there, and we'll move this one there. Again, select this face and extrude it. For this one there. This one there. And it looks like maybe this may be the final extrusion or maybe the one before the final one will move this one there and then we'll select this face again and have final extrude there. So that we have now this shifts. Maybe let's move this one there, right? So it looks like now or Tracing, right. The shape of the hammerhead based on this box extrusion, right? If I click on the tab, you can see that now this is the smooth mode and we can still let say, adjust the smooth mode. So for example, I can control shift on this one. I can move it there, right? I can just, if I want to make it as say, more precise and more matching. And also do that, right? So we can go back and forth between these modes. Always good to start with the first with the box mode, with the flat mode. Then you can make your way through. As you are modelling. You can see, so I can like push it down and it will just take this whole area around it. Like that. Maybe this one I killed him over there, right? As a nice curvature there. Alright, if I now check this, what happened in the 3D view and the perspective, you can see that the student base, because we have the reflection. Also, this was, this happened on this side. Now you can see that now we started with the Hammerhead in the top view, but I thickness is not correct right. Now we can go back to the side view again. So the walk-through started with the side view. We went back to the top view to shape the body from the top Now the hammer head itself, we made it in the W first, and then now we can go back to the side of you, in this case the front view to also shape it and refine it. And in this case here, so here I went out even, let's say, rename this head Modelling top view. And I will right-click and duplicate layer and objects and then I will here call it front view. So also can maintain these steps in these layers. Activated this one, turn this one off. Now let's go to this view. If I turn off for a second, this one to see, okay, so that's basically the hedge to see it better. I can, for example, now unlock the layer. And I can try to make this one slightly less transparent. And let's see if we go there. So we can see now this better. I will go there. And let's see how we can actually, I'm going to a real OK, this one, so we don't touch the images. Let's see if I select all of these, right. Box. Select all of these. And I can now hear scale. And in this case, for example, now I can, for example, let's say these ones, or maybe these ones or these ones. So it looks like it's these ones and then this one. And I can, or I can even select here. So I can do this, right? Let's do this wireframe. Select only this one's right. Because I was trying, I only wanted to select is one that are really high, really far from the Geometry. And now I want to scale them like that and move them up like that. And we'll keep scaling. You can see what's going on here, right? Of course, I don't want all of them to be like this, but not only the starting point. I can also make wireframe. Let's select this one. And also the song and wireframe as well. And will also select this one. So Step-by-step shapes just undo this one. I want to go one-by-one. They're like, That's fine with that and then move it up. We'll select these ones. You can see that in this image looks like these or not, Let's say exactly matching with the, with the projection. So it looks like this, for example, like these ones here. These edges should have been here based on the image and not beyond the eye. That may be that might happen. And that's fine. But only for you to know that if, let's say there's not exactly, Let's say exactly matching in all of the views, the protection of the geometry, it's fine. But here it looks slightly like say, not correct and this side view. But that's fine. I just want to say that it's okay for matching it in the top view in this case, that's what two are aiming it at this point. These ones up. And also move this one up. Just to match this eight, which the shape of the head there. So try to move them on that on there. And also for this one there, to see like the wireframe would give me this flexibility of choosing these Without having to choosing, select the other ones, the other edges. It looks like now we have this that formed right based on the on the side view and on the top view, right? So dove always like batching. And now we'll just, let's say we're sculpting this part based on this view. Also, select this one, this up, like these ones, move them down like that. I think we can give this, these are the this idea that's like actually do the middle, that's fine. Okay? So it looks like now we are more or less than say, matching the head like that. The room, the spec, the ghosted. Right? So that's basically how it looks like, right? Based on what we had. Also, it may be Good If we had a view from the front side of the hammerhead. Luck showing us this side. So that we can also say shape the head. More precisely in this view, we only have now based on these images, the top and the side and the bottom, but not the front side of the hammerhead. Because that will also help us be more precise, let's say with these ones. And again, then we can also shape these one at the right viewport as well. If we had this and we don't have this, we can approximate this one based on the images. Okay? We also let say go to top view to the flat mode. You can, let's say do this to give it a silica, better or less selective, more curviness, let's say there. So check this out there. That's basically the side view and this looks like we're just matching it as we can, as much as we can with this. What will images that we have already in that. Alright. So that's basically now how we can Apply a series of extrusions in order to shape the head of the Shark. Alright. Now, since we have reached this step, this stage, I would propose here for you to then now model the top fin as an exercise part of this project. So this is the step where now I would hand it for you over to you. Please if can try to model based on what we have done. And this is much simpler than the head itself. I'm using the front view, the side view, and using the top view as well. And the 3D. So any view that you think is useful to you, please try to model this central middle fin here. And then after that, I'm going to show you how we can do it. One of the methods, one of the ways we can do it. But I prefer now that you can try this on your own. And maybe I think than a minute, so it'd be good. Just try to work with it around. Try to snap or tried to toggle between box and smooth Modes, right? As it tip, I would say start with a box with the front viewport, the side view. And then I would say as a tip for you, select this one and then extrude it as we have done with the head series of extrusions and then scaling. So you have to extrude it. And then in the top view then you can scale them down to make them match the shape of the Central Fin. Alright, so let's have 10 min of practice exercise for this one. And then after that I'm gonna show you how we can do it. Alright? 39. Hammerhead Shark 2 - Central Fin SOLUTION: Alright, so I hope that you are able to model the Central Fin. I'm going out to duplicate this layer there and objects. And also now we'll call this one Central Fin. Alright, activities one. And then we'll turn this one off. And as I said here, we, one of the ways would be to start with this flat mode and then select this one and then extrude it like that. And here I will model this one exactly as we have done with the head. And here as well. While doing it. I can also, let's say, before completing it this few, I can also add, say, Start to also adjusted in this view, top view to make it match this one. Alright. Then I will select again this one and the side view back to the side view. And then also at another extrusion will move this one there. That also will see if I need to apply any scaling. Looks like maybe this one here needs to be scaled more. That also here go back to the right view to decide view. Also extrude this one. Select an extrude that will also move these ones. They're following the shape of the fin. If you go to the top view, looks like means also tried to slightly scale it. In words. Go back to the side view, select this one and also extrude it. And then shape this one like that. And this one like that. Let's see if I do this and I see Do I need to? Yeah, maybe like slides, also more of scaling inwards will also extrude this one. Let's see if this may be the final extrusion here. Yeah, maybe this can be the final one. Select this one is one more today onwards. And again, it looks like the image here is not totally matching with this one, right? And that's fine. Like it's ending here. But in our model, based on the side view, it's ending there. Alright, that's the final edge there. It's okay. Now we can on the tab to wish toggle back to the smooth mode. And we can still now apply some refinements. I can now select these ones. Them there. Maybe it looks like based on what I'm seeing now, I may need, let's say, to apply an additional extrusion just to give this a nice slightly more sharp edge there. So I will these ones here. Small one will do this, will do that like that. And I will also scale this down like that. If I now turn back to the right smooth mode, you can see that now it's matching the shape better, more precisely. So this is a technique of going back and forth between the flat mode and the smooth mode. Checking out if I need to add the more extrusions if that's necessary or not. And if so, how can do it? When I can go to where I can do it, where it should be done, right? I can see that maybe here I can do this, right? Okay. I can now check it in 3D. Turn off the images. Here. I can see that now have this nice Central Fin that I model based on few extrusions, right? Starting with the side view and top view as well. Written back to images on. Again, another exercise for you as well. Based on what we have learned from this Central Fin, please have can try to model the side fins and you only to do it on one side. And since this is reflected, it will be done automatically other side. Alright. I will say that maybe you would like to start from maybe a 3D view. Maybe I would say as an example. Where is the lateral and this one, right? So we can only extrude this side because this is the lateral one, the darker one can be extruded. Right? So this side, which is on the top view, this side, not the side, but this one. So I would say based on the image here, you can maybe only extrude this face, not this one, right? But only this one. Maybe you can also say move it, maybe not. So not moving it because this will change the shape of the body. But you can at least first start with the small extrusion and then try to match it in the top view with the side fins and also in the front view and decide for you as well to match the shape of it. Okay, based on how to have learned with the Central Fin. I think this is now a good opportunity to apply what we have learned. Now. What mistakes will learn from? And try to again apply this with the side fins. Alright? Also I think maybe 10 min would be good to try to practice and try to apply this model, this one. Alright, so let's, does have again 10 min of practice and see you after that and show you the solution 40. Hammerhead Shark 3 - Side Fins SOLUTION: Alright, so I hope that you were able to also model the Fins as well, the side fins. I'm going again to right-click on this layer and then duplicate it and add this one now is going to be side fins. And I will activate this one During this one off. Right? And as I said, the year one tip would be to extrude only one of the phases, not all of them. So if I extrude this one in the top view like that, and now I can shape it. This can shape that. And here what I can do is instead of doing this, I can move once, only the bottom. The whole edge there as well, this one edge, right? So only this one like that. Awesome of this one, they're now going back to this one. Here. I will, before continuing to extrude in the top view, first tried to adjust it. In this view. This is wireframe, right? If this wasn't a wireframe and they make such as Selection, then it will select the whole Shark. This and we'll let these ones, and we'll do that. Right? So it's trying to follow the shape of the fan like that. It looks like that's more or less. Again, bring it back to match the top view. But then now we are matching it with these angles. Alright, then it will again select this one, will extrude, it. Can top view will move it there and looks like that's okay. So this is a new one. And then we'll also see if we need to move it down. Let's say I don't know exactly where on this image along the fin, where, let's say this is happening like where this shape, this cross section would be. And that's why here another situation showing us that if we had the front view right of the Shark than that will be more helpful to model this in front view since we may have already modeled and then we can match it easily like this without having to guess here. Where would this be? Right here? Extrude these, this one there. And it will move this one there. And here I will say all first finished this extrusion until there. And then after that, based on this height that is new, lower than their. And I can then make an average and move these profiles an average to match the curvature of the fin. There as well. Again, another extrusion. And I think if final one would be enough here. Let's see what happens if I turn on. Or you can see that because this is now moved below the image that don't see it anymore. As clear as this part. I can. For example, in this case Unlock the image. I can simply just move this one down just through that. I can see this better. And this will not affect extra hour. I mean, it's going to stay in the top view. Okay, that's fine. Look at again. So I can we find this one that also much smaller five-minutes based on the image using the smooth mode. Now, as I've said, we can now try to adjust the Fin in the view and the right viewport, which is the front-facing to the Shark, and also based on the side view. So I will first move these ones. And I can see that I want to move them to match this ICT there like that. And then use move these ones. And try to make now a more natural form based on that. Right? So it looks like this may be how it looks like. So now plug slightly. And I can also, let's say scale them to make them, let's say more. Let's see a thinner going to the edge. I can see with this. And I can scale this one down. I can scale this one down further. And these ones as well. And the last ones like that knocked to the point. So undo that that scale, these ones as well. Just to try to mimic as much as I can the shape of the side fin based on the images. So this is based on the top view. And I just use this viewport in order to match it based on a side view. So maybe just move these ones down like that. So it's a back-and-forth process of refinement steps. Alright, so it looks like more or less this is what would expect it to look like. I think that's fine. So in 3D, again, turn off the images. You can see now this is how the side fins would look like more or less. And of course, as I said, if we add if you, that is looking in this direction, then this will be much more helpful to model this more precisely based on the images. However, the top view and the side view, we're able to more or less match it. Right? So this is matching the width in the top view. Now it looks like the side view is not perfectly matching with the top view. And that's fine. What we use this one to find the height of these points, these edges in order to now to make them match with the Geometry. And then did that in this view. And we're able first to find the lowest point and then trying to gradually go up and then make it more natural and more logical essay. Alright, now, let's Design or let's model design, but let's model that. Lets trace in 3D as well again, now the tail. And here also I think it's good for you first to try to find out how this would be done. I will go back to the box mode with the flat mode. And as a tip for you as well. This starts exactly like the fins, the central fin and the head and the side fins. This starts as well within extrusion here. And then from that you are going to have a local small extrusion going downwards and then one, the bigger one going upwards like that, trying to trace the shape of the Fin in the side view. So again, I think it's really important to follow up on these small steps, small exercises within this project, and try to Step-by-step refined better our skills or understanding of these and how they work with these following up steps. Alright? So also I think maybe for this, Let's maybe have 15 min. Please try to model this tail. And again, we can start maybe with the side view. Here, this front viewport, make an extrusion and try to find out how you can make a sub extrusions. So another extrusions coming down from the newly made extrusion downwards to shape this part, lower part and then the bigger one to shape the bigger part. And then I'm gonna show you as well the solution to that. Alright, and of course, don't forget to make a new layer and call it, let's say tail. And go forward from there. Alright. So please let's have 15 min 41. Hammerhead Shark 4 - Tail SOLUTION: Alright, so also that you are able to model the tail without issues. And also based on what you've learned so far, I'm going as well to right-click and duplicate this layer and objects and then call it tail. This off keeping us on. So again, here what I will do is I will make an extrusion know before that, I will maybe move this one slightly there to make it match with the body shape. And then here I will select these and I will make an extrusion like that. Let's see where we have to go with this one. Because I also want to think of, okay, want to extrude this one in this direction. If I move this one there, and I move this one there like that. Alright? So this is a bit more challenging than the previous ones. But if you have managed to it, That's fantastic. I will now make an extrusion from this one downwards. Like that. I will here also shape it based on the image. So we'll move it more upward like that. Gradual extrusion. And already these are, let's say more or less fin. Now, if I wanted to say to thin out these, I would, I can just let see here, select this one, the move them. And this will apply to the Azure reflection right to the other side. I will now hear extrude this one. Again, series of small extrusions will scale or move them towards the inside. Also extrude again. We'll move this one side. And again extrude control shift always to select these ones. Again, extrude control shifts always. And I think the last extrusion here, all fields that will match the shape of the small sub fin. If I click on Tab, I can see now that's kind of more or less smashing the shape of the small local SubD fin right under the tail part of detail, right? Now, going back to the top view or top part of the fin or the tail. I'll just move this and I will select these and I will extrude these and move them along that line. And I'm also select these and we'll move the control, right to extrude this one. Also select these and move and control like that. Here I can prolong them because it'll have like a lot of junk to change and move and control to extrude on fat. I can see this happening there. Alright. If I want to say to, again, thin them out, I can move these ones I can control and shift. Move one. Now, what I can do here is I can see select these ones as well and then also move them and control to extrude it like that. Shape it based on the shape of the tail that you see. And again, let's extrude this one. I will move these ones up, this one down. And again, I'll select these ones and also extrude them. You can see that although in the beginning it might look a little bit hard to model, but it's pretty simple, actually, just a series of extrusions. That's it. Select Food. And then these extrusions are made with small steps so that we can control the curvature as much as possible. Alright, will now select these ones and also move and control. Like that. This one there, this one there. Maybe I can use this half part Only for this small local part of the tail. And then I can keep going with only this are to be extruded. Maybe have done something else, but it also works more than control. So not this one again, undo, select these ones, move and control. Control shift over this one. And this one, their cultural shifts. And again, move and control or extrude. Both work. On troll Shift and control. Extruded. Click on this one to extrude. So both work, always strewed. Select, Extrude, extrude. And I think maybe if we sum over there, maybe that there's enough. Let's see. Now we're going to click on Tab, right to see now the results. And so basically this is the result of the modelling of detail. You can see that we started from here, from this phase, and then we had this result. Going to zoom in war and refine this. And the smooth mode. Of course, I can go back to the top view and I can select these and we'll move them to make this one going thinner and thinner and thinner. Based on the image that we have. Just select these and more than one. This one maybe let's say the most one down. That's roughly, you know, trying to model Detail. Turn off the image layer. And that's detail. Okay? 42. Hammerhead Shark 5 - Smaller Fins preparation: Alright, now let's turn on again the image here to see what do we have left. And we still have the small part, small fan as well as the sparse there. Now, here as well, I would say now that we have seen how we were able to model all of these parts, the head, the side fins, the central one, as well as the tail. The tail being most complex one among all of these, I say that now it may be a good opportunity to kind of like you now apply our skills again, nerd skills and try to apply them with modeling. These ones, zero Smaller ones, and they should take less time to model. And also, I would say maybe as well, not only about, let's say the exercise involving modelling these, but as well as I would say here, trying to re-find a bit the subdivision here. So I would say as a tip for you, you may need, let's say, to move around these lines a bit cooler in order to match this geometry as well as this one. Maybe I can go to the front view. Maybe I would like, for example, to do this model, this part from this face on the one underneath. And then maybe do this and do that here. In order to model this one. Maybe I could also let say move this one there to make it like that. Alright, that's possible. But it just not, it's not simple, let's say straight forward modelling, but it's more of, it involves more of changing this organization of these subdivisions slightly to make them match our workflow and the geometry, which at the end. Alright. So I think this is a good opportunity to now still refine our skills and try them out again and test ourselves and see how we can do now. So these parts, these are supposed to be like the side ones. So there's gonna be symmetrical while these ones will be central, like this one. Alright? So I think for this one also let's have, let's say 15 min. Please try to model these and then after that they want to show you how we can do it. Alright? 43. Hammerhead Shark 6 - Smaller Fins SOLUTION: Alright, so I hope that you're able to model these parts as well. Let's do it. So I'm going to check out the sides here. And looks like so these are usually the kind of like a small parts that are also going outwards from the body, from both sides. Here I would end, maybe we need to use this one as the face as a starting phase. I will then go to the front view. So again, I did something wrong or just undo this one. Alright, so again, select. And then here, this is Selection. So again, this is good to know. I'm selecting from this part, right? I should select from this part, right? Remember, this is the part where I can actually apply the extrusions. And now I can extrude from this view. Click on this one, move downwards like that, will turn back to the flat mode. Select these corners. And then again, I will select this one. And I will also extrude like that. And I can see what's going on here. And this view, as well as in this view. Well as here. It's like, it looks like if we do this now, if I do it like this and continue with it like this, it will not be like a detached part. That is, let's see, dangling from this side and then there's a void and then dangling for other side, right? If I do it, if I continue doing this. So I'm going to undo this. And this is good to know here because it's kinda like, uh, more like a special side. I just extrude from this face and not let say from maybe this one could be right in opposition to what we've done here, where we used one of these phases from here and we left the bottom one untouched. And that's how we got this nice void right in-between both. So this is coming out like that and there's nothing happening. And then it's reflected. Here is not the case, but it should be the same. Right. But it's not we did not do with this leg there. I'm going to undo this. I'll undo these extrusions. And here, what we can do, for example, we can add in new line, new subdivision there and then work with this one, conflict with the newly subdivided face. So if I go to the Insert SubD, the edge loop, here I will say mode range. I will click on this one and click. And then here I will select all define what I want to add it. If I click on this one there, like that, edge visiting select point a given amount, it didn't really work. Let's see why or if turf or other side, Let's see, maybe because it's worth doing it on this side. Maybe that's the case. If we do it from this side. Range, alright, click, click. Alright, Now it works. And also that's good. Another situation there. If you want to add new subdivisions, then it's better to do it from this side and not from this side. Alright. So I didn't that if I select this one and I extrude downwards, they control. And I will turn back the image. Now we can see that what is interesting is that now we can move this around. We can move it outwards from the body to match this one, right? We can see it here on the top view. And we can match this one there, right? So if I do this now, like that, and I will select as well as phase and I'll move it. Actually. So I'm selecting actually both. So I will do this. Select this face on the image As you can see that also the image is not matching perfectly the top view with the side view. And that's okay, that's not a problem. The only thing is to just make them properly, make them work properly. If I take this as a reference, at least to use it for the height of it going down. And they will lose this one just to go with the depth of it in this direction. If I now also do an extrusion like that. And we'll also now select in 3D this face and will also move it outwards. Use also again the same one and then extrude. Select, Move. Select this one and move it there. So select this face and move it also outwards. It looks like now we may have, let's say like the final extrusions. Select, Move, select and move there. And I can also select this one and move it, let's say to match the depth of it there. Something else if I now draw the smooth, looks like it's more or less getting there. What do we can do here is we can move this one like that. So in top view it's at, sorry, inside the view it's matching the image, right? But in top view then you are just changing this to make it look more or less. Working. Also do this to make it more or less logical read. With in-depth course, if we had a view from here, then we can match it better even as with the eyes of the head and the side fins. Wireframe. Tried to refine these was just like two movements. The end of it will be obviously thinner. Starting thicker part. That's the interesting thing with the wireframe mode is that you can select specific vertices without having to select the whole somebody mesh. If I also select this one and move it also outwards. So always monitoring my work in 3D with a 2D Views. And I know again that this image is not matching perfectly with the side view and that's fine. But at least we can try to work with this one as a reference for the depth of it and decide the view. In a tracing the how it would look like from this side. And offer turn on. Smooth. Go back to ghosted more or less. This is how it would look like. And again, if we have also an image from this side looking at the Shark frontal view, then that will also help us better in order to model this. But even in case we don't have this one, it's fine. We can still manage doing that. So that's the first one. You can see. I mean, I can draw lines to see that between both images and it's not really matching. If I projection is that matching by this line, this line showing that it's matching with the 3D, because we're basing all 3D on this side. And the side view. Right? So again with the fans and with everything else, like it's slightly matching but not exactly matching. For graphic purposes, that would be good, not bad, but for Modelling precise modelling like this one, Precision Modeling, then we need this exactly matching, but it's fine. Now, let's go to these back sides and let's see what we have done or what we should do here. Okay? So here it's simple. I will click on this side, on this face, and I will extrude it again. Box mode or flat mode. Again, extrusion. And I think that's again Control Shift and extrude our, alright. And now we can just make them thinner, right? So this is how it looks like now. Inside the view, which is etching it. But we want to make it thinner. Alright? So what we can do is we can select this edge. We can move it to the inside. Select this vertex also often the inside, like this edge and this edge and move them both to the inside. You can select this one, move it. This one. So it's kind of like local refinement of the geometry. If I go back to smooth View, can't even make it thinner, right? These ones over them closer to the center. Now can toggle between smooth and flat. Right? What about now the last one? This one. Again, we can do the same there. And I will extrude. Now here. If we wanted to say to add this detail, what we can do is that you can do something with this kind of sharpen a way. If you want to make it like this really small kind of detached part of the body through it. And then we can do this drastic change in the, the angle of the Geometry and then extrude again. So they can, this is kind of like a small exception, let's say like or small unique situation. Then finally, the last phase. And if we turn on the smooth, you can see this is what's, what's happening. In add more edges and stuff we can do to find this more if you want to. But this is one of the ways of doing it to that kind of like mimic. In reality. The small Art strike there near the tail As you can see, it's just a series of extrusions, not, not more. But then you are getting these nice results after doing them and then turning to the smooth mode. Now we can now here as well as previously done. You can select edges and then move them, the center, this one as well. So all of them. And since we have this reflection, then we are just, let's say, you know, Saving Time here. And I think we're almost done there. This is also, this part is also thin. Click on this vertex and move it there. Smooth mode, right? So now it looks more or less how the real part would look like, right? You can still, let's say, Refine this more. But now you get the idea. You get the and do this. Something happened, maybe it was even by mistake. Alright. Okay. I hope that you are able to do this before I showed you this. And I really like this example because it shows you how from one simple box we can model a whole Shark, right? With more or less simple steps. There aren't really complex, just extrusions. Fireman's moving the curves around to make them thinner and smoother. And that's it, right? We have the reflect Plane and they're just doing the job for us. As a reflection 44. Hammerhead Shark 7 - Brake & Join, Bend: Now, I want to hear mentioned something, something important. If you are not using the reflect Plane. For some reason, the project doesn't 3D doesn't have any symmetry, right? It could be the case. And also for some reason, if I would imagine that you want to reflect, you want to mirror or something, but that part is hard to work in mirror. I mean, let's say this shapes. If I, let's say show you here as an example. Let's say we have a object that would need a certain work that is symmetrical on this side, but it's, the other part is not symmetrical. And in that case, what do we do if you want to use the reflect Plane like what we have now, the whole object will be reflected and then the part here will be lost. If you were doing something here and you had a lot of work done here. So in that case you may not have to use the reflection, right? But then how would you then bring this to other side? So imagine that you want to do that, and it's not simple, let's say scaling where you would scale on both sides, but you have, let's say, local changes. And how would you that I'm going to show you here? Actually intentionally now, if I want to add these changes, then I want to transport them to another side. How we can do that. I'm going to duplicate this layer and we'll call it detached and joint. I would activate this one. And here I will do is I will tension now, remove this part. Of course before that, I'm going to first stop the symmetry. Because if I do anything to one side, it will be reflected the other side. So this is important. So for example, I'm going to show you if I let say I remove this part, these parts delete, be also done other side. If I remove these W from this side. So it's just reflecting my work on both sides. I don't want that. What I want is that we have an object of project that is not reflected anyway. I will click on this one too. Now stop the Reflection. Click. And I'm going to here click on Remove Existing reflect symmetry. Now we can see that we don't have anymore this darker gray and this lateral gray, but it's all the same color. Now, if I let say select these ones. So if I select these ones and I remove, I don't have a symmetry anymore, and that's what I want. Ok. Now, imagine that we want to reflect or one at the same error, this to the other side. And the other parts of the geometry doesn't need any reflection. So what I will do here, I will say delete these altogether. These to move this. So Control, Shift and select all of this part. Okay? And what I will do now is I will simply select these all of them. Top view as well. Make sure everything is selected to the 3D view. And now I will just simply mirror and top view. Click and click. Thing is that what I have now is this whole part and only this smaller part that has been reflected. Right? I can now simply join them. If these are matching, I can now select both. And I'll type Join, spatial enter again. And then now this has been joined to the main body. I just wanted to let you know about this. If in case you do that, it can be done. I explained more and the other course that is more focused on sub D, a modelling that you can also use something called bridging. We can bridge ashes together to connect them together. That's a more advanced step we can also do. But in this case, simple join, the join of nerves, because we usually use a join for herbs in this case as well. Here it works with SubD. We can join to SubD these surfaces together to form one SubD, the new sub D Surface. Alright? Now talking about nerves. Actually, what is interesting with SubD these is that we can also apply nerves transformations to SubD. Let me show you if I duplicate layer and objects, this one and Covey's one Bend. When I went to shark. And these transformations Twist, Bend, Taper, Stretch. Many transformations that are applicable to NURBS are also applicable to sub D surfaces. And I'm going to show you here if I go to the front view, the side of you, and I will here now type Bend. I don't want to snap anywhere for just disable this altogether. Also disable the ortho. I will click, click, click and on bending the whole sub D upwards. I can also Bend it sideways. Like that. Right? Now, of course, if we do that, we cannot anymore use the Reflect because now it's not symmetrical anymore. By the way, if we do this while the reflection is on, you will see something interesting. I will show you what I mean before applying the Bend sideways. If I bring this back in, the reflection, say yes, click on this one. And I will here like this, and click on that. Flip and that's fine. Spatial renter. So again, we brought in again deep reflection. Okay? If I do a Bend undeflected sub D surface, it's going to also reflect the bending. So if I apply a Bend and I remove again the Snapping and I do this, it's going to do that. I do it. Again. It's going to do this crazy, which is something that you may want to have. You may want, let's say to have like a monster, a monster shark that has three heads and one Body. It could be, right? And I'm showing you this as a trick. So if you want to Bend again, sideways, like that. Now we have a shark with two heads separate and one Body. It could be right, one of the imagination. In order to not have that. If the intention is to just bend the Shark, then you will have to first stop the reflection. So again, click on this one, click on this one. Remove. And then I can bend it sideways. Click, click, click. And now it works without having, without being reflected, without the gestural transformation being reflected along the reflection plane. 45. Hammerhead Shark 8 - Arctic View: And now as a final step, we can give the color to the shark. We can give a color to the layer in which the shark is. The last one. Here, choose either from one of these colors that are we given here, or we can simply also choose from here. Certainly one maybe I don't like one of these ones. They don't really match what I want, but something around there like that, like a nice blue color like that. This could be a bit. If I wanted to say to make it slightly better, I can go to the display and I can have the background to be turned to Solid Color and then white. And I can also turn off the grid by going to millimeters there, the units Settings. So it takes me the options that are going to go to the grid and then take this off and this one off. Or I could have also went to Tools and Options. So both Bay's work Grid. So you can see that I can reach the Settings from different places or as well from here, from where I changed the background, I can still click on Edit Settings. It takes me the options and then I can go up to the grid. I can choose it from there as well. In any case, that could be one of the graphics. Maybe I want, Oh, maybe I wanted to have a more crispy effect. I can turn this to Arctic. And now I also have this nice shadow right there. And you can see that just gives a different feeling, the Arctic feeling. Now, maybe when you do that on your machine, you may not see the color of the Shark like this. And that's because the Arctic View settings by default don't show the object colors or the layer colors. Let me explain. If we go to Display tab and we go to Edit Arctic settings, or we go from tools and then Options. So both ways will work the same Options. And then I go to the View Display Modes. You can see that here, the blue highlighted ones, that the, the View Modes or their texts, their titles is in blue means that I have changed that, those ones with certain Settings. And it looks like if I go to the Arctic one, alright, I have changed the Arctic settings into place here and here. If I check this out, so show SubD the wires. You can see that it live updates. Maybe I want to see them, maybe I want to part of my presentation. I will also want to show the geometric structure of the surface. That could be one of the options. Maybe I don't want to show them as well. That's fine. I want to know keep them and you can see that one. I want to keep them either from here and I say, okay, or from the Display tab. And I also can change that from sub D wires on an off as well. So both vase is work. However, from here, from the options, I can see in blue where the changes are not matching the default settings right here. And so the other places here, so the color and material usage here, I've changed it to objects Color, which matches the layer color of the geometry. Now, if I don't know which one was it, that was the default one. I can simply click on Restore Defaults. And it will only restored the defaults only for this view, not the whole Settings, not all of these ones. If I click on this one now, now I don't see anything. And even like now, the texture changed back to black and not to bloom, right? So now these are the default settings perfectly on, okay? You can see that although the layer of these shark is in blue, but we can sit in light gray. And that's the default display settings of the Arctic View. Now, this is what you may now be seeing on your machine. In order to change this, we can go to Display tab and edit Arctic settings, or we can go to tools and options as well. Then now here you just need to change this one. Just change the color and material usage to object scholar. That's it. We can see it live change. And I can now change this one from here as well if want to give these on, I can also go there and then I can change the display options of only the sub D elements are also of the other surface elements such as IsoCurves, edges, shadows, right? So I can turn on here with the shadows on and off, for example, that's one of the options, right? I can do that from here. Different settings that I can also turn on and off from here. Now this is what Maybe that's what I want to show, right? That's what I want to present in my presentation as a nice blue color with also the wires of the sub D, right? Of course I can also turn on all of these as Arctic by going two, standard and mango and they're under this arrow and then right-clicking. So set all viewport display modes to Arctic. And then all of these have been now set to Arctic. Also, I can do that. Maybe I want, let's say to show the geometry, the design in different view position. Right? So that's also another way, let's say another place where we can also explore about Rhino's Settings through different places from Tab or from the options and understanding where the changes that have been made. And I can see this is now turn back to blue because I've changed these settings, right? We can also always go back and then restore those settings, deed standard ones if want to use the standard ones by clicking on the Restore Defaults, right? I don't want to do that right now. Alright, so that's how we can as well. Let's say give a nice color and use a nice view. View mode. Of course, you have the options of using other View Modes as well. From here, I find the Arctic to be really interesting. I chose crisp colors, nice graphics that are ready to be used for as diagrams, for example. And so basically that's it for this part. I hope that you enjoyed it and see you in the next part. 46. Rendering 1 - Importing all objects: This is an introduction to Rendering in Rhino 3D. Although Rhino3D is known for being a great 3D modeling software with NURBS, however, it includes really decent rendering options that would actually even allow you to render your projects and produce great renderings without needing to use external plugins. Now, using external plugins like VRA and other plugins is possible of course, in Rhino, however, I want to show you here and adduction to what you can get from Rhino out-of-the-box. And maybe you don't even need to use other plugins, external ones, maybe the ones that are the possibilities and the capabilities of Rhino already are more than enough for your needs. So let me show you here. We're gonna hear, use the projects that we have already modeled and try to render them in Rhino and see what we can get. So I'm going to open the files and this is also a good exercise to see how we can copy geometries from fires two files inside of Rhino. So if I want, let say now to copy the table from the table 3D file. So let's see here I would like to first activity the default. And let's see here, if I turn these on and on, Let's see the top sweep one. Okay, so I want to get actually this one. And this one, right? Okay. Now I can select, so I can click and Shift and click and click and click and click. I only want now to select the Polysurface is not the curves. Alright? And I will not just simply click on Control C to select. So here I have the Copy to Clipboard being done. And now I'll go to the other file, rendering file. Now, this is now empty. I will now simply paste in. So Control V to paste in the geometries. And you can see that the geometries came in in their respective layers that have been used in the previous file. That I want now just to put all of these geometries inside of the table layer. So I'll just select these ones I have for extrusions, Polysurface and one extrusion. I will right-click on the table and I will hear, see, change object layer. And then now all of these have been put inside of the table layer. Now allow click on this and I will just delete and delete. So I'll delete the sub-layers. So that's the first layer for the table. I will then open now the vase file. And now again here. Well, of course, we have seen that we have actually converted or transformed into a water tank. Now, I'm going to simply now turn these off and these off, and I will only take this one on. So these are the variance. So I think that's good. So it's gonna be this one and this one. Alright, so it's not to join them for now, it's fine. I will Control C to copy them. And then we'll back to the file rendering. And I will now hear as well paced the vase. And again, I will hear Make put all of these ones that haven't been brought in. Part of this change object layer. I will delete this layer and then I'll just simply call this Vase, right? Just simplify the work. I will again now to open the vase 3D Pattern as well. Alright. I will simply now here take one of the options. So maybe turn off the Diamond. I will turn on the triangle and the last three ones, right? So now we have the variant with these layers, right? If I can actually hear, maximize these ones just to see what I have. So okay, so this is the option to the outside and this option to the inside like these Triangular pattern. I will simply no again select and I will Control C to copy them. And then I will go back to the file. This one intro to Rendering. And as well I will paste in here. And as well here I will also call this vase 3D Pattern. And I will select all of these. So select objects. And I right-click on this one. And then I will say here change object layer. Will then here select these ones sub-layers and delete them. Alright? And then I will go to the last file, the SubD, the hammerhead shark, double-click on this one. And then here, what I will do is I will simply select the last one, the last layer that was for the Bend. And I will now going to click on Control C to as well copy this one, go back to the intro Rendering, and I will simply paste. And here I just get one layer. I'll just call this one Shark to simplify the matter. Now here I will select these and I will move this one to the table top. And then I will select the vase 3D Pattern. And I'll also move this one there. And also I will select the shark. And also I'll move it there. I can see now and this view where they are located, I can also hear, let's say, scale this up with the shift. If I click on one of the, let's say rectangles that are for the scaling and the Gumball. Without clicking on Shift, it will only skill in one direction. But when I click on shifted tool then locked in the uniform scaling. Them. Move this up a bit to be above the table here I can see that as well in this view, I will select the vase and I will also move it up and also move the Vase. The action that will turn this off first, I will select this one and I will type move, not move it with the Gumball, but I will type name, space or enter, and then I will click on Project. And then I would click on one of the bottom points and then we'll move it to the top of the table to make sure that it's like flat flush on the top surface of the layer and table. And then we'll go back to this on one, I'll turn this up on again and also move it slightly more. And then I will do the same. So move and also click there and then I will move it there. Now I know that these have ability placed straight off the top of the evil. Now it's for the sockets. Fine. If it's slightly floating in the air, that's totally fine. Alright. So now we have these ones. I will select this one. I will rotate it slightly like this to have a nice composition on the table, right? This one like that. So it looks like now, for now, we just have, just assemble the geometries. And now let's start see what we can do. What Rhino can provide us in terms of rendering capabilities. What are the options? 47. Rendering 2 - Assigning Materials: Now before we start rendering anything in Rhino, we need first to set up the materials. Now by default, every single object is given a default material, quote-unquote. If I go to the Render tab and I go to the material editor there, I can see that now it's empty. I have no Materials given or close this one. And here, under the layers here, we have the material property there. And here you can also add material. So there are different ways of adding materials to or Assigning Materials to objects, either bi-layer. So let's say the table layer will be given a material, which means that all the elements inside of this layer will be given a certain, the same material as the layer material. Of course, we can also set up different or individual materials of objects under this, they will layer as well. We can do that as well. While the layer is given a material, we can also do that. I'm going to show you as well this, this option. If I click on this one or you can see that now it's white like it. We don't see anything, right? It's white like that. If I click on this circle, we get this default material. What we get, That's why default plaster white here and we need to add a new material now of course, also before adding anything, I want to show that if we switch to the Rendered View mode, this is what we see. This is the preview of the rendering, right? With the materials given. Now, of course, since all of these now don't have any materials assigned, or actually they're given the default material, which is the white plaster. This is what we see right? Now. We can add Materials different, in different places either by clicking on the material and let's say there. And then now here we can on this and we can click on this plus button to add a new material. So use a new material. That's one way of doing it. Or we can go to the render material editor and we can add here new material from here. Or as well, we can click on, let's say one of the geometries. And under the properties, we have this material as well, kind of like property. And as well here we can add the new material. There are different places you where you can add material depending on where you are. On workflow, where let's say you are working, you can close to you, you can just use that one. Now I'm going to deselect the vase. I will go to the render material editor. And then from here I will try to add a new material. Let's first try these out and see what do we get. And then we can also try to import from the material library. So first we have like costume double-sided emission Jim glass. These are all of these. Let's say we tried to add a metal at zero, for example. We get this. If I double-click on this, I will then get more options. I can see more options underneath there. And here I can change, first of all, the color of the metal. With that I can. So let's say bluish color. Okay. And then I here I can change the roughness from either polished to also this is like more rough and more polished. We can also add the bump texture as well. So these are, let's say, different options for metal material. If I go, let's say to paint, I'm changing here the same materials still. So this is the same material that I'm now changing. Can I go to color? I can change lots of different color, let's say here. And again here we have the mat to gloss. So this is the most mad to the most gloss, let's say. So still within the same material that can change the type. Again. From here, I can try these out, right? It's up to you what you want to do. So that's one way of doing it. Another way, if, is that I can go to the material library itself from where I can get new materials that are preset. I can click on this one. And here I have these different folders. These are actually coming with your Rhino while it's been installed. Now, these are for Rhino seven, as you can see here. If you have a different trial version that you may have, you may see different folders. If I go to the wood, for example, for instance, and I, for example, choose one of these. I will choose the first one, the African peak, polished and we'll see, okay, open. Now I've important as well, this one. Alright. And I see still hear nothing yet. So what I'm doing now is I'm just importing materials inside of the material editor or let the Materials section of the file. And then I can then assign these two different either layers or objects. I can still hear it. Change this. So for example, I can Change the gloss finish. I can tweak it. So that's, let's say looks like, Let's close to moral Gloucester's, you represent 200 per cent gloss. It's a Frederick Griffith activity. I can even change the image. So this is based on this image as the texture of it. I will now close this one. I'll go to the layers. And if now I choose, for example, for the table Layer, whole layer, if I click on this one and I click on this, and now I choose, you can see now have the African tick polished and paint. Right? By the way, I can just change the names of East. Can right-click on this. And I can, for example, or axioms, you can select it. And here I can change the name for it from here. So let's say saves, paint, green, enter and that's it. Now I change the name of it to paint green. Now, I wanted to use the African tick polished for this layer. And then I will say okay, instantaneously here you can see that all of the objects under the table Layer have become now, given this material. This is inside of using the Rendered view mode. You can see that the Shark now doesn't look blue anymore. Why? Because the color of the layer of the shark is blue but not the material. And now we are using the render view mode. So be careful, maybe in the beginning, you may be slightly confused by these like, why in shaded, I can see this sharp blue and I don't see any colors here. But then when I switched to Rendered, now I have a texture material for the table, but I don't see the color of the shark, right? So that's why, because actually we're just switching between the View Modes. If I go to Arctic, I will see you this because it's showing me the colors of the objects. If I go as well to Raytraced. And this is the other view mode that also is, by the way, new to Rhino seven and not to the previous versions if you have previous version, but you may not see in this one as well as Arctic. Arctic also started with Rhino six, I believe. And with the previous versions you may not have also Arctic as an option. Alright, so the Raytraced is kind of like a live render, a view mode. So I can go around, I can try to orbit. You can see that it gets noisy bit and then it tries to re-render while orbiting in 3D. It's like a live Render basically View mode. And you can see this is here to saying Rendering and having, let's say 11 s, 12, 13. And I can also pause it if I want from here. Double-click on this one, and then play. And we can, let's say even export renders from here. If I go back to the Rendered few mode, right, like this, and now it's not rendering anymore, just like show me the preview of the Render, not trade Tracing, go back to the layer. And now I said, so basically there are two ways of giving Materials either by layer itself. And this is the table is given the wood material, right? Also, what I can do is that it can even, let's say bring the Material Editor tab here. I can right-click and I can click on Materials. And now can see the materials assigned, the materials that are present instead of the file. So maybe I want the table top to be, would write like this, but maybe the legs will have different material, different color. Then they can do this. I can do this for example, I can drag and drop, for example, this one onto these, this one and this one. So now this object, this element that is inside of the labor, the layer table, this one. It's given a different material. So this is the given material. You can see that this island in yellow. If I deselect and I click on this, you can see that now this yellow highlight one is given to this one as well to these ones. But when I click on this one, now it's given there, this one. Alright, so that's how we can just switch, even if, let's say we want to give different materials to obviously the inside of the same layer. Now, if I go for example, to the vase, and I will also like an overall layer material. And I'll click on this one. So different, different way, let's say off Adding Materials. And if I go, let's say to Pattern. And let's try this one, 18% gray card. And I will say OK. And now this is the material applied to the vase. For example Be, if I click on the Shark, I will go to the material and I will actually now give, let's say, a gem. So kind of transparent material if Actually, let's say amber for example. This is where I want to show you the difference between Rendered and Raytraced. If I click on Okay, now you can see that the color is red, right? When I click, once I click on Okay. You will see that if you don't see the color red, that is previewed right inside of the Rendered viewport. But if you go to the Raytraced, you will see that now it will show the correct the proper color that will be shown when he render it. Also, this is a small difference between the Rendered View mode and Raytraced View mode. Only in case of transparent materials. Whenever you have transparency, then you may want, you may see some differences between Rendered and Raytraced. If I change the color or the material of the vase 3D Pattern, and also add the new one. So let's say I will use plastic. And here I will choose a color. And let's say here I've shown, you can see that one, I choose different materials from here, different types have different options as well. So this gets, for example, transparency, clarity, reflectivity as well. So we can also add lip balm Textures as well. So here I'm going to call it, let's say plastic pink. And then here I'll click on. Okay. And now you can see that we have this ray tracing of the viewport. What I just wait a bit. It will get, you will get, you will see that the noise will get less and less. It will decrease and decrease and then it will get clearer. Let's say I want to render it. You can see, so again, the shark doesn't look right chloride, quote-unquote. But this one looks not by their own. Let's also, I will add a different new material, let's say to the legs. So you can see that here. I have this material, right? And I could also have this tab. I can also either choose one of these. So I can either it says select this one, I can click on this. Again, choose, let's say the green, or I can choose the other one, let's say the pink one. Or I can even let say add another one is altogether. So, so we're going to click on this one Import. And I will go to metal. I will go to polished and bring this one. Let's say I will use this one. So polished orange anodized aluminum open. Alright. Looks not wet at all. I will click on this as well and also change it. For example, right? So just examples. You can see that although these are inside of the same table layer, but they are given different materials. When you click. So since this has given the, the layer material, I don't see which one is it? I have to go to the layer and then I have to check it out here. But since this has given a specific material that is not the layer material, That's why can see it here. This one as well. This was given the layer material for the vase 3D Pattern. That's why don't see it here. But I can see it from here. This one. These are different ways. I can go to the material tab itself. And then when I choose any of these objects, then the material that is given will be highlighted in yellow like this. So this is a quick demonstration of how we can add Materials and assign materials to layers and objects. Now let's see if we want to export this as a rendering, as an image, how we can do it? 48. Rendering 3 - Adjusting Render Settings: Now, before rendering the image, let's first check the rendering settings. If I go to the render tools, here, I have here few Settings. And from here, so this is the render. If I click on this, I will render the image. And if I click on this, I will go to the Render Settings. Click on this. Now, I will get this small window Render Settings. I can even have this part of these tabs. So I will actually close that. I'll actually either drag this there like that or I can choose it from here if it's not there. Alright. So here I have the Render Settings and either change the dimensions, I can keep them at the viewport resolution or can use high resolution as well. Of course, he resolution means it will take more time to render. Also, you can change the quality, draft, good, final or low backdrop. So here we can choose either a solid color, Let's say white one, or a gradient, or Environment one, or transparent background even. So it depends on what you want to use. Let's keep this at the Solid color. White. We have a Ground Plane option as well, either with or without it. And with the settings of want to click on this one. Now we're going to dive deep into the details of this. But this is where there's training. This is where it can affect the Render Settings overall. If I go up and I simply just click on the Render button here. Now we can see that now rendering, and we can see here the time that is taking it to render. It looks like now it's done. It took 5 s to render this image at this level. And I can now export this. I can save it. Click on this Save Image As. And for example, I can now type test one, and I also choose what type of image would it be? Of course, if it's not transparent, I can use JPEG or other types if it's transparent. So includes transparent backgrounds than it should be either PNG or tiff, etcetera. So if I say choose JPEG and click on Save, and I go to the folder. So now I have this image that has been rendered, right? If, for example, I choose from here, a transparent background, and I click on either under from here or from here. So both, both to the same thing. And now we can see the checkerboard background, which indicates that the background now is transparent and doesn't have any color. Of course, if it had a white color, we can easily quote-unquote, take it out. But this will just make things easier and faster. There's took around 4 s and 96. And now we can save this again as a PNG, right image and not as JPEG. If it was a JPEG, it will not maintain the transparency of this important to know PNG and save. And if I go now to the folder, I can sit now have this test to PNG, which shows the background as transparent. And of course, the advantage of this is that we can now use this one with a combination of other images that may be working as backgrounds for this one, it's Draw, so just makes it more flexible. Or at the moment now to close this window. Now, there are other functionalities don't want to talk about briefly here. But before doing that, one important thing regarding rendering in Rhino is that you would like to save your position in case that you want to render several times the same scene and each time you are making some progress and some updates. And so you want to save your position. And that's a good trick to learn here in this case, because it makes sense to do it here. To go to the drop-down arrow there and go to set View, and then click on named views. This is a tab that's called named views. Now it's empty. We don't have any views in there because we've not yet save any position of the camera. If I click on this Save As, and then I call it, let's say Camera one. Okay? Now I have saved this position. Of course I can drag this there and not next to it. So just to save on space. And now you can see also here that the name of the view port itself has changed from perspective to camera one. Okay, I can still go back to perspective. So set view, perspective, right? I can do that. I can see the other views. However, now I can, I have now this set view, I can click on this camera one, for example, that's one way of getting it. Or I can go to here and then double-click on this one. So that's another way you can go there and double-click. I can also get it. You can see here that this had already the ghosted mode and this had already the Rendered mode. So we have the same position but with two modes, right? So we can change that if you want. What is interesting is that now if I orbit around in the camera one, you can see that now I have this small asterisk next to the one here, which means that it has been changed. I can simply double-click on this to bring it back to the original position where I saved it. So that's handy. Step to keep in mind. If you want to save the position of the camera and you want to just use the same scene, the same view, angle, four different variants of the rendering. Alright, so that being said, let's talk briefly about the other options that would be good to know about regarding rendering in Rhino 49. Rendering 4 - Ground Plane, Environment, Lights: The first thing to know about to consider is the Ground Plane. Actually you can find these as well. So these are the options I want to talk about. Some of them are here as well as from the Render tab. So you can find them here. So under the penalty of the Lights son, Ground Plane rendering ivories, right? So these are the ones that I want to talk about. The first one, the Ground Plane. So if I click on this, I get this tab. And here you can have, you can set the ground pain on and off. We can also change different options. So this is one thing to consider. If you have a ground plane in the scene. The other thing is the environment. And the environment is a more complex, Let's say field. It's like Materials. And the environment itself is, you would imagine that as if you have around the scene big sphere and it has some materiality on it. And so basically that is the environment. Here. You can see that it's similar to the Materials tab, right? Lecture. I've kind of like a Environment type of environment, material. And we can change it. Of course, we can add more environments and also the rotation of the reflectivity. So basically it affects reflection of the objects. I can even add a new environment as well. So this is, let's say the studio environment, the default one, similar to the default material, the default white plaster that we had previously before adding new materials. I can click on this and then I can go to import from Environment Library. So also similar to the materials library also have the Environment Library. And for example, for instance, now I can choose one of these, let's say Rhino interior. Let's say, let's just try this one and say Open. And now you can see that we have this Environment added. I can double-click on this one to activate it. And here I can go here and I can try Raytraced for example. You can see now we can see this environment. When I toggle around it, I'm going to now put this one there as part of the tabs. And you can see now we have this environment around us. And this will affect the reflectivity. If I change the environment, it will also change how things look like. I can go down here and I can change, for instance, the rotation. You can see here the deflection is changing, updating here. In see this on this side of the vase. One, I change this angle, right? You can see that's deflections just going around. So this is more advanced thing to talk about. And in another course that is focused on rendering in Rhino itself, we are, we dive deep into these parts so they Environment, Lights, Ground Plane, son, etcetera. But just for you as a brief introduction, just to let you know what is possible, what is in there and Rhino that you are aware of it. Alright, so let's environment. Now if I wanna bring it back to the studio, I can just double-click on this one again, and I'll bring it back to this deed. You do the standard environment. So that's the word environments that we have, the sun as well. So if, let's say have some on, for example, that we can see that we have a new shadow added. And now I can even change the angle of the sun so I can go to manual control. And I can change the angle. You can see now this shadows are updating based on the angle of the sun. Right? If we go down more. So if I take off the manual control here, I can also locate, it says indicate a location on the globe where I want the position of the sum to be as well as the timing in the year and also during the day. So it becomes important, let's say if you are making a rendering for a building, for example, and you want it to be super realistic with in terms of the sun and determines if the timing of the day, then you can go to this part and then you can also change it accordingly. That's regarding the sum. If I take it off, now you can see that it just brings it back to the original rendering. The standard random without the Sun. Also have the lights. As well. As I said, we can even, let's say here from here to on the sun so we can turn things on and off from different places. So this is applied to the sun itself with the lights because it's considered as one of the Lights, right? If I click on our and you can see that now with this is on, if I take it off, if it goes off from here as well. We have the skylight, Eccles turn it off and bring it back on. And we can even hear add more light as well if we want to. And basically, that's it also lets say the Textures. This is regarding specifically Materials that glute Textures. In this case, if, let's say we want to change the African teak wood texture to scale it, to make it bigger or smaller. Technologist to update it based on what one. Because let's say, let's think that maybe the texture of this material on the table is too small or too big, right? So then we can go to the Textures and then we can change that here. We can change the mapping of the texture applied on the material, the material as well. Alright, as I said, I explain more in depth about all of these options and steps. In another course, specifically focused on rendering in Rhino. I personally think that Rhino is capable of providing a great quality rendering without needing to install expensive plugins. External plugins. Rhino, of course, are welcome to do that if you want to. But out-of-the-box Rhino seven provides an excellent quality of rendering, which I would recommend you to try first before going and trying something else. Just using the Raytraced, let's say mode here. You can see that almost let's say having a ready rendering that we can share with other clients and inmates and consultants, etcetera. 50. Rendering 5 - Saving Camera position: And now that we are more familiar with rendering in the Rhino and what does it mean, how we can render a scene? And how we can apply my tutorials in Rhino two objects. I would like please ask you now to first add few materials here. You can click on this adds plus sign from the Materials tab. If you don't have this tab, you can right-click here and then you can add the materials here from here. And then you can add few materials. You can try out these ones or important family from the material library as well. Then please try to change these materials accordingly. So you can say change the layer material or it can, let's say drag-and-drop a certain material to Specific Objects as an exercise. The second thing is to please try to add a new Camera position. So you would simply, let's say rotate like this. Let's say I'm Camera one, right? So I can bring it back if I double-click on this one. But if I rotate and I do this, let's say, and I zoom in slightly more. I can now as, as it is now a can click on this, Save As again, and I can say Camera Tool. And then I've added a new camera, right? So please try it out as well yourself and try to add the camera three, the camera for maybe let's say two new position that you would see the objects from different angles and change the materials. And then try to also render the scene that you have with the Render Settings. So you can change these ones, and then you can click on Render and then you can Save Image As, as well the way you want. And also makes sure that the backdrop here is, let's say either transparent background or soldier. Up to your preference. For this, I would say, let's take around 10 min or 15 min or stopped you try to do that. And there's no solution to this Per Se already what I've done, maybe like one of the optional solutions that are possible. Alright, so this is a personal exercise to test your skills with yourself. 51. Rendering 6 - ViewCaptureToFile: Alright, so I hope that you were able to successfully add new materials and new camera positions and then render the image. One thing I would like to add here regarding Exporting The image is that it may be that you would like, for example, to just take a snapshot, a quick snapshot. You don't want to render it, like you don't want to say to wait for the rendering to happen and to especially that maybe you're already using the different settings. So there are an interesting thing instead of Rhino, which is to export the view from the viewport. And this is using the command capture. The ViewCaptureToFile is a command that would allow you to extract an image from the viewport without meaning to render anything just depending on your preference that you'd like, what you see, then you can also extract this one. And this case, it looks like this. And then you have these options regarding the resolution as well as the size. If let's say what are fine with this. And also can change the camera, right to camera one, camera to just depending on what you want. And then we can now can go and click on Okay. And you can also change the, let's say the name S3 for example, on Save. So now we have captured the image to the file without needing to Rendering it and then saving it as, right, and this is your get the image successfully saved as etc. right? So this is one way of exporting images even though that rendering, so even let's say you are, let's say using a ghosted the View or we are using, I don't know, Arctic or something, any image. You can always use this View Capture to File and then you can export whatever you are seeing here as an image with high resolution without needing to use the operating system, the snapping tool, because that one would just use the screen resolution. And that may be slightly smaller than what you want. But using this command, it will give you a high-resolution image of what you see in the viewport 52. Drafting 1 - Preparing Layout and importing object: One of the underrated hours of Rhino3D that is not very spoken about and not mentioned often are the drafting tools. Rhino can not only provide amazing, an excellent 3D modeling tools and commands, however, it can also provide drafting tools so that you can also export your designs. You can make nice Title Blocks and Layouts and print them and export them and share them with other consultants and designers and clients. And I'm gonna show you what we can do with Rhino, what Rhino can provide. Of course, you can use other software that are more specific. Regarding drafting. For example, AutoCad and other software where drafting is the main thing there. However, here, drafting powers and operations and tools and Rhino or also super powerful and invite you to take a look at them. Now, I went to the Drafting Tab here. Alright, here we have most of the Drafting commands and operations that you can use. One thing regarding drafting is that now we want to make a new layout, right? So now we have these four viewports that we are familiar with. However, for the Drafting, we cannot use these Viewports as they are now and export them as PDF documents, as drawings. What do we need now to make new Layouts? And this can be done with different ways. Either we can go to here, so this is the panel there. We can hear, let's say, click on this one to the left button. New layout with four details. Details means like for views or on the right-click. We can click on this one, right-click and then we can get new level with only one detail. Alright? If I just now simply click on this one with the to get four details. So for views with the left mouse button click. Now you can see that now we have this page one, and now we have this also a new tab added. So previously we had these types of respective top front right. These are Viewports. Alright, so different camera angles and the Model space, but the page one is not a Model space. It is a page. Alright? And instead of which there are here these views. Okay, if I double-click on one of these, double-click on this one. Now I am inside of one of the Views. This is now the top view. I can double-click again anywhere to get out of it. I can double-click on this one. Now it's perspective, 3D view. I can also go out by double-clicking on this one or I can click on this drop-down and then I can click on layout. This is where I can go back and forth. I can click on, double-click on this one, that's the front view and also get out of it from here, I can click on this one and go to detail right here. Let's say you can also let say over, over these. And then you can choose which one you want to enter and then you want to make some changes from there. I'm going back to the layout. Another thing to be aware of while working in Layouts is that there's a tab called Layout. So I can either click on this one. This is the layout panel. I can get it from here, or I can close it. I can right-click here and I can activate it from there Layouts. Now I have this panel or Tab that is next to the other ones. And you can see that now while you are progressing with the design, so maybe the beginning, you only are focusing on 3D Modelling. So you don't need this tab, for example, it your all you want to make some Rendered tests. Then you can bring in the materials and textures and lights and all the other Rendering really tabs in there. And then now we are drafting at the Exporting of the project to export it in PDF form and then you can later on printed on paper. Right? Now we're using this new tab, the layout step. I could also have done this like this. I can take it out. I could have also went there, click there, and then click drag, slided, and then put it there. So just Trim you the different ways of moving around the Rhino. I know that now are at a more advanced level than beginner, but still it's always good to show you how things work around with different ways. Alright? So this is as well like your different options of, let's say, I think, let's say new layout that is empty or add new detail views as well, like these ones, maybe you want, let's say more than four ones. We can do that as well. This is the layout properties. So you can see that now by default, when I clicked on this one with the left mouse button right, that says that it will bring us new that with for details Now we have this view, this page, one that has this size, okay, that is close to an A4 page size and portrait mode. I can right-click on this one. And I can go to Layer Properties, this one. And here you can change this. I can change it to landscape, for example. You can say, okay, now changed the landscape. Now of course, here I have now to change diffuse again. I can click on this one and I can move this one like that, right? I can do this. What you can see here, like this is if you, and it is not a Geometry Per Se. So I can change the view window, right? But I cannot let say now, move this point to make it like a trapezoidal or let's say not. It should be always a squarish with 90 degrees angle of viewport. That's how it is. This. Alright, with Layouts. For example, here, let's say I want to add a border. I can go to the layers right here. Also, another thing that it is important to consider while working at the stage of Layouts and Title Blocks, is that it's very important to separate between model space layers and the layout layers. And this just to avoid, let's say, the confusion or mixing up, let's say between model space and Layout because you will also are going to show you here as well soon that we're going to add now some annotations, Dimensioning Leaders, etc. on the layout on the page and not inside of the Views. And those should be also inserted in different layers than the Model space. Now of course you can do them in one. You can work everything in one layer, but that's not flexible to turn on and off things do you want to see or you want to hide, etcetera. So solids, good to now use layers for our advantage. In this case now I can maybe make this new and call it model model elements. And then a new one, I'm going to call it Layout elements. And then now here I can double-click on this one. And maybe now I can make now new sub-layers to specify more in detail what the elements are about. Second, I'll make a new sub layer and I can call it border. For example. I can double-click on this one. And here I will just draw a simple rectangle. So you can still now draw this. You can use the same tools from the standard, right? In the layout. Of course, we cannot draw geometries to. It's not really intuitive. Geometries are drawn in the Model space, but here you can draw the 2D elements, the curves and polylines and rectangles and polygons, right? To draw vase, I'm gonna just draw, let's say over from there. And here I can click on this one. And I can offset, let's say with a distance of, so now we have the millimeters Units, right? I can say I wanted distance of 10 mm, which is equal to 1 cm. Okay? And now you can see that this is part of the layout elements border, right? And this one as well. Now I can, I'm doing this because now I can control these views more precisely. So I can do this. I can select this one. So this actually, now what I can do, I can, for example, make a new layer here as well, part of the border. And I will call it here detail views so that these ones are part of this layer because still I can change these ones. These are also part of a layer. And by default now, when I only had the default layer and I added this page, these came inside of this layer. So now I can choose these ones, Detail View, Detail View and then this one but this one Detail View. And then I will see Nero hero have one details to add it to Selection. Okay? And here we can see that we have four detail views in the properties, right? What are the objects that are being selected? I'll go back to the layers and I will right-click on Detail Views And I will say change object layer. And now can even turn these off if I wanted to. Alright, so now it's more flexible. I can now move around and then change them. But I will do now is I'll activate this one and I will lock this one so I don't want to touch these ones over. I know that there is a rectangle there and there. What I know, I only want now to change these ones. I'll click on this one. I will select their points. Alright? I will type new and I will move this one, let's say to the middle, middle point, right? I will also click on this one. Drag it there, drag it there. Click track. So you can see that I'm sometimes using the move, sometimes just dragging the points around for that's fine. I can use these ones. Turn on the points that see I can do this, I can do this as well. Our move these ones to the middle. So now I have these four viewports inside of the page that is in landscape mode, right? And one thing also to, to know that these, although we can see the lines of these views when print, like when export it to PDF, will not gonna see these lines. So that's why we can draw borders to show these lands. If we want to show these lines. Sometimes like part of the conventions of the title block that you want to draw, that you would like to see the border of the page. So then you can draw the border itself. Alright? Alright, so now go back to the Drafting, correct? And we have talked about these. Now, we want to import a geometry because now we're just working on this page one and it would not don't have yet a Geometry inside of this file. We'll go into the perspective view there. And I will go to the other file, the vase. And here I will just import this Geometry inside of the Drafting file so that we can now rotate this geometry. For this one, I'll also use the full vase with the Handle and the spout on this one. This is part let's see what do we have here? So this part of this box, right? Let's see what are we selecting to make sure that we're doing it correctly. I'm not using, let's say, overlapping variance. So this is with the tip, that's the Typically that's this connection with the Vase and the Spout external surface. Alright. And let's see if we and what about this one? That's the other one. That's it. Trim done. Okay. Perfect. So I have these ones. For this one we have open this open Polysurface. And for the Handle we have these ones. Okay? So it looks like what already had here turned on is fine. I will click on Control C to copy, to clipboard. I'll go to the other five. And here I will paste control V. You can see that now this game and with the respective layers. So the Handle, the vase with Handle and a spout can see that now when I deselect, I can see this in wireframe. I can change this, let's say two shaded for example. And here I will just make a new layer called vase only simply. And I will drag and drop these, all of these layers, these Detail Layers under the vase layer. So this is the vase, this is the Handle and this at the Spout. And then I will also bring this phase inside of the model elements just to organize myself that unimodal elements, then we have the vase. We may have also other geometries, but only for now, only have this Vase, right? And then it has all of these sub elements. Alright? If I go now to the page one, by the week, page one, I am not forced to have it called this way. I can right-click and I can rename it. You can maybe call it, I don't know. Faze presentation just as an example, right? I can also go to the Layouts panel or Tab. I can also change this one. I can double-click and change the name of it also from their right-click. And also I can Eve Alice, and you'll get from here. We can use the properties as well. From here, I can just do a lot of things from here. Alright? Now, you can see that we don't see a lot of things yet. We can see something there, right? But these views, we don't see anything yet. So what you can do now we need to change the scale is views as well as the position of the cameras, right? So I can double-click on this one. I can zoom in and out when, while I'm inside of it. I can go to the properties. This is now very important. And here we can control the scale of each view. So for example, let's say that now I want to use something that is around this So maybe let's say the scale would be one to ten as an example. Alright? So this is where we can determine this. So this is the scale, this is the layout, and this is the Model space, which means that for every 1 mm on the layout, it is equal to something, the Model space. So it could be that you are doing a Product design project, then you will use something that is not too big of a scale. So maybe look around one to two, one-to-five just depends on your project. If it's a big architectural project or urban project, then you may go with a one to 101 to 1,000, cetera. So just depends on your needs. Alright, for now, I'm going to just say do one to ten. Enter. So now I have this view at one to ten. Now, I can go out of it by double-clicking anywhere outside. I can move around with the right mouse button to pan around. But if I double-click on this view now and I move around, I am moving the position of the camera inside of this left, right. Also, I, if I zoom in and out with a wheel mouse button, I'm changing this scale. So very important to be aware of this, I can bring this back to ten. But if let's say I want to just lock this scale so that it's not changed by accidental movements from my side. Then I can lock it. I can click on locked. And now I can even I'm now restraint from even moving around. So although I can open it, I can select things and I can zoom in. But when one is Zoom, I'm not zooming instead of the view itself, but in the Layout space. Although this is activated. Normally if I'm inside of one of the Views And I zoom in and out, then I can zoom in and out of the view as if I am actually instead of the view itself as if I am now here in perspective, as if that's one of the viewport. So if I want now to save this position, I can lock it. I can click on locked. And now I cannot anymore orbit around that cannot anymore zoom around. I cannot anymore pan around inside of this oval it's activated that can still select elements from it. Okay? I can double-click outside or I can click here and I click on Layout to get out of it. Again, I can change the view mode of each. So I can, for example, click on this one. Here. I can change it maybe to Arctic. I don't know, maybe to render it or something else. Depends on what I want to show, right? What, what is the graphic of each one? Get out of it. I can get this one, I can change it to, for example, shaded. For example, just depends on what you want to show. Also, since you can see synthesis has been locked previously. When I'm zooming in and out, I'm not affecting the scale of stress lockdown in there. And even I can save change the display modes. I can change the color. The background is gonna be like radiant two colors, or it's gonna be a solid color or I don't want to see, for example, the IsoCurves. Maybe I want to see you them because it's part of our presentation to show the structure of the geometries just depends on what you want to show. Maybe let's say the 2D drawings or the technique more of a technical drawings and then 3D just a quick render, a quick feel of how the project looks like, right? So depends on your needs. Double-click again inside of it. I would outside to get out of it in and out. Or I can click on this one and get out of it, right? So different ways of getting in and out. Flexible ways of moving around as well here. So this is now I can double-click. Now this is the front view, right? I know this because I have this front. I can see it here. I can zoom out just to see where I am. If I cannot find myself, right, I can just click on Z, E to zoom extents. And our can see where I am. What do we have in the Model space? But of course now this is not matching this scale, right? So I can now Here type ten. And now I have matching the scale. Of course now maybe I want its size, let's say presentation. And I want these to be matching lecture this view with this view, with this view, right? The right view to do matching. I can now lock this one. I don't want to move around. And then I can draw in the Layout space, okay, guiding lines so that I can now match exactly the positions. What I mean is that if this was unlocked, but this is still to this scale, but maybe this is like that It doesn't look professional, doesn't look right over there is nothing wrong with it. But it's always good, as good practice as a professional designer to your drawings to be aligned with each other so that you can also let say sketch over this page when you are, let's say having a meeting with the consultants and these are designers and clients. You can project lines. You can make sure that the design is just in good form, in good shape. I will just here, locket, go out, go out of this one. I will go to the layers. I will now make a new layer on the layout, the layout elements, and I will call it guidelines like that. And now I can draw guidelines. I can either use these tools, these ions, for example, this is line perpendicular from curve or a single line. Or I can even go to the standard Tab and I can draw lines from here, right? So I can now draw a line of poor line that say from here and I can zoom in there. And for example, I can say looks like here because this is the curve curviness of the surface that is not economic, let's say snap to it. But I can snap to other parts of the geometry because all I'm actually not outside of the geometry. I'm inside of image space, in the Cloud space and not in the Model space. But you can take and now snap to different parts of the geometry accordingly. Now can see this is also, it was this sweep. And that's why I cannot let say snap to one of this, like this side of the surface. So let's see. If, let's say I want to find, let's say this not right or the squad there. There's the top of the opening of the phase. I can just draw a vertical line like that. And now here I know that this is somewhere there, right? Of course, I can change this view as well to a different view mode like this one. So this was shaded. Double-click on this one. I can change this one as well to shaded. Now since this been locked, I cannot move around. I have to just do them slightly there. I'm not changing the zoom of the view itself. So this game is locked. I can zoom is likely there, then I will unlock it. I will only without using the wheel along and now move route just pan around to move the view like that. So now it's following the guideline, right? And then I will now look at before getting out of it or before zooming out, I will lock it. I will now use the wheel to zoom out. And then I'll click and then you get out of the view itself. So now we are having this to be aligned with this one. I will maybe keep this slide and if I wanted to. And then again now let's go to the right view. This one. I will click Type II. And then again here I will use the properties Tab to bring this back one to ten. And I will get out of it. I'll go to the layers there, the guidelines. I also draw a line from the bottom there because the scope just curving, curving to the inside. Maybe if I use the same step, let's say what and I will do this. Here again, I will double-click the blocked yet all first change to shaded and move it like that. The molecule can get out of it. Just like locket thought of it. And now I have this that is matching. So we have the position is now being matched and now we have this 3D. Alright? Now, one thing that we want to add is the view names, right? Because now we don't have the view name, so the view titles. So I will now make a new layer instead of the layout elements layer under this one. And here I will say View titles. And here we simply need some texts. Now first I will just turn off the guidelines layer. And I will type text. And for example here I will say top view. Let's see what do we get if I just see, okay. Okay, It's too small on this one. Go to the properties and I will change the height. Let's say two Ten, so that this means it's gonna be 1 cm with us too big. Let's bring it back to five, right, so that's more or less better. And now here what I want is to copy this with the exact position respective to the view, right? So see, BY click on this one. Click, click, click, and then this one. This is the left, sorry, this is the front view. We'll call it View. This is the right view. You see I can either double-click on this one. If I'm in the layers, I can double-click on this one to get this edit text window. Or while selecting this one, I can go to the properties. I can change it from here. So both ways work. Right click. And this is now I can call IT perspective. I've changed the view titles of each view. Now of course we can just detail this more. We can let say add the title block. Maybe let's say I want to add the title block that is at this corner, for example. And since I can move this, let's say this more in this direction slightly. And this is now locked, unlock it, and I will move the shift so that can ban with this horizontal, right? I can do it slightly like this, just not too much. And I will lock it again. I'm controlling the scale so I can see the skill is not changed because I did not use the wheel, the zooming. Get out of it with DoubleClick. And then I can, for example, now make a new one, new layer called title block and will activate this one. And for example here I will do something like this just as quick, really quick example. Of course, you can detail this more later on, you can change it. And then here I can also make a new text called or actually I will take this out and I will make a new layer under this title block. And I will call it text. So that can know that I know that this is part of title block text. This part of well, actually they're also Making new called boundary or border, say border just to keep it consistent with the border of the layout elements. So this is the border of the title block, and this is a text I can call it, for example, I can copy this text there. And I will change this one to this layer. I will also change, let's say this to three, make it smaller. And I can say like project vase. I can say designer, designer. You can see version on whatever we can add, let's say date, etcetera. Anything that you want to add in terms of information regarding this. Of course, this is a very basic title block. We can add, let's say like a big title block that is like one side of vertical one or bottom title block to the page. What I'm showing quickly what we can do with this one. Quick example. 53. Drafting 2 - Dimensioning: Now let's say we want to add some dimensions along now to make a new layer under the layout elements. Let's say here new one, note instead of title block. And I'll call it the dimensions. It is important for the dimensions to be added inside of the detail views and not on the layout page. It makes pain more. We have this Layout Page right? On which we have few Detail Views, Right? If we add the dimension on this layout page, then you are Dimensioning the page itself or these based on this page. The maximum of this would be the width and the height of the page. This page is a letter page. If I go to the layout, right. So the vase presentation, That's the layout title. And at the size of the 20th seven, 9 mm, which is the width of this pages, a letter size and the height of it is 2,015.9 mm as well. If I type DIMM or I go to dimension and linear. So both ways work and I click and click. And now I can see this is the width of the page, so 2,097.497, 0.4, right? So it's matching. I cannot now Dimension anything inside of the views while having dimension being applied on the page itself. So the dimensions must happen inside of the detail views to be part of the Model space, to be more correct. And so what I would do here as well to be more correct and to be less confusing, I want to move the dimensions layer, the model elements. This one do dimensions, this one there, right? And also move this one to the bottom and also activate this one. So dimensions are part of the model elements. This is maybe the only Annotation element that would be also part of the Model space. Other ones, let's say Adding Leaders and text and other things. We can add them in the layout. Maybe also Hatches, might also happen in the Model space as well. But other elements like other ones, titles and text and I'm Leaders could be part of the layout elements in any case. So now that we made the dimensions layer and then, and now it's part of the model elements. Now I want to, for example, now dimension, add some dimensions to the geometry. So I will double-click on this with a zoom-out and you can see now it's locked. If I zoom in and out, I'm not zooming in and out inside of the view, but on the page and that's because this has been locked, right, which is important. If this was not blocked, it will then zoom in and out and they will change the scale of the view itself. Alright, and let's try now, okay, to having this to be activated. And I will first go to dimension and then click on linear dimension. You can see I can snap right side because I can see the edge of the surface, right? But if I want to click here for some reason, it looks like I cannot see Making the Snapping happen here. Let's check this out here as well. I cannot do that as well. Even here. So now I'm trying to dimension, but it, It's not being able to grab that edge. It can actually grab the IsoCurves are of this surface that's possible. But not these compute to us to be the edge of the surface. Now, this is an interesting geometry. This is not, let's say like a ordinary geometry that is orthogonal, that has clear cut edges, but it has these surfaces. And what we can see now as a projection is this surface at Rhino doesn't understand that it needs or where we want it to touch or to snap on the surface because this is a surface that is going and going continuously around this pipe, this right the way we made the Handle. And it cannot recognize where I want it to snap on So this might be tricky to do it the classical way. So if want to dimension again, I can snap to the edges that I can see, right? Or the IsoCurves but not these surface. And this is actually an opportunity now for us to learn something new. But first, before doing that, I just wanted to show you as a proof. If I build another geometry, like if I will the cube. And let's go to the perspective for a moment like that. And I go back to the layout. I can dimension this pretty easily. I can click, like you mentioned, like That's right. That's pretty easily, easy because I can see clearly the edges of the cube. But for I'm going to delete this one and also these ones. But for such a geometry that maybe organic, non-linear curvy, then this might be the problem so far, but I'm going to show you a trick that we will actually overcome this. And this is a good opportunity for us to talk about make to D, which is this can make 2D is a command that would Extract for us the outlines of a geometry. So just give us a 2D outline of a surgeon Geometry, even if it's a curvy geometry, has curves and non-linear or non-orthogonal edges and surfaces. And this, I mean, I've used this intensely previously to make nice diagrams like to give nice outlines, thick outlines for certain rendering or for certain visual diagrams that I had to do previously. And this is like a common practice among advanced trying to users. Here in this case, we can use this trick they make to D command in order to extract, do the layout of a certain object, any certain View, and then use that one in order to snap on for the Dimensioning. So I'm going to also make here a new layer called make to the actual amount of dilute this. I'm gonna, we're gonna actually get this automatically. When do we do this? So now I'm still inside of the top view, right? I cannot orbit around because it's locked, but I am inside of it. Is here. Vase presentation detail. And then top right, I'm going to click on this one make to D. And here let's see what we have. So select objects to draw. When I say all of these because I can select one, just a few ones, but I will now select all of them. I want to make 2D of all of them and press Enter when done. Then we get this window. And then here we have few options so we can change, we can choose which view we want to make it to the from top view. We have different projection options like that. I'm going to now for this example, uses the C plane. And I'm going here also to keep this object properties. I'm going to keep it by output layers. I will just check this out. So it looks like you can click on these ones. I can. And you get actually I like here, see these random Agadez, I'm gonna get, just keep these as the auditing standard. Alright. I'm going to click Okay, and here you can see layer name is going to make a new layer for us called make 2D. Okay. Wait a bit. Now this make to the object has layer has been added there. I'm going to move it to the model elements. And if I, for a moment hide these, I can now see this is the outline of the vase in the top view mode. Okay? Divisible. And you have the curves. And this is the make to the, of the external. So this is where we were not able to actually snap on the edge of the surface in this view. Now we have it. So now we can dimension based on this one as well as the sport. So I can turn on these. I can, for example, as I sake of just making it clear to me, I'm going to change the color of this to red, for example. And you can see it there right. Now. I can add dimensions that are snapping to the mic to D, to the outline of the object mentioned in here. Not for example, click on Shift and will snap to the quad, they're there to it. Okay, so that's now a precise measurement. Again. From here I will go one Let's say the bottom is not odd. Alright? So now we added these two-dimensions as add the dimensions layer. Now they look to me a little bit small. Similarly, the previously the text we made thee the title of the Views. And here, actually, instead of changing the text height again, so I can change this, let's say 23. Let's see what happens if that's too big. Maybe as for dementia, maybe two, maybe that's better, right? Instead of doing that manually, let's actually make a new style. So what do we have here is actually a style. This is the default style. And we can see here because we changed the height to two, which is different from one, the default height of the text for this default style is one. So now it's in black, right? But once we change, it becomes blue, right? And because we have now different than one. So instead of doing that, I'm going to bring it back to one. But what I'm gonna do is to add a new style only for the dimensions. So I'm going to click on this. Then we have this activated. I will go to Edit Style. I can click on this to edit it. Or I can go to tools, options, Annotation Styles. And there we go. Here we have the default style. Now, this is the default style I want to add in Houston. Before doing that, Let's do just go through what we have as options for these titles. We have a font, we have text, alignments, etcetera. We have dimensions. We have arrows. We have length units. They look like we have angular units, Leaders, and tolerance. Alright, now we're going to look in every single one of these, but the ones that actually help us make sense to us in this case, I'm going to click on the Annotation Styles to make a new one. If I click on this to right-click to duplicate or something, it will not work. I have to click on this one and then I have to click here on mu. And then now I can choose from one of the previously. Let's say these are the built-in template Styles. I can't you let's say the default as copying, sending Settings from the default one. And then I'm going to call it dimensions. Is that only four dimensions? Click Okay. Now I want to activate it. And you can see now this also turned into bold. Now I click on this, and now I can change the style for, let's call dimensions. Alright? So first I want to change the height to two as seen here. So to keep this there. And the other thing is that here we have a decimal place. If I click on, Okay, now I have to click on this and change it two dimensions. So that now has the height of two. But for this, let's say resolution, I don't want like millimetre, like decimals. I want only to have, let's say integer numbers. So I will click on Edit Style again. And let's change that from here. I'll go to the length units. Here will change the linear resolution to one. Once I click on Apply, adjust. I want to also add a suffix millimeters. Maybe I want to also add a space between the dimension and the MM like that. And then I'm done. I don't want to add to change other things. I think that's fine for now. Now these dimensions have the style assigned dimensions. And maybe I would like to add only particular description for the dimension, for this one to be the length, right? So I can do that with us here. We'll click on this and type length. So this now adds the length text only to this one. And I will here, Let's say that point. It will only add the text as width for this one. Maybe also it looks like to me, I don't want to say these lines to be too close to the vase like that. It's fine. Rock history, It's okay. Also do this. Also these ones Okay, so now we have like a nice, they mentioned geometry. Now of course, in the end, we want to make sure that this make two D is on right? We only used it as a guideline for us to dimension the object, but we don't need to show it. Of course this is up to you. Maybe you want to actually show it part of your Graphical goals. That's possible, of course. But for this reason now in this case you only want to use it for, as a basis for the dimensions. Alright? So once having, having added the dimensions, what you can add more now our leaders. And in this case, I would like to add the leaders in the layout page. So I will add a new player called titers. Will activate it. Here. I will go drafting. And we'll go to later. This one. Here received style dimensions, right? So already, like you're staying us since this style was activated, right? So before doing that, if I were to tools, options, you can see that this tile is in bold, which means it's now activated skirt, right? So wherever we want to add as annotations, it will use this one. Actually, since we're going to use this 14 dimensions N Leaders, I can just say change this. I can rename this to sanitations or and rotation only. Or yeah, that's, that's fine. So that we're using it to many other notations. Okay? Going back to liters, right? And here for example, I would like to give assigned this. And it will just click on Shift, click and space or enter. And then I would like to appear Spout for example. And then here, Let's also add Handle. Also Shift and space where Enter and then. Okay. So now we have annotated also the geometry with specific texts that you'd like to add, right? So that's how we can quickly and easily, let's say add some annotations, dimensions, and leaders. In this case. I would like you please to try the same thing with the front view and the right view. Maybe it'll be a good step first to make 2D as well of these because it may be challenging, let's say, to, say grab. Let's say this part of the surface, right? If I click on dimensions, double-click. And of course this is locked, right? By the way you can see this is, this is the, these are the curves of the mic to the first one, the top view one. Let's try to make the D for this one first. And during this offers front, so it's using the activated view and that's fine. So we debit awful lot too long. Okay, So it took a few seconds. It made, it made the new make 2D layer here, right? Actually you can call this, let's say front. And I will call this top just to avoid confusion also, I'll move this one there. And now we have, if I also change all of the curves to read as well. Now we have this outline, right, of the geometry which you can use as a basis to dimension the geometry. So I'm just, I just did this for you as a step. What do great if you can do it yourself. And also for the right view you can see here as well as sensory. I've added these in the front view and this plane of the front view that we're can see them being added there, right? As part of the geometry. Looks like we have this, yeah, this is curve. Alright. So please try to do that. First step to D to use as a basis for the dimensions for the front view and right view. First, start with the fungi and then make all of the annotations so make 2D than dimensions, then add Leaders and the right view as well, please make to the dimensions and leaders. And also make sure that you are working in the current layers when you're doing dimensions. And then after activity Leaders in order to work in either when you're doing the liters. Alright? So for this maybe I would say, let's have, let's say ten or 15 min, maybe 15 min, let's say, are good for you to add these dimension. Then it's going to come back. And I'll then do them also for you as a solution to the exercise. Okay. So please let's take 15 min 54. Drafting 3 SOLUTION: Alright, so how would you are able to apply the steps? So Adding it make to the curves and then Dimensioning and then adding the Leaders. Now here I've already made the two D for the front view. So now let's add the dimensions. And actually there's something that maybe interesting for you to know is that four dimensions, as I've said previously, that these must be added inside of the view itself. However, if you add them by snapping to the geometry, then it will recognize it. So let me show you. This is another way, but it's a risky way because if the Snapping was not being done correctly, then the Dimensioning will be wrong. But just to show you as just for you to know, right? Without having to activate this view. We are now in the layout view, so we don't have any Detail View activated. If I add a linear dimension, let's say the width of it. And I snap to the geometry of this. I snap here. Somewhere. There. You can see that the dimension is actually dimension of the object and not of this dimension on the paper. If I don't do it, if I just do this, snap to this dimension itself. But on the paper not raised to any geometry. This is 74 mm on the page, actual 74 mm. But this object, in real life, when it's scaled down, It's still has the length of this 738 mm and not 74 mm. So this is actually a proof that this dimension, if snapped to the object, it will give you the correct dimension. Even if you are, you don't have this view activated. But personally, I would prefer to do it in the Model space in case there was something wrong with Snapping or something that was not being done correctly or properly, that the dimension then we will not be correct. So just to avoid any confusion, any errors, I'll prefer to do it instead of Model space. But just for you to know as an information that you can do this in the layout without needing to activate the model, the VD view, alright? It's just up to you to do whatever you want, but I prefer to with inside of the Model space buffers. So linear. Again. This is the width and it looks like the height is, this is the higher point than this one, right? If I draw a line, yeah, it looks like this is the higher point, highest point dimension, again linear. Let's use this one there. For the bottom side. This one, click and click. So that's the height of the object. Now I'll this one. And I will not now just refine these just for you to know that this is how it's done. I will not like add all of the texts. You can do it later on, but just for you to know about this. So I've added the dimensions and now the Leaders inside of the Layout space. Now, drafting, we can look like click Enter, as well as alright, so that's for the front view. Now let's go to the right view. Activate this one. I will turn this off and let's make it 2D. Or this one. Hopeful that it's gonna be done soon. Also, it may be a good thing to do to save your file first before applying the Duke of command. In case of crashing your file, maybe because it didn't handle the operation. Alright, let's write this is the criteria. So let's move this one also Model space, model elements. And also let's make these red curves, alright? And also let's now add dimensions while still inside of the right view. Okay? So they mentioned aligned linear dimension not aligned. Let's click on the bottom side here. For this one. Right? That's it for dimension, I'm going to add the activity, this one, and then I will go to the Leaders. And I will add now the Leaders Handle. Alright. So that's adding dimensions and leaders to these ones. Of course, we can now turn this off, right, so we'll see it. Now. You can see that you can see the dimensions on the perspective view, on the 3D view, right? And maybe we don't want to show that maybe the perspective view is only as a representation, as a graphical representation of the Geometry without needing to add these details, these technicalities, right? So how can we do that? If I turn off the dimensions layer altogether, I'm going to turn these off from everywhere, right? But I don't want to do that. I want to keep the dimensions visible on these views, but not on this view. An interesting trick would be to activate this View. Go to Display. And here I'll just pick off annotations. If I click on this. Now it's not showing annotations inside of the few. Go out. And now I'm done. I have this nice clean corticoid view that doesn't have any technical annotations while the other ones do have them, right? So that's an interesting trick that you can apply to hide a specific element from one of you and keep that element visible and other views 55. Drafting 4 - Exporting Settings: Now haven't touched upon other Annotation elements, such as Hatches. Let's say here we have the line types and Annotation Dots and other elements. And that's because would not need to use them here in this case. And also because talking about these, all of these in-depth would require much more time. This is just an introduction about drafting in Rhino. And of course, if we're interested to learn more about all of these elements, everything about Drafting, then please check out the course about Drafting, where we dive in more in-depth about all of drafting techniques and tips and tricks. In Rhino. What we can do, what is possible, how to produce professional technical drawings that include Hatches and customized line types and line weights and all of that in there. Alright, now that we have completed, let's say this part of the intro to Drafting. We would like to just check what are the export methods, print settings that we can do in order now to export this layout to PDF, for example. Here I'll just go to the print. And here I have the, What are the options for printing, let's say PDF, the size. So since the layout was set previously as letter size, now have the standards as of course we can change it, but this will not match, of course, the size. So it should be matching the layout size, in this case the letter. And if I just maximize this a bit of the landscape, how many copies you want, vector versus raster. Of course, if we choose vector, then it may in some times take more time than raster, raster or just let's say Export free an image with pixels. But vector it will sport for you the vector, lines and curves. We have the color. We have all of these different options as well here of this game. Now, it's good to keep it one-to-one. This is the scale of the page. If we wanted to see to scale the page itself, then we can change this. But otherwise, we can use this one. We have the margins and position, Line Types, and width, etcetera. All of these other options, but mainly you'd be concerned about setting up these initial settings correctly and the other ones would be kept as standard. Now you can see that we don't see the lines here that sub-divide the Views. And that's because we did not add lines as border lines for these views and the views itself, themselves. When we see them, we can see their borders, but they are not printable. So let's actually add them first and go back to this. So I'm going to click on Close. And here I will go to the, let's go here. Detail views, Let's say for the digital views. Okay? And then I'll just add here line, one line there, and one line there. And if I go again to the print, now we can see the lines. Alright? And now you can then print to PDF and you can export this as a PDF. So that's how we can print or export Layouts. Two PDFs 56. Grasshopper 1 - Comparing conventional modeling of a vase with Rhino: Welcome back to the course. In this part we're going to talk about Grasshopper. What is Grasshopper and what we can do with it. And this is just an introduction about Grasshopper. We're going to go deep into Grasshopper because this is going to take long time, a lot of hours. If you're interested to learn more about this plugin specifically, then I would highly recommend that you check out other course that I'm giving about parametric design inside of Rhino. This is just introduction so that you may know what is it about. Just now you are familiar with Rhino and genital. You know that this plugin exists and it has these powers inside. Alright, so what before just touching on grasshopper, I would like first to show you an example. I wanted geometry, how it looks like, and how we can model it first and Rhino before Grasshopper. And then how we, Grasshopper can actually provide to us. As an addition to that, you can model it in the same way, but then it is going to provide us more flexibility in terms of later Editing. Suppose design editing and changing. Alright? So first, this is geometry. Like maybe like a vase that has some fins right, going around, right? So just like a geometrical shape that is not orthogonal, it's not, I would say, as a first. Seeing this geometry, it doesn't look like, it's kind of like quote unquote, easy to model, right? It looks kinda like a bit complex, right? I'm gonna show you that it's not really complex, really simple to model, right? And this is, if you just look at it closely, you can see that these Fins look like the repeating right? Rotational way. Okay? It looks like this is the same Fin rotating round, right? And if we manage to model just one of them, right? Just one thing, one fin, not all of them. Then we are able to rotate the fin around. What's copies and then we're done, right? So do that first. Okay? So this, this, what you see here is instead of the geometry layer, I'm going to make a new layer. And I'm going to call it here curves. Alright? And as a more close-up investigation, it looks like maybe these are, let's say, rectangular shapes that have these, let's say fill it edges. But now we can start with the rectangle with Philip corners, right? And then you can see how we can say maybe produce one of these fence AB. I would just select all of them except for one. Let's see this one. So I just select all of them. And then with control-click, I deselect, Shift-click, I Add to Selection. So Control and click it selected. And then I'm going to click on this hide objects. Alright. So now this is our single fin right here. If I go to top view, click on this one and time enough to take two shaded viewport, right? So it looks like if the bottom of it is there, double-click on this one. Click. And I will hear set of viewport displays to shade it. Lets, you can see what's going on, all of them. Now, we don't need to be super precise about this. This is just, let's say like a quick way where we can let say try to mimic or try to remodel this shape. Not the precision here is not the goal. The goal is to show how we can first model it in a certain way quickly and then how we can apply this same and Grasshopper, I'm going to now make a rectangle but then with round corners. So if I just like disable the snap app now. And here you can see that I can see the width of it. So let's say matching this one. But then in top view, let's say it looks like various Fine. Alright, and then I'm gonna do something like that. So this is now Fine. I'm going to also maybe lock this layer so that I don't touch it to, I touch it, it doesn't actually touch it, right? This is the first step. The second step is I want to draw a curve right through which are along which I'm going to loft this rectangle, right, to make this fin, right? So maybe let's go to the, let's say the right view. Right? So going to click on this one time and then Try to snap to one of the edges of the rectangle and then I will disable it out what the wheel. Let's try to trace this. Also not representing here is not actually of prime importance. With importance is to try to have a shoe that is close to this one. Click and that's it. So now we have this curve. Then if I go to the front view, now I can move the points like that so that I can by the curvature and the other direction. Maybe you will actually change all of the Viewports to ghosted. So that was I can see what's going around or what's going behind geometries like that. Moving the points. Actually, since this is starting there, It's better to maybe put them on this side, right? But the other side. Click again, select and see what's, what do we have here as a result. So try to refine points so that we have a nice curvature going from the bottom to the top there. Alright, so this curve is now non-orthogonal, right? It's not flat on any of the Planes, right? And that's fine. That's the design. I'm going to hide for a second this layer and just say just refund slipped, remove some points just to make it more curvy and less. Let's say. It's just move this back again with the ideas that I don't want to totally stick to it. What also wanted to make it as clearly as possible, right? Looks like now it's not bad. And it's touching. Then we'll offer that's fine. Then now I will make a new layer called the curves called loft, right? Or actually not loved. Maybe we can use the sweep, not the loft, right in this case. Sweep, right? And then we can now sweep because you are having real and a profile, right? So let's now select the rail, which is this real. And then select sweep shapes. Click space, enter. Look what we get. Alright, so now we have this. Let's say, let's keep these settings as they are now. Okay? And now it looks like this is open, it's fine. We can close later on. It's not a problem. But for now we have this shape, right? If Y, if I turn on this layer, so it's close to it. Also is kind of like rotating in this direction. We can let your own, let's say add more profile and then rotate them. That's not a problem. But the idea here is that I want to now try to, if I unlock this one and then I click on the right-click to show objects like that. And now what you can do is click on the surface, not the image because these are Meshes on this one, this surface. I can go to the top view. Here. I will make a numerical rotation. This one. And I will type rotate. Copy. Yes, center of rotation, I will hear type zero comma zero, comma zero to specify this point of rotation. Since I know here that this geometry is centered to the origin, enter. And now here I'll click on angle or first rotation. Now if I do this as a rotation like that, is going to only make one rotation. Second. Specify these like every single step, which is not actually precise or will give me an error. So it's possible, it's possible method to do it, but maybe a better one would be Array them radially. So let's check this out. I'm going to undo the rotation I'm going to select this one again. I will type array. I will say polar, center of polar array, zero comma zero, comma zero, Enter number of items in this case, let's say 1-234-567-8910, 1112, 1314, 1516, 1718, 1920 201-23-4204 items. Fight I have 24 and angle to fill or first reference point. Let's see this one. So this will give me all of them in-between. I don't want this, I want the other way round. So I'll click again. Center of polar array, zero comma zero, comma zero, Enter, click number of items to a four. Clique like that. And now I have this board polar array that is a previous tail but not yet applied. To save, press Enter to accept full angle. This is the angle that is filling etc. to infer items. That's fine. Okay. Alright, so now we made this. And again, I showed that you can either make it with the rotation than every single step we have to specify the rotation angle or than with the array. The array. The interesting thing about it is that it keeps the, keeps the, the angles in between. Correct and precisely. Now, it looks like because these were already in history, but even if the rotation, or let's say here, the array layer on it kept them in the sweep players. So I'm going to select all of them. 24 top, I will deselect. Actually, I'm going to deselect this one of them, want to move these ones. So change object layer to the array. Then I will just copy the first one as well here. And then I will turn this off, right? So this is more or less looks like close to what we had as they geometry layer. Geometry looks like this. Now of course I know that here like this is getting thinner, right? So the looks like you to the Fins as well. Or not only doing this rotation, but also the sizes are changing. So from the bottom they have the different width or length or depth, whatever you want to call it. To the end, they have different dimension there, right? We're going to do this, right? We can do it in Rhino, it's fine. But just as idea of the concept that I want to just apply something that is similar to this one, not exactly the same. Then now showing you what we can do with this one. Now, the idea comes in here as important question. What if the design changes? So for example, what if now we want to apply this change like we want to have the fence to have this difference in the width of the rectangles. Maybe you want to have a different number of the array, like not 24, but maybe 20 or ten wherever the design is about, right? Or wherever the height changes and wherever maybe. What if, let's say the curviness here, this curve that indicates this one of the fence is changing, maybe it's going in a different direction, right? What all of these happen? Should we always then go back to the original step of first drawing this and then applying the curve and then sweeping and the rain. This now may sound kind of like time-consuming task, right? Repetitive task. Especially that all of these look that they are repeating. It looks like every time I want to apply any change, we need to spend a lot of number one, we need to spend a lot of time applying the change in order to see it, then it's going to only be about one change. So once you, anytime its thing, a lot of time, very time-consuming and it's not really efficient and just repeating, right? So once you face this situation that you are feeling that you are doing the task repetitively, then Grasshopper might be a good option, actually a great option for you to try out. Alright, so here comes the role of Grasshopper in Rhino. Just pushes your Rhino skills to a whole new level, to a whole new parametric level, where you don't need to be an expert programmer, even not programmer at all. It's about visual programming where we can now use some components together to indicate or to input some changes and jumped to Christians. I'm gonna show you here what I mean. So I'm going out to lunch. Grasshopper 57. Grasshopper 2 - Using Grasshopper to parametrically model the vase: Once I open it, I have this window with some previously open files. I have already a file that has been pre-made. I'm going to slide drag and drop it here. Also intro Grasshopper standing above it. And then here in this file, we have these components. Now, this is just to let you know, this is the unit two parts of the course about parametric design in Rhino that I'm giving that are welcome to join. So it's kind of like going pass many previous beginner steps first to explain about the components and what they are. What do they mean, right? So I did here, just like jumping straight to say, okay, you can use a circle and points, divide Curve, areas, lines. But all of these are more or less Beginner, middle beginner level, right? But now, if you don't have any idea about Grasshopper, then you will see this to be like two to Advanced and really complex, but it's actually not really the case. By the way, Grasshopper, as it just a quick info, quick introduction about it. It looks similar to Rhino like it has like these tabs which are similar to the Rhino taps, right to standard C Planes said view. Here we have these ones. Here, we have perimeters. If I just do this, and you can see that this is now a second window, right? So I clicked on the Grasshopper. I have a new window right inside of Rhino. Okay? And here F prime meters, mass sets, vector Curve, Surface mesh to this reminds us of the Curve Tools tab right? Surface Tools, surface, right? Mesh. Mesh tools, right, Intersect, right? So these like we belong to grasshopper transform and this up to the Display tab inside of Grasshopper. These are the native Grasshopper tabs. All of the other tabs, puffer, fish, weaver, bird, all of these ones that I have here, our plugins, additions or add on plugins to Grasshopper. So Grasshopper itself is a plug-in to Rhino right here that you can launch it from inside of Rhino. And Grasshopper itself has also plugins that are made specifically to it that you can also install two runs them from within Grasshopper, not from within Rhino. These are now advanced level and at time step, when I go back to the parameters. So you can start with these ones and play with these. I'm not going to now explain specifically about these because this will take some time. I'm going to now just explain to the concept how we were able to build this Geometry inside of Grasshopper. What is the simple, easy to understand, easy to grasp idea how we started this, right? I'm going to expand with really simple words, these steps, and show you that it's super easy to do in Grasshopper. Okay, then it's the great thing about it. Is it super easy to change, super easy to edit, and to just have numerous design proposals and articulations and versions of your original design without the need to spend a lot of time doing the, doing it manually as we have done it in Rhino. If this was a one-step Rhino is great. But if you are applying so many changes, then Grasshopper is the way to go here. So I'm going to know what we can do, like different things. I can now click on this window and then budget to the side and not do this one to this side. I have now split my screen into two spaces, right? The Rhino viewport and Grasshopper space. Alright. If I zoom in more now I can see what these components, these components are different components. This is called circle, this cartoon called Unit Z, etcetera. I'm going to just adjust this a bit. My work area here. I'm going to turn this off for a second. Now. We only see now this empty viewport. Now, Grasshopper, when you are working inside of Grasshopper, are working in a certain virtual quote-unquote Environment. At the end you can bring your geometries to Rhino. Okay, you can migrate them to Rhino. But the whole process is done first instead of grasshoppers field and grasshoppers realm, right? And the end then you can bring with me. So not every single step that we do here. It's actually sort of Rhino, but you can still see the preview of it instead of the Rhino viewports. Okay? Alright, so the idea is very simple, plain Clear, it's super easy to understand. It's based on one circle that is made inside of Grasshopper, not instead of Rhino. Of course, there are also methods of referencing geometries from Rhino to Grasshopper. This is then explain more in detail instead of the other course. But for this sake enough word for this intro to Grasshopper going to show you here this method where we can design a whole geometry. We can make a whole project instead of Grasshopper without needing to design or to draw anything manually. Okay, So the base step is a circle. That's it. That's the, that's the core in a of the vase that we have seen. This one record in a of this one. The base DNA is a circle. And based on this circle, then we apply some changes to reach that shape. So we have a circle, has a certain radius, let's say four. Okay. And by the way, the units instead of crossover or based on the units of Rhino. So four means 4 mm. There are no here like another Units setting. We don't have, let's see here. Millimeters and centimeters and inches and feet won't have this, will only have units that are unitless and these are based on the Rhino unit. Alright? Okay. Circle. And the idea here is that I'm dividing, divide curve, this circle into points, and I'm specifying that the count for the division is gonna be 24. So from this circle, I have now these points that are the divisions of the circle 24 times. I'm using an area component in order to extract the centroid, center point of the circle. Then, based on what we are just did here, I'm making a line, or actually lines between the centroid dissenter and every single point, the output of these points that are the results of the division of the circle, right? So again, we had circle, we divided it into points. We also extracted in the same time in parallel on this side. Center point of the circle. Then this line component is building lines between the central point or the centroid and these points like that. Actually, just for the sake of clarity, I'm going to turn off the grid. So I'm going to right-click on the units, units Settings just to get into the Options quickly Grid. And then I'm going to turn this off and this will only see what's going on here. By the way, this small grid represents the base plane of this circle. Whenever we have like jump to that has a plane, then Grasshopper shows us the plane or we can also change this by going to preview Plane size. Let's say this to two, just to make it small, maybe one to make it even smaller. Okay. Again, circle points based on 24 count. We have the center point. You made lines between the central point and these points. Then we did something old. We used something called amplitude in order now to move these points along these lines, along these vectors. So if I click on this one now, I moved them. I moved these points along these lines based on a certain amplitude, which represents a certain, let's say, distance from these points in this direction using the direction of the lines. Lines by the way, in Grasshopper also can be used as directions as vectors. Of course, I know that vectors and all of this, these words are new to you, are not really in Rhino used and this is normal, right? And Rhino we don't use vectors. But in restaurant Per now we have vectors which represent directions. After having moved the points. Now I'm making now new lines between these points at are the divisions, the resultants of the division of the circle. And we moved points. Okay, Now I click on this, I can see now these lines. If I deselect the click on this one. Now I can see these ones. Okay, of course here I have like this to show me whatever is only being selected This is, let's say one of the view settings inside of Grasshopper. Okay. Alright, so I can see now these lines and that's it. This is the first step. Let's say one of these steps of making the phase and then other receptors are also the same. So the others that for example, the second step would be I have another circle component, but then it has a different radius and I move it up, right? So this is the first circle. This is the second circle, has a bigger radius, but this has been moved up. I don't will not now look at previous one. This is moved passively moved up with a unit Z direction and the vertical direction by a certain distance, right? And then again, it has been, now, this one, for example, has been rotated on its own center. We don't see the difference beacon because the circle stays the same, the same location. So it's not related in a different based on a different, let's say rotation center but the same center of the circle. Alright? Then the case. So we rotated it and then we also got the point of it also divide by 24, the same number, 24 also being, let's say, as an input to this divide curve. And then also we made Lines, and then we moved these points based on these lines as a vector outside, outside, right, in this direction. But then with this different average, now with this different number, right? And also then we made Lines again in-between. Alright, if I know, deselect these, these, these, this one, this one. Now I have, now these new lines, these lines, these lines, these lines also Apply the same thing as well here, again, move that up, and then we've got these lines, right. You can see now these lines are smaller, right? This reminds you of something, right? That we have seen that these have a different, smaller width or depth of the rectangles. That's why, because these are like this. I'm going to now show you what, what, how we reach that result. So we have these ones, these ones also, we got these ones at the bottom like these were, let's say move down. And then we did hear something called merge, where we merge all of these together. And then we apply a loft like this. And then now you can see that are surfaces, alright, still not solids. Not the actual thick fins of the phase. And you can see that now these have the certain, you know, these thicknesses or let's say their depth changes because of we said that let's say he removed the lines. We move the points to, to build the lines. But then let's see here 1.3. So this, Let's say this is 0.3, but the previous ones where with 3.34 and then these ones were left to right. So that's why we got now this result. Alright, of course here I'm in the other course that we need to apply this called grafting. This is something that is slightly advanced in Grasshopper about data management and data structures where we need to apply something called grafting. If we don't do that, then we got this result instead of this result. Alright, but you won't need to worry about this for now. My main goal here for you is to make you understand, to show you the possibilities of Grasshopper. We didn't the loft, alright. Here this is called the panel where with which we can read the outputs, the data, the information that is being given to us from the components. Alright? And then here we have this chimp Solid just let's say also we can see we can Trim. So Grasshopper Israel like includes most, if not all of the components are all of that CD commands of Rhino, but instead of grasshopper, but now in form of components. So we added this Trim Solid to trim. This with this solid right there, zero reminds us of all. So let's say these Boolean, boolean union, BooleanDifference Boolean intersection as well as the Trim, but this one also it Trim, trimming Split as well. Alright. This is called Trim Solid. Alright, then after that, so once we have trimmed this with this solid to get this result instead of this, alright, so there's no short to slightly. Then we did some the gold Mesh be rep, right? You don't need also there were about these names. Mesh be wrapped means that we're transforming a B wrap and to mesh. In Grasshopper, we don't have Polysurfaces. What you have B wraps. Alright, so also the name changes slightly here And then we applied, we use weaver birds, Mesh thicken, weaver bird as a plugin to Grasshopper, right? Where applied this one to give a thickness to these fins. And then we applied certain refinements subdivision. And this is the last subdivision to get it like that. Since here we can see like the Mesh wires are like totally dense here. We can go to Display and then you can see preview Mesh edges. I will take this off. You can see now we can see it without the image edges or the Mesh wires. Right? Now after, after reaching this, then what I did is that I made a new layer, like I made the jump layer actually previously. Should do it again here from the view layer, let's say 01. And I will right-click and say bake. Click on bake. This is how we export geometries from Grasshopper to Rhino. Click. So now we have this structure. This is exactly the same as the geometry layer, exactly the same. Okay? This how we can bring geometry is from here to there, right? Wherever our ideas or whenever I already gives are done. Three, we're going to become familiar with here. This is the main, this is the main process. These are the main steps. Alright? Now, I'm going to delete this layer right on a dish, because already you have it in the side of the geometry layer. Just as an example of digits to show you how I brought it to Rhino. Now, you may think or you may ask, Okay, But wait a minute now, how can we change it? How can we now apply the change in the end, the Editing? Well, super simple, super easy, super fast. I'm going to click on this loft. Actually I'm going to change the view to this, brings us to preview off. So this view, if I turned it off, it will only show me what components have the preview on inside of them. So also in Grasshopper, there are different visual or visibility options that you can also manipulate. This is on, if I right-click on this and I say preview off, it will not show me. If I click on this and I selected, I can see it. If I deselect it, I cannot see it, but I have to have now this preview on this one selected is in green, are not selected this and read. Alright, so that is that I want to show you here because I want to change some inputs, some numbers without needing to select, still, always having this to be selected. That's why you use this different visibility option, okay? Now you say, Okay, I want this to be, let's say polar, right? Maybe certain I got I had a meeting with my client or with the consultants or let's say myself, I just wanted to just test how this would look like if, let's say this is taller, right? Super easy. Remember that this, these are based on the circle, right? That has been moved up, right? Right. So now we can change this. Look at this in a matter of seconds, literally 2 s. We just think the whole design based on this input. I can now make it shorter. The problem. Maybe you think, okay, maybe I want these to be not that thing. That's too much. Maybe I wanted to make them thicker, right? These ones, not a problem. I can go back to these, remember these ones that were responsible of moving these points away from these points to make these lines right? That is the vector. Now, I change this to make it thicker. Boom. It's just applying the whole change to all of them in a matter of few seconds. Now, imagine doing this manually in Rhino is going to take us ages to do that. But now here, with this number is larger. I can quickly make a lot of design iterations in a split second, Design Iterations without needing to worry about rebuilding this manually. The main idea in Grasshopper is that we are building a certain story if you want. Remember this history, recorded history previously that when we did like a loft and when we changed the base curves and then they loft changes up, it just follows that change, right? Then if we let say, change it too much, or if we move one of the curves, then it's going to say, hey, like this, history has been broken, right? Grasshopper is based on that, is exactly based on this concept. But now, if you whole history of the design is saved inside of these components and these lines are kind of like memory Lines, remembering, Okay, the movement was of the circle and the rotation of the circle, right? And the area was Extracting the centroid of the rotated moved circle. So all of these are connected. And whenever you apply any change along the way in the beginning of the center or in the end? Anywhere it's gonna, it's gonna change can affect your design. Okay, that's the amazing thing about Grasshopper. Okay? Let's say, I want, let say to know like the middle, That's I want to make them thinner, right? Remember this? So I can now make this, you can change this. Let's say this is their right. So this is the beginning. I can make them thinner. So you can see the flexibility in applying changes. In Grasshopper. Even here. The bottom months, right? Look how beautiful this is and how fast this is to change. So what, what, what looked like? It was super complex. It was intimidating. It looks not easy to model. Now, you can see that it's just simply based on a simple circle that has been just used few times here. The same circle component with different radii. And then it was moved, it was related. We divided into Points. We use these points to make lines. We move these lines, right? We just change all of these steps wherever we want. Even it's okay, wait, wait a minute. What if I want to change the number, right? Remember that we said this is based on 24. Let's make it 20. No problem. Let's go there. I'm going to double-click on this and we'll type 20. Enter or click on this. Now we have 20 fins. Can click on this, slider, can change it. I can have even more. Maybe 40. I don't know. Just depends on your design. Look at this. I mean, it's super-fast. So all of these polar array and stuff. Now you can forget about this because now we have this divide curve and this is actually not like this effect. If we look at it here, the Rhino command for it will be the polar array, right? But here just the white curve is division of the curve and are saying we want more points to be divided. And then just, just applying it quickly as simply as that. Even the, let's say the shape, let's say these circles, I want to make them less is polar. This is nine. Look at this. I can change the whole shape of the geometry based on this. Or I can say, Look, I want the change to be smoother, Okay? No problem. I did. Making this as real numbers. Now with decimals shall make this to the maximum of say, 15. That you can also, let's say change the range of this number slider with decimals as well. So there are lots of possibilities is Grasshopper that you can do. Now because of, let's say more numbers like more fins that was taking slightly more time in conflict, slowing down a bit. But you can see if I have, let's say, let's say 15 ones. And if I change now the radius of this one. So Changing on, based on that, I changed the radius of the last one. You can second now open it up if I wanted to work in close it. So it's really up to your creativity about your imagination, which really gives you like this extra step that you can reach. Design height. Even it can make playing with this, you can let say, see some design options are traditions that you may or may not even, let's say imagined of all, let's say thought of, right, by just playing with these ones. Alright, so this is a quick intro. What Grasshopper there it is so much more about this amazing plugin. We're going to talk about vectors, curves, surfaces, and even some plugin instead of the course, not only like whatever Grasshopper provides natively about some paneling tool components, lunchbox, which also would say give us a flexible Surface division, components and other components as well as the recording structures, etcetera. Puffer fish as well. So there's lot about Grasshopper. And it has the course itself. About Grasshopper is around 16 h. It's a big course that covers everything from total beginner level to advanced level. I highly recommend, advise you to join it if you're interested in just like the boosting your design skills to a whole new level. I think now we reach the end of the course. I hope that was helpful to you that you had a good learning experience. And I wish you all the best with your learning and career