Transcripts
1. Complete Rhino Guide Introduction: Why not? Today is one of the
most popular design tools used by architects
and designers today. Being able to manage to develop Brandon City projects requires a good foundation of geometry. Real application with Rhino. Hi, I'm Brandon. Now be your shortens
complete rhino guide where you learn the fundamentals
of the model and design and Rhino and also how to create quality projects and visuals
for your design projects. We begin this course
with a basis of rhino geometry and how to
easily navigate interface. We model several forms for
you to be familiar with, how to work with
curves, surfaces, meshes, and subdue geometry. We then began with architects
project monitoring and developing a small
pavilion was custom windows, doors and roofing details. We next document these with Rhino lab using clipping planes. We then proceed with
an introduction of grasshopper and a few
valuable programs for Rhino. Finally, we finished
this course, project visual exercises, where you learned
about rendering and rhino setting up lights,
environment, and materials. And we conclude with an
introduction to using V Ray for Rhino Plugin for photo-real
photo project visuals. This course is for architects
and designers interest in developing their advanced
modeling skills in Rhino, you just need to copy
run it to begin. I'm going to work with
the Architect with over two decades parents
developing projects, prototypes, Rhino,
I've successfully developed projects big
and small to Rhino. And my aim is to
help you develop those skills with your
projects and your teams. This class project will give you instructions for making
a small vein and rhino to be documented and plan section and the 3D render. Then this course, you'll
be ready to confidently started manage any random
project at any level. If you're ready to
get started making beautiful random
projects, then let's go.
2. Concepts For Designing In Rhino: It's very important
in the world of rhino that you have some
constants or how to use it. Some people I know
are new to Rhino. So these are some
ideas to help you starting out with Rhino, I will have a section for those who are new to 3D modeling. Let's go ahead into
concepts for Rhino. Key concepts, I'm going to talk about the way that it works. Essentially, you have
three things that are in the base of
your Rhino file. I'm working operations. You have your geometry. You have the ideas that are
holding things together, their visuals that are output. Essentially, you have
to work with this area. The idea is to
become architecture, design, furniture, jewelry, type of geometry
you can create is the starch from simple
to complex that no, connects to the idea. At the same time, at
the end of the day, you're going to be
exploring some sort of visual which is in
the form of renders, plans, elevations, et cetera. As you know that this
is your workflow. This is what you're
doing inside of Ryan, and this is how it attributes. You're going to have
to figure out how to focus your efforts in running for the concepts. The first concept
that's really key is to know your surface
geometry basics. Talk a little bit about that. Essentially, you need to know what geometry is and how
does it work within Rhino, we have that understanding then the controls and what's going to do is going to
be a lot clearer. This section, seats where I talked about all
the different types. Jonathan, you're going to find the latest version right now. So don't worry about
just learning up here. Obviously, these
are the concepts. You'll be able to
figure out how to make different geometries
there to know that you're going to have to be planning your work and
figuring out how your work. That's something we're
gonna do in the course. You're going to need
to be able to utilize, using layers to
organize your work. That's also something
that we do. Need to learn how to
save time with commands. To learn. You need to learn several methods for
doing the same thing. Essentially, there are
many ways to make boxes, so it's good to know
which ones are there. And right now, you need to
also clean up the geometry. So your geometry will be working and it won't cause
errors in your model. You use documentation templates. That's very critical. So you can document
your work if you're trying to have a full
set and annotated set, need to accelerate your workflow with integrated programs. That's very important
because if you are using some Adobe programs or
another CAD program, It's good to be knowing
about those integrations. You need to be able to
innovate with plug-ins, that's like with grasshopper. So you can do some
interesting coliforms. And finally, you need to
perfect your exports. That's essentially it
could be to a 3D printer. It could be another program with ideas working to
make that perfect. It's going to be important.
So we're going to talk about all these key concepts
a little more unto the basics to help you organize a are
you're gonna be aiming to get results as you are
modeling and creating in Rhino. Number one, we want to know
surface geometry basics. Just very basically say that
this is a surface in Rhino. It's like sort of
the hallmark of what rhinovirus rhino works with
these particular geometries, points, lines, planes,
and equations. So these sharp later become all the type of geometries
you can find in Rhino. So it's good to know what
each one of these is. You also need to
know about joins, holds and explodes, essentially anything you
can make this editable. That's the great thing
about work with Rhino. Obviously, you can create it, you can go back and forth. And so knowing how these
works is really important. Finally, you want to know
about the properties that's going to help
organize each of these particular
elements as you are making forms and
designs in Rhino. Finally, you want to be knowing about groups and components. That's when things
come together. And it's partially a
method of organization, that's partially a method of also just modeling in that way. These are so important
juncture basics that will help you get ahead. Just focus on these things
as you're learning. For working with Rhino. It's important to
plan your work. Rhino is it's going to be
probably workflow, right? You want to have
some place to start. You want to know
about references. If you're trying to model home, you want to be a
look at home you're modeling and particularly
detail for element. You want to be able to
look at references. You can learn a model also look at previous rhino projects. You want to start with
jumps you construction. That means you're
not just going to start with the big thing
and be disappointed, but you'll be building it up. Funny. You want
definitely study methods. So that's part of how you say, you're figuring out several
methods to do the same thing. So the idea is your study of that year, study
of the program. It's going to really
help you get very far and you're planning this before. It's gonna be really critical because it will save
your time ahead. So Funnel how to do it for you, do it and then work from
there to perfect your work. It's very critical to utilize views and layers,
organize your work. That's like the homework, right? You're gonna be using the
different types of layers, the different types of views. With Rhino Azure. Molly, this is gonna
be something you come back to so that you don't get lost within the
Rhino model or the workflow. It's going to be organized
by what you're working on. You know, you're
working on something. You're going to be changed into something else you can hide, you can show, You can select obscenely. It's
going to help you. And so that workflow is going to really
be the way to keep things moving and
also helps you as you're thinking about
components or hey, maybe you're doing
different iterations. It's good to be able to
have a way of organization. You can always come
back and be effective. You want to model
particular part. You want to change something
over That's going to be critical to be organizing and working in an organized way. Next, you want to save
time with commands. Essentially, Rhino is
a software program. So there's working with
the machine and hardware. And there's a little
prompt, of course, you're gonna be
putting in commands, though there's
buttons, the press. It's going to be working
through commands. So knowing about
these learning is going to really help you move faster so you don't save time
by learning the commands, the basic commands,
to be learning the basic settings
for those commands. And you'll also be
working about how to work with advanced settings. That's something we're
going to be figuring out as we go through this, we'll be using a
lot of buttons and learning quickly working
with the commands, but you'll keep a
notebook to find out all the key commands
so you can keep going back and you'll be
learning commands as you click your button so that you can stay on top
and be saving times. Next, you want to
learn several methods. This is a method for modeling
methods for editing, just researching how
to get things done, because you never know
where the project, if which one will be faster. There are several ways
for working with meshes. There's some ways
work when solids are going through
these commands, figuring out different ways
for how to do something, it's gonna be critical to
really perfecting your work. You will know basic methods, obviously, creation, editing. Then also there's
directed, directed, and if you're creating a moving things yourself,
There's also scripting, which we'll talk about
a little bit later, and making your own commands
so you can actually be able to get the desired
effect from your Molly. You also can be working
with advanced construction. That's part of working
with the plug-ins and other types of
scripting and automation. Cleaning up your geometry
is going to be really important in Rhino,
just like any program. Because obviously, if you're
making a lot of things, there's a lot of room for like
straight lines and points. And so you're going to have
some work to clean things up at the end of your
editing session. This is gonna be done with validating the model
where you're looking. Maybe there's
things that need to be connected or put on a layer. That's what you're doing
with layer clean-up. You'd also archive model work. So maybe your
current model won't get too busy being clean, being organized, it's going to really be helping your workflow. Next, we want to make sure to use documentation templates, both use and create them. This is how you'll
be able to have a layout that can work
for your project ideas. You don't have to create
it again and again. If you have a similar
pretty much title block like the one seen, you can be developing your drawings and just come back to the title block and
do a presentation from there. It's also in organizing your planet patient
perspective views and maybe different
annotation elements like a title or scale. It's good to have
those as templates. So that's something that will really enhance your workflow. You also want to accelerate working on your workflow
within integrated programs. Essentially, this is
things that will work with your random model where you're either importing
models into Rhino, we export it from Rhino. It's important to know
how that could work. So obviously that's importing n elements, maybe from Adobe. Like maybe you're inputting
in lines or maybe even a graphic or texture
to also of course, can be exporting that out. Same thing with cat
and Ben programs. There's a lot of different types of geometries, ketchup files, OBJ files, you can bring
in, you can export out. So working for how
that goes together, it's going to really
help you though this course isn't go too much into how to integrate the ideas. You're gonna be
doing the same thing of auditing your model, making it simple geometry to
get those working together. Finally, we are on our
second tier of concepts. It's important to
know about innovating in your Rhino model with
scripts and Plugins. These are how you get to
do things a little bit faster and maybe do some
more intricate features. Grasshoppers, a plugin that was one separate
now is with Rhino. And you can put that to your
maximum because it can be working on how your code and
your model could become one. You'll be able to
automate your designs and different
particular workflows. You also will be able to explore it from plugins that can do very interesting things. This also is talking
about script, and there's actually a
script inside of rhino. You don't actually have to
use Grasshopper script. So there are a lot
of options for that, but that's gonna
be great workflow to at least try out to see if it will work for your projects. You also can look at plug-in galleries on places
like food for Rhino, so you can enhance your skills. I make a course on grasshopper, but you also can be exploring. You have to check
my Instructor page. At the end of the
day, you're going to need to perfect your exports. Everything that you
do for presenting or sharing with others is going to need some sort of refining. So spend some time to understand how to make
things right in Rhino. Like you're doing geometry
if you're setting up drawings for plans section
elevation rendering, it's gonna be participant that time to make sure you're doing everything to a high level
so that when it comes out, it's going to achieve
what you want. This renders the screenshots, this is pdf and layouts. However it is, it's
going to be worth your while to spend time
to make it really, really good for your project, your project collaborators,
and those that are going to be the audience
of your final work. And this also, of course, it's talking about 3D prints
and geometry that goes outside of the program because it's something I
also love to do. I have 3D printing horse
also my Instructor page. The ideas you perfect what
you're doing inside of Rhino. It's gonna be doing
really well outside.
3. Surface Modeling For Beginners: This is a little
bit of a primer, primer to the course, as I will be talking about the Rhino interface, but
you're looking at here. Now. I'll be talking about the
command and everything. But I want to just
basically start off by telling you what
3D modeling is. If you're super new, where you don't
know how to sort of maybe click these buttons and press these commands
to draw lines and shapes. If you're super new to that, then I would maybe advise, just go on to the core slowly
because I'm simply going to be sort of trying
to run to create an architectural project
by using the element, but I'll talk about
the elements here. So you slowly sit down to
figure out some of the ideas before just getting into
sort of the big interface. It'll help you out a
lot because obviously, you know, an interface
is important. But knowing exactly
what's going on as you're pushing and
creating project is gonna be critical when we're actually going to start by
talking about what points are. A point is just X and Y, Z, or these three coordinates in space that allow
something to be organized. You see this grid here. You see these, these axes. That's what the red line
and the green line are. They are how is organized? And well? Well, we have the points, we connect those,
we create lines. And I'm going to zoom in. And you see these lines. These lines start to
give an added dimension. Two objects and geometry. Obviously, just
knowing the points, yes, you can describe something. But when we start
creating these lines, we mainly have
another level because essentially now we
have more information. Now the lines have the
ability to be straight. They can have various forms. One of the thing that rhino
does also is knowing, of course, we can have wines. But just like in sort of the principles, they're
also functions. A function is a line
that's more like a curve, our circle, which has
a different geometry. So we'll go into how to
create curves in the course. But I just wanted to generally
just show you there's different curve
does tell you that this also is a type of line. Rhino extra treats
every line as a curve. And so that adds another
bit of information. However, just
putting the line in space is still like just a bunch of lines until
you decide to make a surface. A surface is where we've either joined three or more lines, and they could be going
in a similar direction. The fact is, one thing
a rhino does that some other 3D programs don't do is it calculates surfaces. That means that
something in Rhino, like this line right here, it actually, it
actually is dynamic. It will move with these
little controls to it. And that includes, if I was to bring something out and say, I'm just going to copy this line here and you'll
find out do these things. But if you start to see how
things are operating here, you are seeing that this
surface is like it's smart. It doesn't matter
what I'm doing. There's gonna be a connection between that surface
and this information in the fact that I can even select these lines back again. Or I could go and I could select the points for this surface. Even though for any
line that I select, I could be showing those
information back to points. Because of that. Because of that, you're
starting to see how rhino is actually taking and building a system for geometry
in geometry properties. The next thing we're looking
at here is where we're not just looking at a point, a line or surface. We're looking at a collection of surfaces that are connected. And this is called
a poly surface. Poly surface is made
in a similar way to a mesh and a sub d. And so
the idea is these are closed. So there's such a
thing as sort of surface geometry is also closed geometry and
solid geometry. And rhino gets into this
a pretty seriously. So knowing that this is the
level where we start to say, I'm going to connect
these surfaces. It's going to add another
level of complexity and it's another great
thing about Rhino. Now, while this is a
plus-plus surface, this is one as well. And this is as well. And so the idea is
there's multiple types of ways from simple geometry, 3D geometry, all the way
up onto a city's geometry. This is the city of New York. And this was made in all these forms just
like the real-world is translated into
points, lines, surfaces. And so now you're
seeing that this is what can be done with
that information. So as we go into this
project and figure out the new architecture
known about the geometry, just keep in mind this
underlying system to all how the 3D world is being basically figured out before getting to those sort of complex ways.
And it's a beautiful way. It's beautiful part of what
computer-aided drafting does, because it simplifies it. And to wait, you
can create better. And one for projects from
this simple starting box.
4. The Rhino Interface: So this is the Rhino
interface, really basic. Just like most programs,
you have your menu, your commands at the top. You have your toolbars. On your left. On your right, you have
your different options. The great thing about it is
you're always going to be dealing with one
particular thing. In your Rhino. You're working with a viewport
with nothing selected. You can choose things like
the camera, viewport, Target, etc. You're working an object. You'd be selecting different
layers, rendering materials. You have libraries
and a project where you're putting in
materials and such. You also can of course
see the Help menu helping us great to go
along with all that you're doing and write all
these commands actually work in tandem with these tabs. If you're working in
your standard menu, creating things, basic
visual abilities that can be dealt with there. C plan is that you are changing
your construction plane. And in your view
command you could be changing different ways. You're looking at
the current view. And then of course you'd be
working on your display. You're going to
rendering something or showing it as shade. Then just go on to maybe how
you're selecting things, worked with your layouts. You can change the
way your layouts are going to be organized. Just simply like that. Then you also can
work on visibility. The other commands onto the right are about
transforming and creating geometry as well
as rendering and drafting. These are something we're
going to get into really basically for this course as
you're getting into Rhino, just really getting the
basics going along.
5. Basic Navigation: Let's get started with Rhino doing what we love
to do the most. And that's creating, it's actually pretty
straightforward. A lot of these
different commands for working with
tools are creating. What's going to really be
important is when we start to navigate and create
within the program, we're going to start
with just looking at navigating around the view. And then I'm gonna
create some geometry. Navigating starts with your right mouse button where you're clicking pan and you can
pan around the view. You could pan on your perspective by holding
Alt Shift and right-click. Holding down the middle mouse. This little mouse button
goes to your quick tooltips. You can scroll up and down, and that'll zoom in
and out of each one. You also can of course, just use the right
mouse button for orbiting and your
perspective view. And of course, in
any of your view, you also always click your, your, your directional
pad to go up and down. That's great way of
just controlling when you're creating things, you can always come back here and change things
about your views here. Display. I think if you're working
with your display, you are definitely working on
your setting of your view. If you pro layout, because the idea is you want
to be going back and forth. How do you want things to
look with your display? You'll go in your viewport
layer was saying, do you, do you want for layouts? You want to. That's just a quick
way to get you started with controlling that. Visibility is when
you're starting to figure out what things do
you want to show or hide. You can select
particular things.
6. Chapter 2: Intro To Rhino Geometry: Now I'm going to show
you everything you need know about Rhino geometry. We're going to start with curve, then move on to surface
solid sub d and Mesh tools.
7. Lines, Curves and Gumball Editing: We start with the curves, mainly because it's actually very simple concept of a line
which is just two points. And that's obviously just
a very simple contract. You click on a line,
you'll get three things. Who got the little gumbo and
then you'll get your point, your, your gamma point
is not as useful here. I guess you could just
move the object using the sort of big arrows. You can scale it. It's not too much. You can offset it and total extruded with the little point. You are treated pretty much in the direction that
is looking at. You can of course, rotated
according to this axis. And it's all about the plane. With these that original, as you saw when I extruded, it, stopped being a curve. So that's an important
point to think about. For the gimbal. The gimbal really sort
of turned the geometry. I'm going back to just
the point, of course, but the point, you can just
be moving around the edge. There's no sort of
geometry in between. This is a really simple wine. And a lot of geometry is made out of these
simple types of lines. For instance, if
you're making box and this is a unique
way to make a box versus a point quantity corner. This is making it
with three points. But essentially this is just
a bunch of regular lines. There's no curve, no other
types of thing going on. It's no constraint
as well to a plane. You just kinda move it whichever way that you want to move it. Okay, so that's just looking at a very basic lines
and line geometry. And it's, it's gonna
be the same no matter how you constructed
a line is a line. Now a curve is a little
bit different as a curve has a beginning and end, but also as control points with different weights and
also different settings. Right here, I've just made
a flatline on one plane. And you see I can move
the control point, but it will affect
this calculated curve. And so that's all you need to
know about how this works. I can actually move the
point, particularly. But if I'm moving
the control point, it will just move a
calculated line in between. And there's of course
also has those gimbal that actually change the geometry as
well where you can. It's always extruding
and surfaces. And let's just continue with
the current information.
8. Curve Edit Tool: What we can do in
working with curves, there's of course some
curve edit tools. And actually curves and lines can both be
edited very similarly. For instance, this fillet, fillet is really just
put some of these here. The fillet is more
like this edge and this edge with a radius of its radius is just
dies at a point. Whereas if we're doing it, the radius of four, it'll curve with the
edge of that line. So it makes a nice
little curve there. That's useful. Chamfer just does a
pretty much a total of a perpendicular angle to the point at which
they intersect. And you also can have some interesting things where it's a little more
calculation of course. But if you're selecting
the curve that's gonna be going and
it will go to it. And it sort of looks like
a trim thing as well. And there's different options for filling the corners, etc. You also can do some
interesting things. So it's like symmetry. We just rotate. And the great thing about this, this is actually
going to just mirror. It. Basically doesn't really
perjured geometry in the future. With that edit, I'm
going to go back into the curve tools and see you
can also offset these curves. Just like you got to offset
if you're making a line. And that's a very simple thing. You can do with curves.
You can rebuild the curve if you've created one. So this is a curve
that's actually, it looks like it's two points, but it's actually going to
create those control points. If I want to do something
like rebuilding, I could just type
in and rebuilt. And whereas you
see my ten points, I have a degree of three. If I want it to be more curvy, I can make it more
control points. One less curvy. I can make it less. You see the degree? Like even if I wanted
to go to one degree C, That pretty much all
the herbie curves are pretty much going away. But if I make it to ten, see that it's definitely
in fact to be more curvy. And you also see like this
much crazier control points. And you have some options where you can make
it Sub differently. We preserve tendons or
create a new object. Those different options
with rebuilding the curve. And one useful
thing of that is if you create a lot of different types of
things with curves, you might wanna fix
it in that way.
9. Curves Review: That's looking at our
lines are curves. That very simple. Pretty much the basis
of a lot of edges. If you're going to create
other types of geometry, you can start with
simple curves or lines. Then it's very simple.
10. Surface Basics: Base item for translation from a curve is a
surface like here. So this is just
lifting two points. We go to the surface menu. These are make, making
them into surface. Same thing happens if you
click on that gimbal, extrude. That also is going
to be a surface. You can see here as it's
called open extrusion. But it is the type
of the surface. And as we've gotten into the surface world,
minds will continue. And I will also make a
creation with just looking at the fact that you can also
make a surface that's made out of just points that
just connect, right? And from a different, like we're going to select this. And each point can be adjusted. So that's really cool. I'm going to get the jump
gimble a little more now because it's
gonna be a little more significant
as you're looking with more 3D shape though
ally can be very three.
11. Gumball Plane Control: Let's go back on that gamble. So anytime we click on a point or the line itself
will go to the gumbo. The gimbal is gonna be the
center of the geometry. We have options with the gimbal. If we will have the gimbal, or we need to do
is we're going to be right up with gimbal. You click this point here, this little white
point on that edge. And what it says, it has options for where
you can split the Campbell, you can relocate,
it, can reset it. You turned off on you also can align it to different
types of plants. You're going to find
this going to be important when we are working with the 3D surfaces. But you also can do some
things like snappy or smooth dragging and
different things for how you're viewing it or
dragging with Directory. So that's what a useful. And that's going to be
something that you will see important as we deal
with these surfaces.
12. Surface From Edge Curves: So right here, I'm going
to end my service command. I'm going to do is really
joined these edge curves. And it's very simple,
simple thing to do. I'm actually just
looking sort of. It's located very simply. Yes, he can just
make a click, Okay, here, select a surface
for my curve network. So you see it sort of gives
it a lot of UVs here. I didn't need that many UVs. But I'll go ahead and click. Okay. So it just made a 3D form base out of the
elements that are used here. And this is a simple surface.
13. Rebuilding Surfaces: We wanted to change the amount of UVs, a lot of lines in it. We could do that same sort of thing of rebuilding,
build a curve. We build up these. Right now it's 736. We could change it
to aid in 2486. And you see that it will pretty much simpler is the,
the less curvy. But it's by a calculation. With the calculation
that'll determine how it looks versus where
the control points are.
14. Extrudes and Sweeps: So you also of course, have different options
when you extrude. So this is just starting again with those curves
is crazy curves. And if I wanted to just
do something like this, I just wanted to go ahead. And actually what it's
called is she long curve. I'm just going to select
the curve that will extrude and then
select the path. And this is like a rail. And the difference
between this and a rail is if I take
that same set of geometry and I create these
two curves on the side. So what I can do is and I'll show you us
a difference between that should alarm that
point and a sweep. Sweep has these two options. So I'm going to
sweep with one rail. That is irrelevant. Go by. This is the shape. You give like different options. But though it was a
little bit similar. And so the base understanding is that the direction
directionality, as you can see, the
curve went around here for my my sweep. For this, my shoot
along the curve. It did just pretty much
exact moving that curve. And now I'm gonna do a
sweep with two rails. First, row, second, well, then that profile, you see it, it got larger and a calculated. The new curve has a
went through here.
15. Gumball Surface Editing: This basic service, obviously, just having a components that
make a surface that's fine. That's a surface. Surface does not have to have
a curvy geometry. We get back to our
gimbal tool and as we start to play around
with this, now, obviously when we extrude, we actually just creating, wanted to brew creating
for the whole thing is actually now a poly
surface, white solid. So that's just really simply
going from a sample surface.
16. Creating & Editing Solids: We want to create a cylinder. That's going to be very
basic credit tube. If you choose a thickness
and no fill, sort of basic, we can of course
choose also pyramid, this truncated or a cone. And we have the
option of both cone and pyramid as truncated. Like I told you with the
gimbal, we have that simple. Now, the gimbal, you
select the object, it will just select
the whole thing. So solids are a
little meekness way. You'll have to
press Control Shift to select that unique face. And you can do that same thing. We click on that filled dot. And now you're working on
extruding of that face. So yes, you can select multiple faces and do a
similar sort of thing. You're just extruding that face and it changes the
geometry slightly. But also of course, just by selecting that
face Control Shift, you can move that face. Make sure you're clearly
selecting the object. It turns black
when selecting it. Or you can do the same
thing for the point. And that point has its
own particular options. So you can actually, even when you're looking
with the face will curve, you can be working
on the curves. For instance, like I
select that curve. Now if I choose a face,
I can pull that out. And again, like I said,
you extrude these. It's a little different
versus off-setting it. But now, how did I have
this outer edge here? I can always just
scale this part. Or I could even come in and choose that surface because that's like
its own world. And unfortunately it's
offsetting it and it's, it's trying to calculate what's going on curvilinear early. One way you might
want to do this really is just sort of do it. If you are trying
to do it again, you would maybe
select that face. And you can actually select the curve
instead of the face. And then you will offset there. Select this. Then you
want to scale it. And what did you
wanna do if you want to scale in two directions? Press shift when you're
offsetting that. Now, if you shoot up like that. Now you can create a
little bit of a lip. So it's a unique sort
of feature there. We can also, now, if you choose to maybe create a little bit of a calling back down, can do this. And this is by pressing
Control Shift on that face. You have this unique things
that were operating. So obviously the surface
that's curved is a little bit different
in terms of offsetting. But intentionally that's
what you're doing. You're working with a face
or a surface of a face. This course easier
to figure out here. But this is all
working with surfaces. And they are pretty
much calculating the curves as
you're going along. And the great thing, of course, is also, if we want it to come out here. Now, you see where I
was before clicking here and trying to carefully
make sure to offset. The offset is going in the
direction of the sea plane. What you can do is
you can click on this little white box and change your C
plane to the object. So now by the
select this offset, it actually is going
now to the normal. So what we can do of course, is to things like how we can be scaling and doing all this
great stuff to the normal. Now what I'm gonna do is do like a funky
little command here. Then going out. So what we can do when
working with surfaces, and we want to sort of
maybe loft connection. We can always just click
on a face deleted. And we can just loft. Just choose this
edge and this edge. Join that here. We can do an edge by edge. Just make sure that it's kosher. And just go ahead and
click it and click Join. Now that's made a unique sort of bit of geometry
and that sort of liberal harder way actually
there's easier way with sub d and also mesh. But essentially that's
how you are going to operate in when you're
working with surfaces. And it's gonna be hard. I'll let you work on it. More curvy surfaces, pervious surfaces
will still have that same sort of inflammation
operating underneath.
17. Slicing Solids: You can also cut
through the surface. You can also do something
like create a plane. I think this is obviously a simple way to have
a cutting curve. And essentially versus
haven't extruded or anything. We can just choose how much it's going to take
out of the material. And there we go.
18. Extruding To A Face: Here's some cool
things you can do. With a surface. You choose a face and
if you want to have it hit another face at
its angle, can do that. You get a in both. Move the face. This one. If we go back, select the face space, now
select the boundary. It just loses trait there. But you also could
have extruded that. And pretty much lets you sort of do a little
bit of a connection there. So that's an interesting way
of connecting these two.
19. Editing Surface Points: So another thing that we
can do with services there, well, I told you to shift controlled way to
select a point. You also can do is
turn on the points directly with the button here. And the thing about
that, of course, is you still want to
try to keep control, something like a gimbal. Because when you start
distorting these surfaces, you start creating
different ISO planes. There'll be mindful of that. Surfaces are a calculation.
20. Creating Surface Holes: Now we're looking at
what do we do if we want to maybe draw some curves, start doing a little more
interesting geometry edits. We can actually just
go to sea planes. And what you do is the
C plane to a surface. And it just asks you, which is x, which is y. And then you can start
drawing on that plane. And that's gonna be
really important because you have now the option. Mixing between the
surface and solid. Do something like where
you could add a hole. From the point. Though you'll collect
the closed planar curves and select the surface. And the idea is this, the jump tree goes
in a certain depth. Right here, you
see it's gone in. In fact, I was wondering if we could just go on partially, but it did go and hold. And asked us one way of
doing something like this. We could go back and say, oh, let's choose
another C plane. And let's do a
similar operation. But if I want to do something like something a
little more tricky, I actually can always just
work by splitting a face. And we can just
select an object. And we select the
objects, I will split it. And only difference here is that we don't have the extrude, but it's no worries you
can do it very simply. We could just click
on both of those. And you will be doing that
sort of extrude sort of thing. And now you just do
plain are surface. And now you have a closed sort of hold that has unique feature. That's just a general idea
of if you're something but you can always make holes. You also go back to your tools and you could delete a whole. You could even do that
with this object. Only. It was made with
a different way. But the ability to repair a solid are sort of
built-in to the geometry. And those are your basic ideas
of working with surfaces. Surfaces are nice. But of course, you are
constrained by the calculation.
21. Intro To Meshes: Let's start by looking
at different types of meshes that you
can make in Rhino. First of course, the mesh face
is like a starting point. You just select one or
three or more points. Obviously, the simple 3-point
is also a mesh phase. We go to shaded,
we'll look at that. Just goes back to that
same gimbal abilities where we can click on that middle to click on
any direction in general. And the idea is, of course, these were made
with the same macht man. So actually you're building it.
22. Editing Meshes: And what we can do is
we select on edges, we can always
bridge those edges. That's a great little
function here. And now we're going to select on a unique face can move it. And I believe if we of
course get out of plane, we have other options. But that's our mesh. And if you choose one
particular plane itself, we click on that fill dot. We can extrude it out. We can scale it in
one direction or press Shift shall scalar
multiple directions. We have to give more set to the particular object.
That's really nice. We can rotate it a little bit. I have it on our ortho, so it's a little limiting
their turn off my ortho. And that gives me different
options for rotation of that. And we can do, we can always just once he just offset it, then we can go
ahead and scale it in a nice little way of if we're trying to just
build from my face, yes. Keep pushing it and it's
not really a calculation, but it sort of has a
feeling of calculation. But you also have this
ability is I'm going to shoot here to let somebody
to their faces. You can actually bridge faces. So that's something
different from surfaces. You start to have some
unique abilities there. And you know, you can
just keep shooting. Shooting. Of course,
getting smaller every time. You start to see
how you could come up with unique geometry. In this process. Then at the end of the day, you could be bridging,
creating unique handles. And because the matches
all sort of edge ID, you don't really see
curve languages. But it's of course
unique how you would sort of this
video along with it. And with this mesh, of course can rebuild. But just rebuild mesh. And it's a lot simpler. It pretty much it just created vertexes where there
was none before. So it's just making
it a lot more clear. It's not as complicated. Meshes are lot
symbol because this point's really points
of the surface. So that's just working
with basic mesh. You've got a couple
of things that you can be doing with it.
23. Mesh Solids: You could create a
course and uniques are basic mesh geometry.
You start there. When you click on juncture, you can choose how many faces
vertical and around are. Square. Your X, Y, and Z count. Even with the sphere. Yeah, the choice of
choosing the radius. And then gives the
vertical faces. If we want to do 20 or 32. Thirty-two, it's going
to be more curvy. Again, that's not a calculation,
that's point-to-point. Could select any of those faces. You can move it.
And it still shows, it does show a little
bit of a calculation for non planar. But if you rebuild your mesh, it will try to
correct some things. But in general, there are some places that need
to be triangulated. You can always press triangulate and it will actually
make it a little more clean from where it
was and triangle. It makes these surfaces perfect in terms of each point to a line
versus any curves, because there's no
real curvy points in a mesh or curvy lines.
24. Editing Mesh Solids: And so that's your mesh. Different types of things
that you're working with. With editing mesh is different. Differing relationships to your normals contain
different edges. You also can of course, change in a surface to a mesh. And also you can go back and
forth and that same way. For instance, if I go to my solid tools and if I
create a truncated pyramid, I could turn that into a mesh. So simple way of turning
a NURBS object into mesh. Is this really the first mesh
command from NURBS object? These options
you've got preview, well it's kinda turn
into the match. Fewer polygons is
definitely going to make it look a little less neat. Mock-up polygons
can be more neat. But it's obviously useful when you do something like this. You actually preserves
the original.
25. Offsetting A Mesh: Just like you would offset
a surface. For instance. You just offset that mesh. Now have this ability to
have these two things here. So be some interesting items, especially if it's
not a closed mesh. For instance, I
had to open yeah, that ability to create some
unique spaces with that.
26. Duplicate Hole Boundary: And you can also duplicate
the whole boundary. That's also, of
course very useful. The similar thing to
duplicate border, is this a duplicate
that whole edge.
27. Mesh Edgeloops and Inset Functions: So here are some other
useful features. From the edge roles. For meshes, we can choose
something like a double-click. You'll choose a loop
of a mesh edge. And you have the
ability if you're wanting to maybe add
another loop to image, you can just click on
something like an edge. You see like I'm created
in-between mesh leap there. I could do a unique
thing where I stitch. I'll just look at this
stitch item here. And so you're going to select
a vertex or set of edges. So I just double-click here
or mature the click 12. That actually stitched
together. That's nice. Told you the abilities
to geolocation. No, My pulling them
out upon the man. That was nice way for
this to become one. Match this cleaned
out the top one. And you have the
option here also for mesh edges where
we select a face. And the second, come back here and make
sure to take off oh, snap, ortho grid snap. I have the ability to
choose my headset. And you do ten, could do 20. I could do 2520. So that was the lines were
a little bit confusing, but actually the same
thing was happening. But it was nicely that it
didn't just created it. It created it with a
proper edges in between. And then I can just
choose that face, I can shoot out or anything. So that's a nice way to get something based on
that unique face.
28. Mesh Creases: One thing that I have
here in the model, you can see this is Thomas. It's a little bit of a
crease. In the mesh tool. You have the ability to not exactly a crease and
create it or move it. And you see that how that
affects the appearance, I'm decreases more apparent. Things like sub D. As
when you're moving it, it will react differently based on what you're looking at. Especially if you're
looking at things. But one thing you
can, of course, I've edited, can
always remove it. The crease allows it to
be like a perfect cut. But when you're moving
it's like it's smooth. And it will be clear
when we look at sub D, What's going on there.
29. Basic SubD Planes: Somebody IV is a
different world, but similar ideas to working with different things
like surfaces and edges. So we're going to create a single sub D surface
is similar to that mesh. Where you just
creating, you know, either one or maybe
you're actually creating multiple mesh parts and ideas. You're pressing Tab. And it will pretty
much turn it into a subdivided element or a regular element
just with the points. And you really only see in the center when you click on it. But if you wanted to select that point to the points in it, you would just make sure to
click here Control Shift. You can select any
of those points, those edge go to, and you can
select any of those edges. So this sub D was set
with the count and the y cal sub d is
going to really be each gonna be like a one
face that's like a mesh. It's like one plane.
30. SubD Solids: So we will create some
of the things that you can make with sub D. We'll look at how they
look before and after. Subdividing. Each one of these
has their own set of commands for how you make it. So I just simplified it. So the idea is if you know that when a subdividing and I'll
go into shaded mode, it's going to be a little curved that you don't need to have
too many of these, the more subdivision
you'll have. For instance, if I didn't already want to have
that much from my arm, my R sub D truncated cone. I just would make sure
my vertical went around faces so much so
that the vertical, it'd be three round
faces are okay. And I will just
simply about this. So you see, this helps
me have better control. And as I come in here, I want to start moving these. It's just that smooth big
edge versus if I'm moving something and as somebody that
has a lot of these points, It's a little less smooth. So that's a reason
to keep that simple. And so, yes, you can make different things like
the sphere, though, when you look at it,
it looks like a mesh, but it's calculated already. So ideas you can just keep it. Simple. Thing that you can do. So just go into the next level. With subdivisions is you
actually can also sub divide. So you see this. So it makes it a
little more complex. But ideas, you really
want to maximize your control of this
subdivided geometry. You can shape what you're doing.
31. Editing SubD Objects: Let's go ahead and start
shaping some items with this. And really start with
a sub D box too. It's really the
easiest to really work with your starting off. And I'm just going to
keep that S count 11. Okay? And I'll go back to
the retina mode. So I can do the similar sort of thing where I'm offsetting. And I can move that phase
I going to offset it. I can do this very simply. A skill that and I can move
it in my edges as I need. And it's going to be more
useful than doing it directly. If I double-click
on a set of edges. With Shift Control,
I'll select the loop. That's really useful. And now we're going to start looking at some more creative things
that you can see. I'm gonna go ahead and
extrude this. Shoot this. What I have now is a
crease, arbitrary. Right now. It's the creased edge. We can just simply make
this into an edge. That simple set. It's going to happen
right around. My suddenly tools. Dislocating that right here. So we can just add a crease. You see that sort of effect. That crease is very clear here. It's like I keep saying that edge, there is
something within. You could do the same thing on different faces where
you really make the presupposition
that makes us face, in fact, look very flat. Curve the edge. So
you can do that. That's a great way of
if you're trying to do some unique things with a sub d. But we can also do
some neat things here. For instance, have the ability to like before where
we're extruding up. Now one thing that I'll show
you about this shooting and make sure the
object is our gumbo. When you extrude you're
shooting wants to face, it's not really connected. That's important thing to know. You have this similar ability. Let's click on that
similar ability when you're moving that sub d to choose two of
these sub D faces. And bridge gives
you the option if you are going to turn it
into a joint or accretes. So let's look at it as a crease. That crease makes
it very clearly. But we can always
go back and remove the crease and it
becomes Kirby. Again. It's nice way to make
something like a handle. And we always could
come and delete a face. And they see that I can mix a
little bit of a hole there.
32. Reflecting SubD Objects: The mirror command in
the mirror command is actually reflect more
on this, this world. We just choose a point at
which we're going to split. It, will choose the
side I want to keep, choose that direction,
was finding it. So one great thing
about this now is before we were dividing it and changed each
side uniquely this time it would do them together. And I'm just
selecting the edges. You see it moves on both sides. Scale it scale together. So this is a unique
way if you're trying to keep your
geometry the same and I'll same actually happens
when you're extruding and unique sort of way how it will
operate when you're doing these elements as well.
33. SubD Edgeloops and Inset Functions: One thing we wanna do when
working with sub d is sometimes we want
to inset a face. And that could simply be done
using our inset command. Or we can choose where to
start and would come in. And of course I could
help us still mirroring. So you see, now that we
have this, it's gone here. It's pretty nice.
And we also have the ability to, you know, for instance, if we wanted
to be a little more defined, we can insert edge loop, right? He just would select
the, you know, the other thing this wisely
to where it's going to be. You want to salute
edge loop and it's probably do better
to do it here. So you see, it's like up there watching his first lecture. Does stone-age see what happens before and after that edge loop gives it a little
more definition. And also talking
about that edge loop, if we will select that shape. And something like this, it might not be that
what we're looking for. But who do it back here? It's definitely going to be closer to what
we're trying to do. As we get to. Now see before and after that
as you gave it definition. And we of course, if you want to insert
sort of an area, just need to choose
that starting point. And now you see if
we shoot it out. We have that unique added
formula that we have two here. Of course, we can always shift control and double-clicked. And where these are
not currently creases, we could turn them into creases. Now, have a really defined
a little edge there. So it's great way to
be operating with that sub D form
and it's mirrored. So we're just playing along
with what that would do.
34. Stitching SubD Objects: Now let's look at what
happens when we want to go in and maybe take and
joined some sub d, not just bridge, but actually joined a uniquely formed part. So I'm going to create
actually a sub d of the colon middle copies
something like that, larger. We're going to scale
this to be larger. Let's select an edge rain. Just shoot it down. Select the edge ring. On this side. She did down. We shoot it, it can
scale it a little bit. And I'll do the same
thing with this one. Shoe that down. We want to do now
is now a function where we're taken
off one of these. Now we're going to stitch these. And we're going to use
this edge and this edge. And we're going to
click on stitch match. Essentially it creates that joining point for both of these. And you know, we have that option if we want it
to stitch these as well. So a stitch. Just make sure that that's
ready for stitching. The first set. Second set. Same thing. So now we've actually made
one sub D geometry match. Of course, we always
have the ability to create maybe a plane
that keep things in order. That's also an option. For instance, if we want to maybe we should
that point a line, a line to a plane, select started with
alignment plane. And turn off grids
that a little bit. We'll just use the
snap in the model. Do that same thing
with the other one. We're just going to go buy. Again, we said that plane. Now I made a little more
cleaner geometry and location.
35. Geometry Conclusion: So this is some basic
working with sub d. So d mirroring
best geometry sets and different things
like bridging, stitching, edge loops
and inset faces. The words the limit. Of course you can do a
lot of different things, just break into this command. But in terms of getting
the introduction to doing great things and somebody
and all the geometry, I think you're ready
to get started.
36. Chapter 3: Intro To Modern Home Project: We're going to start a project designing a modern
house in Rhino 3D. What you're going to get
out of this is going to be a good understanding of
the elements that are needed and also the benefit for working with Rhino because
R1 is a great 3D modeler and help you format ideas using views and the tools
that are available. First of all, look
at the idea of using the House form and
why it's important. Essentially there, there
are some major house types, but I chose modern to contrast with the
traditional house, right? So the traditional
house has a lot of elements and the modern
house on contrast. So this is a traditional art
that you're seeing here. The modern house is a
little more simplified, but it's also more pure, in
which you're working with. You'll have elements
like roof, like windows, like walls and floors
that are put together. And they had to be
placed in a unique way. But for modern,
it's also the same, but it's more of
a perfected ways. First, for instance, you can create a unique sort of
arrangement of windows. Though you have
freedom in any type. I think some of the
elements are gonna be cross between the two forms. But for the purposes of
this exercise is good to simplify because of course we can start getting
into a lot of detail, but it's good to
learn how to work with simple forms to create a simple geometry that is also beautiful before moving into
more complicated forms. One of the things that
we're gonna be using is going to be view based model link
for this exercise, we're going to be working
with plans and elevations. So I'll show you what that
means in a few seconds. Also will be working
with 3D views. That's either
perspective or throw. Essentially. Again, if you have
experienced this, it will be repeating some of the things that
you probably know, but it's good to have
that basis with plans, of course going to be looking at a 2D representation
looking down. So it's like a level
of a building. And we're gonna be using that when we're looking
at the elevation. This is going to be important
because we'll be able to organize what we're creating precisely versus
just working in a 3D view. However, we will be going
into the 3D view to sort of perfect and refined what we're doing with our
modeling and house, of course, is going
to have lots of different elements both
inside and outside. We're going to simplify
this base exercise starting on the outside. So here's some important
commands and run with it. We're gonna be using
for this exercise. We're gonna be
definitely looking at different ways
of working with geometry and talk about the
tools a little bit later, but would be going into
2D and projected curves. We'll be looking at sketch lines while you're working with
things like properties. For each object, things
like line thickness, the materials and layers. These are gonna be ways to
help you control your model. And these are going
to be essentially the assets that you'll
be working with. The tools that we're gonna be working with are going to be working on basically choosing your custom commands using command aliases. You'll be
learning how to do that. You will be also
going to have to work with geometry editing, including moving edges,
which with gumball editor. Also working with
geometry division for exploiting, joining, splitting and trimming elements, where we work with solids
as well as curves. Where I was going to work
with geometry derivatives using things like Booleans. Also working with
tools like shell, also offsetting and extruding. And we'll also be working
with array curve. That's a way to use advanced level of a derivative
from copying one object. These are really important
because of course, there's a lot that you'll
be working with when making any sort of design as it gets to
an advanced level. So being able to create a base idea and then
editor what you want is going to help you command and create
something that you like. So let's get into that
Rhino environment to create this modern home.
37. Setting Up Rhino View, Grid and Alias Options: So we're starting with
our modern home project. So I've loaded a reference file included for the reference
secrete this in 3D. It's a 2D instruction with
a plan elevation using the maintenance sewing
levels that can help you be informed as you
put this model together. So we'll go through
that together. Also, one of the things that we're gonna do in this project is we're going to make sure that we have some key settings on. So at the bottom you
see that I've set up a particular set of endpoints, middle intersection, perpendicular
settings as my snap. And of course my
whole staff is on. Also, I've made sure
to click on project. I'll be using that when
I'm working in 2D in any view to make sure
things are straight on. Also, my gumball is turned on. So we'll be using
that in my editing. Will also go up to
the Tools menu and look and see the options. Because I really want to have particular options on
what to have my aliases. So I have some key aliases
like SEO for copy. You see in the left-hand
side we'll put the thing, you'll type in,
the command here. It will go to and you, of course we see that in here. I'll set up for different
elements like for movie Edge or move face also match properties also for polyline
and so on, so forth. You just take a screenshot
and use some of these if you would like. I've also set up my, my view where I wanted to set up a particular display
mode for my wireframe. And I set that up here, choosing a solid
color background. This might be a
useful way also to make sure you can see
when using the grid. And I set my grid to
be transparency of 75. I'll also set up
my grid here and my grid properties
as six inch spacing. Also some useful ways to get you started for working
on this project. And you could start from there. There'll be a lot easier.
38. Creatiing Roof & Walls: The first step in modeling this is the work on
sorting our layers. After this setup is done, we're going to make a
layer called Sketch. And then sketch we're
going to go ahead and make both a little bit
the 2D elements for those 3D forms that
we will be creating. And since this is actually
a regular set of lines, actually can just
draw right over them. Again. The benefit of
working the sketch layer, what I'm going to turn to
be dark green is that I will pretty much
have control over these layer lines or
no, which is there. And I got to turn off
my reference line. Okay, so I'm gonna go to my standard menu where
I'm working with curves. And I'll go ahead and just
start and just work on these. Now, when I turn off
my reference layer, I actually can, of course a
straw but the whole time, or because I want maybe more specific elements
like for instance, my offset, something I'll
just use my Offset command. And so again, we'll be
using offset quite a lot. Offset works for 3D and 2D that officers
surfaces of 3D form. Okay? I'm actually going to create this in two different methods. We're going to go ahead and make sure that our lines are gonna
be on the sketch layer. On this right-click
on this layer to move objects to this layer. By changing object layer, I'm actually going to copy
this base here to 60. What we're gonna do
is in our elevation, we're actually going to be
making a line is sort of show those levels for how tall the
building is also its slope. You see here we have 10 ft and 14 ft are the two
edges of our slope. And so what we can
do is come and make sure that our layers on Sketch and we just can start
from anywhere back here. So I'm actually going to do
negative 60 ft and zero, and we're going to go
up to 60 ft and zero. That line just go
straight across. I'm going to copy it up using
SEO and they go up 10 ft. And of course
that's released it. I just set it up there
and I'm do 14 ft, type that in and it shows me sort of constraining
the ortho. And then I have there's there this extra one I'll take
out that was by accident. Just making sure I can still use them to make sure these are
ad where they need to be. And here, those are going to be
guiding where everything is. And since this is a
little bit overlapping, my jump to here, I can always just come back, get my selection window
and move it over so it won't be overlapping
the geometry. And so what I'm gonna do is I'm going to do two
different methods here. I'll turn off my reference line. I'm going to work just by extruding the curves
and one sort of working with this as a 3D object. Okay? So what I'm gonna
do is I'm going to extrude both of these. Actually can shoot
them at the same time, but I'll do them separately. You could also showed using this dot here with gumball tool. But I'm gonna go ahead and
just use extrude curve. Make sure that solid is the
option when I go up 14 ft. Alright. We'll do the same
thing for these walls. And some of the lines
or accidentally moving. So make sure that the move and we're going to
shoot this up the same, that 14 ft, right? But here, what we're
gonna do is we're gonna go ahead and
pull this down. And this is gonna go down negative 4 ft. And pretty much I just selected that also
can use move edge to do that command that does the same thing as selecting
the edge and planned out. What I'm doing here is
I want to now offset these same dimension of 6 ". So actually shell command is one way to move a service
when the policy service. However, the issue is that
this is actually gonna be extracted as opposed to like, I wonder you want to
keep a floor here. So one way to do that
is actually to use my explode or extract
surface command. And when you look
over the command, remember which is the
button that is saying so is the right click. And I'll introduce
select that surface. Now that's going to be
separate from geometry. And wanted to do now is I
could use to offset surface. And I want this all go inward
and it's gonna go at 6 ". And just make sure
it's going in there. It should be going in. So now you can see
that it's offset it now it didn't make
it a solid object, which would mean
it would sort of made it a base of that wall. But I can use this one and
use the split command. To just go into it again, I'm going to split this, which is not the ground. And I'm going to split it
with that internal box. So now we have a floor and
we have all this lines. Now, there's a reason for when making it as well
sort of separate that you would keep it separate because essentially the roof
is a different system. And as you start
developing architecture, you typically want to
have those separate. So that's another method. And the way I would
do that is again, project modus is on. So I would just choose
two edges where they are. That edge at ten foot
and the 14 foot. And what I would do is
scale it up a little bit by the base point b2 and create
essentially a cutting plane. And the idea is I want to make sure that it's
extruding this way. So you're using the gumball
to is going to help that way. I'm just extruding
that out over there. Then I'm moving
the whole surface. Now what I wanna do is
actually trim this. And this will give me the
base for my, my roof. And go ahead and just do trim. And we're going to
cut with this object. We're trimming out this. And I'm actually going to use
trim of this object trauma, both that and this top one. Now I have a separate
wall systems. And what I'm gonna
do now is create a layer for the walls. And this will be on that. This
method is a little better because I'll turn off my sketch when I get these
into the right layer. Change object layer is because I now have separate
systems and I'll just make a roof by
coming back in here. And sort of doing a, hey, sort of wine or so
actually in sketch layer, that's fine. I'll
just come here. What I'm going to
do with this line that's just made is
this offset this. And of course I have
this sort of slept again, but it's all selected. So that's fine. I'm offsetting that 6 " because I don't want
it to have like this little slope out. I just want to go
straight or just come in here and pull this in here. And the same thing for here. And again, as you see that i've, I've separated my
2D and 3D layer. But since I'm using a project, it's not going to interfere with where
my point is because sometimes it'll align,
we'll go in and out. But you can see here it's stuck on my C plane and
almost the plane. And I'm going to
actually use fillet. And I just typed that fn. That's when my shortcuts and
do the same thing over here. I just select that right curve. I select this here. In here. I can just join. And so all I need
to do is take that. Now I'm going to turn
off projects so I can locate this in 3D. She's here. Now I'm going to
use extrude. She'd curve. And I can just move it
over here and there. I have that solid roof and I'm going to go
ahead and create my roof layer for my walls. I was going to set
it to a purple. This is sort of
diagrammatic right now. Same thing can be done here. I'll only it's one
particular object. The solid method is useful. Save to us it brought the
level up just a little bit for working with this sort of
separate system method. And that's the
preferable method. So that's how you create
that basic shell. The next set of
things we're gonna be working with is adding things like the windows.
We're going to cut that out. And the idea is you want to
see some of the Booleans, more trimming and
separating so we can have the systems and the
model that we would like. Also for floor. Don't worry, we can always
come in here and create a surface that we can
use that as our floor. And what I'll do is
create a layer for floor. But we're not doing
that much with that because we're just
doing a basic model. But go ahead and
put that in here, is playing corner to corner. First-line gets in. And
just make sure that, that that whole
geometry is on floor. Okay, The next thing we're
gonna be doing is adding those windows and
going into this form.
39. Adding Windows Via Surface Editing: So now as we're going
into adding windows to at least make this form
over complete design. We're going to go
ahead and restart. And we actually could
start with a solid. We don't really have to
extrude all the time. I should do corner, corner
heights and just really choose element that we're not actually going to
subtract out a remodel. I could just go from edge to edge where
that's going to be. And it's talking
about the height. So I can actually go
into my perspective, choose that now
height's going to be actually the height of
the windows I have here. This actually is
measured at 6 ft. You can always do
the demo yourself or DIST that measures 6 ft. And all I need to do
is make sure that this is coming down to
the appropriate layer. Pulling that down and then
using my gimbal to go up 12 ". And the way you do
this, and again, this is going to be like
just a second method. I'll go actually put
that in method two. So I don't really need to use that reference for
us and close that. Okay, but for here, what we can do here
is we wouldn't want to subtract this from here. And we actually have a little bit of another
option for that as well. So essentially, when
actually copy it, and it's now in my clipboard. So now as I do this operation, we can actually copy back
end because we want, we do want this geometry that
it's actually been removed. So now I'm going to use
the Boolean commands and we have some options. So you type in Boolean, you see some of the
Boolean options. Boolean option is also available
on the solid tools menu. You can go through here. You can find some of the different ways that
things can be organized. But really, if you go to
solid and you look down, you see all the
Boolean commands here. Union is when you put
two objects together, differences when you subtract
something intersections, we take the product of two
things that are intersected. And then there's
some other options, But I typically go
into some fly here. So you see how the
Boolean works here. So Boolean difference. And that will give you the
command as you go in and says the objects that
are subtracting. So this is my walls. We can subtract this form. So the great thing about
this is we already have a cutoff for Windows. And you see like
it's a solid cuts, so I don't have to remodel
this particular edge. And what I'm gonna do
here is I'm going to paste the object that I copied out because I really need
this set right here. I need these two edges
or these two faces. And so what I'm gonna do here, I'm going to explode this. And I'm going to select
the ones I want to keep that face and that face
to the everything else. So now I have this that
I'll use for my windows, but I actually want to join it. I should want to offset it. So I have a bit of a profile. The way I have it here
is it goes into inches. So we can do that here. We'll get offset
surface and we choose to retirement for the
distance. Just click on it. Now it's gonna go in.
I just press Enter. So now I can take this away. Now have this bit
that's going in. So we can do now as pictorial,
my reference layer. So now I have this
is my Windows. Go ahead and create
my window layer. You also create your
windows at once. You don't have to wait to create something to get
the window is made. But I'm gonna go ahead
and just transferred here to my Windows. And I'm going to
offset the surface. Before. I said not to make a
solid at this time, I will make it a solid. So now I have a solid
system forming my windows. That just makes it a little
more realistic question, use one surface, but I just wanted to be a
little more realistic. So the next thing I'll do is I actually can start turning
off my sketch layer. I do have to make the door. The door is gonna be over here. I also want to make
some millenniums.
40. Adding Mullions With Arrayed Pipes: So work on making the Ma'ayan's. First. We're starting from audience. It's important for us to know like a line that we're going to be arraying these items on and I'm going to
need a layer as well. Go ahead. Two layers. I can use the other ones later. But again, I think sketches still going to
really be beneficial here. So on here, my 2D elements
that I don't want to keep. But right now, I
just know that my Ma'ayan's I don't want to create too many lines and how to, how do you actually
get elements here? One of the benefits of the array curve function is that you actually can use a line and you'd get 3D
geometry from that. So we're gonna go into the standard menu and I
actually just creating lines. We're just going to create
a line that goes from the top or from the
bottom to the top. Right. And all we need to do is array this on a particular curve. So if we choose a path
curve and then now this is the curve
of this object. And it tells me how
many objects do I want? So let's use eight. It will be setting up eight
of these on that curve. And you also have option
for if it's free form. And it's sort of it's
already finished. I can start that again. Re curve, select
that path curve. It's still in the
command. I can choose free form and choose
road like this, of course, is going to be
more evident when you see it. Working with sort
of maybe a curve and find a so to say rule-like. And it also has
option for distance. Okay? I'm fine for its sort
of figuring it out. And so the idea
is one thing for, for how this is
made is that it's actually going to
particular edge. And if you want to
do it that way, you can sort of use it that way. But also, if I wanted to
just select these and getting this small universe from here all the way to here. I could just do a
simple editing method where I just scale in 1D. I could choose one point. And here, and here, We're choose the
beginning point, end point and where
we'll switch it to. But in other ways to
get and go back to my sketch layer and
create a temporary curve. Because sometimes
we don't know if a line is actually divided. And we knew that if
I choose this line, I can know exactly where
it starts and ends. So if I do again
that array curve, but I want to make sure that
this is on my sketch layer. I could do a ray curve
and select the object. And I'll go ahead and array
that on this path curve. Now, what I'm gonna do is I want a particular sort of distance and you see the distance
already set up here. So that's fine for me. And we'll go ahead
and accept that. However, I will come back out and sort of choose this again. And we're going to
choose the path curve. That's the right curve for us. As you can see, sort of. Again, it does cut it off short. That's because it is the
way that it's arraying. It is based off of distance. I think 18 is still fine for us. But because I changed it to two, the number the distance changed. So just be mindful of that. If you do distance, it'll
put distance first half one. But if you come in here
and just do a number, it'll set that up to
working by that number, so it's a perfect set. So I present, we have
our margins setup. I'll go ahead and close
that temporary set. What we can do to make
these volumes moralistic, we can select these objects and go into object properties. And we have some options here. One option is called
curved piping. And that's where we
can create a, a pipe. And actually it says
about 1 " for that pipe, we can actually
reduce the segments because that'll take
longer if it's bigger. Pipe on. So it, another set of curves
that might be valuable, even though I turn it off. It is actually the top and
the bottom of that curve. Because the idea is
that when it's done, just diet to the sill here, but still being this
little plane here. So one way to get that
pretty simple is again, versus even using
that to break her. We had we can, while
in the morning layer, use the term actually do edge, duplicate edges also
in your curve menu, as we convert from object, we can duplicate anything. But we've already
said that up with duplicate edge and
sometime 3D object. You don't know when
it starts and stops. So just be mindful. Lecture covers air
you're looking for. And this one as well. You notice again, this line
is not included in that. So I can do this
either, include that. And also I can do
the same thing from the top edge here
and to this edge. And all I need to do
is select it here. And this is on the moist layer, but since I didn't set those up, I can just come back over here to the same sort of
formatting I did before. Click on. Now we have that setup. Now if you want, of course, one thing is you have to, if you want it to
go all the way up, so you can always
choose that option, just move that lineup. Again, these are pipes and their according
to the top level. So if you go into wireframe, you'd actually see them
because it meshes. But you can always take one of the points and get it to
where you want it to go. So I can pull that up there. Here. This material, but
it's fine for now for representational use. Okay? So we have those moments
and those look pretty nice. It's a nice way of
getting that detail. The next thing we'll be
working on is the door.
41. Adding A Door: Now we're at the
point for adding our final element
for this model. We're actually, we're
going to come in again and be a little more creative
with some of our edges. But I was adding a door. So if I just wanted to
add a door in his face, again, there are always
multiple methods. But we know immediately and the door is gonna
be on this side. We'd have to find a way of removing it from
the other geometry. So the first way is we actually get
started with the solid. And we just choose the
two edges for side, side. It actually want them to
align with the windows. So actually if I just
choose some closeness, you'll see that it sort
of match the white point. So what I can do now
is already set up. I can just simply again do my Boolean tools,
Boolean difference, subtract from this wall and choosing to
subtract that door. And you see a nice solid
little space here. Now to draw the door n, I could just use the
same set of solids. This is a three-foot door
box, corn corner height. I could just do
something like this. But I know if I wanted
to do like 2 ", I could just put in my add
sign to get the location 2 " down 36 ". Let's do feet. Right. And it goes in this direction,
but it's still fine. I'll just move it to
get to where I needed to go and start at the top. But we're actually
going to go down. And pulling it down. Here. Again, we didn't put on project. That's why it's sort
of just located at the top versus the bottom. Actually, we're going
to just move it back to this location here. And actually that
is right location and that's totally fine. And of course we
can always rotate that in any particular drawing. We're going to work on
making a plane later on. But again, that's a simple door, will be making advanced or
later on in this course. But this is a simply adding that plane and finding a way
to just created out there.
42. Adding A Site Copy: The largest part of this
exercise is really, you've already created
everything for the building is
to create a site. I'm just going to
create a site layer. But this is gonna be
helpful is and then creating views where
you're looking at. You can have something
on the ground. Though. In your rendered mode,
it sort of creates the ground or more in the Arctic load for it,
a little bit of ground. This creating of it in the model is gonna
help you have one. Okay, I'm gonna go
ahead and create site. Actually, pretty one
here is click on that. I'm just going to
make a large surface. Let's go ahead and put that
from corner to corner. And it could just
be a large mass. You know, and other
design, you know, this would be like
a little precedent for when I'm adding
other elements. I can go into it, I can cut out from it. I can even make it deeper. But in terms right
now, we'll just find a put that at that level. So that's gonna be our site.
43. Chapter 4: Documenting The Model: And so those are gonna
be my emollients. And I'm going to make
sure that they have a nice little dark material and black plus
gonna be metallic. And so now I'm going
to show my base layer. And we'll look at
this final House. And we'll click on Render. You'll see a little bit
of that render effect, not just in the model. Lacey like nice little house
with a fitting window. So this is, this is the
base geometry is simple, it's rendered really well. You can, of course, to save
that when it's finished, it's still currently tracing. As you can see, this
is the render window where you can just a couple
of options before color, the post effects that
you could do, right? And the program of rhino. Depending on the
size of your window, like I have a really big
screen, it'll take longer. When it's done. It gives you the option to save. You just save that project. There you have that. And that's your ability to render it. You also can go to your
rendering tools where you can choose some other
items you could do, determined that you want to have a particular type of
sky or environment. Different types of
lights as well. Little more advanced. For this house. We just wanted a simple our ability to
see it as a nice house. And the next thing
you would want to do, of course, you can actually
save that perspective. And just go here
and your name fuse. Just save that. It's protective front. I'm just going to change
the name, fix it up. And we can save this file. Just make sure to go to Save As. And here we are this base test. And the next thing is to
see about drafting this, getting some plan
and other views.
44. Working With Layout and Drafting Views: Getting your different views for maybe constructing
the project. Even though this is
just really simple, looking at a shell
is pretty simple. I want to double-click
and now you see that the drawings
are very diagrammatic. However, if I wanted to
go and create a layout, I can just click here. And this can make
it page if I wanted a tabloid landscape,
select that here. This is going to be
my elevation page. What I need to do here is I'll have a viewport that
I can move around and each viewport of a double-click inside
it will show me a drawing view so I can always
make this the plan view. But I said I want to
start with elevation. So I'm gonna go ahead and
in here decided to look at the view by set for you
to my front elevation. And ISO can come over
here and select a scale. If I wanted to make a
scale, that one too, one, I can make my one-to-one, one hundred twelve be here. You can't really
see anything here. So I'm probably will do a
one-inch will equals four. That's one to one-quarter scale. So that seems like a nice size. That's this might
have an elevation. Of course, I'm just moving
this way with the style. What I would do from my drawing. I can always pan items. So they're moving. Just been moving the edges. I've been moving the
actual viewport. I could come in here and select, actually won't move out. Click on Lock. Now
let's change that. I can for sure click on here and change the shading
mode to shade it. Let's see, I'm on
the wrong side, so I'm going to
actually come back over here and double-click back inside and make sure that I have the ability to change this. I'm actually going to do back. Set the view to back. We're gonna pan a little bit. So good, see. And so now that's here and
I'm gonna lock it again. Now we're going to
test out the print. But one thing I wanted to
make certain is that we don't show some of our construction
lines in the final drawing. So now with our layer, we can choose things like
we have construction lines. If we don't want to see
those in this viewport, we can always come here and make sure that
we want to see the base. We don't want to see
that curved layer. We click that and it's not gonna be hidden
in that viewport. You go back to your
perspective view. You can still see it, so it's
just hidden in that layout. Now layout style here.
45. Developing A Plan View: Actually it would be nice
to see the plan view. I think it can fit
at this scale. What we're gonna do is we're
going to actually copy this. That's the easiest way for me. Select that and copy it. Now we actually want to now
put this as our top view. It's actually fully aligned. And if it's not,
we can always come in and change it
when I ask to go to the properties first and then when I go
to that top view, top view is a little bit
wider than we've had there. We asked you to move it
so we don't overlap. We're gonna pan within the view. Want to use our edges, move edges and that
reports these are aligned. What we can do so we can see there's a few
ways of doing this. We actually create
a copying plane. Now we're going to make sure that we can see the plan view. For this view, we
want to see the top of the model and we want to say actually
inside of the house. So one way to do that is now that we're
inside of the view. This makes sure that we're here. And what we can do is
make a clipping plane. Select the rectangle
area that we want and we can locate
it than a model. Say where will that
clipping plane B. We typically it's pointing in the direction
that I will shoot. We wanted to make
it that won't end. The option for clipping
plane is like, where's it gonna be invisible? And as I go onto elevation, we can see here that it's
chosen to be this view. That's great. And it helps me see all these little details.
46. Adding Layout Print Preview: Go ahead and control parentheses,
how it's going to look. The final drawing. If we
don't change the colors, it will use these colors. So what we can do is we
enclose this reacts, you can choose more
of a moral panic. Look, there's more
architectural. And that takes a little
longer to render sometimes. But now that we control P to
see what's going to happen. And we see, we have a
nice plan for the house. We have a nice elevation.
47. Annotating and Exporting Final Drawings: We're going to finish
this project by adding just a couple of
titles to the image. And we're going to make
that really simply going to start with some
annotate, annotate tool. The program is just about
clicking dimension points. This various commands
for dimensions. I'm just going to call
this edge and this edge. We have our 2040 size class to come in here and actually
draw swing for the door. What we can do is
always just have the Sono that window it apart. That's nice as well. And
we could actually put this on a layer, maybe just drafting. That's the default layer. Let's make annotate layer. What we can do is of
course also just make text for the interior
that Pavilion. Have some options here
for making your texts. What we could do in our
view here from elevations, make sure we see the ground. Label, that layer round. Live. It's not a
thickness that we like. We can always just
come in that layer in the print with maybe change
that to maybe a thicker line. You choose your different why weights will actually label
also that elevation for interior will actually label this pavilion plan
will come down here. I'll label that and
we're not just copy it. Seo. Still have the same
distance from that edge. Call this pavilion elevation. Click Okay. There we go. We have our elevation
and we do also want to, of course, make it neat. It's not currently centered. So we're gonna use our
edge to edge here is very simply more midpoint. Select all of our drawing. Midpoint organize. And we really make
sure the House middle, going to be in the probably. You can, of course
find that right here. You can see that middle
point, your indicator there. We'll click there. Instead of sort of
books on location. But don't worry. We're just trying to locate the movement of the dimension. And I'll just do of course, is this blue, these end though
it's not gonna be visible. Save the project.
I'm gonna print that out. Pressing Control P. I want to make sure
nothing is selected. So we print that out again. Nicea, our entire drawing set for our pavilion,
interior Pavilion Plan. And we'll just go ahead
and just PDF that others, this friend options for
your colors or what's copy. Do all that here. Your margin, cetera. Also your different
visibilities. You turn off things
like clipping planes. I turned them off of my layers, but you can turn them off here. You can also, of course,
his tutor details for your printer, your scale, but you've already made all this particular
scale to the drawing. You can always add some of
that information later, but it's just a basic way of getting your project
feasible and print it. And we'll just call
it base test home. Pdf opener. We'll show it. Yeah, there we have an
awesome little house made in rhino as a
little pavilion. And of course we've explored
also our 3D view and we also can just click
it and see that again. Prospective front. Now we have a complete project.
48. Chapter 4B Furniture: Creating SubD Furniture In Rhino : Chairs: Since we're trying to keep a
modern aesthetic to design, I've made a separate window because I want us to
work on a modern chair. And this is like this
little furniture piece. Just create a bit of
a modern table and a modern chair
within the pavilion. And so what we're gonna
do is I'm gonna start with is some deep box. You could R sub D tools. And this will be something we can just keep really
simple about. And I want to sketch out just a little bit
some of the design idea. I'm in the plan now and
I just want to make a chair that's something we'll close to 30 by 30. And
just measure that. So make sure our
units are right. So this is obviously in feet, so we want to obviously come
down and meet that inches. I'll divide that by 12. And it just sort of
small on the scale. We're just sticking to
make this simple chair. And we will be making
something that's about 4 ft high that people would
sitting and relaxing. And so I have like
some inspiration, but I think I'll just wing
it with some modern ideas. So what we could do is just start by using our subdue box. And I'm going to
turn off my grid. And I'm just going to just
go sort of naturally. I'm gonna go 30 " by 30 ". And now when they go up, I'm going to go up that 48 ". And I've done it where
it's five by five by five. And what I'm gonna do is
I'm going to go ahead and leave it with pressing Tab. Leave it on this,
this offer open mode. I'm going to just put a
minus selection filter. And that's what you have
right here for your sub d. I'm going to set it to faces. So it's already set to faces. Just come over here and just
start to faces that I'm not working with for this task. And in addition to this,
I'm going to take out some of the other phases that are now going to be that
relevant for this process. What I can now do actually is I'm trying to just really
going to take the edges out. And so the selection filter, Let's me just choose these particular pieces of
information in the model. Now, do the same
thing right here. This is going to
be my base form. It's a little bit lower. But again, we can work on that. So what I'm going to start
even to do is to take out these edges because I want to keep it
really, really simple. So what I'll do is I'll start to edit this a little bit for, for how the points are
going to be working. Essentially, I want
to rotate this out. I can do that in my right view. Just come back a little bit. Then I'll have these,
these little edges. Just start with the
points come out. But what I'm gonna do now
is I want to actually put this entire sub d. I want to put it into the middle because we
want to use reflect, because we're going to start
working on both sides. We want them to be
aligned together. I'm going to go
ahead and turn off the selection filter and
select the whole object. And I'm going to move
it to the origin. So now what I'm gonna do
that I go to my selection and make sure to click on
reflect the subject object. I'm going to choose the subject. I'm like at the y-axis. And I think I'm going
to keep this side. So it's facing this way. You see the light side
and the dark side. This is affecting this side. So I could start to pull out
some of these and go back to my selection filter and just start to
articulate this chair. And you see it's updating
on the other side. And I can do the same
thing for here, for this. Scientists. So to bring it out a little bit, even, move this out a
little bit like that. Don't worry about it being flat. We're going to actually
be shooting it soon. Then I'm also going to select this edge here that'll
be coming out. That one move a little bit. So now I have this set
here and actually one I would probably like a little more static and you can
of course vary with this. To come down a
little bit as well, I want to do now is I'm
going to, from this, this object, make sure to
offset this sub D object. And we're just doing a
real simple right now. I will save the divergence
that we have it saved to cheer model. But we're gonna do now is
we're going to offset this sub t. Sub d can be set right here. And what I pretty much
wanted to go as maybe about six to 7 " or even
to be even more sleek, do about maybe 3 ". It's going in the right
direction for me. And I want I want to do
is make sure it's solid. It's going to not do both sides. And I think the rest
of that is fine. So now we have a
reflected sub D chair and I can look at
it, how it looks. You see it sort of
insult asleep there. That looks really nice. Now
one thing about the crease, however, is it maybe people think the quiz
is maybe too much. I could go ahead and select all the edges and
actually move the crease. So we'll go ahead and move
the crease for everything. And just make sure we're getting
that curves, edges here. Move that crease. Or maybe you've only
just do control shift. For sure, make sure we
get it all selected and filter sometimes Mrs.
things in that way. Maybe a crease
command just started. Okay, there we go.
You have to do that. Santa Anna, I can put my sketch geometry
away a little bit, actually change object
or as my sketch. This time. Now we're working on this really some fat feature. We can do things that like if we want to maybe start having the faces come up and I do like the regular method
of moving things, but I like to see
it another method, remove anything like
this and coming up and even be pulling some
of the sides in like this. And if I want to create
something like a cushion, I could go ahead
and select my area. Like if I had a cushion, I would sort of be
just in this area. Again, you don't have to
select the other side. It automatically selects
that for reflect. And I could go here and I could and it will
automatically push it all up. And we have that
little push a cushion. And I could just
select the middle one. Wanted to maybe do a little
depression in this one. Come up. We have that nice and
smooth feeling right there. So that's really nice. So getting that
base form around. And now let's think about
how we situate that up. For fine with this, I close the selection filter and what
I'll do is not connected, go back to my mirror command. And when I, when I click on the mirror
and go ahead and select this. And now I can actually, I can actually click
Remove Existing reflect. And now we have a fully design. And I'll come up off the floor. Press Move tool, I'll select
Filter. Move this up. And we're going to turn
out also move it up. 18 " 18 " selected. Now, what I wanna do is maybe
make a cone leg for this. So it's truncated cone. I can find that
understand the menu. So this would be a
regular surface and these in the truck at it to calm that makes
something that's maybe. 1 " diameter at the top. That's not big enough. Maybe I'll do 1.5 inch
and becoming down 18 ". And it's one of the other. Flip it. This top one. I want it to be about
0.75 inch radius. Just wrote it that this we actually do want
a little bit of a rotation on both axis. I'll turn off the set,
they're a little bit. And what I want do here is make this actually stretched
down a little bit. So it goes past the front plane. And I'm actually gonna
make a line at zero. So I'm actually going to
trim it with this line. And I will cap it. I'll do now is I'll just
mirror that on this axis here. And I'll take these
two, mirror these. What I'll do is I'll
pull the police actually deselect a little bit.
Sit up a little bit. I want to keep my little 18 ". That's gonna be good. Maybe I'll just take these shirts
you this a little bit. We can even just hide
this as we move these down to there not being
too much with leaving, just create a line here at 18. We know where a
seat wants to be. Scale this out, come down 1 ". Trim the tamales. And I'll just kept these. Now we're just going to
show our chair again. So we now have a nice
little chair right there. And so this is a way to get low, moderate chair that we can put in the living
room for our design. What I do now that go
into material, layers, start making furniture. Layers of legs. Used FOR this. Set this to a layer. And we can set our
chair maybe to just the regular FR fabric. And I haven't done anything
so a unique with it, but that'd be fine
for this Sedna here. Relax and our its own layer. And we will just
do save the file, but will also select all this. And we'll click on
Block or type in black. And I will just make
a base point at zero, be like the front of the chair. And just say this
is our modern sofa. You can just use
any model you could have any sort of
arrangement that you like. Press out and drag it, you copy it and arrange it out.
49. Creating Furniture In Rhino: Coffee Table: Now we also, if we wanted
to come in and do a bit of a coffee table that could service maybe
two of these together. What I want to do
is rotate this. It's come out a little bit. 15 or negative gain. Reason do the same sort
of mirror that on here. My coffee table is going to have similar, similar aesthetic. And I'm going to do
that little simpler because it's already
even quite basic. I still use a sub d.
This time I'm just going to use a sub
d or the cylinder. And we have something that
we just have really small, that it should be fine when
it come up and do 3, ". This little cough, David's
me a little bit higher. 30 ". And even I'll take a
little pie center out. And i'll, I'll deal
with this one. Like gumball feature. I'll just extrude this up. Turn off my make sure that I
select them the right way. Are those long but it's
not good, snap is off. And just verify how is it
responding to our command. Lucy, sort of it needs
to pretty much be inset a little bit
before we offset. When you come back in
here and now we're going to really inset it and just take all these and we
will pull that in first. Not really incident
at the moment. But now I get to offset that. I'll give me like a little
sharper sharper set here. So what we'll do now is expand that out this sort of uniformly and a little
bit of a detail. But what we also can do, grabbing a challenge with this, is we could go ahead and
double-click that ring. Maybe double-click the
low part of the brain. Select that ring, and now it's
not really super creased. We can go ahead
and increase that. So that gives us a better
look profile for that. And it's too much, we can always come back down. I think it might be
a little bit high. Come down 6 ". And this could even have that same sort of
aesthetic with the leg. But it's constantly
a little higher. We started from scratch. So I'm gonna come over
here and my standard menu, and I'm going to go from here. I want to go ahead and select. I want to start again 0.5 ". And I should, since
it started on ground, I'll just say C. And I'm
going to come up to top. So the annuity table, this
is going to be 1.5 ". And all that moves here. I'll do my rotation. Turn, also also go freely. And actually what
I'll do is I'll keep it a little bit
centered this time. And we'll extend it out. Scale it a little bit. My line here, my grid on
just to get a low point. Also, get this off. Now I'm going to trim that. Cap these. What I need to do now is
I'm just going to be. Maryland this along this axis. And I can do the same
thing on the other side. This is the basic simple
little table here. I wanted to bring this edge out. I just take these rid off. I'm just wanting to scale
at normally. Do that. It makes little neater. Even if of course you
want to see win this, strike this whole
thing a little bit. Just do that right here as well. I'll just take this now. And I would do a similar
sort of set where this is my furniture legs. Now we want to break
this this table. Look two parts. So we have the
top part is a little glass or less glassy
material on the bottom has more resides more of wood. So we wouldn't have to
do is we're going to click on extract surface. Right-click, Extract,
left with explode. And we're just going to
come back into the tab, back into the polygon mode. Select this top ring. And we just select this
on all the way round. Press Enter. There we have
two different surfaces so we can have the top one
as separate objects, but they still will match up. You just have that
top as more of a maybe a top and make
it a little bit blue, or you can choose
another material for it. I would change this object layer and I have a little wooden
material at the base amongst side's moving me the
same material as legs. Just say FR would. Which layer? And also for, FOR top. There we have a unique set and we can also of course
change anything else sort of in
that similar logic. Sub d is just a great way to
model beautiful geometry.
50. Chapter 5: Intro To Rendering In Rhino : It's important for working
with Rhino to be able to also have an environment setting wouldn't go
into the render. Functions concerning the lights, concerning dealing
with the environment, and just some of
the basic settings. So this is a little more deep
than the previous lessons. We look at the Render dialog. We have a couple
of different areas that we would be working with. We have the first where we get the option to either shade, look at previews or batch
render multiple use, which is very useful if you
have several views setup. Then we can create
different types of lights. Spot, point, directional,
rectangular and linear. Then they may also can
be editing those lights. We can look at the last
rendering and then we have four areas for working with materials and environments
and textures. And so it's really
useful obviously when trying to perfect what is
the look of the model. Finally, we have the
ability to work on, see some of our panels. Within our while we're working. We can deal with the sun,
the ground plane, et cetera. We also have different
types of effect. So I think there's
a lot of basic, there's a lot of advanced here. Just follow along as
we look at some of the basic workflows because you get to choose some
different renderers. For this presentation. We really going
to go into Rhino. I'll show a little bit
of V Ray afterwards. But the main one
is gonna be rhino. At the end of this
section, you'll be able to take your model and render it and get visualized little deeper than just pressing
the Render button.
51. Render Properties Settings: So when we start with looking at working with
the rhino render, we are really going
to be starting by looking at the
render properties. And then render properties, which is probably part of
the document properties. We first see that it has several different
things that we're going to be setting up. First of all, we set the window
that we're going to use. If you want to
change the render, you have different options. This is going to start
with a standard rendering. We've got to choose
which view port. And if you want a
particular view, something, you have that choice. You have the ability to set up the resolution and quality. For instance, it will
do like very small. Quick. You do this way. If you're doing a larger one, just be mindful will
take a little longer. You get to lock the aspect ratio if you want to change
it the various size, you can choose the quality. I typically start
with draft quality when I'm trying to model it out. When I'm finalizing it, either good or final
quality will do. Then we get to
choose the backdrop. That's going to be what's going to happen in
the background. And there's also an environment. But we're going to look at, we have a choice for what
the back of this guy is. Right here is rhino sky. But we also could choose
either transparent or a gradient or a solid color. And we also, as for now, we're going to
actually choose white. And we actually can say that
in the Environment tab, we also have the option
for ground plane. So this will choose if
you see a regular line or you're going to
see it going off into the infinite plane. I think that's
useful. And we have Settings here for what
type of material, or if it's just going to
have shadows, et cetera. And we'll take a look at
that when we press Enter. Bills have customer environment
options for reflection. Then we have options
for lighting. So we get real used
the sun and skylight. There are lights in the model. We can choose how to use that,
including emitted light. Then we have option for
choosing, I'm working with. Are we going to show
you the wireframe, wireframe information
within the render? Then finally, we have dinner and color adjustment
where we can brighten the model or use some sort of whether we can work on
the render channels. And then we also can have
some advanced render settings to control how the ray or
the lighting is operated. Okay, so that's the render
document properties will be adjusted as needed to sort of refine our image and
then get it perfect.
52. Settings In Render Buffer Window: So we've added a
couple of lights. And those are of course
giving us like some, some good looking
as I press Render. Now we're looking at the transparent
background for image. And we're saying
it's a time of day. And we've chosen where
the sun will go. Let's look at this dialogue
a little bit deeper so we can be a little more
intentional when we use it. We have at the top of this menu of different
options, of course, to save it or deal
with image uniquely, we can work on the channels.
We of course can zoom. You can zoom by
using your mouse. You can work on what type
of dithering is happening. Because obviously that's going to be affected when
it's rendering. We have the ability to start to stop the render,
this pub options. We can just copy them to
the plate, the clipboard. We can adjust the RGB
or for that background. That's always nice so we can choose our own
background later. We can choose which
channels to show. We want to work on
a particular color. We can go ahead
and do that there. We also can of course, deal with the alpha channel, where we just deal with
the distance channel. So this sort of
information can be used in other programs. When they go back to
this thing, everything with background. And we also have different
types of effects. Let's look at some of those effects that
we could be using. Curves is a nice
effect that typical use this and maybe a Photoshop. Within this. This, we get this show the
curves that are in the model. So we can show the
surface edges. We can choose the
show dimension, the text that's in there
too, the 2D information. We can have a bloom effect. Let's give you as more
things in the model. We can close the model. That glows different
types of elements. We can have a fog. Of course, some settings
for that fog can see that we get the fog already start a little further
from where the camera is. Go from 50 to 100 or
something like that. We can do from a 100 to 200. And that's one of our options. You can choose a point
then the screen, and have it going up from there. So it's interesting
thing you could do with the fog option will
just close that. And we also have the ability
to deal with depth of field. We also can of course do
a focal distance option. So that's really cool. And pretty much depth
to fill sort of blurs. What's behind? We said, this is our focus
point right here. Blur everything
that's behind it. We have added here, we
blurred all this other stuff. We have the maximum blurring
and blurring strength. Take that out. And we also have the
option for multiplier. So you can see multiply just
makes it a little brighter. If those dark. Those are some good effects. Basics. Then tone mapping. We have the ability to have different types of effects
for how the color works. So these are things that again, you could do unlike Photoshop, to just adjust how the
image is coming out. We changed the white
and black points there. Or do it here. You can be working
with sort of how light is coming
up with exposure. These are some things that
of course would take time to figure out based on if
you've already had experience. Definitely working with how much light is coming into the camera. You have also the ability to put color in this false
color option. The final set of settings you could have here is your final pass where you can choose if you're going
to edit it and Gamma, you can see with gamma, you have a little more
definition of seeing what's in the glass
and then no windows. So that's obviously
useful element. You can go up or down. It's not on the images are
dark. And then you dithering. You will change the way that you are saying all
this small action and this, again, this is in draft mode. So all these will be
perfected by going back to that render properties and
increasing the few quality. But these are the
settings within the render dialog that
will help you get there.
53. Developing Emissive Lights: One of the important things in Rhino and rendering is important to add actually
lights to your model. And currently we don't have
any lights on the interior. So if we would go
into the sun mode and which to turn
off the skylight. Maybe set that sun sun dialogue and set it to more
darker time of day. And yet we go to our
render properties. Turn off the Gamma. So that's more realistic. When we press Render for
something like this. One of the things we're going
to see is a little bit of background that's added by Rhino and it's not
really accurate. So what we can do is we
can add lights and inside. One thing we also
can for sure do is to come in and
add an environment. So one way to do that is
we can go ahead and close this sort of work rendering. We can close this and start
with our environment. Then this get this
dialogue, turn it off. Come in here and add an
environment to render. And then we're going
to add that light. Environment editor is here. Currently it's just
basic studio mode. But what we can do is
create new environments. Then going to import
and Ron has a set of different types of
skies and stuff like this. I'm going to just choose
this generic sky here. Now, we're going
to try this again. Has two different sort of Skies. Studio sky of course is having this white background while we have this other background. And I'm going to go
ahead and disclose that because it's sort of
competing against two. So we're going to delete
the studio background. I would just keep looking at this background and
just for time sake, we're going to set this to
more of a draft quality and a little smaller
as export rate. And we'll save that as edit. Okay. I think we're good. When I render this, sort of see what this
will come out to be. A little darker setting. But we don't have any
light on the inside. And let's be a
little problematic. So let's go ahead
and add those in. And the way we're going to
start is really by creating a light layer. Lighting. And what I'm gonna do is be a little more specific about where
things are located. So instead of just
drawing anything, and before I use sort of a construction
layer for my curves, I'm going to label
this construction now. I'm just going to go
on this layer and figure out where we
want things to be. So what I've come to the
medullary do is for the height, this is my little
roof I have here. And I'm going to be working
even more rigidly on my grid. I'll make sure everything
is going to be on the construction layer. Idea I want to have is for
sure having a good center. We're going to make sure
we are able to array things according to
some sort of logic. And we just made sure that all these lines are projected
onto the sea plane. So these are the ones
that we're going by. So I have to these lines, just copy one for the middle. I'm going to come ahead and do this on my outside edge as well. This is just helping us get our proper grid so
we can align things. Because obviously
you start adding a lot more complex systems. This is gonna be important to a very simple grid
line. Alright? So what we're gonna do is
that as the 2424 light. And this will be a little
unique because it's gonna be on a sloped ceiling. I didn't that rectangle. I'm going to add a little bit this sort of off this corner. And what we're gonna do to
help us for the located. Let's go ahead and
just copy this down. 24 inches. This same thing here. And same thing here. And on here. These are my location that we're trying to have all
light arranged by. The idea is we want to have like an equal spacing between here. And the way we can most easily do it is by
creating an array. And that's gonna really
operated in these locations. And what I'm going to do
is I'm going to do like a set of three. And so that's going to be easy. And I'm going to start
with my rectangles. Do a 24 by 24 and do
negative. So it's going down. And I'm going to
create it as a group. So that's also able to maintain relationship to other
objects that are like it. And we've got two inches. It's going to be
more of a glowy box. And I'm going to put
this in my level for lighting change
object layer. And what I'm gonna do, like I said, it would
be nice but as group, but obviously we want
to block definition for our block would just have
a base point of this edge. And this is our light
one that allows us to, if we ever changing it, it's going to change
in relationship. But before I put this in, what I wanna do is sort
of do my own array. So the way I can do it most easily is actually come
here and draw a line. Because I want to
do a fitting of it. And I could say how many
I want on this line. So I've put this to the box. I don't want to have to
locate the box right now. I just know that this
is on the ground and the boxes on the ground. That's a great starting point. With both of these things. I can just array on the curve. And if I want to
have maybe five of these, I just click F5. And the only issue is
that it's putting things over to the edge versus inside. So to better serve that. But I can do is I
can always just move this out 24 inches. And so the trim it. So we'll go by my
backup backup edge. So now we can re on curve. This time when we do it, it'll be within our bounds. So we have equal distance. So this is created
series of lights. And now, now we can do our grouping because we
will have three of these. And so there'll be easier
to help us organize. And what I'm gonna
do is set that to the middle and move
it up 12 inches. And then copy that one down and make sure that's also in that
location is proper. So I have like a array
of lights for my model. But one issue is when
I'm wanting to sort of put it up to my roof level. I'm I'm I'm watching to
make sure it's closer. It's going to need to rotate. So what I'm gonna do to get
an accurate location for that is the hit that exact
point in intersected. That looks good. Now I'm going to rotate it. I'm going to choose
a base point. Click here, and then go up. And again, this is
still sort of in conceptual world because
obviously you want to maybe have some space for the
equipment and everything, but we're simplifying
for this model. And I'm going to make sure
that I can look at it. Do that, I'm going to
go ahead and create a view within the main plan. One way I'm gonna do
that is just going to be looking here. I'm going to hide the
model a little bit. And I'm going to create
a camera inside of here. I'm going to go
ahead and do that. I'm going to go to Set
camera from the view menu, place camera and targets. Let's look from here. Be looking inside
of what I'm gonna do now is I get to look
at where I'm focused on. And I want to maybe go up to
be looking at six feet up. I'm gonna go ahead and
turn the walls back on. And I'm going to save this view. And this would be my
view for my interior. Come back and from my viewport
properties is right here. Actually can go to make
this 35 millimeter. And so now I see a little
bit of the lights. One thing about them
is if I go inside I see they haven't been
kept, they're not solid. So the great thing about
what we worked on, how we created this is that now we're going to
be editing the block. We can go ahead and just do cap. Because it's a block. We select object is done. We can do is look at my
block editor as well. Now we've added this. We can go ahead and
now just press Okay. Now all these
instances are edited. And what we'll do is on
this layer, lighting layer, we can delay or material
select an emissive on mission. And I can just set that color here so that the white click. Okay. And now I've added it. Dislike. Go ahead and render. As we render this, already seen that it's
a nice little look, It's not that bright. So what we can do is go
inside, stop the rendering. Come inside the rendering and look at that
emissive material. And maybe set that to
something like six. Click. Okay. Come back to our anterior and make
sure to save that. Save that interior one. Render that again. We've neatly rendered inside of our space with those lights. They're giving a good fill. Now I can of course
change that render setting to move some
of these curves. We can have a little
more nice render and I can also come
to perspective front. That's exterior. See how that looks on
the outside as well. Now that's starting to be well illuminated or
right from inside. What I'm gonna do now
is I'm going to go to the settings for
the rhino render. I'm going to come inside. We're gonna make sure put a
little bit to better quality. It's going take a
little bit longer, but it's gonna be worth it. We're going to turn
off the curves and ISO edges and go ahead
and save the project. Now as we go into
these drawings, we can get a lot nicer
rendering for the project. So you can already see
it's coming out nicely. It's adding some of that level of interest
to the project. And we have two angles will go and save
each one of these. So let's take a little
bit longer to render. But now you're picking up
a lot more detail than spaces is still
very sort of basic. Haven't really added it
to much of anything. But those lights
are working nicely. For our time of day. It's a nice night shot. We're saving that
as our exterior. One. Come back in here now
and our interior. And no added effort. This really simple,
basic effort. Now we have a really
welded anterior, wouldn't just wait for
that to render it as well. And it's very basic. You don't see too much
of the space here. I think it's a little
bit overexposed. So we're probably not come
down just a little bit. For this one. We're going to go ahead
and stop the render, come out and change
that just a little bit. Is good. Extra emission. So this four should be fine. Then come back in,
render that out. And it's good because
you can see the edges. So obviously this is just
basically showing it, but it's nicely
defining the space. This is what we do
when we're just making some interior lights. Just to light the space. We're going to save
this for that interior, sort of sort of natural
light inside with the geometry versus just
an artificial light. We're going to create some
of those lights as well. See some of that
variation as well.
54. Adding Spotlights: If you want to add
spotlights your model which will be visible in
your rendered mode. What you'd simply do is again, you can go on your
lighting mode. And you'll be creating from the render menu where you
can create a spotlight. And you're creating the sort of place where you're targeting first in choosing how wide
that spot beam will go. Then you'll choose your
location for origin. Right now it's a
little bit high, but I can simply come back and select maybe the
origin of the light. And I can also come
and select the target. And I can change that. You also can change the
diameter of the spotlight. And a typical light setting as you go to your Properties
might be a little intense. You can always come down, deuce the shadow intensity
and the spotlight hardness. And I think maybe two might
be useful for this model. So I'm going to mirror
them on this point. And I want them to
work together to sort of look like this corner, not dark, too much dark. And also I will lift them
up just a little bit. Get that sort of
targeted effect. Now, just render to take a look at how that spotlight
is actually looking. It looks pretty nice. So that edge is not as
dark as it was before. The spotlight. It's a way
to just add like little subtle lightened in addition to some of the lights
you've had in the model.
55. Adding Point Lights: You're trying to add a
point light to your model. For your lender, you could
always just simply come down and add a point light
and just choose a location. If I wanted to, maybe put
one above the geometry, you can see that it would
create the shadows. You want to be careful
where you place it. Sort of obscene can
do the elements of the diesel or spotlight only. You don't have to say everywhere
because omni showing, we'll just look at this, see that point light is
doing to the model. So it's pretty bright. Just brightens up that edge, brighten up the building
and stop the render. We can, of course,
make it less intense, but there's a lot of tensile
edge to that shadow. So it's actually really nice.
56. Adding Directional Lights: To add a directional
light to our model, we could just come in and click and it'll tell you which
direction it's going in. So we start with our end. There. We're saying where
we're starting from. And I'm sort of coming
at that corner. But I want to lift
it up a little bit. Just like before. Could choose different points
that will be impacting it. So it's directional and bops
and just for that intensity, as opposed to the Omni light, which is what Everywhere has a particular direction
that it's Amy, N and O create shadows and.
57. Adding Rectangular Lights: A rectangular light. Start to looking at lights
that you would see. Like you're creating the model. Essentially going to
treat your your location, your links, and your width. Right now it's on the ground. What I can do is move it a
little bit, lifted up ideas. You don't see the light, but
you see the effect of it. For instance, by just wanted to highlight on element
in the drawing. Go ahead and just create
a retain their light. So it does create this
little spotlight effect. So maybe I would pull it off, but I don't want
to get too close. But the idea is it could truly accentuates one of the
lights that I've created. So even like I'm putting
it on the inside, it's opposed to
how it was before. Now, you can add a little boost
to the lighting elements. And actually we get
the right viewport. So let's start that again. We have a little boost to those lights that
are in the model. If we want to bring
it outside, again. Maybe we can even come back and go to our side view and rotate. It tells you the
direction it's facing. N and b have the option, of course, to reduce the
shadows a little bit. But I'm going to render this. You see, this really just blows up that area so it's situated, but you don't see the lights. Just a way to play with
light ray targeted way.
58. Adding Linear Lights: Now we're going to
add a linear light. So one thing to put with linear light is
maybe we want to put a light that's going to go into maybe looking
at our perspective. We want, I like to call on the edge of our strip
of elements here. We can just put that right here. Let's pull that down. And what that would do is
as we go into rendering, will just make a little focus of the light in that area
now sits at the top. You really don't see too much. Go ahead and copy that
to a lower position. Push it more outside
of the space. And now we'll render it. So you see that impact. And so it has this little
glow along that edge. You're still you can see it's actually making a
little bit of a impact. So you can see it's reflecting. So that's a way to
surely add something. So modeling to show where light is coming from
and we're going to add another one just to also just
show that over in effect, create a linear light. Something to go along this edge does come
off a little bit. Go back in here and see we're sort of just accentuating for that
lighting sources, like glowing along the edge. So there's different ways of accentuating lights
and the model.
59. Environment Settings and Context : Now that we've added some
lights to the model, it's important to
now just start to see how to work on
the environment. In addition, we also
can, of course, work on some of the lights
that are in the model. How they coming out
for our render, what we're going to first do, we have our render
here, we see that are we have a ground plane. And I set the ground
plane option, but it's just doing
irregular material. What I wanna do is come in
and make sure it's gonna be the same material as my plastic
material for the ground. What I'm gonna do
is I'm just call this ground so that I
know what layer it is. Then I'm gonna go back to
the render properties, come in and where I've
clicked on ground plane, I'm going to make sure
to select that material. So this is material
and the model. So we get to, we get to just sort
of set it up here. Or we can click here and get, find it from the model. Okay? So now I've clicked that,
I'm going to click, Okay. Now when I press Render, that allows it to have an
infinite plane comes from here. That's really useful. So it won't just have
this random cutoff at a rec, rectangle. So after figuring out that
part, we have lights. We want to do something
for the background. So again, there's the
option of a solid color, or I can start working
with environment. So let's go into the environment
or environment editor. Within the editor,
we have rhinos chi, which when we've had
is the background. We could come in here and click
this little bottom arrow. And there's some options
for this rhino sky. Or we could go and change it. So it has its particular
background image. And as the protraction has options for how intense
it is if it's rotated. But let's go ahead and
check out some other ones. To go and check out
these other ones, I can just simply
right-click this one, delete one that's there. And we can click in here, go to basic environment. Either change some settings
to make sure it's place. When a click and basic
environment click at more types. Then it's going to
actually take us to the folder for
rendered contents. We're going to just
start off with simple and to see what these are, it happens that you'll have
to really test it out to see what result we will
have. Let it load. So now we will just
render just to see how is it showing it. And the option is not yet
set up in our options. So we're gonna go back to our render properties and make sure it's set
of solid color. We're using 360 environment. We'll click Okay, when
you click Render again. And now we're both seeing
the effect of that color. And when we just use
the RGB channel, we're going to have the
opportunity to see it. So right now we don't see it. We'll make sure we have the
setup all the right options. So we go back into our render
properties and then come back and I'm going to make sure it's not a
transparent background. And click Okay. We'll render again. Now you're seeing some
of this background here. So it's not a live render. So what I have to play
around with it too. You have to play
around with it to see, but you can see what. You won't see it in this window, but you can see what
you'd see in this window. If it's not the one you want, you can always
just come in here. Click on More types,
go back to import. We choose another one. So now we chose an airport deck. We're letting it load in. And so you see the type of background you would
get those here. And you also have some options. Maybe if it's going
to be maybe on a patio, let that load. So you could just say, Look, this will look, it's
out here in this space. Let's go ahead and render. And so you just have
that background. Any sort of say, Hey, look, maybe it was like right
over here or something. And it has the infinite
plane going down. And you can sort of see, see it. So maybe you lower your level. No one looked down. I'm actually going to
close that lower LDL, but you see what would happen
if it has a little lower. Again, it's having a this a
little bit of a challenge. I'm clicking my
right button again for rotating around
in here and orbiting. Well, of course we
can change the angle, change what shows up
in our render window. And so this definitely
takes some getting used to. You have to play around with it to get the desired result. When they go ahead and just
switch it more to a sky that basic instead of some
of these smaller ones. So rhino sky is more basic. You also can download
different ones like this. And I click Open. And these are HDR maps. In HDR maps, this literally
means it's really high, high density, high
quality recording. And you just again, you would just look at it
from here to find out, is it doing the type
of thing you want is you want to see the
options for the benign. You click on it and go
back to the settings here. I haven't used this too
much because obviously, like some of these
are like not that great for the general
type of render. Like the question is like how you really
needed to have all this? You can actually obviously
create your background. And then another program
or like, like Photoshop. But if you're just trying to
get something basic quick, this has some options. Now, here's, here's gonna be like a little bit
of a hindrance. Want, if you're doing
like buildings, this would work better when you have like something like this. This is, again, this is like the random location
within the city. So that makes it a
little challenging. And will work again to find out essentially
going through here is really then effective for me to find like
a good render. I think that's why a lot
of people just do this in Photoshop because of all
the stuff that's here. But what we're going
to use instead of this environment
type is rationally, is more of a basic environment. Instead of instead of these, because it's like looking
at how this renders out. The model is really like I'm not really
what I'm looking for. So we're gonna go
ahead and delete this. We have 0 right now, which is this basic environment and there's nothing there. We just have the ability
to maybe do a setting. So if we want to do like a sky, we can always be
finding something. If we wanted to
do something like this, like liquid background. You can sort of see that's
what we'd come up with. If we want it to go ahead and
download the sky to be 60. In V, we could be looking. And maybe Google would give us something where we could find, find it and we can see how
this show up in our model. So I just go ahead
and save this. This is basic sky and
light came back over here. Copy that into my
project location. For my downloads. I could come back. And in my background image. Click back here. Choose a location to
just copy that in. Choosing that sky, Let's
watch it as it goes in. So you see it's pretty dark. So if I actually click in here, have the ability to adjust
the color a little bit. In terms of multiplying
and saturated. If I'm adding gamma. Again, this is might be
some tough image editing. So be mindful that it
might take some time. So let's give it time to edit. So yeah, so now this
is a little brighter because it's not a perfect
360 is you'll see distortion. So again, works for some angles, but not for all angles. Let's go ahead and see what
it does with this angle here. So you can see it works in some. But you will you will be looking for specifically a rhino ENV. If you're trying to. Find more specific,
more specific ones. And rhino does offer
some of these. And their Wiki. You find that they
actually look like this, then looking like
a regular image. And so some of these
also for V Ray, it'd be mindful about
those quality levels. And again, the
formatting is one thing you have to work
on. Specifically. There's some different
definitions for how rhino operates
its maps here. So let you fund which one will work the best for what you're
trying to do. That I'm pretty
sure that this is the style that rhino
really, really uses. It doesn't use just
obscene looking up. It used the edges for sure are the things that
have to match up. If I were to save this one, then that would be the
one I would be using. So I will just be coming back
in here and loading that. Does choosing that location
for the map actually, you can in your background
so to see what's happening. And if you see stuff like this, you see it's not really
perfectly adjusted. And that's one of
the challenges. The mapping might
not be automatic. Maybe you have to come in here. And so this set
of its spherical. There you go. Use fear co-option is definitely the one that
matches for this one only. There's a little scene. So either you did just that in Photoshop or you'd come
back to edit that. But in general, it's
obviously better off as you figure that
out for the setting. And it's like go
back in here. Again. We can go back down here. Already have added
the gain if we added up again below brighter. So we'll come back in
here and click Render. You could do this
with the maps that are in Rhino as well. You don't have to just do it. You see this one right here. You can do it in that as well. And you can come back
also in terms of figuring out the scale. We don't really
want any repeating. And that'll be one of
our challenges again, like you get a bigger size. You maybe you're saying if the particular cell that
you want to have rendered, you'll adjust it based on that. I'm going to come
back actually in here and change this image. I think back to the main
of the Environment tab. Click on here. See the three buttons. And we actually want to
try it one more time to get a good ground, ENV map. Ground. We were going
to be something that's gonna be spherical and on both sides
it'd be matching. And so that's part
of your search. And it's definitely got
to be a little challenge. Background, sky map, rural. That'll keep from
having too much stuff. Maybe if you put that spherical
so it can be matching. Okay, so this one's a good one. It's HDRI specialist guys. So we'll go ahead and
just copy this image, save that image and this squared and put that
into our folder. And now they already have the
setting, set it up already. I think that's a
good environment. We'll go ahead and
now we'll render. And that should be a
much better composite for what we're looking for. Again, it's not each high-res
be the only challenge. And if you go back, maybe the image from
the download is not the highest risk possible. You might just come in
here and try to find out if you can get
a super high res. And one way you find
that, of course it's going into your options, google and make sure you're
looking for very large file. And actually whereas even
this is saying it's 1900, you might need something
that's it'd be 2000s. Also make sure that
it's not gonna be gonna be tiny in
terms of when you, when you are going into it. So this is gonna be
definitely one of your jobs in finding these maps. Make sure they're going
to come out well. But one thing we can do to supplement that is for
sure maybe to sharpen that. And in your program that
you're going to use, even what we can do is
even just become back out and rotate
that a little bit. That might be one way
we can, of course, avoid having it overtake too much from from what
we're looking at. Because that's
definitely going to be affecting how that looks. The end of the day. And so some of the options for rotating Earth depends on
the type of map. So maybe even just
you offset it. That's that'll be one
of your limitations. I think. We hear can also
choose how we're going to adjust what's
gonna be looking at. But, you know, it's, it's it's something
that we can live with. We just adjust that to
a little higher one.
60. Finding Textures With SketchUp Texture Club: One great resource
for textures such as the sky is this
ketchup texture club. I actually have a Pro account. One reason is obviously it's harder to get some
of the high res, textures once you have that, they have a lot of
great ones in general. But essentially when you're
trying to do something like a sky or even any of
the materials really, you'd need something
that's pretty high res. So scroll down on this site and go to their
backgrounds and landscape. And here they have
a cloud background. I'm going to choose
something like move a bit of a more rural
click on nature. And it gives you some
options for where to go. So let's hit
countryside and hills. And one critical
thing is of course, to make sure that it's now
it's out in nature just that it's not having too many
conflicting elements. This is 1600 by 901. You look into the
file, you say, hey, look if this was
in the background, it'd be fine for my model. I think it does. So this also offers
download for free users, but only at that scale. So this scale is
obviously pretty good for a few 100 by 3,008. Okay, So I'm going
to go into the model and here actually click
on the three buttons. And I'm Leyla, go ahead and extract this file or this
be included in the project. You go inside of here
and you select that. You wait for it to load. All the settings are set up for that. But I'll go into them. It's pretty big file as
it probably needs to be, so it's not going to be
blurry when it renders out. And of course it takes a little time to
process it for sure. It's similar immediately,
a little bit low. So we're gonna go in
here and offset it up. A little bit. Sizes for all, makes sure it needs a little
longer to do adjustments.
61. Background Settings Textures: What you see in this example is a background for the Rhino file. So I just loaded a background
set at a low angle. What I did was I went to
my environment's tab. Environments can be accessed, we're going to render and going through the
environment editor. And in the environment editor, which you can do is
you can go ahead and choose what type of backgrounds would be in your environment for your model. Now, I just did sort of a custom
background environment where I just went in, chose a Environment image by
clicking on the three dots, I chose this lower image
here and I adjust the file. What you'll see is
it needs to be like a wide file that's
sort of continuous. You see the same is
not perfect here. But you actually can come in, rotate that in your texture
mapping and made sure that select spiracle
as environment map and also lightened the
gamma a little brighter. Essentially, what
that's gonna do is allow me when I'm looking at the model that can be
changing the angle. And I can right-click,
and this is right-click to sort of see what I
get from the model. And it's producing a
good result for me. I'm going to go ahead
and just leave that in the close that. And we'll just choose
a different angle. Now, we go up a little
bit and click on Render. You can see we have
a little bit of extra stuff in the background, so maybe we'll adjust
it if we're adjusting the view so we can
not have too much. And that'll be really simple. We just go back to the
environment editor. I was thinking. Be good to just play around
with the background, so be proper for the
angle that you use. I just did that. So let's
see what we have here. That's a little bit
higher in the sky. And so the idea is that it's
not supposed to be too much. So that's one of the
little challenges for working with
environment maps. For this benefit of the sky. That actually works really well. Even over here,
you can see a lot of the smaller elements
you can't really see. So it's not really providing
or causing a problem. So this is a very simple way of working with
environment maps. There are some
environment maps from rhino that you can look in
there, render content folder. A lot of these are
not really serious. But you can always just load them and then take a look around to see what type of
image they provide. You might want to go and
actually go and click on the image and increase the gamma so that
it's not too dark. The dorsal have it's
low-res you man, I don't want it too bright. As you enter this one, you will see maybe
textured background.
62. Introduction Editing Light Settings: So one great thing that we
have in Rhino is the ability to edit the lights that we're making right now
you see a spotlight. I did a section box of the
model wherein render mode. So we're going to start
this little by little. When looking at all the windows. And I'm going to look down. We have another
clipping plane here. And I have a spotlight and a
light inside of this space. Now, in the render options, we have this ability to edit
light in a variety of ways. So I'm going to click
Edit light by looking. It tells me to select the light. And one thing it does
is I click it again. It's easy to go off, is I can
move my right mouse arrow. Alright, As button. And it will actually change the location of the spotlight, which is great because
it's like I can tell it where to focus essentially. And so that's a great way to control where your
spot it's looking. You click anywhere
else it will go off. The next way is to edit
light by highlight. This is a little more calm plex because it's
focused on the surface. So if I click on that
surface and I click the Highlight location,
maybe it's adore. You see that the light is gotten really big to focus
on that small thing. So it's a little more advanced, more exterior uses, I'm going to undo that
light position. The next is the set
spotlight to view. We actually can make
this view from here. Now you see it's
actually gotten even outside because this
camera is based outside. You can see the location
of the camera right here. So what I would have wanted
to do, I was inside, I could say maybe get a little closer in like this and do that. Same effect says
spotlight the view. Just make sure to
click on that view. And then OB and a location and just make sure that we're in the right view and
it's doing that. Okay, Right here. Split lot spotlight to make
match the active view. And unfortunately it is with the view is outside
of the spotlight. So one way to get around that might be
to use wireframe mode. You can see that spotlight. They see it's changed. So that final spotlight option is where we actually can be
anywhere on the drawing. And if I click Set view to
spotlight, I can just go here. I see immediately what
is being focused on. That's a great way to just make sure your spotlight to doing
what you want them to do.
63. Setting Up Texture Maps: One important thing
that we can do in Rhino is ability to
use texture maps. Currently, I modeled
had a floor. And because of the floor
and Patty or intersecting, what I started to do is
go ahead and just really trim the footprint
from the floor. So I want to trim
that right now using the trim command.
Cutting objects. I use the rectangle, the
building than I from that building because I want
to have my object solid. I'm going go ahead and
also trim that elements. So now we have a, we still
have a solid box and I can just join those into
a close poly surface. So now showing everything in the model and then turn
off my construction lines. You see? I have my interior and so
there's no floor currently. And that's of course,
that can be problematic. Unless I create a floral layer. And then I'm going to have a floor texture and touched
for some of these elements, also want to create a pool. When to do it simple,
little by little. I wanted to go ahead
and put floor here. We're going to create a solid and we'll
just be going from that corner to this corner
and come down six inches. Just make sure that's on the
floor layer, the four layer. So right now our show, we have our interior here. That's for a walkway. What I've done is
I've looked inside the collection for right
now if you go to Custom. And actually you could
actually just use more types to go
to their library. You go to import
and architectural. They have a lot of floor types. Went to the light gray
polished for the exterior. And so I actually put
this in the model, so that's what
this is right now. And ideas. We can edit several things
about this. We can add it. How class here it is. We can make it in an
eyeglass, very matte. We can have it very
glossy and reflective. We can have it very effective. Depends on, of
course you render, you see a lot more detail. And we also can choose
a transparency. So there's a lot of
effects you not here, as well as the bump
map opportunity. So this typically isn't,
wasn't included here. There are texture packs
where you can have a bump. But what things someone might
do is go in and use one of these and turn it black and white to get
if we wanted to do that. But for terrazzo, we want
to know generally smooth, but that's an option there. And everything we
could just press OK. We can come here
to the Texture Editor. And the texture, you'll
see the backgrounds, some of the textures
and the model. That's the terrazzo light gray. And you have essentially
similar options only. Here it talks about how
the material will fit. No. Is it going to be environment or it's a box is going to
bark, so it's fine for me. We aren't changing any of
the multipliers as well, but we can also change
some of the texture here. So that's how you
work with textures. Within rhinos
material libraries. You also have the ability to merge identical materials just in case you've duplicated
a lot within the project.
64. Additional Rendering Settings: I just wanted to talk
about some of the last elements that you have the ability to Rendering menu. We always can show this A-Frame. A-frame will show you what
exactly is going to render. So if I select it more
to like a box by box, like eight hundred,
eight hundred, it would actually
show that box here. And we'll just go
to the properties. Play around with that. If we went to lock is all
we wanted to do custom and I said 800 by
800. You see that? Go ahead and change right here. So we have also settings
for safe frame where we can say now which lies we want to show you and
show grids, etc. You change your camera
with that in mind. And those are the settings that you have in
your render menu.
65. Libraries Panel: The library's option
is another option in your Properties and panels
and your mentor panels. Libraries gives
you the ability to bring elements straight
into your model, including objects like textures. For instance, if I write here, it actually starts in the
render cut that menu. If I wanted to choose a variety of materials
like environments, or if I would choose
architectural, more floors, simply could just come and drag
it into the model. And it would
immediately be applied. And I could go, of course, my
properties in my material. It can be dealing with anything to set that up so
it shows right? And of course, you know,
this means they will not have the layer material. So it's something to of
course notice because obviously before a lot of times people will
do material bi-layer, this is gonna be by object. So that's something
to also make use of. Them. Speed up your workflow.
66. Chapter 6: Advanced Views and Animations In Rhino: It has a lot of great tools for modeling and also some
great tools for animation. We're going to look
at some tools for animation and view setup
in Rhino so that you can get your models out
and see a new side of them visually in time.
67. Setting Up Revolve and Sun Animations In Rhino: Making animations
in Grasshopper is another cool nifty thing
that you could do. I'm gonna go ahead and start the animation
with the desired view. I'm going to zoom extents. And I'm actually going to
not choose a zooming window to do little rotating
towards where the center is. If this Senate you want is
that they are currently, you can move it to
get to that center. Essentially, you can use
your little mouse pad to rotate around. And by doing that, we can also from the properties
when you create a camera. And we'll go to our named views. Now we're going to call
this new view camera or animations perspective. Okay? And so what happens for
animations is essentially the automated minus of the
catering, the frame-by-frame. It's going to pretty much go
from the rendering tools. This little set where
you can have the ability to select a type of animation if it's
changing of the day. If it's a fly through
animation where you moving or if it's
a path animation, we move it along with the under 60 rotation that right now I wanted to start
with a simple 100 frames. So I've used the
basic option for that turntable animation is pretty much going
to spin all around. And I'm going to click Okay, and you see the option
here is wireframe. So that's, that's one of
the ways we're going to go. I also have the option
of making that shaded or rendered or architect. Our perspective. I do now is I also have option to the render options as well. Now, that's going to
be this perspective. And the name is it sit there. Now? That's just
for setting it up. If you want to see how
it's going to look. You can just press
Play. You see? If you want to start it again, you will just go back here. Say anticlockwise plus. Okay. You see it go the other way. Now that's pretty fast. The note is, if you save
it for a longer length, it will definitely
take longer to render. So, but it does do
that. Nice little look. So what we're gonna do
now we want to record. I just show you
this other option. If you want to stop, play that, you can pull this out, you know, start it and then just
move little by little. And for recording at Judas, press the record button. And when you have
the options here, you find out where you
can store it right now it's using the
animation folder. I can always just
make a new one. And with that folder selected, I can just run animation
and let it go. And just have the precedent
or start recording. And it's going to be
rendering each of those views just as
the viewport is. We want to have a specific exporting Animation. Be mindful. What this is doing
currently is exporting jpegs of each of these frames. But again, do you see the
nice animation quality of it? We'll really get a
real perspective. And to what type of
architecture you're rendering. And when we're
finished with that, we can choose how
to open the file. So if you use Microsoft
Edge, click Okay. And I can just play that. Though. You can also use a
program like After Effects or Premiere to load it. But it's a very smooth
and nice animation. For a few other types
of automations. We want to set up. Perhaps
a son study. One for sure. Turn the sun on the, had a chance to see where the location of the project set it to a particular address. Now I want to say
it's in Little Rock. Click Okay. And you'd say, What is the
start time, What's n time? That's fine for me. Also, the
minutes per between frames. Essentially just mine. This is 12th, our render. That's synched.
You're going to be two frames for our beaches, a smaller family life, better. You can export to Bitmap, PNG, TIF, similar options. And I'm so interested.
Little nicer look. So render folder would
take a lot of time. So I'm just gonna go
ahead to render preview. And it will be that
animation perspective. And I think we're
fine. Go ahead. Click Okay. And it's going to be
the same as before all lamina use
Preview animation. Make sure to look at the
sunset and my son is on. The setting is not
always saying too much. I think I'm gonna go march is
shaded or rendered for you. We're going to see what's
happening with the sun. And what you can do now is it's not really
showing too much of that. Check it for your settings. 66. Just try to just
render directly. And I'm just going
to come back here. I'll call this one. And then some will just go ahead and try this. 11 of the challenges is it makes sure that
proper renderer is set up. So I want to change
the renderer here. Choose rhino render. I'm going to start that
again. Play the animation. Later. She's still get it started. The right location. And each of the frames
is going to be rendered. Pretty much going to go
a little bit by bit. So it will take its time, but ideas, they'll take
your render settings. It'll be going into there. The great thing
about this, again, this is only gonna go,
period, you've said. So sometimes this is more. Does it have to be fast? Of course, you can change
that setting from 30 minutes to 15 minutes to one minute so you can get a pretty smooth
animation if you'd like. Some programs don't offer that much flexibility
and control. And it's also very
simple render, even showing my lines. So I can always come
back and change it, but I'll leave that
there for now. So you just take a
look at everything. So you see that we're doing 13. So getting our 12 hours is going to be
multiplied top four, excuse me, 48 clips. So I'm going to
go ahead and stop and show you the end product.
68. Final Sun Animation: And now this is the
final animation. Make sure to set your renders, sizing your frame buffer,
or render options. But this one is set to a
little bit of a lower one. Made it render a lot quicker. But essentially it's
six AM to six PM. You have some options here
and you've got of course, go where these photos are. So toward and you can locate them to put into After Effects
composition ourselves.
69. Chapter 7: Intro To Grasshopper Part I: One thing that you
can do with Rhino is also the ability
to use Grasshopper for parametric design tools that's essentially scripting are allowing you to code
elements for your design. What I want to do is I'm
going to go ahead and hide some other geometry
and we're going to create a layer for
this clipping plane. And high that. And we're going to look
and load Grasshopper. You can find a link
to grasshopper, ah, sort of in the
more developed tools. The standard tab right here. You also have
options just to play a Grasshopper script or work on a plug-in or
a Script compiler. I'm just going to
launch grasshopper. We've launched grasshopper here. And essentially what it is is pretty much an
engine and it's a visual coding for
working in your model. And it has some previous
codes that I've created. I'll talk about the interface. This is of course the
grasshopper window. You can close it or open it
up and you have the ability to use the File menu to open Previous clips of grasshopper
you're going to open. These are called scripts, that are called GH scripts. So export images of the canvas. And this is the Canvas. As soon as you start,
if you want to say, I will click this and I'll
talk about panel first because panel helps you write
notes about your project. Also, you can plug
in information and essentially your
processing inputs to code and then outputs. And you can do anything you
can do really in Rhino. And you can do it on a
bigger scale because you can set a different input
and process it, then another input
and process it. And so this view, it helps you operate
how you're going to be looking at different things like the data you're working with. You also can work on the display for seeing how things will look. The geometry from Rhino
comes in here and etc. And then you also can stop or start the computing of the different codes
that are running. And you also can do things
like bake selected. And also you have the Help
menu for funny affirmation. A lot of these
things can be done actually right on the canvas. We're going to start by
looking at the geometry. Essentially any geometry, this, you'd make an runner you
can make with grasshopper, but you have to plug it in. So now point is unique because if you
say I'm going to set 1, you'll pick the point. And you'll see it in the canvas. If you want to pick
something like a curve, you actually have to find
the curve in the model. So I have one here. And now you see it's
shown as green. Same thing happens if I wanted
to come in here and choose a surface mine that a surface and the B-Raf
are different objects. So just have that in mind. Be wrapped. If we select won't be Brett, could be maybe this
there are this. The surface can be both
Europe and a surface. So that's one of the
ways that can be done. And that goes on and so forth for different
types of objects. And also goes into geometry, catches and other
types of elements. Some of them are a
little more complex. When you get your basics,
you can go into that. Also. You can see the link in my
bio for grasshopper course. Perimeters are dealing
with maybe like an on, off or number, like a text. I could set the text. That text could plug-in. And one thing that the panel has and you see on
these also is a little, little dragging
that little circle. And your item can always
plug into a panel. And to unplug, you
can press Control. Do that same path. And so you can always
right-click and you could choose things too like
the way you display it. You can choose multiple objects. Right-click over
the empty space. You turn the preview off. You'll disable the
commands or enable them. You also have the
option to bake them, which is pretty much
duplicating them. He could bring them
into the model. You also have the ability
to group them or cluster. And that's where
you make into one. So it's a nice little
absorbing and you can always edit the cluster of
things that were in there. And we can always
just close that. This garden clubs. Plus there is definitely
a more advanced set up. But after that, you
also have the ability to recompute if something has changed and that's
more for bigger functions. You can lock the solver as well. That's if you've done
a different item. But in addition to text, of course there's,
there's numbers. And we also have things
like colors or matrix. The color also be dealt with
and some of our inputs. So we set that
number, maybe ten. So it's easier to
change like that. With our inputs, we
can use things like maybe a number slider button where we can change the value. We also can right-click and
change that range here. So we put like ten here. Change that click. Okay. We also can make
this difficult type. And you will look at
the particular types, settings and each one. So that all to introduce. And we use something
like a panel to find out what's going on
inside of there. Goes up and down. Beyond that, I guess there
are some other types of pickers where you can get
different types of information. You can create a list, you can create a
multi-dimensional slider. So it also can import
different types of data and what you import can be processed and any of the
functions within grasshopper. Now, so you have
some other types of more advanced options. I would say start with
a more simple items and then you can move
on scribbles, useful. Scribble is just essentially just writing texts
in your model.
70. V-Ray For Rhino Cosmos + Realtime Vision Rendering: One of the great things that
you can do with Rhino in your rendering is also using
the application V Ray. Ray. I'll open up the menu bar is
another type of Renderer. Scroll right down. Like it's a big red
bar at the top. But I should have all
their little menu box. Usually it lets you do rendering different types
of geometry including different and distinct with
your model also effects like grass or scatter objects
as you bring them proxies. And that's where you
have like little baby cars, people, trees. You also have like some
utility to objects. Also you can create
lights because somites and also you can just control any
of your renders, is a big fat very menu,
which is up here. But it's the same sort of, sort of putting all
these in one place. Let's take a look. So the basis of V Ray is it's a plug-in. And if you've used
earlier version, it has changed recently. I'm gonna go ahead and change. Just like the compact one,
the big one at the top. So what I've started
here has created a little object and
I'm going to turn this into watching and re, re, pretty much, I'm going
to render this scene. And the first thing I'm
gonna do is make sure that we were set up as
the current renderer. And it is the viewer menu, which has the same commands
as the blood near. Starts off where we
were a Asset Editor, where we can assign materials, we can create lights. We can now work on
creative types, geometry or winter elements. Also, we can work
with textures. Here. We click the left side. The ability to add
any type of material that sort of built-in
from the way sets. For instance, if I
want this object here, I'll make a few of these
for different types of materials. I can select these. And I could maybe say I
want to use this texture I'd right-click and add to or apply to selection
or anthracene. Now I can see that in here. And I could do that with any
of these other materials. Just click there. And we're going to add
to this selection. I can also add anything to the scene and later apply
that to this election, or I can apply to the layer. And we also have the ability to create emissive things like light's going to apply
that to selection as well. So you can't see right now because it's nothing
has been rendered. I will show a little bit about the editor for the attributes
for each of the material. Pretty much any
material you select. You can work on materials
from now it looks diffuse. Reflection, refraction. You can also add more layers to it for as you make it more
like a metal, more massive. Or you could add attributes
which you'd hope you specify certain properties. Just like she will override
the material you want to add extra ID to be exported out. If you want to add
lines and contours. With translucency, you
can add it right there. We've had those. But add a
simple light to the model. And it's also very
simple process. You just take, you put an object in the
object in the model. Like if I wanted to create
a sphere to place it. And setting up my screen a little bit before
going through, I'm going to create
an infinite plane. Infinite plane means you won't see anything
but a horizon. You want to like the
edge of something. Another place. All those items in
there, though too. Now, from the Asset
Editor to the settings, I can choose the renderer, the quality, and different
elements about rendering. For instance, for
this animation, the output type of environment for want to
overwrite the environment. Material here are for when to use swarm for Cloud
rendering also have different other options for
the remembered for images, the illumination
and other features. If I want to turn
the lines, click on Contours and I can
denoise it as this too much. Here. I wouldn't go and just
render what we have here. Close all these. I'm just going to
keep it simple. This is now the V wave
frame buffer where you render exactly what is in the view and it renders it cut off to
the particular scale. But as you can see, it's obviously very nice
quality render. This is very small, but
if you make it bigger, it'll course will
adapt and adjust. You also have some
other options here, like the right and left side here that you
would open to close. This has the history.
This right side has. But we can start to do sort of post-processing on the model. For instance, if I wanted to
work on different colors, maybe the curves
rather the model looks double-click here
and be changing that. And that would be
something I could export by clicking
on the Save button. And I can just save that. Now, whichever folder
I want it to do. This extra probably come
into simple folder. And I can just put a name here. And I would save that out. So I can also add
different lens effects. I wanted for the glow of light
or something in the model. Okay, so that's it simply, you would get a render
out if you want to use interactive render that lets you sort of wash that
viewport real-time, Excel the lights and everything. So be careful we have a large model that
will take longer. And then you have the
option of course still. So two, if you do
some regular vendor, you can select an area of
their model to just render that one bit if it changes
the color, move this. And I actually will then
turn to her and tried to render to met
Augustine would rather do just the regular winter. Will just show that change. So it's all pretty intuitive. Just have to get used to
this bar going in and out. With this being close and open. Zach finishes bearing it. One way to make your renders
go faster, obviously, if you're working
on bigger work, is to use the veery
swarm, swarm wall. Pretty much be working
through a claim to network. Though it's pretty, pretty cool. Baffle.
71. V-Ray For Rhino, Asset Editor, Interactive Rendering: Currently you see in the model several different objects
loaded from the ray Cosmos. You see, you're not going to see them as it will be seen in re, re because the rendering
is not yet done. So you just see like what's called a proxy where
it's a low resolution. The final image, but there are people, materials,
vegetation, accessories, HER
maps, architecture, which vehicles,
lining and furniture. And of course you will
see them when you actually keep it
on shaded because wireframe doesn't
show these proxies. But if you will, for sure, go into your render interactive, you will have the ability
to sort of experience. These are the people that
you're having, your model. Alright? So you also have
options for these. These are gonna be
like in your model. You can use them with some of the features and the references. Scatter. Turn this
off, for instance, viola scatter plane
that I want to use. I'll just copy this. This plane. Scatter is a very
interesting feature where you have the ability to make
an object a scatter host. The VFB will be useful for
this or the Asset Editor. So having scatter object here, and it's being applied here, we need to do is go into properties and add
guests that we could use any other types of objects in in Rhino that
are from the way. This is like a little scatter. I will just put 0.1. And if I go back into
winter interactive, see like a cool new
crowd of people. So that's a fundamental part of some of the
functions of the ray. Another function is
the function of grass, where if you have an object like this, I'll just use this. Again. Don't want to
overload the objects. You can set that to be
the way for object. And what you'd be doing
is going back to here, I said editor and
bringing in a grass from from your materials. So this is going to be like that for And it has like its
properties as well. So you can do that same
sort of winter interactive. To take a look at this graph. This is really growing
fast because it's small. But essentially you see all the little pieces of grass there. These are all some
really cool feature that you can do with Vireo and your architecture,
the architecture model. You can always come back. And whereas in the
previous V Ray versions, you have to turn off the contours and
render out with lines. Now you can all do that
and shred of the array. Whereas I turned on my contours. I render this view
that the current view, you will see lines
that were added and the settings for those can
be determined right ear, right out of the line or even change it to
a different color. Let that render, and
I'll do the same thing. It will do the render. And then I'll outline. And we always have
options here as well to remove the inner edges that will remove some of
those very thick sets of of contours. Just really goes to the outside. So those are some fun features and other great fun feature. Can you get to the VF B, which is this frame buffer here. You can also choose to do different rendering types like you can also render
in the Cloud if you have a Cloud
account with V Ray and another great
function or close, these are your animations here. Animations of course,
being set up in Rhino. But I want to show you if
you don't want to element, but you want to have
something more real-time. You actually can do that
with the ray vision. A vision loads. Your current view. Might take a couple
minutes to load. Depending on the
complexity of your model. But essentially everything
you've loaded your for your other systems are
loaded into V revision. Revision acts like a Enscape. You just navigate with your
mouse and your keyboard. So you see all the little
functions working, working in real-time there. And you can just move around. So right now it's this set here. There's also the option to
link your camera to the model. For each link, the
sun to the model. The ability to choose your color settings to settings for how you
move through the model. You can save the
particular file. If you have an animation setup, you're running from the
model, you can save that. That's typically
with some model. So here you can export the executable
so people can actually load this and be playing
that actual this. What you see, they'll see
they can walk through it. So that's what you
can do with your'e. Very, very cool. And it's real time. Now you can do middle mouse
button to go around as well. Be really helps you get
some advanced visuals. You just definitely have
to work on anything you bring it to be
ready, for instance, with materials or these people, you just have to work
on the setting of it. This is just a
light introduction. New check a page for
more advanced courses. But it's a great part to Rhino
just any model you have, you can just add people elements and just make it really a
beautiful thing to work with.
72. Path Animations: Another cool way to
get animations out of your run our projects is to
use the path curve animation. The way to do that, we could just simply make
sure that we have two curves. One is gonna be
the camera curve, and what's gonna be
the target curve. And what we can do is just say from random animation tools, set of paths animation and
it gives us the option, choose the path curve
and the target path. Then we can choose our
normal animation options. And then just from our
viewport selected, we just click Play. You see how this one
is a little more unique because I
could just be moving at a variety of
places and ideas. I even have the option to sit maybe that side you're
looking at it, it changes. So it all updates as you go. So that's very interesting
to accomplish. Because of the timeframe that's
sort of limited how much, but in general, you can see how you're trying to render and
get ideas for your model. You can have simple
paths that you go on. I'll show you another path. Of course. I could if I wanted to watch it building and move from another path that
was comin be closer. I could do it that way as well. So way I'm sorry for that is maybe set up
middle, middle, height. And so you know, it'd be
coming back this direction. I just have to make sure
I hit the right curve. So go to my path animation. And I'll say, I just
want a simple camera. And Oh, look, you know, I, I've done this right here. We'll take a look at
that. They'll probably go fast. Changed much. Yeah. So it's moving
with the cameras. So essentially the line is
going to be dried this way. So you can always add
multiple paths that up when you choose
a course to render, you can always run it to JPEG
and using your own program.
73. Setting Up Views In Rhino: One important thing about
Rhino is the ability to use, to really get really good views. And so this of course,
is thinking really about 3D for all of my designs and I'll use
this standard render. But I like to customize, especially when kinda
get a sort of mood. I typically will come and make sure that I
have for my viewport, I click on them like space. I really like the
viewport of maybe 25 because it will show more perspective and you're doing a bigger view,
it's much wider. I'm pretty much know, of course, basic with
these elements here. But you want to save that view. I'm changing it up a little bit. You can always come
back and click here and name views and you
have your name views bar. But I'm going to save
this as a new one. This is just respect
to one, I'll say. And we have option of course also the deal with
the aspect ratio or different widgets and ideas. You will get to always
just come back here. So it's changes. But that's a really
good one, especially for rendering tall things. We were trying to get
more things in the frame. You also have the
ability if you want to do more straight lines, to do two-point perspective. To poststrata is distorted when you were like looking down, but in general, it work as
a keep your model straight. Whereas in
perspective, you know, depends on how you're looking. You might see more
here like this. This line is going in this direction versus
going straight up. Two-point perspective is always going to have lines that go up. And it looks pretty normal until you get to do that. So relevant. Finally, there's the
view of parallel. So parallel
essentially, we knows you're seeing the actual length since everything has to scale. And so you can just simply get like maybe
a diagrammatic view from here or say that you
want to show your project. And you know, you're, you're not really
trying to do too much other visual elements. That's a beautiful way
to work with that view. So that it looks
also, of course, you can do it nice
for nicely renders. So if I want to actually
come back and turn the arc, arc to go on, I could do that. And you also, of course, I've been doing these for, I've just been creating it a
little, little random here. But we also have the
option to create cameras from the view menu. So naturally start with simple. Start with camera. And we can work on a new one.
74. Axonometric Views: So for my, my diagram
and this mode, I'm gonna go ahead
and turn off my, my animation elements. Let's come back here. To these objects is off. Once you could do
with something like a axonometric is you
could very easily. Now if I wanted to say diagram, my model, let me show
multiple versions. Just couldn't be using
this to get that. And you could have
them in succession. He also don't have to
render it together. You can run them separately
and then use another program. But the idea is you could be really using this to
show what's going on. Even if you wanted to say, let me do an axonometric
or something. Now you would say
variable just for showing how different
elements come together. Right now, the lines
are not visible, so we have to work on
that sort of thing. I can always just extrude
it open if I wanted to have it like that. But this is just another way of just really viewing
what you're doing. And again, you could zoom and
you could save that view. That's what you could
do it parallel.
75. Setting Up Cameras: Now, if we wanted to
create cameras and Rhino, it's not too difficult. We have some options here from the side view menu where we have the ability to just place a target or just place
the camera hadn't target. For instance, if I just want to place a target, I say elder. And we'd look here, you know, going to place my camera and my target, I'm
going to right-click. And if I wanted to have a
camera that was spot in the middle of this area and to focus on the
house, I would do this. Now, the way it's
looking is because it's currently set up to perspective. But as soon as I go into making this person, well,
it was parallel. Now it's perspective.
I'll do it this way. Things started to work a
little bit differently. So we're going to
start that just again, where I'm going to go. Right-click. Put my camera here
and my target here. And so it's like
directly move me there. And that's where they get
a particular set of views. If I wanted to have
things sort of centered, that would be really useful. Because I would just, using my camera is going to be here. My target is going to be here. And I could just be using
simple tools to make sure that I'm still on screen or I can be manually changing the
height or something. But having that nice center
is going to be very valuable. You can customize that view. And also option two different things
that we will look at. We could look at this
texture or something. We could move in there as well. So we were trying to observe things and we could of
course render that out. That's a useful way
to just get your, get your model and
your views setup. And of course again,
you could always save your views on the
name views command. You can restore one that
you might have changed, you can copy them,
can import views. So that's very useful if
you're having a big project, someone might choose that. And you guys go and work at some of the views that you have in your model. You double-click them AP to
cycle through those options also to update thumbnails are different ways to
work with the ratio, and so on and so forth. Just to get the view that will help you express your project.
76. Intro To Grasshopper Part II: Some other math functions
that we have available. This domains is not
that difficult, but we can do knowing
of the functions of grasshopper is gonna help
you figure out how to use that matrix is definitely
more advanced. Barely. Don't use that, but if you can use new type
of work you're working with, maths are pretty basic. For instance, if my ten here, copy and you just kept by right clicking something could press Control C, Control C. You could do addition,
very simple addition. And you see the
result with a panel. This is a example of the function and this is
actually the function as well. So it has its inputs
where I dragged it in. And then as the output,
you hover over the object, or even in this subject, by subject and you
will see a value. And you also see a lot
of information about the function that
you have there. When you see the result, you can click on
that over as well. And so this is really
simple function. Now. The same for all of
these operators. They do the same type of thing. And polynomials are a little
more advanced. Of course. Take this little ten. Let's getting the cube. You just copy this move, this. You can also double-click
on the canvas to create. That's something or any of
the functions you can just double-click and search
and you could find those. I have several
plugins that are not included in normal grasshopper, so those can be found at food
for Rhino and other sites. And pretty much beyond sort of like the sort of math functions
are lots of scripting. Scripting is a more
advanced thing. You can see my instructor. Were that paid? We'll talk about different grasshopper
courses where you can learn how to do some
more of these types. You can also work with time or trigonometric functions
or various utilities. Sets has to deal with
how we deal with arrays. So if I, I'm gonna go ahead and create a group out of
these, when the group them. And I will also just click
on that blank space, turn the preview off and make
sure those are disabled. So you see they're not
selected anymore in the model. If I wanted to select
maybe a group of B reps, I get this double-click. Now I can just select
multiple reps. Have a series here. So this
is a different type of object set because
now it's a list. So that's where we get
to work with list, where we can actually
start to bring in a list like this and use
a number slider. And maybe we'll get to the
max of this particular form. So we just use that and
plugged it into four here, or is it 0 to four? Because 0 is one of the numbers. So 01234401234. And we just set it
to be an integer. Now I'm just selecting
the analytics. And it pretty much
similar types of functions here in a little
more advanced right here. Sequence is where
you get to work on a list where you could say, and I can always just turn
my preview off for those. And I can also turn on
preview off for these. If I had a sequence or maybe I was taking off every
second one or so. That can be doing that here. So you have this ability to
modify and work with these. You also could do
things like repeating data. I received the data. I can make multiples and
multiples or repeat of this. Of course, you have
to have a length. Now, whereas this will be five objects that can
be duplicating it. This is a course. Still my set. So again, this is sometimes
a little bit advanced, sort of working with these. But alas, I don't
really use that patch. You also have the ability
to work with sets and a unique sort of
mathematical way. I don't use this too much often, but I'll just give you the
character view of this. So this character in
Texas and other tools that you could do,
you work with trees. Trees are how you work with
multi-dimensional objects. And finally, before we go
to more geometry metrics, where we start with
working with vectors. Vectors are just regular points. You can work with fields.
That's how you work. With the, the points
or the field. You can work with. Populate 23, That's
very common one. And also you can create planes
and deconstruct them here. You can create points
and deconstruct them, work on things like
closest point. That's also very valuable. And also to work with
vectors and things like finding the direction
that things go in. There are functions
with curves analysis, we can see different
formation about a curve. You can divide it. You cannot create
curves from some points and you also can work on and
create spines from points. And there are some utilities
and this same setup of sort of analysis and
utility, et cetera, is going to happen
to meshes to the sub d. And you'll also have sub d will be found
with your surfaces. And what you have in
the last three sets. And these are the
built-in tools. You have your intersect tab, where you have the ability
to intersect geometry. So you can get, like if you intersect two lines, you can get a resultant line. I have the ability to do
physical sort of intersect, intersect multiple things
with one other thing here. And you also can intersect
particular regions. Finally, in our transform is
where we have the ability to maybe take an object that was in the screen and we can rotate it. We can move it. You can see that we've moved
this up a little bit. And we can change that
one by creating a vector. And again, I'm going to show you where
you can start this. So I can, you have that
basis of what to do? But you can construct a point connected with a slider and this is another
way to make sliders. If you actually put a number, you could create a
slaughter immediately. That's just a quick way to sort of Plugin one of these
types of things. And you also have
the ability to, in your Transform, do some more complex
morphing like blends. So again, each of these are more advanced, but
I'll show you. So you can have this
in your mindset, will do an exercise for
you find how to use this. I'm just getting started. Then finally, on display
you have the ability to export and shows different
things like colors. Like if I have a list of points. For instance, if I will take my list to be rep,
that I have here. And if I wanted to, of course, name that I could
just add that here. There's a B rep. I could always just copied out. And if I wanted
to get the center of these boxes,
they're not polygons. What I would probably
do is a bounding box. And a bounding box
is a function again. You can quickly put there and you could get different types of
information about a box. You just click on, Get
a properties of a box. Here, loves nicely, that
gets you the box centers. Each of those. Again, if you want to
turn this thing off, you could always go back to Group, right-click and disabled. And you can use
your scribble label that this is transforms. Come down here. We're looking at this box
properties and ideas, each of these little points
is there over an object, actually could
label those points. And the way that would
really be done is by vector. We can pretty much
turned his points to a point list that
is already a list. And list is something
that you will have to learn a little about as you're going and
developing ideas. These points will
have a size yet could just create a number here. Or I can also create number actually
directly in the input. Like if I said one, maybe one would be too small. Maybe I could do ten. Now you see like a
little bit larger, essentially that's
where the number for that point is located. It because it's not wireframe,
you can't really see it. But if I turn to wireframe, you see that I've
labeled all the points. You can change the objects in a input from the
object, from model. You by going down
and clicking manage the collection where you can simply reorder
things as well. Do that right in here. It's interesting how
you can get that done. So that's the basic
of interface. We're gonna do a short exercise, learning about Grasshopper.
77. Creating Voronoi Windows In Grasshopper: So I'm gonna go ahead and save this little demo
Grasshopper Test. I can just click by
saving document. Just say maybe test. I could just go and
create a new document. Now you'll see on
the right-hand side you see the name
of the document. So I can go back to
the previous one here. I'm going to zoom out of the canvas with the
middle mouse button. Select miss but
middle mouse button, if you have a code, you'd always click on
different types of commands. There are some helps for viewing where you
can view a selected. You also have the ability to sort of create sort of
links in the model for it. So you can create a view and you can just sort of have various
views within your model. And you can always go back to those that you've
had set up already. For this one, I'm going
to start with my panel. And I'm going to just
make a Voronoi window. Pretty much have it basically
set up in our model. What I'm going to use, I'm
actually really going to base everything off of replacing these emollients a
little bit in the model. I'm going to explode
this surface. I don't exactly have to, but it's gonna be very
useful for this model. I'm going to create
a layer called GH, where I'll put my
grasshopper window and also my grasshopper panel. Fix that. So now what I can do is just my different surfaces and I'll put one
surface at a time. I'll set one surface. Now set the other
surface, another surface. So it's simple. And we're going to make a one-off surface
on this pattern. So the way we do it
is we'd really be going from surface two vector. When you create populate 3D. Though this is sort of a plane because of the orientation. It's typically set to
populate on one plane, on that great base
plane or, or another. So the region that I'm going to use is the surface
that I have here. And I already have a count, then also seed for
randomization. And also I could have
a single x the points. I'm gonna do this one. And
I'm gonna do, show you that. The idea is you can do both
of them at the same time by using shift and
when you connect it, it gives control to
separate for that. Essentially, we want to
transcend the Voronoi. The form or function would
be what I would use. Next. Voronoi. Something that's already set
up in the functionality of, of working with meshes. And you can just simply create voronoi from
your mesh command. And all it needs is the points. You see, the sort of surface, the mountains goes
all the way out. And you really want to use
the surface that you started with for that base for NOI. And one way to
also simplify this as the creator sort of
in-between surface. So I can always switch this
because this object code, we need it in
multiple functions. So it'll be needed here and also will be needed for my boundary. But the boundaries I
supposed to be a rectangle. So the way to get the
the surface bounding, We were just willing to
do a sort of replacing of the rectangle that comes
from this surface. That's a little bit
of Ed Vance function. What you would do it is you would really just
get the B-Raf edges. That's also sort of located really the surface where
your dean those edges. And pretty much when
I get those edges, they are going to be broken
down into just 1111. I need to join them. So join us from the Curve menu. So that's essentially utility. We can join those curves, join those naked curves. And I'll bring this down low. And when those
curves are joined, now I have a boundary
that's a rectangle, and I'll stick that
into my boundary. So we now have the boundary
for that set of points. So what I can do with
these little lines, and these are all
really polygons. I could turn them
into planar surfaces. And done with the surface menu, pretty much where we're
able to use sort of a surface where we can either break those
down or we could just go really from a curve. So using that boundary sets gives us one trim surface
for each one of these. And what we can do as well is
from these little polygons, we can also use pipes. Pipes are a so it's a tool in Rhino as
well as off Renault. And essentially, you know, how we did with the volumes. You just take these curves
and we come in here and unfortunately they take
a long time to render. So that's why I tried to always reduce having too much of those. And sometimes they will
like gold, but long, you'll have to maybe add a
little bit later as well. We'll go back into
grasshopper and make sure it's not lost. Because of this proper setup. This type of
whatever we rotated, it should still be
functional for us. We, if we plug in two, you can actually do both of
them by way of being a group. And so that's a list. And so just be mindful
of if something is going wanting twice that
it's going to of course, take twice the time. That's my finished
product there. And what I wanna do for this is I want to export these
into different layers. You have pipes I could
go ahead and export, and that's going to
become rhino geometry. Because the grasshopper geometry closes when we close
the request of a model. But I can go ahead and just
export these to my pipe, to my GH panel and turn
that into a big group. Then I will take
my surfaces and to make those into windows,
I'm going to bake them. And then choose the window. I'm going to make them a group. You also have some other
options for decoration, display or different mode, but I'm going to leave them
as is this the basic click. Okay, I'll save this
document as Voronoi windows. And be mindful again, the plugins are
sort of advanced. When you put your mouse
over sort of input, it does give some insight. If you put the wrong
type of inflammation in, you will get a note. For instance, if I just wanted this surface to go directly
into the boundary, I would get an issue
at my other side. And it's even like sort of still processing that big function
will turn off pipe. We can avoid having
too much trouble. That's another thing again,
grasshoppers, sort of big. So be mindful of that. Make sure to jump back
in the grasshopper. So they're a little
bit, but it's red. And I'm going to
turn off my pipe. It's red because the type
of geometry that at one it is going to be a proper
boundary rectangle. And some reason in
this planet works, but this planet didn't. That's why I turned
the B rep edge and do the join curve rectangle here. But if you have an
issue with anything, It's good to know that you can click on a box above and I'll tell you says data convergent felt from surface directing. And that's the reason for
this function right here. Let's play that back in. And you see it works fine. Okay? And again, when we
save our function, we can either just close rhino grasshopper plugin and we're
back to the main Rhino. You see the part that we
bake it in the model. We can see it shaded
and we can treat it just like any normal material. Of course, because
it's a lot of geometry you would take a
little time to render. But we get, of course, we won't even go into
the rendered mode. We could turn our
window into glass. There we have our nice ability to just watch that parametric
design in a model. So another nifty tool in
Rhino to your project. You can always see my links for more classes on
Grasshopper script.
78. Chapter 8: Designing The Site: For this project, one of
the things we wanna do is have a little better
definition of site. I go from above, just sketch out something that we
can use for our site. Right now we have just a
little walkway around. We don't have a really adore. Get some of these
other areas which you might in the future
should maybe put here. So what I'll do is I'll just make a
little outline for it. And I've organized my
layers a little bit here. And I'm going to go ahead and just keep my things in
architectural D layer. And I'll just delete
this duplicate layer. Let me just keep
some of my ideas. I'm going to have a
layer just for drafting. And I'm gonna do a site sketch. And I'm going to go
ahead and put this in here that the current layer, I'm gonna go ahead and just
save as a site sketch. I want to do here is have a couple of little
things going on in sight, but I'll make this layer here. Lastly, I just want to maybe
use my infinite plane. However I want, I probably just also create little,
slight plane. I want to create a
pool that can relate. Sorry there. Wrong command. Want to create a pool that would
relate to the drum, to the house, and
that's 20 by 40. So if I do something
that's 40 ft by 20 ft, comes out here and it has my locations and I'm just
moving that down 20 ft. And the foreign move it out. Good, reasonable
distance attempt to eat. Then I have that here. But also I do like this
idea of having like this walk around area
around the house. I continue something like that and I want
to make sure that my project mode is on
so everything is flat. If I do something where I'm got to be careful
pressing buttons.
79. Modeling The Site: So for this site sketch, I have a area that I want for my pool when it's
going to change the alias function to which
are actually my settings. I can avoid pressing
render all the time, I think are my aliases would go find that this is how you
set up your, your aliases. And I want to do
we're not worry. When I type in R that are maybe REF or as too little. I actually wanted to I see, put our silver that Ari, and we want to actually
create a rectangle. Help us out really. Alright, so that's our
setting for the alias click. Okay. The next time we put RE, it's going to help
us draw rectangle. So I'm in project mode. I'm going to really start
on my turn off my roof cap, my roof calves only that I go, that's out of the geometry. I'm going to make
my rectangle here. And I'm going to go on
my 40 ft by 20 ft up. And I'm going to just offset
that this quick here. The offset. And I really want just like a five for
perimeter though. I definitely want to likely
maybe do some planting on one side of the house versus this walkway over the
entirety of the house. I just wanted to get it started. And so what I would do
here is also start to have this relate to
this pool patio. And the pool patio
could be a lot lower. And so I could do
is come out here. So to say in my entropy
in here that I would have maybe right in
the middle of here, could be a walkway
that comes down and 5 ft on both sides. Then maybe that would
be coming in 3 ft. Since this is five, obviously that don't have too much space. So maybe even take this, even as I know that
I'm not really trying to circle the entire
t of the design. I'll take this and
I'll move this out. 36 ". Like I said here. So now I have that as
a full working space. And filet this, maybe I have this as a walking
down to a little path. And if you know, if my site
was coming down, I could, I would be able to sort of
interface that element. I'm going to create my, my step here and it's
10 ft by, by 1 ft. So I have like a set of
these that come down. Then I have a little
bit of a patio here. Maybe this could be 10 ft by 10 ft. Just come back at this sort of
adhere to that again, 10 ft by 10 ft. That can
have this little path that might be five foot that will go along this path and
that will come over here. And so my pool doesn't have
to be that exactly height, but when I come in
and they're just offset from that edge, 3 ft. And so this pool would
be more like a 17 by 37. So I think just to have
more maybe six-foot to deal with things like
people who would use this. The pool and the chairs
are just sorting. Chris, that you can take these out of the
design right now. I'm saving the file. And I would be putting my
my pathway again. It's coming down
here and it would have the ability
to walk from here. And I'm going to
just offset that. I'll do as he's six foot in the center
and just do this one as we have this this path is why do we keep that
five-foot differentiator? 5 ft. This cupboard this
and there'll be 30 " come back up, 30 " I'll make that a little darker
so you can see the walk, the walkway idea is that again, this is a place where people
could be enjoying this. I have an opportunity
to create this. Maybe even we bring that wall in and just have
that as a place now people could come out
and they can enjoy. And we have like this, we have 12345 steps here. Either similar sort of stepping, stepping area right here. And just sort of
show my idea for it. What's happening. Architecture, if we have like this come in right here, right? That people could
actually be exiting out and coming out on here. And I'm going to be doing a
similar thing right here. And I would just be
doing maybe it's like a secondary
stare at 1 ft by 5 ft. You could just simply be navigating
down to the pool. So you have these multiple
model ways and to make this more accessible
to becoming in 24 ". So you have these multiple
ways of getting down here. What I'm gonna do is
I'm going to trim this, that in trim this here. And so we can go
ahead and remove the previous set
of sight dynamics. And we'll just be working
with this sort of dynamic. We have this pool
space for poor chairs. We can even look at that in 3D. Like the part that
sort of not projected. We can go ahead and protect
that to the C plane. Type. The code in here
doesn't put objects. And even for sort
of display sake, I can even generate
a little bit of a set of contours
that to demonstrate what would happen for the site. And sort of have my
little bounding box to keep things one way. And so what I could
do is saying, I really want this area to
sort of be sloping down in. So I'm just clicking on this top one and I'm going
to come up 6 ". Now it's come this one. Go down 6 ". And this could go
down negative 12 ". This could go down
negative 18 ". And this could go down
on negative 24. ". What should we do with these? And I'm just making a temporary
typography. Don't know. I'll make a new layer called a, just a slight 3D. And I'll just put my
topo lines, contours. Select these, change these here. Then I'll just make a
layer for my typography. And the way I create
a topography is by using the command patch. I'm using all these
curves and I'm setting a decent size
zero point spacing to UV spends 25 times five
difference of this amount. Preview that. And so you
see it's coming down to that amount and they won't
overlap the site too much. Obviously, it's I want it
to be lower than the site, except those that topography
will be in this layer. So what we could do now is I'm fine with sort
of leaving it. It's coming down for me. Now. It helps me when I started
thinking about taking these surfaces and pushing them, this surface I could come
down, keep that solid. I'm just shooting that curve. Here's my function p. For that. We're going to make sure that
it's solid and press S and we come down foot. And now just to
create my stairs. And one of the
ways they'll do my stairs to simplify as a, I don't want to just shoot
a little blocks that, but I'd rather like a
little nice little pattern. And so what I'm gonna do is
each one of them is coming down maybe 4 ". I'm going to turn
my snap back on. Just be clicking this. Come down four. I'll turn my ortho
on this coming down for clicking this coming down, for this coming down 4 ". In this coming down 4 ". And I'm pretty
much done with it. This come up a little
bit 4 " while the top. So take this and you don't have to really do
that connection actually, I'll just lower it on. Remember to lower it. I've made these
very shallow step, so more of a design
aesthetic here. Come over here, come on down 12 " and connect this with here. Going to join that. Now, one thing I
wanna do is of course fillet this final edge here. So that's gonna be my profile
from I stare bit thicker. I want to bring it
back up, come up 6 ". What I'm gonna do now is
just rotate that 90 degrees. And so there's, the gimbal
tool is very useful because of its ease and sort
of navigating everything. But I'm now going to turn off my project to locate
that's there. I'm using that point. But you see I have my area where I want my
pattern to be in. I see that based on
my side divisions, this doesn't need
to go that deep. So I'm fine to just very simply, even as all my sketches
going out to LA, I want to be over this side. Maybe I'll start my steps here. And maybe this is going to be the location of my
pool sought out. So that's not too hard
when I hide this surface. Essentially I'm saying
that I want to sort of get rid of this
particular element. I show it all, you'll see
what I'm talking about. So I want to maybe have
this as a solid walk in. They could do that. And so it would, should be doing this and pull that up with
the perpendicular. This point that I don't
need, I can delete it. Now. It's simple walkway that started and this is
where I'm now pulling down that pool patio and want to make sure I'm hitting the right point as well. If I want to say again, this is a pool, I can start to show a little bit the structure
underneath the offset, about six inch, that'll
help the poor wall. I could also come
down afterwards, go down there with
5 ft for my poll. But I could start at
the top of this and just come down on 24 ". Just me not shown too much, going too much into
detail for everything. This one actually is a
little bit higher because obviously did not lower,
but it doesn't matter. I'm in, come on down
and pull it down. Right? And I can use a Boolean
function, Boolean difference. I subtract this from here. And what I can do again, because my walls go down
a little lower than this. It's where I can be taking
these and going down 5 ft and can be placing that a little lower
and just make sure that it hits
that perpendicular. Turn off the near. Because I definitely want to
be more precise with this. We can just measure, find that distance that
we're going down to the precise 1 ft That's downed 1 ft through
and just come down here. Now, what I'm gonna do
is I'm going to copy it the pace and I'm
gonna subtract it. And actually I'm
going to subtract it a little bit lower than the patio because I
would say that would be like a different material. Right. So I'm gonna come
down negative 6 " for both my copy and
the original six. And I'm going to subtract
or do a Boolean difference. We subtract this or
keep this going. So we're going to subtract from here when I use this
piece right now, that little shell and we're
going to put that wall there. What I'm also gonna do then
I'm going to take this now. I'll just copy that too. Should we get even
copy this base here and just take that base
and come down 12 ", right? So now we have this
site little walkway to the pool and
we're going to do is come over here and
have this walkway. Do like this secondary,
secondary set. So this one we can develop, again, that's similar way. We just come and now we have like a
little clearer idea of how far we're getting. And I can even just
start with this. And I also, again, you're not limited to what
we're doing here is a, go ahead and close this. The join it. Close that curve. A little bit problematic here. Join these, I want to close it. Take that point and move it to this edge again
where our project. So we don't have to worry about things getting in the way. I'm going to move this
down to this level. And then we're
going to be working on a little more with the site. As we integrate that, we probably want to turn
this up I call where we're working on figuring that
topography out with this.
80. Dividing The Site Footprint: So now I have my my my set here when I'm working
with my pool. And my pool needs to subtract
out from the tuple, tuple. And it's not that bigger
problem to subtract the topo. Very simply could. Just like I have in my project. I just had my projecting
lines and I just create a polyline thrown all the area that I want to subtract out. And to simply close this. Also, I can leave
areas that I find the key from the
inside of it as well. So it could be selecting
this area. And this area. I can always project
that to this surface. I thought I could do
is just be splitting that surface with these lines. So pretty much
just remove those. Then if I want to keep it
and maybe for later, again, I can always trim it
to store the surface. What I want to put that
in the roof of the glare. Just hide those.
And when I say on trim and trimmer
the curve function, you can always choose an edge and restore
it and undo that. But now I have my
site to trimmed out. I that nice sort of gradient. Now I just want to
have just a few steps. I really don't even
need that many. Obviously, the site is is a
large enough to avoid that. And so we were doing a nice
flowing, shallow steps. And what I wanna do
now is I'm going to just subtract from this one. Well, that main patio. I just do my Boolean
subtract that stair. And I'm just going to do like a light little step
down into here. What I'll do here throughout, it just sort of take it down. I think I'm very interested
in sloping part of this. And I'm one way I could
do that just by splitting this set of lines
for this using here. And again, remember this
is all my sketch layer. I'll have to take
it off the layer. Close that curve and I'm
going to close this curve. And this curve right
now. Little walkway. I can hold that down to simply make sure to
turn off project. We can just again take
this down right here. I'm going to curve
down negative 12 " or its context sensitive
for how far it goes down. But I'm taking this one and what I do is
choose that edge. Let's come down negative six. Now this one is, this one is sloping. Now move this down to p negative 12 or 12 to this
article into my direction. And now all I need to do is get this set of points down to here. Also measure how
much that would be. 6 ". Again, I want to
have my set of stairs. So I might even just
come down and take this. And so I can at least
get two sets of eight. I could take this
down negative 2 ". Okay, Now I just really, really need two steps. And then this patio. And so I'm going to have
my little aesthetic there. So I can create
that using project. Or come over here
to here to four. Come back over here, come down to, sorry,
I'm going to do four. That's my eight going down.
That's that I would need. And it's not as many and maybe I will
pull that other part out. Then I want to come
down maybe 12. And I could just pull
that up over here. And I don't even have to
do the slope everywhere. Okay, that's where I'm looking
at Versailles to come over here to 90. Pull that. And like I said, I can move that over. So that's actually
not as conflicting. So like, I would have like a nicer static field that again, if you start to see
an a site been doing, I can always fix that a
little bit later. Okay. So I pulled out all
the way over to here and it's looking like it's maybe
going down too much. I'm I'm I'm very fine too. Then either say I can adjust the site is if I more
I could lift it up, but I really want to
have this coming out. So I'm going to move this 12 ". But I want this step. I really wanted to step so this, which is going up certain
amount than did my distance. That's going down 4 ". Again, showing you
that distance, again with the way the site is. It's definitely make an
easy, which is nice. So I can actually just sort of, It's good for this,
not to be too low. So what I can do is even
just to sort of excise this or make it just a little bit
of maybe a tray. But because of how this
is set up, I can always, you can just lower
this negative four. And don't worry about
site and we're going to work on that a
little bit later. Um, but in general, we have now updated site plan that we can now start
to sort of articulate. But it's a beautiful
way to put it into your site and create more
beautiful overall work. And we're going to
actually work on this facade over here a little bit so we can have
like a little exit as well. Want to do that. And
that's gonna give us more final working
with this design.
81. Refining The Landscape: So now we have our
site and we're trying to work on updating what's
happening with our contours. And so we would go back
to the original contours. They told us a little bit of
something about the site. Wanted to have a little more differentiation about
what's going on. We can hide those contours and credible they are called
advanced contours. But we actually, we're going to first add the site a little bit. One way to do that,
I'm going to turn on the points using the
function points on. And I'm going to start
lowering it and areas where I needed to be
a little bit lower. So you can imagine the
previous site where everything was a little bit higher for some of these areas. Now I'm going to come in some of these points and just
start lowering it. Adapts to my site. This surface which is separate, has its own sort of
dynamics as well. And one thing you notice it, it doesn't exactly
have edge endpoints. That's because it's the surface. It still has its sort of connection to its
previous sorting. And that's, that's one of
the reasons why you will, they'll even be showing
all these points, but they do not only they're not affecting any other
part of the model, it's just affecting this one. Because of this sort
of like cleaning. I might even just lower this
whole set a little bit. Right? Now. Even this area, I might
go into wireframe mode. I could deal with
situations like this. I can just, just be pulling up and design here and pulling it down here for
my desired effect. And there's definitely
a bit of a science to the fix and work
with surfaces. Now this surface could even be, of course, we engineered. And that's also another, another option versus
trying to work with this. Because obviously
it's, it's like I could see how I want the
surface to really work. I could even just loft. I could take this curve or this surface edge and actually create my own curl around desired curve that
I would be working with. We're still in a site to catch
layer are actually done. We can go ahead and turn this
into just changed a layer. So it's actually a 3D layer. Okay, So we have now
delete this one. I start to just locate this
where I want it to be. At the top there. Again, this one right here. We can go ahead
and put that down, negative 32 or something. This can come up even though
it's sport or right here, we could do is take
this point and move it to be right here,
at least an overlap. Again, what I would
do is take this, this surface and come
down negative four. We can have like
avoiding bad details. Okay? So this point and come
down negative two, right? And again this point even
could be coming down. They're going to, for now you
just be laughing or lofty. This surface or this
little set of lines with a line that's going
to be on this surface. This started again just to
make sure we're working with, right, so that's an alliance. Select this, like this. And here. Now for our topo again, we're just going to put
this all in our topo layer. And if we wanted to be grass, we can of course set
it to be like grass. Work too much with
that site here. Now we have this unique
landscaping situation here where we have
what we wanna do. Of course, if maybe
add some pooling here, we could be using some
of our previous lines. We would turn this
into planar surf. And that could be our pool. We'll change the layer. And I guess I was talking
about sort of its layers. Again. Just so we can be just moving anything
that's not sort of current into that layer
that we're not using. Clear. And now we're gonna do. Now is more advanced walkway. And we'll just set that up
through changes, object. Change, this one as well. Like I said, I wanted to make a little more
advanced topography. Why could do that now? Simply clicking on
our advanced contours as our main layer. Just click there.
And then we could say the contour command. Select the objects. Just choose a base point. And we'll use our elevation view to choose the direction of everything that
we wanted to go. And whereas before it was 6 ", we do like something like 3 " will give us a little
more advanced topography. And so they'll
definitely look from very nice sign what's
happening in the design.
82. Chapter 9: Developing The Building Design: Okay, for finalizing the design of that working with this site, we want to go ahead and work on the building side
to make it a little more inviting
geometrically wise. So I'm going to create these as drafting a new turn off
my side sketch finally, because everything is set
up in the right layer, similar things on below
those to be the right layer. And this is going to be poor. Who concrete? Change that object layer. But we can now turn
off our site sketch. We're just gonna do a facade. Walls. Actually come in here. And now let's try to emulate a little more
of a moderate effect. Just take this and
just come in five. And I'm just going to create
a six inch wall layer. And though I have
this wall here, I'm not actually come and
sort of pull this in. This way. We would have
the ability to move this in 3 ft. We're not doing that much material
design in this course. But again, you'll
have the insight for if you wanted to do
something like that. So right here, I come in 5 ft, 5 ft, midterm
project back on 6 ". So I'm just going
to simply pull it up here by protecting this, rejecting and want to join that. And what I'll do is the
formula is going to really be an opening that starts off at the edge of here that that
will continue up from here. So we'll just quickly
organize that 6 ". And now we need to
do is distance. Without project, distance. Just start at the top of here. And this come down as
well, a foot seven. That's our dust and debris
going up when it over here, eight foot seven and
coming over 5 ft. We might I could just be
caught in that one over here. What I'll do with
this line, join this. And I want to trim this surface. Just try that again.
I will going to explode this because we don't
want to make it any harder. Obviously, we were trying to
just get this little area, the trim, this area. And we'll copy this N D, that same sort of function here. The only thing I
would do differently is on here I would be coming in 5 " or 6 " thick, thickness over a wall
and the city coming up. Let's make sure we get
that 6 " and going up. This way for me to have that
wall that continues through, this will be going in. And so this will be our the extent of where
we're moving with this. And I have like an
extra line here. We don't need that. Right now. We'll just select
our cutting curves. We'll just select that
surface and this surface. And then we'll just go ahead and show this set of lines
is projected to the C plane. We just move this instead of removing this
point so that it's. We'll just take these in. Aco, everything
is sort of coming together in a couple
of eight foot seven. And what you can do here is you can sort of make
a new frame to surface. I mean, that's fine as well. Just where we're lifting, bringing, bringing
together different edges. I can hide these. And some of these
updated details is going to be on the wrong
layer at first. But it's fine because we're will update everything to where
it needs to go later. I'm going to hide this oft this edge could be
coming up again. I'm saying I'm just going
to loft it for right now and obviously it's a little
bit thicker than we need. What I'll do is I'm just
going to even just really create one here and just shoot that using shoot
curve up to the top here. And our previous force system is really the ground
of this site. But if you wanted this actually
be a little bit bigger. We could be separating that
want to do now is just use something like my
profile to my building. Use that to trim out
the area that we need from this site. Just extrude down. We're actually hide
the side Eric, we use using that right now. What I'm gonna do
is I'm going to be subtracting like we did before with the
Boolean difference. This. And I'm going to
create a new slab. That's what I'll call that one. And whereas we have like
the bomb, the four now, I can very simply just
come in and create, even though the trim this
out for this door opening, it does create a slab and just include some of some
of this variation. We're gonna go into the top, you turn on project mode. So we started drawing this new
set of set for the facade. And one thing I want
to do here over here is again to just
have this as an opening. And so I'll do a
similar effect there, what we did right
here over there. Then I just toss and
a fluorine quickly, decisively to a
polyline object mode. So we should be fine
about where it's located. Come over here, take that. And do I have this
one is it's gonna do a similar sort of effect where
people can come in here. I'll just close that, pick that line, come
down negative 6 ". And I'm going to extrude that. Let's leave that there
and I'm going to extrude this surface now 4 ". So just not not having to
do too much with the site, but we have subtle
interests now. And get created like
a simple door here. And I'm going to do that
simple door and want to work on this side of
facade of the building. Just make a little more intricate in terms of
how it's designed.
83. Designing The Front Entry: For our work on this front side, as we were working on developing the building and the envelope. And we're adding a
new type of door. When do since we've
exposed at the surface, we're going to actually
move the previous store. Just the idea of a door. And we're gonna do, is we're going to really
untrimmed the surface. I'm going to click the
intern host side and the untrimmed choose that edge. Same thing here is that now we can really
start from scratch. I'm going to take this, this
new sketch we're working on burn project mode and make sure that's gonna be
projected to the C plane. Currency planets.
Just zero-zero point I want to do is just sort
of like this is done. I'm just going to
just shoot that up. You'll note that we don't even have really
a ceiling right now. I want to do that same eight
foot seven up, upward. I'm going to take different edges and start to
organize them a little bit. But what I wanna do first is look them up for
that wall distance. Come this up 008 foot seven. And that will actually
just connect without object mode. Just like here. Now we have enough to sort of subtract and break the surface. And we can do Hall
so alone inside. So to do that similar
sort of subtract, only just don't have
the particular line. And all you need
to do to get that. We've line here is
maybe just create, create one that's
from that base. And we'll just move it up because it's not sort
of intersecting. We have this that comes in. We sort of see this
slide looks like it might not be straight,
but it is right. So this tells us some of the other lines
are having a little issue, but we're not going to
worry about that right now. We actually can solve it
wouldn't do Shift Control. We'll just move that
line using project. Don't take anything
out of its axis. Now those should be fixed. Like we said, we're
going to get this line. Intersects here. Take this curve, come up, just click here.
Eight foot seven. Come in here. And then trim out that
that part of the facade. Make sure not to choose and
they were not done choose. There's not really a line here. When he was named for.
Readers. Take that. The end of this line should
be a line starts here and exit out a project
mode to sort of get it. And just go from the top
to the bottom point. And we'll trim with this line. Now this line or
this entire light, get that sort of space. And we actually have a
little bit of overlap here with this surface edge. I'm going to hide the
ceiling right now. And so the ceiling is a little
bit jointed with the Roof, who are gonna be fine for
that, just being basic. For now. I want to make sure
that this wall comes in and all HD
really is to trim it. Here. Just to trim,
cut this down. We have our internal wall now. And it's not really with
any sort of planets are sort of sort of free
facade going on here. But what I can do
is I could just create a little ceiling and then have like little
pocket for a door. When I create a surface
quantity corner to close this space. Then we're gonna copy
this copy and Control C, Control V. And this top
one were to come up 10 ". Make this edge
come out. That 6 " And this air we're going to
put a door is going to be actually inside of this area, so we don't have an issue. But I can lock all
the other edges. This man specific. Now this edge as she could
be just bringing out Curlin loft from here to here, or make it from here to here. And you could even
pull this wall up. Again, that's for a
modeling purpose. Where I'm now starting
to make a ceiling. Where I start putting
my ceiling here, change that object layer, turn this on and make sure to
turn off the rest of these. Actually this goes
in architecture. Be careful how fast
we move things again. But now ceilings in this layer, these are all in the ceiling. Instead of really
loving this up, I can sort it just for
material purposes, just explode this and
just pull this edge up. Right? And again, this is sort of a, you know, a free choice here. What happens with
this sort of point? Because obviously the
points on for this, now this is a surface
that's based off a plane, so it's a little unique or just laughed here from
this edge, this edge. And so that can be found
on the wall layer. And turn it up a bit.
We're going to make sure that everything is
on the wall there. Now for this one object layer, make through this
Stonewall layer. And also for this
part of the design, which should that also
is on the wall layer. Alright, so now we have that this is going to
be in a floor layer, which we have not
really created yet. I'm going to just
create that floor. Right. Turn it on and off.
Show tonal all back on. We do so much with element like this little capsulated
ceiling here. Do that on this side. And assembly. Do that with are
making a surface. You can always start with
that same layer since now we're a lot more to find about what's
going to happen here. Definitely this, again,
we have that edge will be lifting later
from here to here. And you could start
that very simply. Get the perspective view
by clicking here and here. Click on that and my P for Extrude curve and
go eight foot seven. And that's going
to make something that'll be on the wall layer. And our basis for ceiling. And just copy. And now we're just
copying program 00 10. ". Stop there. Make sure this edge
is coming out. Bringing the wall lines up. Points off for this surface. Think of it's trimmed. We're going to add a little
more of a challenge because trimmed surfaces is going
to have a challenge. But what I could do is
always delete that. So let's start from scratch and just laugh on those edges. And this light that was
previously connected to here, we can always ungroup it. And if you still want to
keep that in the model, to just come in and, and
state from the front side. And now I'll be going fast. I'm just going to
pull that down. Rotate that. And actually if I
want to insert that, we can just come up 4 " 2 " and it's not fully
rotate it yet. I said I'm going to come up to That's if I wanted to insert it, if I want to leave it
out, it would be fine. And because of location, I would locate that simply
somewhere like here. Okay, So credit little shell
entries for this design. There's nothing on this side
which sort of makes it ideal for if it was maybe
east to west. But I'm just going to leave
it as it is for an outing. This being more south
is pretty good. Alright, so we can do is make a wall with
different color now. So I can always have
differentiated, be a little off green, little lower green or something, a little bit of color to it. We have our ceiling set up here. So now we have that nice
sort of full space. This, this, this area could
continue a little bit. Definition depends on how
you want to organize it. Like this could be
a perfect kitchen, living room sort of space here. And this can be I'm sort of your your bedroom
actually leaving. This would be needing to move over for that to be the case. So I'll ask, I'm keeping
it simple for now. So we can just show that. So now we have our
updated design. I'm having a little
more flexibility. Lets us do those doors entrance systems to
complete this design.
84. Designing The Door: For our door to design, just like we've been
working with our sketches. We're going to also be working with a sketch
for this layer. And we're going to do now is create a sketch
for those doors. There's gonna be two sets. Let's save the model.
And our first one could be this, this area. You should see all the
geometry of what's going on. I want to turn on project
later, the current layer. Turn on shaded, you see,
so what am I opening? A little bit. A little confusing where
to front and back are. But make it clear by of course, turning off the architecture. But after I'm just going
to make my sketch to start with my rectangle where
I'm working from. So this is gonna be my
desire for my door, my parameters and the
distance to this. We got five foot here. So I could do is
very simple door. Maybe even a door with a
bit of a sidelight here. So its door that swings in Word 3 ft and that door
come all the way up. My project is on. And this could just
have a very simple framing system setup here. So I can just make two
different openings here. And I can take
that an offset in. It'd be 3 " for
each one of these. And just take here that
bottom edge come up 3 ". And actually we could
even match this location. This will find the
distance here. That's another five and
a quarter to that line, but it's actually 6 "
the middle of the line. So you didn't come up 6 ". What I like to sort of sort of set here something
that rotates n. And it's somewhat be
looking out from the door. So I'm just sort of
figure out how do we want to design
this, this door. And be a little more
advanced than the last one because we have
that glass ability. And it's eight foot seven, so that's a good size door. Six-foot six would be like maybe one of the
tallest, typical heights. We can always just turn the top of the door
into a transom. It's a little bit
door design for you. We can have something like a three-inch middle piece to that. That's out of the door,
will be coming down 3 ". As we come down to that size, I can pull this down. This is part of the door. I'm showing you sort of
behind the scenes of how we design custom doors
as architects. Bringing that knowledge
into your world. If your design them and firm, you will understand that it is a pretty fun thing to do. Okay. So I could be doing, I get a little bit
of a smaller door. There's what brings the
scale into play here. So it's not super tall
and maybe intimidating. We could have just a smaller, smaller set and
then, like I said, do something that goes up
3 " and have this here. And this top one could
actually be a full transom. We could even be putting that same sort of
foreign oil here. You have that option. Okay. So I have my frame
of my door designed. Knowledge do is create it
and turn it into a block. So what I'm gonna do for
that, I'm just going to be going in a very simple amount. I don't need this
outer frame anymore. It'll do p That should
distance. Make sure it's solid. I don't come at 2 ". Each of these this I'm
going to come out 4 ". So that's like more structural. Come out to here. To here. I'm gonna be working
on my glass now. Avoid select all
the glass layers. I'll just do 1 " 1 " deep, 0.5 " in the middle. So this is my door
design layer as well. What I'm gonna do is I'll
create a door frame layer and a door glass layer. And we will put these on there. And likewise fashion, that door glass could
be simple blue. I change that to do our glass. And we do have the option
of which way to rotate it. I think rotating n would be
nice and even have this as a possible rotation for have
like a double double door. The door frame layer, a little bit dark gray and change that to have the same material
is a door frame. And so does our set here. When i'll I'll just go
ahead and also just add a very simple handle,
full height handle. I'm actually going
to start here where it would be in-between here. Just really located on
my door sketch layer. And make it to be half inch in diameter, quarter-inch,
quarter-inch. And I'm going to come down
actually a little bit more. Okay. I'm going to mirror that. And that's going to mirror
from the middle of here. So what this is going to be, switch my view here. What this is gonna be as my
starting sort of offset here. We'll come up 2 ". And from the above you is where
I'm going to actually do. My handle. And my handle will be
a solid one-half inch. So I'm dew points
with five here. And what I'll locate that
is when I look at that too, you know, we are
on project mode. And I could come up with my one. My apologies. I could just extrude that
curve up to match at the top. And I'm going to put this on a new layer called
the door handle. Modern door handle here,
change object layer. Now, all three are
selected to group. And I will just mirror that. We can have that actually
as operable door over here. And I'm going to mirror that
to be also on the inside. You have a bit of a choice here for how we
would get that in. So I'm gonna go ahead and
create this as a, a block. Then I'm going to separate
the window out because it's a little bit different. Click on Block. Turn this. The base point right here. We'll call this our
modern Dumbledore. It's like that asymmetric
things going on. So some reason I don't
think it's saved. Just want to start that again. Do block. And I will just
select those objects. And I'm going to select the
curves first, the high dose. So we only include the objects
that are black on this. We're actually going
to be in a door layer. So we have we have
the door want to turn off the walls
and floors as well. So we don't need to
see this. Define this. Just here. Would use a, here's a base point and
would turn off projects. We have the exact point. When just do modern Dumbledore. We have this return are
above transmit to a group. And so now all we need
to do is locate that. And we'll show our wall now. And our location of
this will be inside. It's really simple. I'm going to turn
on projects that we don't upset and he's saying, just pull that straight in. I have a nice little sort of
modern monitor entry here. So again, I even
for details sake. You could start to sort of
do a little bit of detail, the house floor being off a little bit because
it would be up maybe 2 ". Even you could be playing that into the design a little bit. Come up 2 " here. And maybe this can ungroup this. Be taking this top set down. You see, behind this, this and just really
take this down. We'll just go from
our wireframe mode. And we can be coming
down negative two. Same thing for
here, this surface. Don't worry about
being super fast. You can always replay this and
I'm going pretty fast now. Show my floor up a little
bit for the sake of design, just a water design and so on. Alright, so we have that setup. I have are our glass here. I would get come over here. And since we have
the same specs, we actually going
to go ahead and use that same door system. I know it's very
beautiful, Isn't that one? You just simplify it and
that's, that's the reason why you will definitely create these and a simple way and
turn this into a new group. We can now say block. And we'll call this
our turn off project. We'll call this our
modern door sent. There's a block
inside of a block. Now just go ahead and copy. That outside edge will
just come back over here and put it here. Rotate that. You see like this wall
moves a little bit and if we want to match it, just just leave it
exactly as it is. We can also just do
that would just be taking these surfaces
and we see that it's, it's end is a little
bit. We could comment. This is 11 and we just want
to measure properly 6 " here. So just take a surface one
at a time, come in six. Six. Choose allege six. This one, which is higher, it's come in separately. Six. Now this one can come in and they'll just
fitting neatly, just hide that ceiling. And now that we've
looked at this properly, we can just move
this 1/6 inches. Do the same thing for
that edge. Come over 6 ". Alright, And only thing about this one is this
one's a little bit, it's not currently at the ground and we'll just
take that to the ground. And one way to do that, rely on this little edge here. Knew that using wireframe mode could be the tool to get
this to this where we needed to beat faster because we have that little bar will
give you pulling it in. And so we have this light here. This, let me say that facade ground comes
up a little bit. Let's do that 2 "
up for that level. So we have a nice little sort
of moderate entry, again, showing from maybe
light on this side and just really controlling it
to be in from this side. We have this nice
little modern doors to accentuate the design.
85. Adding Site Roads And Parking: So this side is not fully isolate it when I'm
thinking I'm gonna do is as well as to
create a little bit of a place for it,
maybe a parking pass. And I'll also turn
back myocytes sketch on and also make a little road out that just goes up a little bit of curve. So I'm gonna do that here. Coming out. Maybe the size of
two cars, 20 ft. This distance here, about 20 ft. So sort of perfect connection. We can actually turn off
some more topography lines. So my contour lines, That's contours so
they won't interfere. So I'm taking this, what I would do is just be
very gentle about this. You see, the surface is not
really cut perfectly here, but the site comes out over it, which is, it's healthy. I could just be coming
over here. Here. We could just do a
very simple to be. This came out 40 ft, 40 ft. Maybe there's a curve
that just we just use simple polyline spline here. You just come out from the site. Or actually we're going
to arc will do good. Lisa will allow. Or if we're going to do this
is control point curve. We're just gonna make sure to, to start it out here 10 ft. And now we're able to do some of the curved beak could
come out 40 ft. And I have two degrees or
movie degree, four degrees. So that maybe it's
something like here. Then we can offset that 10 ft degrees is a
very simple thing. Essentially. Obviously
usually, the more degrees, the more pull you can
rebuild this curve. If we want to change
a little bit. I want to do with three-halves currently five control points. Some fight. You'll see it change
there with it preview to two degrees. One degree C is even
more smooth out. So I think four is a
good amount for it. Go ahead and leave it as it was. I'm just going to offset
this is final set here. And what I'll do
is just going to come out 10 ft and feet. And we're going to make
this line tangent.
86. Splitting Topography For Roads: Now I'm going to
finish this site. I'm going to make a sort
of a construction line. It's going to go out like 10 ft. Each of the sort of
starting with this point. So I can make an
S curve up here. And this copy that to this side. We'll start again with
our simple curve. And I'm just going to use this, these points as my origin. My S going on for this. So now I have a profile. Again. Ortho wasn't on, but
I'll go ahead and do is just my project wasn't on. So I'll just select all these
and just make sure that these are perfectly
projected to the C plane. Will delete the source
objects. Want to join that. And I'm going to go
ahead and close it. As we select this one rule, we should, that point
actually moves. What makes you
protect it all now? Sure, point moves here. And we're gonna do now is when a project that to the surface, which is this surface. And now you just very simply on this part of
this split that surface, split that surface with
this split properly. Try that again. Objects are split. And it seems like
it might have had a little bit of a
challenge here. So what I wanna do now is actually I'm going
to extrude it. So this is another way
to work on splitting. Now I can split the surface
with this sort of method. Okay? And I'm just going
to set that to be my road. And just change that
layer right here. On the slide had a
nice little place to come in and let
people enter the house. Now obviously, you see
the differentiation here where we have a
little little walkway in and we don't have
like entry on this side. Don't worry. That was what about a little
bit at some of the design, does it differ from
the other side? Where we worked at? One was to create a view. Again, I would say
that that's the, the opportunity if
I want to create maybe a guess interests that
there's a walk interests. And I can also
come back here and make a more of a defined
interests as well. So that was part of the idea
with that because I had to walk all along where
people would come along here. But since it's not
particularly iconic, viewing from this side, we'll just create that, that little extra
piece for the drive. The way I'm gonna do
that is going ahead, come back over here and come out ten to 12 ft. And this has gotta be
that issue right here. Alright? And so, you know, it's, it's not that hard if you
want to remove a trim, if you want to make that just redo that particular edge set. It would add that
other one back. I think his skills were
connected. That's fine. I actually I'm fine
with just adding a new sort of set
to my trim here. So what I would just do is
just extrude this area. In this area as well. Only difference I
would add is I would add a little bit of a curve. Another fillet,
something like 6 ft. I didn't even just hiding some of this other geometry here where I would trim this out to your IM and trim
both with here, here. And I don't need to use that
one, I'll use this one. Okay. So I've
trimmed this out and then what I'll do is I'll filet this 6 ft. That's all I need
is this area coming up. To join that I'm going to show all the downturn
had been hiding. And I just shoot that up
and split this surface. Then if it's not perfect,
they do that again. And this will be also my road. The people who own
a house can mix. What about a stealthy
entrance here? And I also had the idea,
of course also this could just be coming in that would be. But another easy way
to sort of frame this. So that again, that wouldn't
be that hard as well. We'll update the
entrance just slightly. By extending that out the door. The door could be entering
here. Eight foot seven. Now we have that ability
to comment on debt side. Turning off reject
would just split. Split this object because we're splitting when I
split it with these curves. Just trim here. And then the final term. So they'd be don't, won't be
dealing this object here. This is fine next
to become a wall. And so we actually some fly that some of the
equation for ourselves. And we'll just use
these edges trim. And so now we have this nice
little little cove here. But the owner could,
uh, you know, a little more privacy, but still like a good time here. So there's still like this
little bottom edge to my wall. And I could also just
be trimming that. We have a little bit
of a inset here. We also could be dealing
with very simply. So that's not going
to be problem. This right here
should be coming in. 6 ". Can actually says
we're going to trim it. You go ahead, leave it. Only thing is
really just want to have that counter element. And that trend here with this information is all
this little coelom bit that we had moved. We just take that on that edge and move it out outward here. This element up here. And that could be
useful only inside. We don't need to have
it on the outside. And I would just take
this into the ceiling. Come out here. Now we add this edge here. For this. Just need to select that little surface
that can move and six. And just make sure that
moving versus extruding. And for this area where we have a little bit of a
change to the space. We again could go
mentioned for trimming, showing here and here. This could be coming out. And they could very, very simply either
come out from here or this could go into there. Go ahead and do a simple solid. Excuse me coming down 4, ". Just do a Boolean boolean union. So that's one way
to get that done. Again, you're not going
to see this except for in Europe floor. But you want to sit
flat obviously again, you can always just re
cut it and go from there. I'm going to finally
do this trim this bit. Just sort of explode. And it's all on my floor layer. The only thing that's on
my floor layer and just the it says to me sort of updating
these profiles a little bit on a dupe. The border for the top, bottom actually only
need one of them. And it's just really taken this little lines l. And
we don't need to close this poly lines so we can leave it open. Here. I have my set of
information here for this new curve. Redraw it. Make sure to press Enter. Let's pull that down. That's gonna be trimming. We can go ahead and select the entirety of
the four objects. This make sure to leave
that at base down. Delete this other parts. Select the objects. Nationally if
something was lost, we know as this kid
but get it back. All right. So that's our floor. Select previous floor. Now we'll shoot. This is our new floor. 4 ". Just changed the object layer for the floor and there we
have our updated floor slab. We have our our
guest's entrance and our main owner entrance. Obviously to maybe add a little sort of
intricacy to this. Face it maybe adding a little
bit of difference as well. Maybe we could do this. Again, looking at a new way to sort of show
this one as well.
87. Refining The Entry: Okay, for adding some
interests to the entry. Again, it's, it's very
beautiful obviously that walk up into
C and everything. But this side is a
little bit bare. We're gonna go ahead and add in a little profile to
where we're looking. And we know that this area is about 5 ft and
measuring it here, DI I could come over here
that same four foot eight. And really just sort
of extend some of the lines that I'm
using from here. That could be my same distance. While this is sort
of taking that edge, I can just come over here and
just do a simple be 18 ". Then that could be what I'd
be working with on this side. So something like that could start to bring
interest this side. And even if it would actually
be more like double that, that could be a way to
make an entry interested in just like a lot of waterfront properties and
change my fillet flavors 6 ft and I'm going
to turn it to zero. No, it could be something
interesting as you come in. So I think we're, we're working on how to make it interests
and from all sides. So we have an interest
in inside here. This side also, it can
be very interesting. I'm going to trim
these two walls and can be updated
design a little bit. I'm saying this to save
this as a version. Now we're working really
with an entry design. Again, you can save your
version that I would recommend having a main
file you start to create, come back into your
main file to work on. Okay, I'm going to
trim this bit cutting. I'm going to trim off
this face and that way. All right. So we were saying we were lacking
a wall on this inside. We will be adding that back in. Now we know exactly where
it's going to be located. So what one thing for
adding that wall back in? I go on my wall layer. I'll be using my my line
at the proper edge here. Just taking that curve, coming all the way
up to the top. But I know I'm gonna
be now projecting this same curve. Joining that. I'll project that this
surface if I can. I think it's because
of the view. We'll try that again.
Join that again. We could also just
very simply close this and offset it ends to
make it even easier. And just from this point, we just take off
one of these edges and then just trim
it as a object. It's truly other
object that's inside. Just trim this to surface edges. Trim. Split this as
a cutting object. So this area would be where my, I wonder would be from. And even I didn't have to
really delete all this. I can actually use it again. I can just use my surfaces. Mosiah just to trim that. Actually Amelie became
my window frame. So that's nice way, That's how that would work. This can be a variety of spaces. I'm not going to fully
define that right now. So what I would use
is now to create a polyline for sort of
a base for my glass. Where's my other glass
I've used over here? One thing I'll just make a layer call because I'm
not using that anymore. For that previous class.
I could just turn that into this card layer for now. To my glass and volume
back on from before. Select the objects, put
that on the discard layer. That was the warm for the
parametric facade here. Now I have a new set. Again, if I wanted
to redesign it, I can always come back. And again, I'm going
back and forth between between my sketch layer. So I don't have a lot of
rampant lions into the design. Okay, so now I have this here
and we know that it's 6 ". So if I come in
two-inch offset 2 ", then I offset to maybe
this one is one. That's, there could
be a simple way of just adding this
system up together. Join that, close. Issued that up. Like
be in my glass layer. Turned on or blue
greens, I'm allow that. And that'll be I'll
take that back. And to do that same sort of
worn only function. Again. So you have that scripts, are you ready to operate
that will add that end. And I think that's
going to be a good little finished
with this facade.
88. Voronoi Front Windows: The opened up grasshopper, I've loaded my unborn
IF function again. And I get this as a simpler one. Because if I'm using
the grass glass layer, I don't need to really
get all the panels, so I'm fine to just use
this very simple one. This take my population. I'm going to use a count
of ten for my, this side. Let one surface, just bake
these end to my layer, my GH panel layer. Then I'll choose this
other side and I'm going to set that one surface, but because I want it
to be a little smaller, I think having a different
size would be nice. Then the other
one. So maybe that could be something like 35. There's a little
science, the Borno, but I don't know, I'm just keeping it simple here. I could bake that
also into that layer of that GH panel layer. That's all I wanted to do
with this for now, set here. And we could close it. I don't really need to save it. So here I have the
regular set for working with working
with the C that entry. People have an idea
of the creativity in this house structure. One thing is we can also do it. And if I want to just experiment
even we could even have just maybe have a little bit of an edge and this
side of the house. And so that would be one
other little detail.
89. Modeling Front Phasad Design: One other layer in terms
of what we're gonna do. An opportunity with,
for this side is, what if we rotate it out
this, this edge a little bit? When I say that, I
mean, what if we now looking into the design and you want to have
something a little unique, what if we take this same sort of way that the
angle is rotated? And we want, if we
rotate that facade edge, this is our final entry update. Let's make it a little sleeker. Where we have like a using this curve and this sort of
more of a conceptual roof. Go into my wireframe mode. So take this and I go ahead and do we to just sort of sit here. And what if I'm trying to use my base layer and
turning off my WhatsApp. So that front of the
building just put this little detail of sloping in. That
would be really nice. And so I'm going to
enact that format in these voronoi and doing
that front entry, I think that's going to
be a really nice detail. I want to start by taking
this when a project off, just taking this side and I'm copying it
from edge to edge. Now we know that the
roof will come out. Now that's really easy. Again. We're just being pulling this, this edge out and it's solid, so we know just slope in, but we want a slope this side
of the building as well. But what I'll do, because
obviously it's a little bit, it's not as easy as it looks. I'm gonna go ahead and laughed. When I stay in the wall layer. Loft. This edge to this edge. And we'll connect
this side into here. So one way to do that is again, we have the ability as the surface is simple
servers and we can just be pulling out
different parts of it. Um, but we had one again, I have to make sure that's
not going to have problems. So now it's definitely an overload that
surface with a edits. But we can dupe the border. We can delete it, and then just edit
that updated border to do what we want. So I'm gonna go to the back
view to be editing this. Now. It would take points
like this tunnel project. It's nice because it's just
using a projected location. I don't have to worry about taking my
objects out-of-plane. Same thing down here. Now we have that ability to just turn that into
a new set of planes. And all we need to do here is
be taking edges like this. Just really extending
it all the way through. Just make sure we're
choosing the surface edge. And the different walls like this definitely
become a lot more interesting when they're when
they're pushed out here. I'll just move this over
here and trim this one. This one is the easiest
way to work with this one. And this wall. All I needed really
is the duplicate the edges at this
top level here. And so what we could simply do, Let's take that edge and
just keep pulling it. And we can, we don't really need that profile too
much anymore though. I'll use it to really just turn off solid
to pull that out. Trm were before we add to what I've
updated it in for here. Now we can update it to go out and move a
little bit further. Just make sure we're selecting the surface edge from here. Um, we can make sure
to delete this and now we've replaced it. And we're just, we're
just using this edge. We don't need this anymore. And it's not going to
cause any problem. Just pull it on out. And we don't know if it's
going to cause problem yet. We'll just we'll just sometimes just checking and seeing if
it would cause a problem. So when I'm moving
this edge out, that moves out fine. Now, we can just turn this
into a planar surface. So there's no real reason to turn this window
into an angle. Even That's what a nice
little effect to it. This currently is
not yet trimmed, but everything's here, is
ready to trim that one. All I do is now just set
this surface to there. We can just duplicate
the border, delete the original wall. And it won't really
affect the habit. All these extra points from
calculations and everything. We can always come back
and delete points. We don't need the if we
truly want to simplify it. But now, now that we have this, this curve, we do planar surf. Now we have an interesting
entry addition to that. And now we can take this a little bit for the
height this right now. Now that we have this sort
of going on and we don't, we don't need this relate to
be intersecting with here. Take this, pull that in. You know, there's a little
area right here where we can just simply create an edge, edge to edge here. So the whole border. We can just make sure
that we click here. Get that out six,
pull it in over here, and just move that. Actually. That would satisfy. So to bring in that wall down, even if it's too much, just pull that in right here. I should select the right edge. Right? So we have this top
edge is a little bit high. Wouldn't take that
and move that down. Hide the ceiling so
we don't choose that one just to the
top edge for here. Take that and move
that one down. So now we have a nice little
modern aesthetic to this. We're just going to turn
on Grasshopper to deal with a entry class. And we have that
open right here. We're going to use the same glass and we're just
going to turn on Grasshopper to get
that surface panels. Tunnel grasshopper adds,
had already already loaded. Click on the voronoi window
File and select my surfaces. And I'm just using that
first surface first. And I want to change
my seed counts as something more like 10.0. They get into my GH panel layer. Then choose the other surface. And I'll change my seat
count more with 25. And go ahead and come back in. Make sure it's Bacon this part. To want to make this part. And I'm going to take that
into much each panel as well. Okay. So that's fine for now. I'm going to close that
I'm not changing anything. So now we have a nice sort
of moderate entry here too that you turn off my
my drafting sketches. I think we have a very interesting
designed to work with. And again, we can
always relocate some of the elements
on the inside. But we do now is we're
going to take it into our plans and elevations and
also create a PDF for this.
90. Chapter 10 Documentation: Updating Layout Documentation: Our current plans, elevations that we had
set up from before, they're definitely
growing out of the out of the sizing that
we initially started with. We have at where our elevation is now fully taken over
a good amount of space. We'll go to our properties. We can see the scale has
been one-quarter both these. So it's definitely a sort of
seen as the designed grew, how everything was located. I don t think it's too
much of a problem. I want to just make
sure when we printed out that we're still keeping a good sort of border
here for everything. So what I might do
is go to a 24 by 36 to be more of a
more standard here. And I could just say maybe one of these is for my site plan. Create a cover. Then I could create a floor
plans and elevations. But the cover first. And to relocate that or
can move it right here. And I want to move this to be
in front of the site plan. And so the cover could very much be that really beautiful. Respective front low. And I could put that
in the Arctic mode. So it's a nice, beautiful view. I can label the project and now my paper space,
I double-click data. I can go ahead and
also lock it and make sure and just like
in my original that I have a non-printing layer for the non-printing layer for this. Now we'll just call
that viewport. I'll put that actually
in the drafting layer. So now I'm going to have
explicit drafting that I'll keep my sketches. I would just have maybe
a viewport layer. I'll set these two that you port layer, change object layer. So now how that viewport layer, I'll just use the same
viewport layer here. I'll title the project text. We'll just call this
modern health project. And maybe use this as
something like a 1 " height. And when to use a font, few Torah, That's
one of the font. You can find that
on the internet. It's a very nice font. Be kBT. I could make sure
that's centered. Uses similar sintering. To hear. You use that line. Modern house project. Now my site plan file, I can use something like
this and just go into technical or I'm seeing that it's not really showing
it then go into shaded mode. This could choose a
specific scale to this. Maybe for 1/4 days for so
we'll do 1/8 times 48. I'll bring up my calculator. Let's see my calculator
to get my side, if I choose one 32nd would just be choosing
eight times at 48. So 24. You can see what that scale is. Too much. You just
divide it in half. Is 192. Even that is too much. So we can actually do 96. One-eighth is a good
amount of size here. And we can just simply
add the bottom. Create a textbox and we'll
just have the size here, maybe at one-quarter
and 0.25 inch. We just say this is a site
plan underneath here. Come down and having
this at a smaller size, this could be at 0.12518 inch. We could just put one
eighth inch equals 1 ft. Let's see what lunches. And I will really not really
want to have this in color. And just put a few
labels to this or put the pose building label
that proposed building. Like a label, the pool. I could do that to get the
solid and paper space. I can say for parking. For this view, if I want something to be
showing in this queue, I can go ahead and lock it
so it won't change in sizes. I could go to my layers. One thing that people want to do is make sure that they can see everything with a particular
color and layout view. Only thing you need to do here is maybe select all the layers. If you don't want any
colors in your layout. Versus selecting objects,
we could just select all, let's select all the layers. And if we want to
choose for Layout View, um, and then we'll call
it detailed color. You want that to be black. We also want to print
color to be black. We can just click here. And this is setting
all the layers to be black when they print. If you want to choose something
separate, you can always change that detailed color. It tells you sort of know how
things are going to look. You're printing it out. Print color here,
detailed print color. And so you can set this
to be black as well. The same thing can be done right here for that
detailed color. And that's going to change
the color it is right here. I'm trying to keep
it simple aesthetic. If I want to make
sure that I'm sort of tiling each of my pages. I can always take that
same modern house project, go into my drawings here, rotate this and in-degrees. So to create a
quasi title block, again, I'm keeping it
simple for this design. In this window, I
definitely want to make sure to see my
advanced contours. I don't need to see any of these isosurface for any of these or any of
the surface bits. Turn these off and all those. So we just have a
nice simple set here. And I could take this
same site plan label and come with my
floor plan layer. And what I wanna do is put a floor plan and
what I can do now. So they have a little bit
of a title block here. Just create a
rectangle to hit that. And I can take this layer. So I'm going to break it off
there with his title here. And I could come
down here and just, just be very simple about this. I could turn this into a block, and I could just call that the basis of here a title block. And I could just copy
them to each of my pages. Just be pulling these in. Now, what I wanna do here for sure is to make my site plan. Just like my site
plan labeled here. I'm gonna do them my floor plan, and I'll do my floor plan
and do my elevations. And I don't have to do
a lot of elevations. Again, we're trying to be very
simple with this project. I could just take this
and not know that one-quarter didn't see data was it was good
enough scale here. So I'm going to, I'll try that
too here, where I'm doing. Just select it and just do 148. So that's my quarter-inch. And since the bigger page,
you can see a lot more. So what I'm going
to use for here, and I'm going to actually set up a unique view
versus regular top. Just like before we were
using a clipping plane. I'm going to create a
new clipping plane. And I'm going to take
that clipping plane and lift it up to be on
the half of this site. And we're going to
create a new view. And when I call it the plan
view, and let's start here. It'd be planned. Then this plan view, we're going to turn that
clipping plane own. And when I create a layer
for clipping planes, you can because they do show
up if we don't change them. Okay. So in my clipping plane, I'll make that to
set for the plan. We can zoom in here, so that'll be nice here. We'll just go back to the
floor plans and we'll make sure that this is going
to be set to the plan view. We just want to
make sure though, that it's going to
be the right scale. And if it's not in the right location
would just change that. So we put that in here and
close this knowledge do here. Let's pull this up. Not getting in the
way and I'll lock it. Site plan, and this is
gonna be our floor plan. We can just do some
simple elements here, going from the draft
and view, where we are. Now going to be just
putting down a couple of elements like different liters. So the way the leader works is we start
where it's going at. And he just starting point. Now this is going down. That's simple way of just
working with liters. And it might be very valuable to show this part of
the drawn as well. I'm just doing another leader here and relocate
where the text is. We move in just that all leaders are not that people don't want
to use the leader. You could always
just separate out the texts and write
the text separately. You notice we're trying
to use the same font, same scale, one to five. We could just simply
labeled some of the spaces inside entry. And we don't need this scale. I could always do again. Typically would maybe
make these smaller, make these titles a little bit
larger of a three-eighths. So it'd be 21, 25, and between 125. And we could use our
calculator again. That is open, so 0.12 5/2
times three, that's 0.1875. All right. This could copy that and hypothetical out different
spaces that we would use. This could be bedroom. And you could have
this as a good piece. What about actually are restroom if we sort of organized it, be mass restroom,
something like that. We could always have
like a living here, maybe a kitchen here. We can of course
change that back. Then, of course can be
just simple kitchenette. And so that would be
a nice little way of opening that out. And then we could just
have this always is a little patio area and then a pool or outdoor porch deck. Right? Now we're just working
on my elevations here. So we can just copy this up. And we'll just use
same viewport and just choose the right view. We can set this to our From View or just verifying
that the view that we want this unlock this so
we can see it front view. And right now it's only
challenge is that it's, it is setup to respond to that previous clipping
plane perspective. So what I'll do is actually
I'll just start from scratch. I'm going to make
sure that this is labeled in the viewport layer. Will create another
view port right here. For detailed view. That's what it's called
in this program. So I'll just create that view. Click on the view that
we're trying to get front. Right now I think it's their right side is a test by
going into technical mode. And I'm going to
make sure for the technical that as a
white background. I'll just go ahead and set this line for organizing
what things will be. This view right here is
gonna be the west elevation. This is one-eighth,
one-quarter inch scale. The same thing for down here. And just kinda make sure
to select that this is 148 inch lock things. We don't lose it. This makes sure to move
this all back to that area. Another design is matching. You'll notice you'll see like
a little bit of a sideline. And one thing is you've seen all these
objects underneath. We don't need to see that. We can actually create
a hatch area for that. And what I could do
for hatching is simply my drafting just hatch boundary
is one layer I could use. Just like viewport. One thing I'll just
make sure to set it as is just making sure that
this will not print. And your print
settings are gonna be. So to sit right here, where you will select
one of these things. The choice for it to be
printing in the or when it, when it will print
or if it will print is set up sort of in
the layer settings. So both hatch boundary something
on man I want to show. So what I could be clicking on is something like
here for that viewport. Not this one. Just going to make sure
I'm selected properly. Let me just go ahead and
open up all of these. Okay? Layout print with
choosing the color, layout, view on
print color here. And what we can
do is right here, we choose for it
not to be printed. Don't want to do that
all the time. So yes, Would that layer again, I set up layers in
a template before.
91. Adding Site Elevation Masking: So for things to not print, we're just gonna
make sure to make sure that they're in
the know print layer, which you can set up
here in the print width, you just click on no
print at the bottom here. To that same setting
for all these and just make sure that all
of that layer, we're now going to
create a hatch boundary. And we're just going to call
one of these white hat. And that's going
to be for our site and motion do boundary. That's going to be the
site boundary. Okay. So we're going to create
a hatch boundary. This is gonna be
really just based off a simple rectangle because
sites pretty simple. There's come back all
the way over to here. And I just need to select
that at that point. It's just sloping down. And all I need to do for
my white hatch is change the color here and also
choose the print color. That's going to be white. And it's gonna be
a white for my, my, my print color. And this is going to print. And so I hatch boundary
will not be printing. Change that setting right here. Non-data to do because
hatch white hatches on. I'm gonna go ahead
and click hatch. And when I select this
object, now we have a hat. And I want it to, for
sure look like the color. I want it to print n. So you can always
already set color here. Okay? And then my boundary
for the hatch or my site bound to that. I
just wanted to show the top. I don't want show
the bottom line. I'll just set that here line. Just scroll it down. That curve. That goes down. Just to make sure we're
selecting a white line, that one will change that width to be a little
bit thicker, close to 0.8. So now we can just set up the other elevations in
the similar way. So we add the west
elevation setup. As it is a little bit larger. We can minimize a little
bit 40 other sizes. Where this is that the font
we can go back for here. And makes sure, sure
to turn it off. Make sure it's going back. And obviously It's just need to set the height
to be the same. What I can do here. Mirror this whole element though it also flow to shrink it down. Drag it over here. I can always trim the
hatch little bit. Set this back. We overhear. This hatch actually needs
to rotate and mirroring it. Choose to delete the original
objects. Just do that here. Alright? And I'm just pulling this down. So it was going down here. And this side is going
to be the inverse. And I'm going to make
sure it's not a copy. What the middle point. Now that's set-up.
Leave it alone. Want to fix that up? Now, I'm just setting the
height to be the same. Here. Again, this is on
our viewport layer so we don't have
to worry about it. It will not show up. I have my two elevations
for West and then east. Then you just need to come down to my north and
south elevations. These are all at one-quarter. And so I can just come down. I don't use the same hatch to
come down for the next one. So when do our north elevation, we'll pull that
out a little bit. To do this. Has left some flower
that's located. It should have come
in lock all of these, I won't cause any
problems later. Let's look into this one. Yeah, that's a nice north. And I'll just create again my hatch setup or do
my hatch boundary. So this is the
invisible part of it. Rectangle. Just come over here. Now you go to my white hatch. Hatch that out. Click
Okay, create a boundary. And we do see an object here. I'm not sure where it is on, but I can turn that off. They would just come
down underneath here and put my south elevation. Always do here is this is not locked so we can
go ahead and do it. Right? And just move that on our list here we
will locate that edge, is move it to hit that edge. So now both of these
can be locked, like this one, this one. And now we can just very simply print out to see
what we're getting before. So I plan our floor
plan and our cover. And I'll even just stolen benefits segue to
take a look at Move or Copy and to see an
elevation. Elevation nola. Make sure in this jar
that we're not going to see our clipping plane. In fact, the clipping
plane layers. Well, but that's typically
set to not print, but I'll make sure to editor
no print here as well. So I want to make
a slight section. So that'll be a cool
thing to look at.
92. Adding A Site Section: Alright, so we're gonna get
started making our section. This is a bonus. I already just created
a view just sort of mirroring like the view
that want to start with. I've created a
section plane here, the double-click here in my back view just to get
that orientation here. But I really wanted to
be from the front side. Again, that's rhinos
terminology, not mine. What I'll do is make sure that my section layer is
the focus layer. So I'm just my main layer. What I'm gonna do is
I'm going to select my curves so I can hide those elements
section of the curves. And I'm going to do
a section command. And I'm going to select all these objects that
are in the scene. I have to choose my beginning
and end of my section. I'm going to use that
clipping plane to orient myself that
beginning, that end. And I'll just press Enter. And I didn't have to
press Enter and nothing to do anymore objects. You can see right here
that yellow outline. That's gonna be my section. And the thing is obviously that could get in the way of some
of my other drawing. So I'm gonna go ahead and
move it out about 300 ft. And if three is not
often to go out 500 ft and just let it go. And so there is where I'm gonna be really working from, right? You can see it's,
it's over here. So I get the option if
I want to mirror it, if want to go on the other side. If I like to use
it as, as front. It's actually maybe use for this sort of keeping
the right plane for it. Well, I can even click on back and it'll be
where I need it to be. What I'm gonna do now is go to my section view and
click on back here. And it's, it's, it's all
about what I want to see and maybe it'd be
inaccurate to the file. I'm going to choose
that same scale, 1/48 inch to come out. Just select it and
type in 48 here. And now I'm just coming in and moving over so I can see it. And it's actually
pretty far out. So make sure you're
on the right side. Okay. So select on that
again, put 148 inch. Beauty of it again is like
if you want to come here and maybe make a
material for you can just draw a line for that hatch. But you have your sight line. Everything is all set up here. You could come in
with your texts maybe to label some
items like your pool. We could do that. It's fine as well. Maybe have a little bit larger
size for some of these. We just do propose building. And people can see sort
of that transition. And the great thing
about this is again, this is, this is lines. This is, we can lock the view. We can come in here and if we want to just show
the outline of it, we can trim in these lines
to come here and trim that. If I don't want to show that, I just want to show
that top of it. If I want to actually
come down and maybe show maybe my footing here, I have that option. And I can just really
go from there, just be like a full drawing set. And it's really cool to just add that level of
detail to your projects. And obviously, which
should a save this. Polylines are fun that way. This press Enter here
and you can just take that and mirror that on it. Which so that's in
your drawing set here. And you're just really
sort of showing that. And you can always
double down on this particular area and
start drawing a detail here. You could even just
be duplicating this view and maybe selecting
one of these views. And whereas it's
now one to four, you could say maybe
you're doing maybe one to 12th or if
it's a quarter-inch, half-inch where
you're doing 1234. And then you could do like
your wall section there. So all this is really valuable for something that
you have that option to do. Right now you see that it's the loss of this,
this detail here. You can come here and
copy that back over. Right? So it's a really lovely
thing where you're, you're able to add that
detail to your drawing. That's all he put it
over here and label it. You could do that on both sides. You a copy that same sort of
view and ditches, pan over. Or you could just move this
on over and then come back. And again, you could
do that same element on the front and side view. Just be labeling each of those. Uniquely. We have this as
our wall section. And again, whereas
this was a finch, this actually is quarter-inch, whichever is best for you. As you're figuring out
what's going on in your model and your design. It's a beautiful way to
sort of start adding some detail to what
you're working with it. So that was just a
little bit of a bonus to help you visualize some of the things that
you're working on. And also get started
with doing dry sets. You can always test out and develop as you can take the advanced
complete rhino guide. So we just go to the next level and all the elements here. I'm gonna go ahead and PDF
this entire set out so we can get that nice and
viewed just as it is. And we'll just get that started.
93. -Setting Up Layers For Printing: Now we're almost ready
to print out everything. I just want to check
everything looks One of the things that I
definitely made sure for each of these drawings is to
make sure to click on each of my borders
from a viewports, make sure those are on
the viewport layer. I'm definitely a locked, which would support the
lock things as well. And save my views and my name
with my named view command. So something like
this side view. Really simply just
save this as sight and makes sure not select
anything when you're saving it. I could just call
this site front view. Then I made sure that no other line that I
didn't want to show, it's showing and if I
saw something like maybe this blue line look like
a baby that sketch line. But I don't need it. I
can just take it out. It's very simple. And so I went also
to my site plan. I have this setup with a renders
style with the sun view. I made sure that the lines
are going all show as black. I went through and made sure
to click and right-click and just select all the layers except for my hatch boundary. So where I'm going to
show my hatch boundary, I'm going to turn those on. And I can actually turn off, sort of go back to
that layer state. But essentially I
was changing up here so that print color
and the layout color, which is called the
detailed color. Also the detail print color. So that I will have the appropriate color
for each one of these. And I wanted them all to be black if the ones
that I'm looking at. So some things that
are not visible, I'm not really changing so much. The same thing goes
for the floor plans. I made sure my viewport
is the right color and also that up getting the
right color for all my lines. I just wanted to each
one and made sure to made my appropriate black. I didn't change the
color and sort of model, model space, so to say. But I changed my print color so that these will all
come out as black. So everything should be good. I'm just going to print out from each of my pages and
they will have a final set.
94. Exporting The Drawing Set: Okay, So I'm printing out
and making sure that I have my vector output and print
color option selected. And I'm just going to go
printing for each one. I'm just going to label
them according to a number. So this is going to 0
for click on this one. This will be
especially everything is coming out nice and it is. So bo3. So this one has a lot
more information. So of course it's going to
take a little bit longer. Then I'll print this one out. This will be 0 to the more sort of vectorized or
rasterize image. The long it's gonna take. Some things are
gonna be in the view because I chose technical view, a wash or another option
for printing out. As we look at the final view. Again, don't stress too
much about sort of the, the look just sort of a let's say this checkout
one thing at a time. So now I'm going
to open that PDF. I have my final PDF here. I have mine main page, various nice sets in the
possibilities for that design. Our second page, we're just looking at some of
the sidelines and label my plans elevations. Again, I have my ten
locomote on which choice for the line weights
display I have my masking done on the site
so you can see a slope, but it's not getting in the
way of saying some of these. And also you can see some
of the stuff on the inside. We're we're fine to change that. I'll just show you how to maybe
choose another view type. And then we're looking at the
page with our deck details. And it's also came
up pretty nice. We can see that section. Again. You could
choose to shade or do any other option was just
sort of shown at basic one. And that's looking very nice. Okay, so now I'm
here in the model and this makes sure that everything is
showing in the right way. Just go ahead and do my print preview here and everything's here
looking nice as well. So that the reload. Yes, for our flip and elevation, just one little edit. Be of course I chose
a technical mode. But if you want it to come in, we choose another mode. You could be working on
something like the shaded view. If you're saying too
much or too little, is come back and change
it so you will see less. I liked this mode. I'm a little less than a technical mode,
which you could do. And your technical mode
is you can always come in to your viewport. Will actually your
your display options. In your technical, you
can always duplicate it. You display modes.
We just copy that. And because this is sort
of showing hidden lines, we can always just
turn that off. I made a copy so I would not change with the
existing settings. And click Okay for that. And make that selection
from my technical copy. And I can set that up for
each one of these just to my copy of technical or I
turn off those those lines. So that same thing here. I will recopy of technical where I've done my
sort of custom edits. As I print this out. And I get to overwrite. Sounds like close down
that previous file. We just select replacement. Well, and of course this comes out a lot. More simple, more nice. Anything if we feel
there might be too much, but we can always
just take it out. For instance, we don't want
to share some of these. These are the window frame so that foreign oil window,
we can always take that out. We can also choose the hatch, some of these elements
if we want it. So I was just keeping a basic, keep it simple and it
looks pretty nice. So that's a great set
for your project.
95. Chapter 11: Rendering The Model In V Ray: One of the things we wanna
do for kind of model is also to be able to nicely render it, obviously with the VRA. And so I've loaded the VRA menu here and I'm looking
at the Asset Editor. And obviously I
want to start off and gets some
materials. For this. I will just do a render right
now to see how things look. See it has a lot
to be worked on. So first thing I'll
work on his exposure. And I can change that by
going to the camera settings. I'm going to go ahead and
increase that Exposure. We render it because
it's a small model. I can go ahead and do
interactive render. Start to fix some of
these attributes. One thing I want to work on to start with is
definitely my site. I'll go to my materials. And just type in. Click here, type in grass. You select a simple
grass and cosine. What I'll do is I'll set that
to the layer of the grass. And so the way to
do that to them, setting my typography
and I'm just going to apply that to
the active layer. So one problem is, of course the scale
is all off right now. So there are two ways I
can be working on that. I could be coming here
and setting very simple. Click on the dropdown
to the UV placement. Or I could change it to more of a 3D object space that
affects the scale l. So 2D, I could just type in the numbers that will sort of scale that out a little better
over the plane. Prefer object space for
this particular element. Um, so that's my starting place. And then I'm going to
come in here and add some more materials and work
on the environment around.
96. Defining Materials And Environment: Okay, and we're gonna
pretty much set each layer to particular
set of materials. So one of the key
materials, of course, is where we have set this up in a nice
sort of workflow way. We have some materials for here. And this is a walkway. And we get essentially a set that to be the current layer. That's an architectural. And what I'll do is
I'm going to set that material to a nice
reflective concrete. Something like this
is we find fly to selection and apply to, I really want this
to apply to add two. Here will make this to apply to the entire layer of
that active layer. That's the easiest
way to do that. Our glass is definitely a maybe a sort of
basic right now. For GH window. Again, it's converted allergy h, I'm going to leave it for now. I'm going to say that
to my current layer. I'll go ahead and set that to
a nice black coated glass. I'm going to add it to the
scene and then I'm going to apply to that active layer. Now, my little panel, I'm going to make it more
of like a little aluminum. So we have like
some metals here. So maybe anodized
dark gray aluminum. So what I might do is I might change that to be
definitely a lighter material. So it's not too dark. Now for my my wall, I did want to make
that a nicer color. Mixing my wall to something
like a more of a stucco. Just click here and see where
there might be a stucco. Let's really bright
this the scene. And then I'm going to add
that to the active layer. And again, I'm using
interactive render. So it's nice when I get
everything set up directly. Now I'm gonna come in here. We know that our door
glass layer isn't set. So I can actually use that
same glass that I was using for the regular coat. Back to later. I
can make my door handle a nice matching
into the window there. By the selection. We could even use that darkness
to plants the door frame. So mayflies, metal, aesthetic. I can search it sometimes
it's easy of course, just to make it active layer. Now I can choose
also the object. I think this is
obviously a lot more efficient there as well. Okay? We're looking at how this project is looking
from different angles. Looking sort of nice distance, want to make my cycle to
be a little more white, bright. Stand out. Then. I hadn't set my
water layer either. So what I can do is for
that layer, my pool, that the current
layer, like I said, that is a water material. Just to seeing him. Again, that's gonna be my
method, my go-to method. And what we can do is
say what's in the model. We're going to see
if we have a tile. Maybe we could use a tile. More of a larger tile. We said the pool based be
more of a material like that. It's right now it's
a pool concrete. Gets out of that
pool concrete to be this nice tile to same and apply to
that active layer. So obviously again,
it's out of scale. So what we're going to make
sure to do is preparing to go to look at the UV mapping
and choose a 3D object. You see That's looking
a little bit better. Stephanie, on some
of those parameters. What does it take for us
to see this properly? When it's not digging up? You have to definitely
ask the question, why? If we do this
regularly be channel, maybe just sort of like this by just multiplying
this 35, 30. Nice at all effect there. And for our sites in
check, check our grass. Testing out a
little bit as well. So what is the feature
that setting that up? When I use the channel
is actually more 55, 55, going out with that one. Okay? So we have this
nicely set up here. My background is not set up yet. We do have some options
for that background. Currently, it's just
like this gray sky, but we actually can come here and choose out an environment. A better background. We have a couple of
backgrounds that are full of little bit like
materials sort of menu. Let's see here. Even if we don't have any
sort of background here, we actually can always go
to get one from the cosmos. Cosmos. Just let that load material
connected Internet. We can look for an
HDRI background. We just set a morning, maybe. There's actually
some darker ones. Sky, maybe sunny. The keyword that we would use. We see a way to a nice one. We'll scroll down. So HDRI is this actually
is going on here actually. So we're applying
that, we're going to add it to the model. For our background. We like that. There's a couple of
day they settings. You click on it. You also get to see some more
information about it. The vendor who is buying. You can choose to see somebody. Maybe examples
showing an action. My connection's a little
bit slower, okay? Yeah, this is some of the visuals of seeing
this in action. So I definitely, that'll be
great to add to the image. So what I'll be definitely
just testing it for. Where can I place it in the
model environment texture, which you probably see
when you download it is because it is a
cosmos v re, implement. That it will actually populate
directly into the model. General the sites
of really nice. I can always overweight
if this there is a download with guys
go into sun, sun mode. So the V rays responding
to our sun, a model side. I could select a letter
like an input that sky. And so the default location
for this time in the day, different time of day. So our site sort of has to be a little
later to figure this out. So there's my 11 in the day. Maybe for that reason
I'll turn down the exposure so I can avoid getting our sort
of turn up the exposure. So yes, there's a
nice view because you can see that the
reflection in the pool. And this is downloaded
into the site. In general, for the texture
mapping to be here already. We can just now we
have del 20 here, should be able to go in. And in our environment. Set that. Instead of doing this one
just from our settings, just clear this one. And then now just set it
up with one that we want. And we'll choose material as the sky model
environment sky. We can noises, copy it. Choose this one
that we have here. Paste as copy. It has it is in the
process of downloading. That's our only thing. If your Internet connection
might be slower time, we might just be
working on that. So what I'm trying to
copy is my day 20. And it'll make sure that that's the setting we're using. Okay. So I'm not certain amount this is setting it
up to this day 20. Okay. Yeah, it's set up to that. Okay. So one of the
problems that I am sort of thing still is lacking a little bit
of the infinite plane. So that we have a site. It's order is trimmed off. So infinite plane still could
be very valuable to us. So infinite plane is where we'll just add a
level in the model. And I would set it to the
material to be my grass. And i'll I'll lower it. So it's not going to
conflict with a topo. Okay. So that helps me
out a little bit. I'll go ahead and close this. Close this. So you've seen that the model
is looking pretty nice. It's much nicer contexts there. I can zoom out a
little bit so that it tried to get a
better render here. So be careful about
touch anything. Like I said before, it'd
be nice to get some, a few materials in
here or like objects. So if I just in case my Cosmos
is a little bit faster, I'm gonna go, I'm actually
going to turn off. I've rendered everything
that's doing a great job. But we can choose a couple of nice trees that go on here
and maybe some lawn chairs. I'm going to go ahead
and set those up. When I go in here. I'll just put up
poachers, poolside. What options they have for us. We have some nice sort of
umbrellas. We want to use. Chair lounge. So it'd be nice, Go
ahead and favor that. And we have some nice choose
to be around here as well. Thank you. Chair would
be sufficient for elements that had to be
put out here and I'll just place them here in sight. What I'll do, I'll make a
sort of a furniture layer. We can go ahead
save this for now.
97. Real Time Rendering In V Ray Vision Render: I'm also decided to
go to the revision. We just double-click on the revision just to
get started here. We're loading up the
model because the C-out is more live contexts. Every are pretty nice. Excuse my directional
keypad to navigate around. This come down a little bit. Move around and maybe will just slow down and mouse cursor. But it's beautiful way to
see the model is really simply lower that let's be a little bit. And these can be
blind to the model. Lifted up a little bit. Beautiful. Again. For
your rendering purposes. You can just do a screen capture application
and get that visual. There's a beautiful them. Another way to
experience your model, you can always click shift and down to lower that exposure
for this guy as well. So that's another useful
thing to be working on. It's beautiful
weather. Do model. Visualize everything you ever
wanted to do, your exports. You just click on here and
just select your path. Maybe just use your
size from here. So I prepared here, I have a couple of
locations that I get there. Do you put it here? This could come in here
and she's rendered folder. Just to cite winter holiday, do is click Export, Export, maybe that high res. So that picture, it's
looking really cool.
98. Adding Site Entourage: And so now what we
can do is Sherlock the typography so that we can be too much
problems with that. I'm noticing for the view
that I can improve this view. A little bit ways to go
back to the named view and go ahead and click
the view by looking. Maybe do more if you like this video a little bit better. Now we're gonna go
back to render again. And we do is that would be valuable to maybe see a
little bit more suicides. You sort of planning,
review a little bit. And so we also add people
were just like a beer. People that we had
to be gentle people. Oh, go ahead. As all of those stop it
from running a little bit. I did want to ask
them to put them just enjoying the view, walking around the site. Just make a new
layer for people. Close that. And perspective, view. I'm actually just going to
reset it when I'm finished. I'll just be asking people out here because he
would join the site, maybe find some people
who had to be fit. If we have a nice
little couple there, click on this degree. She got the right to
access nine degrees. Maybe. That's a fine a kid
playing or something. Or just maybe kids will be fine. Kid. And he's come back. See here. So just download them. If you looked at your job here, is to just have a couple of
walk me out and join here. No, it's a nice pool but some below professional with
what I'm putting in here, I'll put like a sort
of furniture contexts. You put a little table out here. I think that I do that the furniture around and
sort of outdoor furniture. Like a little, nice
little table here. So I'm a little bit of a
different sort of aesthetic. One place for dining and workplace for
some of these, these, these items, It's
no longer chairs might also be value, but on this side, this one right here,
this is nice as well. That that chair could
be around this element. Instead of just
rotating a little bit. Just make sure they're
on the right layer. Also the right height. I'm just lifting up. So it's obviously on
the site located. These monkeys have
like a set of options. I mean, talking about the site to be like a variation
of these sort of things. And we see that modeled
for the child is there. And we'll just go back
to the downloaded. And it's just the people. Yes, I'm going to be they
can either sudden there may just be enjoying this
side a little bit. So you just return back to attach original view. Full view. Just have a little more
contexts involved. Render this does have a spirit to the image. Chairs. I have to do a few things here. And also for for
context stake again, I think room to move this
image over a little bit. The one way to do
that as the sort of widen it a little bit. The name views, save
it and update that. So why isn't it just a
little bit presenting? There's always either just always can be a little
benefit of adding a few of the plants
to the model as well. We just went over
it one more time. And obviously, if even as
the color of the facade is, if that's not enough for a new, if we're talking about how do we want that
stucco to look? Sometimes people wanted to be
like more glistening white. That was come back in
here and put a gun to it. So my my color, my patrolling on this color, all the way white bitmap. And really, really
going to be affecting that original file for this
is a bit darker in general. So why do my color
offset come back? Get more of a glistening white as opposed to
the color we have. You know, again, you want to
go from a lighter aesthetic. You can also just go the opposite direction
wherever we could to really try to
get darker as well. Whichever one will
look the desk. Try that as well. But I think it wasn't my work here in just one little
brighter. Yellow. This is sort of a
sort of basic quality renders want to go a
little bit higher. You probably come out
and just go back. And if we're happy
with all our settings, who just come back
here and maybe increase that quality a little bit and change the output size. 600. Now, it's a little small. I'll probably turn
on my warm winter. So when you're faster and I'll go ahead and
change my size. 1,600. Wonder then this is definitely going to be a
higher-quality render. I take a little bit longer. But now it's using the
Cloud to render as well. So.
99. Chapter 12: Course Conclusion: Congrats on finishing this
complete rhino guide, where we've gone through
the basis of geometry, creating a subluxation
projects and correct a lot of really fun things that
you can do in the program. I hope you've definitely taken notes and had fun as we've gone through making some
really cool geometry, working with scripting, modeling, design, and just really figuring
out how to work and create excellent things with this program run
out very powerful. If you want to take and
develop your skills, you can go ahead and
look at my shark profile for more courses. I appreciate it
being your teacher, and I'll see you
in the next class.
Brandon A Gibbs, Architect & Innovator
