solid thinking techniques

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solidThinkingTechniques

Des�gned, Wr�tten,and Illustrated byMark Banas

solidThinking Techniques��

© 2005 sol�dTh�nk�ng Ltd. All r�ghts reserved.

Ed�t�on publ�shed worldw�de by EVOQE s.r.l.

solidThinking and renderThinking are reg�stered trademarks of sol�dTh�nk�ng Ltd.All other product names are trademarks of the�r respect�ve compan�es.

Th�s documentat�on �s copyr�ght sol�dTh�nk�ng Ltd. and your r�ghts are subject to the l�m�tat�ons and restr�ct�ons �mposed by the copyr�ght laws.

No part of th�s publ�cat�on may be reproduced, stored �n a retr�eval system, or transm�tted �n any form or by any means, electron�c, mechan�cal, photocopy�ng, record�ng or otherw�se, w�thout the pr�or wr�tten perm�ss�on of sol�dTh�nk�ng Ltd.

sol�dTh�nk�ng Ltd. reserves the r�ght to make changes �n spec�ficat�ons at any t�me and w�thout not�ce. The �nformat�on �n th�s book �s d�str�buted on an “as �s” bas�s, w�thout warranty. Wh�le every precaut�on has been taken �n the preparat�on of th�s book, ne�ther the author nor sol�dTh�nk�ng Ltd. shall have any l�ab�l�ty to be caused d�rectly or �nd�rectly by the �nstruct�ons conta�ned �n th�s book or the computer hardware or software products descr�bed here�n.

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ContentsTutorial 1 –Toy Car . . . . . . . . . . . . . . . . . . . . . . .1Interface, pr�m�t�ves, and transforms

Tutorial 2 – 3D Glasses . . . . . . . . . . . . . . . . . .39Curves, surfaces, and h�story

Tutorial 3 – Beverage Bottle. . . . . . . . . . . . . .77Ed�t�ng parametr�c po�nts

Tutorial 4 – Basic Rendering . . . . . . . . . . . 137L�ghts, shaders, and �mage maps

Tutorial 5 – Camera . . . . . . . . . . . . . . . . . . . 187Intersect CT and Rounds

Tutorial 6 – Sunglasses. . . . . . . . . . . . . . . . 265Gu�de surfaces and advanced surfac�ng

Tutorial 7 – Faucet . . . . . . . . . . . . . . . . . . . . 335Trans�t�on surfaces and cont�nu�ty

Tutorial 8 – Car Wheel . . . . . . . . . . . . . . . . . 381Symmetry and sol�ds

Tutorial 9 – Advanced Rendering . . . . . . . 419Natural l�ght�ng, env�ronments and sketches

Introduct�on . . . . . . . . . . . . . . . . . . . . . . . . . . . . �v

Technology br�ef . . . . . . . . . . . . . . . . . . . . . . . . . v�

Convent�ons and use . . . . . . . . . . . . . . . . . . . . .x��

User Interface map . . . . . . . . . . . . . . . . . . . . . . x��

Append�x A: Keyboard Shortcuts . . . . . . . . . .467

Append�x B: Index of Tools . . . . . . . . . . . . . . .468

Append�x C: Index of T�ps . . . . . . . . . . . . . . .470

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Welcome! Welcome to solidThinking Techniques, and congratulat�ons on tak�ng th�s first, �mportant step toward learn�ng more about the funct�ons and ph�losophy of your 3D des�gn software. Th�s manual �s des�gned to help everyone from new users to exper�enced modelers learn how to use solidThinking qu�ckly and effect�vely, and to des�gn whatever 3D object can be conce�ved. Th�s manual w�ll not only walk you through the �nterface and tools of the appl�cat�on, but also the reasons and techn�ques beh�nd each step, and how to solve common problems. If you are new to solidThinking, or even new to 3D des�gn �n general, th�s book �s des�gned to br�ng you up to a h�gh level of profic�ency and comfort �n a very short t�me. If you are an exper�enced solidThinking user, you w�ll find that all of the lessons are full of t�ps, tr�cks, and �ns�ghts �nto why the software works the way �t does. Regardless of your level, as you progress through these tutor�als you w�ll ga�n speed, confidence, and a knowledge of solidThinking that can eas�ly be appl�ed to your own projects

Th�s book �s organ�zed �nto three d�st�nct sect�ons. Th�s �ntroductory sect�on �s first, and �t �ncludes all of the �nformat�on needed to accelerate your learn�ng and understand�ng of not just solidThinking, but 3D des�gn �n general. In th�s sect�on you w�ll find a “Technology Br�ef” wh�ch conta�ns explanat�ons of the underly�ng technology and terms used �n solidThinking. Th�s �nformat�on �s not absolutely necessary for work�ng w�th the program or complet�ng the tutor�als, but �t �s referenced throughout the book, and w�ll help to make your understand�ng of the tools and term�nology that we w�ll be us�ng much more complete and thorough. You can also eas�ly “sk�m” th�s techn�cal �nformat�on and then refer back to �t whenever you need to.

The next sect�on w�ll be the tutor�als themselves. Th�s �s the major�ty of th�s manual �n terms of pages and content. These tutor�als are wr�tten and des�gned �n concert w�th one another. The early tutor�als form a foundat�on of common tools and techn�ques that all of the later tutor�als w�ll bu�ld upon and expect that the reader already knows. We w�ll start out w�th the absolute bas�cs of solidThinking, �nclud�ng the nav�gat�on of the user �nterface, and the helpful shortcuts and man�pulat�on tools you w�ll be us�ng throughout the lessons. Even �f you are a very exper�enced user, you w�ll find t�ps and �nformat�on �n these “beg�nner” lessons that w�ll not only help you �n later tutor�als, but w�ll enr�ch your understand�ng of solidThinking �n general. Therefore, �t �s recommended that everyone at the very least read these early tutor�als.

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Every tutor�al �s a self-conta�ned project that has a final, recogn�zable product as �ts goal. These products ga�n �n complex�ty as you work your way up through the tutor�als, but after the first four tutor�als have been completed, you can eas�ly “sk�p around” to the projects that �nterest you, or conta�n the tools and techn�ques you are most �nterested �n. If you find that you are work�ng on a project and you do not understand how a tool funct�ons or the reason beh�nd a certa�n act�on, take a moment to go to the Index of T�ps at the back of the book and see �f perhaps you sk�pped the tutor�al where th�s was fully expla�ned.

The final sect�on of th�s book �s the append�ces and �nd�ces. Th�s �s where you can find �nformat�on that w�ll help you at any po�nt �n your progress through the tutor�als. There �s a part�al l�st of keyboard shortcuts, an �ndex of the tools that are used (and where to find them expla�ned and expanded), and an �ndex of all of the t�ps, h�nts, and br�ef explanat�ons throughout the book. These t�ps and explanat�ons are organ�zed and placed w�th�n the tutor�als to have �mmed�ate relevance to the task or tool at hand. They are separated from the ma�n text of the tutor�al by a shaded box and are �ntended as supplemental �nformat�on to what you are work�ng on. You do not need to read these t�ps to complete each project, but they w�ll deepen your understand�ng of solidThinking and 3D des�gn �n general.

Th�s book follows the ph�losophy that every project �s a ser�es of dec�s�ons and explorat�ons. Th�s �s not just for these tutor�als, but every des�gn project you w�ll use th�s software for. By present�ng a step-by-step explanat�on of how an object �s made and why each step �s taken, th�s book str�ves to not only expla�n the tools �n solidThinking, but also the techn�que beh�nd the dec�s�on to use that tool. It �s hoped that understand�ng these techn�ques w�ll br�ng a h�gher level of comfort and confidence when us�ng the software. Once you have th�s confidence, you can then enjoy the true explorat�on of 3D forms. The ult�mate goal of th�s book �s to make any techn�cal dec�s�ons eas�er and more transparent as you work w�th solidThinking, wh�ch w�ll g�ve you the freedom to explore and des�gn w�thout restr�ct�on.

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The technology in solidThinking

One of the most bas�c concepts �n 3D model�ng �s the organ�zat�on of the 3D “World” �ns�de your software. Th�s determ�nes where your objects are �n relat�on to each other �ns�de that space. solidThinking, l�ke most 3D appl�cat�ons, uses “Cartes�an Coord�nate Space” as �ts method of plac�ng objects �n th�s 3D space. Th�nk of th�s as three �ntersect�ng sheets of graph paper and any po�nt �n space can be descr�bed by �ts locat�on on all three sheets. In a 3D Cartes�an system there are three axes labeled X, Y, and Z at r�ght angles to each other. (In solidThinking, the Z ax�s �s always po�nt�ng “up.”) These three axes meet �n our v�rtual space at a locat�on called the “Or�g�n,” wh�ch �s where the values of all three axes are 0. The pos�t�on of a po�nt �n space can then be defined by �ts locat�on along each ax�s, �n e�ther pos�t�ve or negat�ve values �n relat�on to the Or�g�n.

These three axes are used as a reference not only for pos�t�on, but also for d�mens�ons as well. In th�s v�rtual space, the s�zes of objects are relat�ve only to other objects �n that 3D World. We can eas�ly see how defin�ng the un�ts of the ax�s values can become cr�t�cal when you are des�gn�ng a real-world object. In th�s way you are pos�t�on�ng th�ngs �n a “real�st�c” space, and you are also able to accurately create and evaluate objects before they are produced �n the real world.

What is 3D Space?

solidThinking �s a 3D appl�cat�on w�th some very advanced technolog�es �ntegrated �nto �t. In th�s chapter we w�ll try to very br�efly expla�n some of these technolog�es and the�r terms. Th�s book �s not a techn�cal manual, but because much of the power �n solidThinking rests �n th�s technology, a br�ef explanat�on of the major po�nts w�ll help qu�te a b�t when us�ng th�s power.

The pr�mary concepts that th�s chapter w�ll expla�n are related to the terms used �n th�s accurate descr�pt�on of the appl�cat�on: “solidThinking �s a 3D, NURBS model�ng and render�ng program w�th parametr�c tools and objects, and full construct�on h�story.” These terms may or may not make sense to you, but understand�ng these attr�butes of solidThinking w�ll make us�ng th�s tutor�al book much more sat�sfy�ng.

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solidThinking uses a very flex�ble and accurate method for creat�ng and defin�ng 3D geometry that �s called “NURBS geometry.” The acronym NURBS stands for “Non-Un�form, Rat�onal, Bas�s-Spl�nes.” The prec�se defin�t�on of these terms �s beyond the scope of th�s book, but we can s�mpl�fy them greatly by say�ng that NURBS geometry �s a mathemat�cal express�ons of curves and surfaces �n a v�rtual, 3D space. Th�s means that most of the models that you create �n solidThinking w�ll be composed of curves and surfaces that are defined by calculat�ons done for you by your computer. These algor�thms are extremely fast and stable, and because of th�s, NURBS are capable of represent�ng any des�red shape, both analyt�c and free form. Even though much of th�s �nformat�on �s handled by the computer, know�ng the term�nology and technology beh�nd these calculat�ons w�ll greatly help you to understand why th�ngs are happen�ng on your computer screen, and how you can work effic�ently w�th th�s type of 3D geometry.

NURBS curves and surfaces are very s�m�lar to each other and share common elements and behav�ors. The most �mportant th�ng to know about th�s type of geometry �s that the�r shapes are controlled by po�nts �n space called Control Vert�ces or “CVs.” Throughout th�s book we w�ll also refer to these s�mply as “po�nts,” s�nce most of our work �s done w�th NURBS geometry. These CVs serve as both the start and end po�nt of a NURBS curve or surface, and also define the shape between these po�nts �f that curve �s not a stra�ght l�ne. As we can see �n the �llustrat�on below, these “�nner” po�nts do not lay d�rectly on the result�ng curve or surface, but rather exert an �nfluence on the part of the NURBS object that l�es near the po�nt.

What are NURBS?

The �nfluence amount of each of these CVs �s determ�ned by another un�que feature of NURBS, called a “we�ght” value. Th�s value can be �ncreased arb�trar�ly for each po�nt on a curve or surface to change the shape of the object w�th more local control. By default, all po�nts �n�t�ally have an equal we�ght value of 1 �n solidThinking.

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What are Parametric Objects?

A parametr�c object �n solidThinking �s an object that �s defined by the values of certa�n parameters. A cyl�nder, for example, can be defined by the numer�c values of �ts rad�us and �ts he�ght. These two numbers are suffic�ent to descr�be the shape of a bas�c cyl�nder, but �n many cases �t may des�rable to have more than just these two parameters. Add�ng separate top and bottom rad�� w�ll allow for a cyl�nder that �s tapered, but st�ll parametr�c. Somet�mes parameters for an object are even non-numer�c �n nature, such as hav�ng the opt�on for a cyl�nder to be open or closed at e�ther end.

Be�ng parametr�c �n nature �s not just reserved for objects �n solidThinking, but most of the tools that you would use to create or mod�fy an object are also parametr�c. In the case of the “M�rror” tool, there �s a parameter to determ�ne wh�ch 3D ax�s the object �s m�rrored across. Naturally, chang�ng th�s ax�s w�ll greatly affect the result of the act�on.

A very powerful aspect of parametr�c objects �n solidThinking �s that they do not lose of “forget” the�r parametr�c controls after they have been created. You can work on other objects, bu�ld from or mod�fy a parametr�c object, and even save the file and come back to �t much later, and the parameters that defined each object when you first created �t w�ll st�ll be there, and st�ll have the same d�rect control over the object. Th�s “memory” that these objects have �s part of a larger concept called “construct�on h�story.”

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What is Construction History?

The concept of Construct�on H�story �s easy to understand �f you �mag�ne that all of the parts of a model w�th Construct�on H�story are s�m�lar to the �nd�v�dual parameters of a parametr�c object or act�on. Mod�fy�ng any one of the parts w�ll affect the shape of the overall model because they are calculated together to create the final object. Unl�ke parametr�c geometry, you can eas�ly add or delete parameters (parts) w�th�n the H�story of your object, as well as mod�fy them. As you do th�s, the end result w�ll dynam�cally change. To make �t easy to v�sual�ze the Construct�on H�story of an object �n solidThinking there �s the Construct�on Tree.

The Construct�on Tree �n solidThinking �s a graph�c flow-chart of the Construct�on H�story of each selected object �n your scene. It updates automat�cally as you bu�ld, and you can select “branches” of the Tree to ed�t w�th�n the context of the rest of the Tree. When you ed�t an object or act�on that �s “�ns�de” the Construct�on Tree, all of the objects that are furhter down the branch from �t w�ll automat�cally update. You do not have to manually rebu�ld anyth�ng, nor do you have to expl�c�tly tell the Tree to rebu�ld �tself. If you des�re, you can prune objects from the tree, replace objects �ns�de the tree, or delete the Construct�on H�story of an object ent�rely.

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What is Surface Continuity?

When two surfaces meet at a common edge, �t �s somet�mes des�rable to have them appear to be one cont�nuous surface across that edge by al�gn�ng one or both of the surfaces at the�r po�nt of contact. Th�s “cont�nu�ty” comes �n a var�ety of forms: The most bas�c form �s Tangent�al (or G1) cont�nu�ty, where the edge areas of each surface l�e on the same plane at the po�nt of contact. A more advanced form �s Curvature (G2) cont�nu�ty, where the areas near the edge of each surface “flow” from each other by match�ng the overall curve of one or both surfaces across the po�nt of contact. There are further and more complex forms of curvature cont�nu�ty, but most of these tutor�als deal w�th G1 or G2 only.

None G1

G2 G3

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What is 3D Tolerance?

3D Tolerance �s a custom�zable parameter used when geometry �s created by commands that cannot be performed w�th absolute prec�s�on (e.g. tr�mm�ng, boolean and round�ng operat�ons). The “tolerance” �s a measure of how close to a perfect fit a g�ven tool w�ll try to get before fa�l�ng to bu�ld anyth�ng at all. Absolute prec�s�on �n these �nstances �s nearly �mposs�ble g�ven the �nfin�te levels of deta�l poss�ble. Th�s tolerance level can be set �n the Un�ts pane of the sol�dTh�nk�ng Preferences. It �s adv�sable to set the proper tolerance at the beg�nn�ng of each project and to ma�nta�n �t �n all assoc�ated projects as well.

Some suggest�ons about how to set a proper tolerance level are the follow�ng:

The 3D Tolerance should be less than 1/100 of the smallest values used �n model�ng operat�ons (e.g. �f a fillet�ng rad�us �n Round �s 0.1, the 3D tolerance for �t to bu�ld must be 0.001 or smaller).

W�th the typ�cal 3D Tolerance values of e�ther 0.01 or 0.001, the best results are obta�ned when the overall model s�ze does not exceed about 100,000 un�ts.

3D Tolerance values smaller than 0.0001 can result �n slower operat�ons and very compl�cated surfaces �n terms of memory usage due to the �ncreased prec�s�on that must be ma�nta�ned.

If your model �s to be exported, the 3D Tolerance sett�ng should be the same as, or typ�cally sl�ghtly smaller, than �s requ�red by the target CAD appl�cat�on.

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solidThinking Techniquesx��

Conventions used in this bookThere are certa�n v�sual and typograph�c convent�ons that are used �n th�s manual. They are �ntended to make �t eas�er to read �nstruct�ons and descr�pt�ons and eas�ly find the �mportant or descr�pt�ve elements. In the case of cr�t�cal act�ons, the font and type style w�ll change. These convent�ons are outl�ned below.

Note: Th�s manual and all of the proceed�ng tutor�als assume that you are fam�l�ar w�th the bas�c funct�ons of your computer and �ts Operat�ng System (OS). Th�s �ncludes the use of a mouse and keyboard, launch�ng an appl�cat�on, and us�ng common �nterface elements l�ke drop-down menus and buttons. If you need ass�stance w�th any of these th�ngs, please consult your computer’s documentat�on.

Whenever you use a spec�fic tool or act�on, the Toolbar �con for that tool w�ll appear to the left of the text that starts the use of the tool. In some cases, you w�ll use a keyboard shortcut to �n�t�ate the act�on, but the �con w�ll be shown anyway, as a v�sual rem�nder. Th�s way you can qu�ckly tell when a new tool �s go�ng to be used wh�le you are read�ng.

Throughout th�s book there are “T�ps” that are not a l�teral part of the act�on you are perform�ng, but are e�ther extra �nformat�on, or a further explanat�on of tools and events that are happen�ng at that po�nt �n the tutor�al. These are enclosed �n “shaded boxes” such as th�s one. T�ps are not requ�red for the complet�on of a tutor�al, but frequently w�ll be qu�te helpful. If you e�ther m�ss or forget a T�p, there �s an �ndex to these T�ps at the back of th�s book, arranged by top�c. Aren’t you glad you read th�s first T�p?

Bold sans-serif text �s the cr�t�cal part of an �nstruct�on or act�on sequence.

“Quoted and Italics” �s the l�teral text that appears somewhere on the screen, typ�cally �n the Console.

Bold Italics denotes an �mportant object or element �n the sentence, but �s not cr�t�cal to the act�on.

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Object Display Colors:Red = Selected ObjectsGreen = RelatedBlue = Not Selected

Snaps Tooolbar

Act�ve V�ewport

Console

Tool Panel

World Browser

Construct�on Tree

V�ewport Act�ve Axes

Collapsed Tabs

Model�ng Toolbar

V�ewport Controls

Tool T�p

“Fly-Out” Icon Menu

Appl�cat�on Tooolbar

solidThinking Techniquesx�v

1Tutorial 1 - Toy Car

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Welcome to the first tutor�al �n solidThinking Techniques. Th�s tutor�al w�ll fam�l�ar�ze you w�th the user �nterface and bas�c workflow of solidThinking. You w�ll be assembl�ng a very s�mpl�fied “toy” automob�le from bas�c, pre-made 3D shapes, called “pr�m�t�ves.” You w�ll learn how to nav�gate the overall solidThinking �nterface, and how to create and man�pulate 3D objects �n your scene. Although th�s lesson �s very bas�c, �t �s short and conta�ns many useful keyboard shortcuts and common techn�ques that w�ll be used �n later lessons. As the complex�ty of the tutor�als �ncreases from lesson to lesson, most of these bas�c concepts w�ll not be ment�oned and �t w�ll be assumed that you already know how to qu�ckly and effect�vely use the �nterface wh�le work�ng �n solidThinking. Therefore �t �s h�ghly recommended that all levels of users at least read th�s lesson and confirm that they understand what �t covers.

Tutorial 1 - Toy Car

solidThinking Techniques2

Before we beg�n to bu�ld our model, we w�ll go over the bas�c methods for understand�ng and man�pulat�ng the user �nterface �n solidThinking. In the preced�ng pages of th�s book there �s a “map” of the solidThinking �nterface that w�ll help you to �dent�fy each part of the screen w�th the name �t has been g�ven.

Wherever poss�ble, an �llustrat�on w�ll be prov�ded to show you exactly wh�ch on-screen �tem the text of the tutor�al �s referr�ng to. However, these �llustrat�ons w�ll only show l�m�ted areas of the �nterface, so �t �s a good �dea to go back to the User Interface Map whenever you are unsure of the locat�on of an �tem.

Part 1: Exploring the User Interface

The �nterface �llustrat�ons �n these tutor�als are based on the default �nterface arrangement of the W�ndows XP vers�on of solidThinking. The �nterface for the Mac�ntosh OS X vers�on �s �dent�cal �n content and �tem locat�on to these �llustrat�ons, but uses the OS X “Aqua” �nterface theme �nstead.

If you have not done so already, launch the solidThinking appl�cat�on on your computer. The solidThinking user �nterface w�ll, by default, fill the d�splay of your computer system.

Across the top of the screen you w�ll see what �s referred to as the “Application Title Bar.” Th�s area (shown below) tells you that the solidThinking appl�cat�on �s currently the act�ve appl�cat�on and prov�des the name, �f any, of the current scene you have open.


1Below the Application Title Bar (or above �t, �n the Mac OS X vers�on) you w�ll find the Pull-Down Menus. These menus prov�de you w�th access to all of the tools, sett�ngs, �nterface elements and other parts of solidThinking. Most of what they prov�de �s also access�ble by keyboard shortcuts and/or on-screen �cons.

Along the left s�de of the default �nterface arrangement you w�ll find the Modeling Toolbar. Th�s �s where you can locate the �cons for most of the tools �n solidThinking. (These tools are also access�ble through the “Tool” menu �n the Pull-Down Menus descr�bed above.)

You can “scroll” through the �cons by clicking-and-dragging anywhere �n the palette w�th the Right Mouse Button (“RMB”) (W�n) or cl�ck�ng-and-dragg�ng w�th the Command (“”) key held down (Mac).

To see fewer �cons �n the Modeling Toolbar, you can “collapse” each tabbed sect�on (such as “Transform” or “Curves”) by double-clicking on the Section Title tab. The effect of th�s act�on �s shown at the bottom of the �mage to the left.


In some cases the �con for a tool w�ll have a small “double arrow” �n the lower, r�ght corner. These arrows �nd�cate that many related tool �cons are “stacked” beneath the �con that �s v�s�ble. You can access these �cons by clicking-and-holding the (left) mouse button on the top �con.

A temporary “fly-out” panel w�ll appear w�th all of the stacked �cons v�s�ble for select�on. (Th�s fly-out w�ll stay v�s�ble unt�l you select a tool �con or move the mouse away. You do not have to hold the mouse button down all the t�me.)

Because not all of these tool �cons w�ll be �mmed�ately fam�l�ar to you, “tool-tips” are prov�ded for each �con �n the solidThinking �nterface. These prov�de the t�tle of the tool or �con �n a float�ng, yellow box beneath your cursor.

Tool-t�ps w�ll automat�cally appear �f you s�mply hover (or hold w�thout cl�ck�ng) the mouse cursor above the �con for one second. (Th�s also works �ns�de the fly-out �con menus, as shown above!)

Other parts of the �nterface w�ll be expla�ned as we cont�nue on �n our tutor�als. And, as always, �f you cannot find an �nterface element or �con that �s ment�oned �n a tutor�al, refer to the Interface Map that precedes the tutor�als, or the �ndex at the back of th�s or any other solidThinking manual.


1Select the Cube pr�m�t�ve tool from the Surfaces tab of the Modeling Toolbar by press�ng on �ts �con (�t may be beneath the Plane tool �con �n the fly-out menu) and observe the changes that occur. If the Cube tool �con �s not �n�t�ally v�s�ble, cl�ck-and-hold on the Sphere (or other NURBS pr�m�t�ve) �con to act�vate the fly-out menu of �cons, and select the Cube tool from there.

After cl�ck�ng the Cube tool �con, a temporary placeholder for our Cube has appeared �n all of our 3D workspace v�ews! It �s represented by Magenta lines (�n Wireframe d�splay mode) and dark Blue “hotspots” (or control po�nts) as shown �n the orthograph�c v�ew below.

Part 2: Creating a NURBS primitive

To better understand the funct�on and feedback of the solidThinking �nterface, we w�ll take some t�me to exam�ne the process of creat�ng th�s first element of our s�mple 3D model.

These �n�t�al changes that we are go�ng to observe are referred to as the “creat�on phase” of our object or tool. Dur�ng th�s phase, solidThinking �s request�ng �nput and prov�d�ng v�sual feedback, so that you can effic�ently and correctly complete the act�on. If you would l�ke to cancel the tool dur�ng th�s phase, s�mply press the ESC key.


At the top of the workspace, near the Drop-Down Menus, the Console now has act�ve text that �s awa�t�ng keyboard or mouse �nput to determ�ne the Local Axes Origin for the Cube. (Th�s “or�g�n” po�nt serves as a reference po�nt �n space for the object we are creat�ng.)

On the upper, r�ght s�de of the default �nterface arrangement, the Tool Panel now shows the opt�ons for the Cube tool, but the sl�ders and �nput areas are currently greyed out because th�s panel only prov�de numer�c feedback dur�ng th�s �n�t�al phase of an object’s creat�on. (It becomes act�ve after the creat�on phase.)


1And �f we look at the World Browser (a l�st of the objects �n our scene, found �n the lower r�ght corner of the �nterface) we w�ll see that a Cube object has been added to the l�st. We w�ll also see the construct�on h�story of the Cube surface expanded �n the Construction Tree graph just below the World Browser.

Th�s �s all part of the “creat�on phase” of a tool. Some of these changes are temporary (such as the Console act�v�ty) and others (l�ke the new object l�sted �n the World Browser) w�ll cont�nue as long as the object ex�sts �n the scene.

The “creat�on phase” �s not just for pr�m�t�ve objects or surfaces, but also ex�sts for certa�n transformat�ons and mod�ficat�ons that do not, l�terally, create another object. However, dur�ng th�s phase all tools are request�ng �nput from you to gu�de the creat�on process, and the �nterface �s also prov�d�ng tools and feedback to you to a�d �n the process.


As we have already noted, the Console has prompted us to define the “Local Axes Origin” and has prov�ded a default value of “(0,0,0).” The Cube shown �n our 3D v�ews �s already pos�t�oned w�th th�s value.

Cl�ck�ng-and-dragg�ng �n the 3D v�ews �s the best way to place objects and man�pulate hotspots wh�le �n the creat�on phase of any object. By cl�ck�ng-and-dragg�ng you can adjust the placement of your object before releas�ng the mouse button and you have an on-screen prev�ew of where �t �s go�ng to be.

Click-and-drag �n the Top v�ew to place the Local Axes Origin (wh�ch �s the first vertex of the Cube pr�m�t�ve) to the po�nt shown below. The temporary Cube w�ll follow the mouse cursor as you drag, and a wh�te “crossha�r” w�ll appear to �nd�cate the prec�se pos�t�on you w�ll be choos�ng.

After plac�ng the Origin, the Console prompts us to define the “Opposite Vertex (Width, Thickness, Height)” and has prov�ded a default value of “(1,1,1).” Aga�n, the Cube shown �n our 3D v�ews already d�splays these d�mens�ons.


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Click-and-drag anywhere �n the Top v�ew to place the Opposite Vertex (wh�ch �s the second vertex of the Cube pr�m�t�ve) to the po�nt shown below. Th�s w�ll g�ve the Cube approx�mate d�mens�ons of 13 un�ts �n W�dth, 8 un�ts �n Th�ckness, and 1 un�t of he�ght (default). These do not have to be prec�se d�mens�ons.

Dur�ng th�s next step, watch the Cube Tool Panel �n the upper r�ght corner of the �nterface, and not�ce that the d�mens�on amounts change �nteract�vely to tell you prec�sely how large a Cube you are mak�ng.


After you release the mouse button to place the Opposite Vertex, you w�ll end the creat�on phase of the Cube and fix �ts d�mens�ons at that s�ze. You w�ll see that the Cube Tool Panel �s now act�ve and reflects the d�mens�ons we set.

Although the creat�on phase of our Cube �s fin�shed, we can st�ll adjust �ts parameters �n the Cube Tool Panel (and we can cont�nue to do so any t�me �t �s selected!). Cl�ck �n the “Height” numer�c �nput field of the Tool Panel and type a value of 3 un�ts and press Return when fin�shed, to g�ve our Cube some vert�cal d�mens�on.


1Congratulat�ons! You have just created your first 3D object for th�s tutor�al. We can now �nspect th�s new object �n the 3D v�ews to �nsure that �t �s the shape we des�re.

In the Perspective v�ew, press the “S” button at the top of the v�ew t�tle bar to change to the Shaded d�splay mode for that v�ew. Th�s w�ll show our Cube d�mens�ons much clearer.


Wh�le our Cube �s st�ll selected (Red or Magenta), we can Center the v�ew w�ndow and Zoom �n on the object at the same t�me by press�ng the “Zoom Selected” button at the top of the Perspective v�ew w�ndow. Th�s �s just to the left of the D�splay Mode buttons. (It looks l�ke a magn�fy�ng glass w�th small, red objects �ns�de �t.)

The Zoom Selected button (and �ts ne�ghbor, Zoom All) pans, zooms, and centers the rotat�on of the camera (or Orb�t po�nt) upon the center of the selected object (or all geometry, �f Zoom All �s used). These same buttons �n the Orthograph�c v�ews w�ll only pan and zoom to the selected geometry.


1Deselect the Cube geometry that we have created by e�ther select�ng the drop-down “Selection” menu and choos�ng the opt�on for “None,” or by s�mply cl�ck�ng somewhere off of the Cube, �n any of the 3D v�ews.

We can see that the NURBS Cube object we created changes color to l�ght blue, and the Modeling Toolbar returns to �ts default “blank” state. Th�s �nd�cates that the geometry �s not selected.

Select the Cube geometry aga�n by cl�ck�ng on �t �n the Shaded d�splay of the Perspective v�ew. We can �mmed�ately see that �t turns Red to �nd�cate that �t �s selected, and the Cube Tool Panel returns.

In solidThinking, Blue colored geometry (�n e�ther Shaded or Wireframe d�splay) �nd�cates an object that �s “�nact�ve,” or not currently selected, wh�le Red �nd�cates that the object �s selected and act�ve. Magenta, as we have seen, �nd�cates that the object �s e�ther be�ng created, or �t �s affected by the control po�nt or “hotspot” you are currently man�pulat�ng. Geometry d�splayed �n Green, wh�ch have not seen yet, �nd�cates a related, “source” object.


You w�ll not�ce �mmed�ately that there �s no Console prompt for th�s act�on at all. Th�s �s because there �s no “creat�on phase” for the Translate tool, s�nce �t does not actually create another object. However, the Tool Panel has opt�ons for the Translate tool, and a small “hotspot” has appeared �n our scene by the Local Axis Origin of our Cube.

Cl�ck �n the far left �nput field of the Translate Tool Panel under the head�ng of “To.” Th�s �nput field corresponds to the X ax�s, and any number entered here w�ll be the amount of Translation appl�ed (relat�ve to the “From” value above �t) for that ax�s. The other �nput fields are for the Y and Z axes, respect�vely.

Enter a value of -3 �n th�s �nput field and press Return to see the effect �t has on our Cube. (You w�ll not “complete” the Translate act�on �n th�s way, but accept the text �nput and allow other values to be changed as well.)

Part 3: Translating and Adding Objects

We can eas�ly man�pulate objects �n our scene by us�ng the Transform tools. Throughout th�s tutor�al we w�ll be “adjust�ng” the objects we create s�mply to use the Transform tools �n var�ous ways.

Wh�le the Cube �s st�ll selected (Red) cl�ck on the Translate tool �con from the Transform tab of the Modeling Toolbar.


1Our cube has moved 3 un�ts �n the negat�ve X d�rect�on from where �t was prev�ously. The “hotspot” v�s�ble �n the lower left corner of the �mage below (the Top v�ew) shows the green l�ne that �nd�cates the distance and direction of the translat�on, relat�ve to the start�ng po�nt.

Wh�le the numer�c �nput box for the X ax�s “To” �s st�ll selected, enter a value of -1 to make the translat�on sl�ghtly less dramat�c. Th�s w�ll leave our cube roughly centered �n the Top v�ew of the workspace.

The �nput boxes for the Translate, Rotate, and Scale tools w�ll accept numer�c �nput at any t�me unt�l the act�on �s closed. Th�s means that you can “prev�ew” the effects of the value you entered and st�ll enter another value to replace the prev�ous one. These values are not cumulat�ve, so enter�ng a value of -3 and then a value of -1 w�ll not equal -4.

Press the ESC key to complete the Translate act�on and “fix” the new pos�t�on of our selected object. (Note that for other act�ons that have a “creat�on phase,” the ESC key w�ll cancel them, rather than fin�sh them.)


S�nce our cube has been very prec�sely “adjusted,” we can now �ntroduce other objects �nto our scene.

Double-click on the t�tle bar of the Right v�ew w�ndow to expand th�s v�ew to fill the ent�re 3D workspace. Th�s w�ll make �t eas�er for us to place the next �tem �n the v�ew. (The other v�ew w�ndows st�ll ex�st, but are temporar�ly h�dden by th�s “expanded” v�ew.)

Select the �con for the Cylinder pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar. (It w�ll be �n the fly-out menu “underneath” the Cube pr�m�t�ve tool.)

The Console w�ll prompt you to define the “Local Axes Origin,” and a Cylinder w�ll appear, by default, at the World Origin. Click-and-drag to place the Cylinder or�g�n at the center of the top edge of our Cube, as shown below:


1After releas�ng the mouse button, the Console w�ll now prompt you for a “Top Radius.” Us�ng the keyboard, enter a value of 4 un�ts at the Console �nput l�ne and press Return to accept th�s value.

Th�s g�ves the top of our Cylinder a rad�us just about equal to the w�th of our Cube �n th�s v�ew.

When the Cylinder tool Console prompts you for the “Bottom Radius,” enter a value of 4 aga�n, and press Return to accept equal rad�� for both the top and bottom.

Next, the Cylinder tool Console prompts you for the “Height.” We can �nteract�vely define the Height, however, the he�ght �s not v�s�ble �n the Right v�ew because we are look�ng at the base of the cyl�nder.


Double-click on the title bar of the Right v�ew w�ndow aga�n to shrink th�s v�ew, and be able to see the other 3 panels of our standard 4 pane v�ew. (The “creat�on phase” of the Cyl�nder �s un�nterrupted by th�s change of v�ews.)

In the Front v�ew, click-and-drag to pos�t�on the Height hotspot so that the top of the Cylinder �s close to meet�ng the “back” of the Cube that �s the base of our toy car. Aga�n, the wh�te “crossha�rs” w�ll show you the prec�se locat�on you are choos�ng.

Once we have pos�t�oned the Height hotspot �n the appropr�ate locat�on and released the mouse button, we have �nput all of the var�ables that define the s�ze and shape of our Cylinder pr�m�t�ve and completed �ts creat�on phase. Although the Console �s not prompt�ng us to define other parameters, we can look at the Tool Panel and see that the Cylinder pr�m�t�ve has many more parameters and opt�ons that we can adjust.


1

Certa�n objects �n solidThinking, such as parametr�c Pr�m�t�ves, have “view-relative creation.” Th�s means that when you are work�ng w�th the Front v�ew act�ve, and �nvoke the NURBS Cyl�nder tool, your cyl�nder w�ll be created relat�ve to the Front v�ew. Th�s �s because solidThinking places a “prev�ew object” �n our scene at the moment that we cl�ck on the tool �con. We then use th�s object to �nteract�vely v�ew and man�pulate the “creat�on phase” of our object. So when work�ng w�th certa�n curve and surface Pr�m�t�ves, you should act�vate the v�ew you want the creat�on to take place �n before �nvok�ng the tool.

Th�s Cylinder w�ll form the back “roof” of our toy car, so �t should not extend below the s�mple Cube that we are us�ng as a base. We can change one s�mple parameter to accompl�sh th�s!

In the Cylinder Tool Panel, change the End Angle parameter to be 180. Th�s w�ll cause the Cylinder to become only a half cyl�nder above the Cube.

The Start and End Angle parameters equate to the amount of degrees that the Cylinder profile �s revolved around �ts center po�nt. Th�s parameter �s related to fact that all pr�m�t�ves �n solidThinking are calculated as NURBS surfaces, and all of these surfaces have been constructed us�ng common NURBS surface techn�ques, such as the Revolve.


In the Perspect�ve v�ew shaded d�splay, we should now have someth�ng s�m�lar to what �s shown below:

We can get a better look at the whole of our object by man�pulat�ng the v�ew through each of our v�ewports. There are many ways to do th�s. At the top of the Perspective v�ewport, �n the t�tle bar area, there are 5 buttons that you can cl�ck-and-drag on to adjust the Perspective v�ew.


1The first button �n th�s group �s the Orbit button. Click-and-drag on the Orbit button and your Perspective v�ew�ng angle w�ll change.

When you Orbit your v�ew, your objects are stay�ng �n the same place, but the locat�on of your Perspective v�ew camera �s chang�ng. The Perspect�ve camera Orbits around an arb�trary center po�nt �n your v�ew. Th�s “center of v�ew” can be adjusted w�th the another v�ew man�pulator called “Pan.”

You can access the Orbit v�ew man�pulat�on tool at any t�me by s�mply cl�ck�ng-and-dragg�ng w�th the Right Mouse Button (W�n) or -Mouse Button (Mac). Us�ng th�s Orbit keyboard shortcut and/or the mouse button �s a very �ntu�t�ve way to �nspect the overall shape of your objects �n 3D space.


If we sw�tch to the Front v�ew and cl�ck-and-drag w�th the Right Mouse Button (W�n) or -Mouse Button (Mac) th�s Pans our v�ew, �nstead of Orbiting our v�ew. Th�s �s because the camera �n the orthograph�c v�ews cannot have �ts v�ew�ng angle changed.

Select the Sphere pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar.

When the Console prompts you to define the “Local Axes Origin,” click-and-drag �n the Front v�ew to place the Sphere at the approx�mate po�nt where the Cylinder and Cube meet �n the Front v�ew.

Wh�le the Front v�ew �s st�ll act�ve, we can place a pr�m�t�ve object that w�ll become the w�ndsh�eld (or screen) of our s�mple toy car.


1Next, the Console w�ll prompt you to define the “Radius.” Click-and-drag to �nteract�vely set the radius for the Sphere to be approx�mately the same as the rad�us of the Cylinder that �s already �n our scene.

Th�s act�on w�ll end the “creat�on phase” of our Sphere pr�m�t�ve, and allow us to mod�fy the parameters �n the Sphere Tool Panel to ach�eve the shape of the w�ndsh�eld that we des�re.

In the Sphere Tool Panel, change the Long. (-�tude) End Angle to have a value of 90 degrees.


Part 4: Transforming Objects

Orbit your v�ew�ng angle �n the Perspective v�ew unt�l you are close to the angle of v�ew shown below.

In the lower, left corner of the Perspective v�ew �s the World Axis Trident. Th�s dev�ce rolls as you Orbit w�th�n the scene, and d�splays the pos�t�ve d�rect�on of each ax�s at all t�mes. The two axes that are “act�ve” for transformat�ons at any t�me are h�ghl�ghted �n Red. Not all axes are “act�ve” at the same t�me because the Perspect�ve v�ew d�splays all three axes and only two of them can be kept relat�vely cons�stent �n terms of s�ze. The th�rd �s always “foreshortened” and �s d�fficult to work w�th because �ts gr�d �s compressed by the effects of perspect�ve.


1

The “creat�on phase” of our Cylinder has begun w�th the placement of a “temporary object” �n our scene, but we cannot see th�s object �mmed�ately �n the Shaded d�splay of the Perspect�ve v�ew because �t �s “�ns�de” the shaded forms of our other objects.

Zoom out �n the Perspective v�ew a b�t by us�ng the Zoom (or Dolly) cl�ck-and-drag shortcut of Shift-Right Mouse Button (W�n), -Shift-Mouse Button (Mac). Th�s w�ll g�ve us some v�sual room around our objects to clearly see what we are do�ng �n the Perspective v�ew.

Select the Cylinder pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar.

When the X and Y axes of the World Axis Trident are “act�ve” �n the Perspective v�ew, we w�ll be roughly �n the same v�ew as shown before.

You w�ll not�ce that all of the Orthograph�c v�ew w�ndows (Front, Top, R�ght, etc.) also have an “act�ve axes” d�splay �n the lower, left corner. Because these v�ews only show two axes at a t�me, they are always red, but they st�ll d�splay the pos�t�ve d�rect�on for the axes that each v�ew has act�ve.


The next Console prompt for the Cylinder w�ll ask for the “Top Radius.” Although we can enter values for th�s and the rest of the parameters �n the creat�on process, �nstead we w�ll s�mply press Ctrl-Return (W�n) or -Return (Mac) wh�ch w�ll automat�cally accept the default values (1 un�t each) for every prompt after th�s.

When the Console prompts you to select the “Local Axes Origin,” cl�ck-and-drag �n the Perspect�ve v�ew to pos�t�on our Cyl�nder away from the �ns�de of the car, and to start the creat�on process.

Th�s w�ll complete the creat�on phase and we w�ll have a Cylinder that �s the same s�ze as the “default” object that appears when we �nvoke the tool.


1Now, rather than adjust�ng each parameter separately, we w�ll �ncrease the s�ze of th�s “wheel” Cyl�nder �n all d�rect�ons at once.

We can now s�mply click-and-drag just outs�de of the Cylinder to �nteract�vely Scale �t. Wh�le dragg�ng, watch the Tool Panel for th�s tool, and release the mouse button when the Scale amount �s close to 2.

Wh�le th�s Cyl�nder �s st�ll selected, cl�ck on the Scale tool �n the Transform tab of the Modeling Toolbar (or press the “S” key on the keyboard to �nvoke the Scale v�a �ts shortcut key).

Remember that the Scale tool, l�ke Translate and Rotate, has no Console prompts or “creat�on phase” so the object that �s selected �s the object that we w�ll Scale, and the Tool Panel �s �mmed�ately act�ve as well. L�ke all bas�c Transform tools, we can e�ther enter exact values �n the Tool Panel or s�mply cl�ck-and-drag �n the workspace to �nteract�vely perform the act�on. (For these s�mple Transforms, �t doesn’t matter where we cl�ck-and-drag wh�le the tool �s act�ve.)


Wh�le the “wheel” cyl�nder �s now the correct s�ze, �t needs to be rotated and repos�t�oned to be �nterpreted as a wheel for our toy car.

Select the Rotate tool from the Transforms tab of the Modeling Toolbar (or press the “R” key on the keyboard to �nvoke the Rotate v�a �ts shortcut key).

In the Right v�ew, click-and-drag to �nteract�vely Rotate the Cylinder 90 degrees (approx�mately) along the ax�s perpend�cular to th�s v�ew. (It does not matter how far from the Cyl�nder you cl�ck and drag, but the degree of change w�ll be smaller the further away from the rotat�onal ax�s you cl�ck-and-drag.)


1

Us�ng the click-and-drag method of Translation performs two very bas�c act�ons at the same t�me: The �n�t�al “cl�ck” on an object selects that object, and then the “drag” performs the Translate act�on w�th the select�on fixed to that object. Because mov�ng objects �s one of the most common act�v�t�es �n 3D model�ng, there �s no need to press a key or �con to do th�s.

Our “wheel” �s now rotated �n (roughly) the r�ght d�rect�on, but �t �s not touch�ng the body of the toy car at all. We can move th�s object �nto the correct pos�t�on by s�mply cl�ck�ng-and-dragg�ng on �t �n two of the orthograph�c v�ews.

Click-and-drag d�rectly on the w�reframe of the Cylinder �n the Right v�ew, and you w�ll find that the Translate act�on �s automat�cally �n�t�ated. The Cylinder then follows your mouse movements unt�l you release the mouse button, wh�le the wh�te “crossha�rs” �nd�cate the new locat�on.


In the Front v�ew, click-and-drag on the Cylinder aga�n to qu�ckly Translate �t aga�n and pos�t�on �t roughly near the front corner of the toy car body, as shown below:

We have now created a s�mple Cyl�nder pr�m�t�ve, scaled �t, Rotated �t, and Translated �t �nteract�vely to be �n the pos�t�on that would typ�cally be taken by the front wheel of the toy car we are creat�ng.

If we look at our wheel Cylinder up close �n the Right v�ew us�ng the Zoom funct�on (Shift-RMB (W�n), Shift--MB (Mac)) we can see that the �nteract�ve Rotation that we performed does not prec�sely al�gn our wheel w�th the rest of the objects that make up our toy car.

We can adjust these approx�mat�ons that we made earl�er w�thout hav�ng to go back to the Rotate tool.


1Select the Inspector tool from the Transforms tab of the Modeling Toolbar.

Immed�ately, the Inspector Tool Panel w�ll show the var�ous bas�c transformat�ons that have been appl�ed to th�s object s�nce we created �t. (Your actual numbers w�ll be d�fferent, s�nce we have been us�ng approx�mat�ons.)

To correct our Rotation amount, cl�ck �n the X ax�s �nput field (the first one) under the “Rotation” head�ng and replace whatever approx�mate value �s there w�th 90 (degrees). Press Return when you are fin�shed ed�t�ng the numer�c amount.

Press ESC to ex�t the Inspector tool and to return to the selected object’s (Cylinder) default Tool Panel.


Select the wheel Cyl�nder (�f �t �sn’t already selected) and press the keyboard shortcut for Copy (Ctrl-C (W�n), -C (Mac)). Th�s w�ll make a copy of the selected geometry and place �t on our appl�cat�on’s “cl�pboard.”

Our first wheel �s pos�t�oned correctly, but now we need to create 3 more wheels that l�ne up w�th the body of the car and our or�g�nal wheel. We can qu�ckly accompl�sh th�s by us�ng the common Copy and Paste funct�ons that are present �n every appl�cat�on.

Now we can �mmed�ately Paste th�s wheel Cyl�nder �nto our scene by press�ng the common keyboard shortcut for Paste (Ctrl-V (W�n), -V (Mac)). Although �t may appear as �f noth�ng has happened, a copy of our wheel cyl�nder has been placed �n the scene �n the exact same locat�on as the or�g�nal wheel cyl�nder.

The reason that Copy and Paste places the dupl�cate �tem �n our scene at the same locat�on of our or�g�nal �s because the Copy funct�on cop�es every aspect of that geometry, �nclud�ng �ts locat�on.

Part 5: Copying and Pasting Objects


1Press the “T” shortcut key to �nvoke the Translate act�on. (In th�s �nstance �t �s better to use the l�teral Translate tool than to s�mply “cl�ck-and-drag” on the geometry. We don’t want any acc�dental movement.)

The Copy of our wheel cyl�nder �s the act�vely selected geometry, so we can �mmed�ately transform �t to better match the locat�on of a second wheel.

Wh�le the Translate tool �s act�ve, hold down the “Y” key to constra�n our �nteract�ve Translation to the Y ax�s, and then click-and-drag the cop�ed geometry across to the other s�de of the body of the toy car.

In th�s s�tuat�on, we can also not�ce that the “crossha�r” �nd�cator w�ll move �n the other axes, but the objects w�ll not. Th�s �s useful when you want to snap or l�ne your object up to another object �n along onl one ax�s.

When we release the mouse button, we have pos�t�oned our second wheel �n the exact locat�on along the Y axis as our first wheel. Hold�ng down the letter of any ax�s w�ll lock the �nteract�ve act�on to that ax�s.


We can now repeat th�s s�mple process to create our back wheels as well.

In the Right V�ew, drag a select�on box around our two wheel cyl�nders to select both of them, than Copy and Paste the selected geometry back �nto our scene. Th�s w�ll g�ve us another pa�r of wheel cyl�nders �n the exact same locat�on.

Press the “T” shortcut to �n�t�ate the Translate act�on, and �n the Front v�ew, click-and-drag wh�le hold�ng the “X” key down to pos�t�on the cop�es close to the back of the car body.


1Congratulat�ons! You have just completed your first model �n solidThinking! Although th�s model �s very s�mple, �t �s always good to save what you have done so you have a sense of accompl�shment and can refer to �t aga�n �f you need to

Part 6: Saving the Scene

To Save your scene (wh�ch �ncludes all of the 3D geometry, the v�ewport sett�ngs, and many other parts of your scene) you can e�ther use the appl�cat�on menu File -> Save As… (shown below) or the F12 key.


You w�ll then be presented w�th the Save As.. d�alog box common to your computer’s Operat�ng System (e�ther M�crosoft W�ndows, or Apple Mac OS X) and you can determ�ne the name and locat�on of your file.

And w�th the Save dialog, th�s tutor�al �s concluded. In the next tutor�al we w�ll be expand�ng upon the lessons learned �n th�s tutor�al, so be sure to go back to any parts you d�d not fully understand. Feel free to cont�nue to explore the objects that we have created �n th�s scene by mov�ng them around, and adjust�ng the�r parameters. Perhaps create ent�rely new “toy veh�cles” to pract�ce these new sk�lls.

The default locat�on for solidThinking files �s �n the “Projects” folder. Th�s �s the first place that solidThinking w�ll go to when you Save or Open files. You can save your files elsewhere, but �t may be eas�er to create new folders �ns�de the “Projects” folder to organ�ze your work. If requ�red, you can place an al�as to another folder �ns�de th�s folder.


1In th�s s�mple, first tutor�al we have learned how to understand and man�pulate the user �nterface �n solidThinking, create parametr�c 3D objects us�ng NURBS Pr�m�t�ves, alter those parametr�c objects by us�ng the�r Tool Panels, Translate, Rotate, and Scale �nteract�vely �n our scene, Copy and Paste geometry to create mult�ple cop�es, and Snap the movement of objects to a s�ngle Ax�s! Th�s �s qu�te a lot of �nformat�on.

The tutor�als that follow th�s one w�ll bu�ld �ncreas�ngly complex objects and more �nvolved scenes wh�le �ntroduc�ng new tools and techn�ques. Wh�le the bas�c concepts �ntroduced �n th�s tutor�al w�ll be used aga�n and aga�n, they w�ll not be expla�ned as thoroughly as they just have been. Therefore, �f any of the concepts or act�ons that have been d�scussed �n th�s tutor�al are st�ll not clear, take some t�me to exper�ment w�th them outs�de of the tutor�als �n th�s book, and re-read any port�ons of th�s tutor�al unt�l you are completely comfortable w�th these “bas�cs” of us�ng solidThinking.

39Tutorial 2 - 3D viewers

2

Th�s lesson w�ll �ntroduce you to the bas�cs of NURBS curves and surfaces �n solidThinking, and w�ll also further expla�n construct�on h�story as well. The project �s to bu�ld a s�mple pa�r of d�sposable glasses for v�ew�ng anaglyph stereoscop�c 3D �mages. (These are �mages where two offset �mages of an object are super�mposed upon each other �n d�fferent colors to prov�de a 3D “depth” effect.) Wh�le the accuracy of th�s model �s not the ma�n concern, you w�ll learn how to snap to the var�ous work�ng gr�ds and how to control objects �n your scene us�ng bas�c pr�nc�ples of NURBS curve and surface des�gn.

NURBS model�ng �s, at �ts core, about creat�ng curves and then creat�ng surfaces from them. Th�s lesson w�ll demonstrate many of the pr�nc�ples that make NURBS model�ng so powerful. One of the most powerful attr�butes of NURBS surfaces �s the ab�l�ty to “tr�m” them us�ng a curve. You can create very complex shapes by tr�mm�ng away parts of an ex�st�ng surface. Us�ng tr�mmed surfaces extends the power of NURBS model�ng by remov�ng barr�ers to creat�ng very complex and accurate shapes. Th�s w�ll also be expla�ned as we progress.

Tutorial 2 - 3D Viewers


NURBS curves and surfaces are defined by “po�nts �n space” that control the shape of the NURBS object through the�r �nfluence on the reg�on near them. These po�nts are called Control Vert�ces, or CVs. We w�ll beg�n the lesson by creat�ng a s�mple NURBS curve through the placement and ed�t�ng of CVs at predeterm�ned places �n our scene. It �s eas�er to control the spac�ng and locat�on of these po�nts by “snapp�ng” to the predefined gr�ds �n solidThinking. After draw�ng the curve, we w�ll then “extend” the curve �nto the th�rd d�mens�on by creat�ng a NURBS surface from �t.

Part 1: Drawing and Editing NURBS Curves

Turn on the Grid Snap #3 (wh�ch should st�ll be set to �ts default values) by cl�ck�ng on the snap �con for th�s gr�d �n the Snaps Toolbar, or by select�ng �t from the “Edit” menu at the top of your screen under the submenu of “Active Snaps.”

You can “dock” th�s palette of helpful snap tools by cl�ck�ng on the t�tle bar and dragg�ng the palette to the top of your workspace unt�l �t �s near the Applications Toolbar (generally to the r�ght of �t) and a grey “box” appears �n the open area next to the Appl�cat�ons Toolbar. Th�s �nd�cates that the palette �s ready to be “docked.” When you release the mouse button, the Snaps Toolbar w�ll snap �nto and assume the shape of the open area next to your Application Toolbar �cons.

The Snaps Toolbar �s located, by default, at the top of your workspace, near the Application Toolbar. If th�s palette of gr�ds and snap �cons �s not v�s�ble �n your workspace then you can make �t v�s�ble by go�ng to the “Managers” drop-down menu at the top of your screen and select�ng “Snaps Toolbar” from the l�st. It w�ll then have a “check mark” �n front of �ts name w�th�n the menu to �nd�cate that �t �s now v�s�ble.


2Cl�ck the �con for the NURBS Curve tool that can be found �n the Curves tab of the Modeling Toolbar that can be found (by default) vert�cally pos�t�oned along the left s�de of the screen.

Once you have cl�cked on the �con, you w�ll beg�n the “creat�on phase” of the NURBS Curve object, and the Console w�ll prompt you for the locat�on of the “Local Axes Origin.”

Press Return to accept the default locat�on of (0,0,0).

Just l�ke the Local Axes Or�g�ns of the parametr�c pr�m�t�ves �n the prev�ous lesson, th�s po�nt defines the default translat�on, rotat�on, and scale “center” for the curve. However, the Local Axes Or�g�n of a s�mple NURBS Curve �s not the same as the Start Po�nt, or first po�nt of the curve. The curve w�ll extend beyond th�s po�nt, and no po�nts even have to be close to the Local Axes Or�g�n, but the whole curve w�ll be t�ed to th�s po�nt for later operat�ons.

We w�ll be draw�ng the NURBS Curve by plac�ng po�nts �n the Top view, so �t w�ll be helpful to Zoom Out a b�t �n that v�ew before cont�nu�ng. (Th�s act�on does not affect po�nt placement or the act�ve tool at all.) You can e�ther use the Zoom button at the top of the Top v�ew w�ndow, or the cl�ck-and-drag shortcuts of Shift-RMB (W�n) or -Shift-MB (Mac).


Once you have set these 4 po�nts, press the Spacebar to end the po�nt placement.

The Console now prompts you to enter “Point #1 (Spacebar to End).” Cl�ck-and-drag to �nteract�vely place 4 po�nts �n the locat�ons shown below to define the NURBS curve. (The fam�l�ar wh�te “crossha�r” w�ll �nd�cate the prec�se pos�t�on of each po�nt.) Each t�me you release the mouse button, the console w�ll prompt you to place the next po�nt.

(The act�ve Grid Snap #3 w�ll make pos�t�on�ng the po�nts very easy and accurate, but may �nh�b�t dragg�ng.)


2Now we can create a s�mple, 3D NURBS surface from th�s curve by Extrud�ng �t �nto the th�rd d�mens�on.

Select the Extrude tool from the Surface tab of the Modeling Toolbar. As soon as you cl�ck on the tool �con, the creat�on phase of our surface has now begun, and the Console becomes act�ve to �nstruct you.

When the Console first prompts you to “Pick Profile Curve,” select the NURBS curve that �s v�s�ble �n any one of our work�ng v�ews by cl�ck�ng on �t.

When you cl�ck on the curve �n our scene, almost �mmed�ately an �n�t�al surface �s created (us�ng the default d�rect�on and length of the Extrude tool) and �s v�s�ble �n our workspace as seen below:

The Extrude tool �s not fin�shed yet because the Console �s st�ll act�ve and the Model�ng tool panel for the Extrude tool �s greyed out (�nact�ve). Th�s �nd�cates that we are st�ll �n the “creat�on phase” and that further �nput �s requ�red.


Change the Perspective view w�ndow to the Shaded d�splay mode by press�ng the “S” button �n the upper r�ght corner of v�ew w�ndow. We can now clearly see that we have an extruded surface.

At the second Console prompt you are asked to enter the “Extrude Length.” Enter a value of 6 un�ts by typ�ng “6” on the keyboard and press�ng Return. Th�s w�ll end the “creat�on phase” of the Extrude act�on and create the surface seen below:


2The Extrude surface we have just created �s now l�nked to the “source” NURBS curve through construct�on h�story. Th�s means that �f we mod�fy the source curve, the Extrude surface w�ll also change to reflect th�s mod�ficat�on. We can now demonstrate th�s l�nk �nteract�vely.

If we look at the World Browser (by default �n the lower r�ght corner of the workspace, under the Modeling Tool Panel) we w�ll see that our Extrude surface �s h�ghl�ghted �n Red to show that �t �s currently selected. We w�ll also see the construct�on h�story of the Extrude surface expanded �n the Construction Tree graph just below the World Browser.

The Construct�on Tree browser d�splays a “Tree Graph” of all of the “source” objects and act�ons whenever you select an object. The topmost �tem �s the currently selected object, and underneath �t are all of the source objects that �t �s l�nked to. For objects that have no construct�on h�story, l�ke our bas�c NURBS curve, the Construct�on Tree w�ll cons�st of only that object, and w�ll not show whatever objects m�ght be bu�lt from �t. In th�s sense, the Construct�on Tree only shows the “past” of the construct�on of an object.


Select the “source curve” of the Extrude object by cl�ck�ng on �ts node �n the Construction Tree graph. (E�ther the name or the blue box �con w�ll work for select�ng objects, just as �n the World Browser.)

After select�ng the curve (�t w�ll turn Red �n the 3D v�ews), press the Spacebar to enter the Edit Mode. Enter�ng th�s mode w�ll d�splay the CVs (or po�nts) of our NURBS curve that we prev�ously placed, and w�ll allow us to select and man�pulate them.

Whenever you toggle �nto Ed�t Mode (e�ther by us�ng the Spacebar or the button at the top of the workspace) you are able to see the �nteract�vely ed�table parameters of the selected object, wh�ch are not normally v�s�ble �n the Object Mode. You can always ed�t certa�n parameters of an object by s�mply select�ng �t �n Object Mode and mod�fy�ng values �n the Tool Panel, but frequently there are “hotspots” for parameters that are only v�s�ble �n Ed�t Mode. A NURBS curve, for �nstance, has many parameters �n the Tool Panel, but to change �nd�v�dual CVs we need to enter the Ed�t Mode.

Change the Active Snap to be Grid Snap #2. Th�s w�ll let us make finer adjustments �n the rest of the model�ng process wh�le ma�nta�n�ng a very accurate placement.

We w�ll now ed�t th�s curve by man�pulat�ng �ts po�nts to get closer to the shape we des�re.


2Translate the #3 po�nt of the curve by cl�ck�ng on �t to select �t (�t w�ll turn Yellow) and dragg�ng �t 3 un�ts �n the negative Y d�rect�on, wh�ch �s the same as dragg�ng �t “down” �n the Top v�ew. After you drag the po�nt and release the mouse button, you w�ll end the qu�ck Translate.

Cl�ck�ng and dragg�ng on a po�nt (or po�nts) w�ll both Select and Translate the po�nt. Th�s �s the same as select�ng the po�nt and press�ng the “T” key to �nvoke the Translate command, s�nce Translate �s the default act�on when cl�ck�ng-and-dragg�ng on objects �n solidThinking.

Translat�ng th�s po�nt w�ll change the shape of the �nter�or port�on of our curve. We can see �n our Perspective v�ew that the surface that �s l�nked to th�s curve also changed �ts shape as well.

Th�s d�rect and “l�ve” feedback of surfaces updat�ng �mmed�ately wh�le you man�pulate the�r source objects �s the most bas�c level of construct�on h�story �n solidThinking. The Construction Tree not only shows us what objects are l�nked through h�story, but also allows us to mod�fy those l�nked objects to affect our ent�re model.


We can also ed�t the curve through a comb�nat�on of sett�ngs �n the Tool Panel and �nteract�ve changes �n the 3D v�ews.

F�rst, cl�ck-and-drag to create a selection box around the two “bottom” CVs to select them both at the same t�me, as shown below:

Now, �n the NURBS curve Modeling Tool Panel, check the box near the top that �s labeled “Insert.” Th�s w�ll act�vate the Insert Mode for th�s tool, wh�ch w�ll allow us to place add�t�onal CVs �n our curve at any t�me after the �n�t�al “creat�on phase.”


2In the Top v�ew, cl�ck-and-drag to Insert a new po�nt at the locat�on shown below. By add�ng th�s extra CV near to the “corner” of our curve, we w�ll “t�ghten” the corner of our curve.

We can see the effect of add�ng th�s po�nt to our curve reflected �n the Extrude surface, wh�ch �s shown clearly �n the Perspect�ve v�ew.


Once you have placed th�s new po�nt �ns�de the curve, e�ther uncheck the “Insert” check box �n the NURBS curve tool panel, or press the Spacebar to “toggle off” the Insert Mode.

Ed�t Mode �s cons�dered a “temporary mode” �n solidThinking. Th�s means that solidThinking funct�ons best �f you “toggle �nto” the Ed�t Mode, make your �nteract�ve mod�ficat�ons, and then “toggle out” aga�n. The reason for th�s �s because wh�le you are �n Ed�t Mode, you are able to select and man�pulate only the “hotspots” or parameter controls for the object you are ed�t�ng. You cannot change your selected object by s�mply cl�ck�ng on another object wh�le �n Ed�t Mode (although there are keyboard shortcuts to do th�s). Th�s allows you complete freedom for ed�t�ng purposes, but can make other act�ons (l�ke �nteract�ve select�on) very d�fficult. Th�s �s why �t �s best to “toggle �n,” ed�t, and then “toggle out” aga�n, return�ng to Object Mode.

Press the Spacebar aga�n to ex�t the Edit Mode for th�s curve and to return to Object Mode.

Be sure to toggle the Insert mode “off” before cl�ck�ng elsewhere �n your scene, s�nce each cl�ck �n any 3D v�ew w�ll always place another new po�nt �ns�de the NURBS curve, even �f the po�nt �s very far away from the or�g�nal curve.


2Part 2: Trimming the Surface

Select the Open Polyline tool from the Curves tab of the Modeling Toolbar. The “creat�on phase” of th�s curve �s very s�m�lar to the s�mple NURBS curve tool. We w�ll set the Or�g�n and �nteract�vely place po�nts to define the shape of the curve.

The Console w�ll first prompt you to set the “Local Axes Origin.” Press Return to accept the default locat�on of (0,0,0).

We have just created and ed�ted a s�mple NURBS curve, and then created a NURBS surface from �t. Th�s �s NURBS model�ng at �ts most bas�c level, and we w�ll expand on th�s by creat�ng d�fferent types of curves and by alter�ng our surface through the use of “tr�ms.” Although th�s �s all st�ll very bas�c, th�s �s the foundat�on for understand�ng NURBS model�ng and be�ng able to create more complex objects �n the future.

We w�ll be draw�ng the curve �n the Front v�ew, so make that v�ew act�ve for po�nt placement.

Our first Tr�m w�ll be used to create the area �n our 3D v�ew�ng “glasses” where the anaglyph colored lenses w�ll eventually be placed.


When the Console prompts you to place “Point #1 (Spacebar to end),” cl�ck-and-drag �n the Front v�ew to place 4 po�nts �n the locat�ons shown below:

By cl�ck�ng-and-dragg�ng wh�le plac�ng po�nts you have the freedom to change the pos�t�on of a po�nt before releas�ng the mouse button and “fix�ng” �t �n place. Although �t may be a b�t d�fficult to “drag” these part�cular po�nts w�th the Gr�d Snap on, �t �s a good hab�t to get �nto, s�nce do�ng th�s also prov�des you w�th a prev�ew of what your object w�ll look l�ke wh�le you are plac�ng each po�nt.

When you have placed all of the po�nts, press the Spacebar to end the po�nt placement “creat�on phase” for th�s curve.

We can see that we have created a Polyl�ne (or a curve w�th stra�ght l�ne segments between �ts po�nts). However, we are go�ng to man�pulate some of �ts parameters to create the closed reg�on for our Tr�m act�on.


2Press the ESC key to ex�t the Open Polyline tool panel, and to br�ng up the NURBS curve tool panel �nstead. (The Open Polyline �s actually a s�mple NURBS curve w�th a “curve order” of 2. (See the techn�cal notes �n the �ntroduct�on for a descr�pt�on of NURBS curve “order.”)

In the NURBS curve tool panel, change the “Curve Type” to be Closed as shown below.

Because the Open Polyline tool allows us to draw a NURBS curve w�th a default order of 2 (or l�near segments), we reta�n all of the controls that a s�mple NURBS curve has. Th�s �s helpful for us now, because we would l�ke to create an enclosed reg�on for the “lens open�ng” �n our surface.


The Trim surface tool �n solidThinking works by project�ng a curve onto a surface and then d�v�d�ng that surface �nto reg�ons that are e�ther on one s�de or the other of that projected curve. The Tr�m tool then removes one of the reg�ons w�thout chang�ng the shape or contour of the rema�n�ng surface, r�ght up to the edge where the Tr�m curve would l�e upon �t. Because all NURBS surfaces are created from h�ghly prec�se curves, us�ng a NURBS curve to do th�s also reta�ns the �nherent prec�s�on of NURBS.

We now have a closed curve that �s composed of l�near segments and �s defined by 4 po�nts, as seen below:

Th�s closed curve w�ll now be used to “tr�m” out a sect�on of the Extrude surface that we created earl�er. The curve does not have to be “on” the surface to be tr�mmed, but rather w�ll be “projected” onto �t based on e�ther user �nput or the “curve normal.” A curve normal �s the d�rect�on perpend�cular to the plane that the curve l�es on, but the Tr�m d�rect�on can man�pulated as well..


2Select the Trim surface tool from the Surface tab of the Modeling Toolbar.

At the Console prompt to “Pick a Curve,” select the Polyline that we just created and mod�fied.

When the Trim tool Console prompts you to “Pick a Surface,” select the Extrude surface that we bu�lt from our first NURBS curve. Th�s �nteract�ve select�on w�ll end the act�on and create the tr�mmed surface.

Although �t may appear that the Tr�m act�on has s�mply cut a hole �nto our Extrude surface, the Tr�m tool has actually h�dden the or�g�nal, untr�mmed surface and replaced �t w�th a new surface that �s Tr�mmed, but l�nked to the or�g�nal through the Construct�on Tree.


Part 3: Creating Parametric Curves

Select the Rounded Polyline tool from the Curves tab of the Modeling Toolbar. (It may be “h�dden” under the Polyl�ne tool, so cl�ck and hold on that �con to expand the “fly-out” menu to see all of the polyl�ne tools.)

The Console w�ll first prompt you to set the “Local Axes Origin.”

Press Return to accept the default locat�on of (0,0,0).

The “creat�on phase” of th�s curve �s very s�m�lar to the s�mple NURBS curve tool. We w�ll set the Or�g�n and �nteract�vely place po�nts to define the shape of the curve, however th�s type of curve has parametr�c controls that make �t very easy to produce spec�fic shapes.

Many of the curve tools �n solidThinking create what are known as “parametr�c curves.” These are st�ll NURBS curves that have CVs, but they are also controlled by spec�fic parameters and “hotspots” that make them eas�er to create and man�pulate. Parametr�c curves also make �t eas�er to create prec�se and common curves, l�ke c�rcles.

We can use one of these types of parametr�c curves to create the more complex and prec�se outl�ne for the bottom of our 3D lenses.


2When the Console prompts you to place “Point #1 (Spacebar to end),” cl�ck-and-drag �n the Front v�ew to place 6 po�nts �n the locat�ons shown below:

Wh�le �n most tools the “creat�on phase” shows you an �nteract�ve prev�ew of what the fin�shed object w�ll look l�ke, curves that are created by plac�ng po�nts to define the shape w�ll only prev�ew as much of the curve as you have placed po�nts for. The Rounded Polyl�ne �s a spec�al type of polyl�ne where the creat�on phase �s only the setup to a more powerful and flex�ble object.

When you have placed all of the po�nts, press the Spacebar to end the po�nt placement and the “creat�on phase” for th�s curve.


We can see that we have created a Polyl�ne (or a curve w�th stra�ght l�ne segments between �ts po�nts). However, we are go�ng to man�pulate some of �ts parameters to create the “Rounded Polyl�ne.”

In the Rounded Polyline tool panel, change the “Radius” value to be 0.8 as shown below.


2We can see that th�s has “rounded” the sharp corners of our polyl�ne by th�s spec�fic rad�us, wh�le reta�n�ng the stra�ght l�ne segments between each corner rad�us. Th�s �s a powerful curve tool �ndeed!

Press the Spacebar to enter the Edit Mode for th�s tool. Th�s w�ll allow us to see all of the Radius Points of th�s parametr�c curve. We can select them �nd�v�dually and set un�que rad�us values for each one.

Select the Radius Point shown below and change �ts “Radius” value �n the tool panel to be 1.5.


Th�s parametr�c curve, w�th �ts prec�se rad�� and stra�ght l�nes, w�ll be perfect to “carve out” the profile for our 3D v�ew�ng lenses from the “L” shaped surface we have already made.

Press the Spacebar aga�n to return to the Object Mode, and to clearly see the change we have made.

Select the Trim surface tool from the Surface tab of the Modeling Toolbar.

At the Console prompt to “Pick a Curve,” select the Rounded Polyline that we just created and mod�fied.

When the Trim tool Console prompts you to “Pick a Surface,” select the Extrude surface that we just tr�mmed a square hole �nto prev�ously. Th�s �nteract�ve select�on w�ll end the act�on and create the tr�mmed surface.


2Unfortunately, the default sett�ng �s to remove the reg�on that �s “�nter�or” to curve, wh�ch �n our case �s the reg�on we want to keep. Th�s �s not a problem, s�nce we can eas�ly fix th�s us�ng the Tr�m tool’s parametr�c controls after the Tr�m has been made. (Tr�ms do not break construct�on h�story �n solidThinking.)

In the Trim surface tool panel, check the Loop Exterior opt�on for “Trim Exterior.” Th�s w�ll �nvert the select�on for the tr�m reg�on to be removed and prov�ded a tr�mmed reg�on that �s �nter�or to our curve.

Th�s reverses our tr�m reg�on select�on, and prov�des us w�th the shape we would l�ke.


Select the NURBS Curve tool from the Curves tab of the Modeling toolbar aga�n, and when the Console prompts for “Local Axes Origin,” press Return to accept the default value of (0,0,0).

Part 4: Trimming Out the Details

So far we have learned to create and man�pulate both curves and surfaces, and our 3D v�ew�ng lenses are tak�ng shape. (We can at least recogn�ze that we have half of the v�ewers roughed out.) What follows are steps that repeat our earl�er act�ons w�th the purpose of creat�ng a 3D object that matches our expectat�ons.

We w�ll be work�ng �n the Right v�ew w�ndow for th�s next port�on, so make �t the act�ve v�ew.

Next, as the Console prompts you to place “Point #1,” cl�ck-and-drag �n the Right v�ew to place 5 po�nts �n the locat�ons shown below. (Remember to press Spacebar when you are fin�shed plac�ng the CVs.)


2Th�s curve �s drawn along the Y ax�s w�th the �ntent�on of tr�mm�ng out a port�on of the rema�n�ng surface from th�s v�ewpo�nt.

Select the Trim surface tool aga�n, and when the Console prompts you to “Pick a Curve,” select the NURBS Curve we just created.

At the Console prompt to “Pick a Surface,” select the Trim surface that we made from our or�g�nal Extrude.

Th�s qu�ck Tr�m creates a more ergonom�c shape that w�ll allow our 3D v�ewer lenses to be worn l�ke glasses. You can also tell that there �s no problem w�th “stack�ng” Tr�ms, one after the other, �n the solidThinking Construct�on Tree, and all of them rema�n ed�table.


The actual colored lens of our anaglyph 3D glasses �s the one deta�l that �s m�ss�ng from the half of our 3D v�ewers we have constructed so far. As we ment�oned earl�er, the Tr�m operat�on conserves both the Tr�m curve and the or�g�nal, untr�mmed surface �n the World Browser, so we can eas�ly create the lens by repeat�ng the first, lens open�ng Tr�m w�th sl�ghtly d�fferent sett�ngs.

Select the Trim surface tool aga�n, and when the Console prompts you to “Pick a Curve,” select the square Polyline.

When the Console prompts you to “Pick a Surface,” go to the World Browser and select the “h�dden” surface that �s our or�g�nal Extrude surface. Items �n the World Browser are l�sted by default �n the order they were created, so the second �tem down (and h�dden) that �s labeled “Surf#_” �s the surface we want.


2After select�ng the h�dden Extrude surface, we have another surface v�s�ble �n our scene. Once aga�n, the default sett�ng of keep�ng the exter�or reg�on �s the �nverse of what we need to make the lens.

In the Trim surface tool panel, check the Loop Exterior opt�on for “Trim Exterior.” Th�s w�ll prov�de us w�th the reg�on �ns�de our lens Tr�m curve reg�on.

Th�s results �n hav�ng both the �nter�or and exter�or of our tr�mmed reg�on.


Wh�le the lens area Trim surface �s st�ll selected, browse down �n the Construction Tree and select the “source” NURBS curve for the Tr�m. (You w�ll also see the H�story of the Extrude as well.)

Press the Spacebar to enter the Edit Mode, and to see the po�nts (or CVs) for th�s NURBS curve.

Click-and-drag on the upper left CV of th�s closed, l�near NURBS curve to Translate �t 1 un�t to the left (or �n the negat�ve X d�rect�on).

Press the Spacebar to return to Object Mode once you have moved th�s po�nt.


2Part 5: Mirroring and Coloring

One half of our 3D v�ewer glasses �s almost fin�shed, but w�thout see�ng the other half, �t �s d�fficult to dec�de what other mod�ficat�ons need to be made. We can eas�ly create symmetr�c cop�es of our geometry to v�sual�ze the other half, and even fin�sh off the model.

Select the Mirror tool from the Transforms tab of the Modeling Toolbar.

At the Console prompt to “Pick Objects to Mirror (Spacebar to end),” select the outer “frame” surface of the 3D glasses and press the Spacebar to end the select�on process.

Next the Console prompts us for the “Start of Mirror Plane.” A m�rror plane �s used to define wh�ch ax�s the Mirror w�ll occur across. Press Enter to accept the default locat�on of (0,0,0).

All M�rror act�ons create a “copy” of the selected object that �s fl�pped across a m�rror plane. Th�s v�rtual m�rror plane works just l�ke the surface of a real m�rror, because �t shows the object w�th �ts d�mens�ons �nverted across th�s one ax�s, but the d�mens�ons �n all other respects are the same as before. In sol�dTh�nk�ng th�s copy, or M�rror Object, �s l�nked to the or�g�nal through the H�story Tree and any changes you make to the or�g�nal are reflected, l�terally, �n the copy.


Th�s w�ll fin�sh the “creat�on phase” of the M�rror act�on and place a copy of our chosen geometry along the X ax�s.

Although we only m�rrored the “frame” of our 3D glasses, we could have chosen both the frame and lens surfaces to M�rror, s�nce there �s no restr�ct�on on the number of objects that can be m�rrored at once. However, th�s would comb�ne our lens and frame �nto one M�rror object on the other s�de of our m�rror plane. In th�s case, we want our lenses to be separate from the frame so that they can be ass�gned d�fferent mater�als after th�s.

Next the Console prompts us for the “End of Mirror Plane.” To define the m�rror ax�s as go�ng from the r�ght to the left s�de (across the X axis) click-and-drag �n the Front v�ew to place the end po�nt above the model and along the wh�te “Or�g�n L�ne” that b�sects the X ax�s. (The Gr�d Snap w�ll make th�s very easy.)


2Press Ctrl-Spacebar wh�ch �s the keyboard shortcut to repeat the last tool used (for both W�n and Mac). Th�s w�ll repeat the M�rror act�on a second t�me.

When the Console prompts you to “Pick Objects to Mirror,” select the �nner “lens” surface that �s not yet m�rrored and press the Spacebar.

At the Console prompt for the “Start of Mirror Plane” press Enter aga�n to accept the default locat�on of (0,0,0).

When the Console prompts for the “End of Mirror Plane,” type �n the Console l�ne the exact values of “0,1,0” (�nclud�ng the commas) and press Enter. These values correspond to the same X, Y, and Z coord�nates of the m�rror plane �n our prev�ous, �nteract�ve Mirror, and w�ll produce the same results �n a second object.


Expand the Perspective v�ew to fill your workspace. There are two ways to do th�s: Press and hold the Ctrl key (W�n) or key (Mac) to make the Perspective v�ew act�ve, and then press the “V” key to expand �t. Alternately, you can s�mply double-click on the t�tle bar of the v�ewport to expand �t as well.

Next, change the Perspective v�ew’s �nteract�ve Display Mode to be “Textured Display” by press�ng the small “T” button at the upper r�ght of the Perspect�ve v�ew t�tle bar.

We can see that all of the surfaces �n our scene st�ll have the default wh�te shader appl�ed to them. Wh�le th�s �s a good cho�ce for the paperboard that makes up the frame of our 3D v�ewers, we m�ght l�ke to see the typ�cal Red/Blue colors for the anaglyph lenses.

Our 3D (�n more ways than one) anaglyph v�ew�ng glasses are completely modeled, but the default l�ght blue shad�ng �n the current on-screen, �nteract�ve d�splay method does not g�ve us a clear sense of what these s�mple glasses are supposed to look l�ke.


2Wh�le st�ll �n Textured d�splay mode, select the lens on the left s�de of the v�ewers, as seen from the front. (It may be hard to tell �t �s selected because the act�ve object color of red �s overr�dden by the wh�te of the texture, except at the edges.)

To select and apply a mater�al Shader of a d�fferent color (other than the default wh�te) to th�s surface, change to the Materials Toolbar on the left, by e�ther press�ng the “pa�nt palette” button �n the Application Toolbar, or by us�ng the keyboard shortcut Alt-4 (W�n) or Option-4 (Mac).

Cl�ck on the �con for the s�mple Blue colored mater�al �n the Colors tab or the Materials Toolbar. Th�s w�ll �mmed�ately apply th�s shader mater�al to the selected lens surface.

The Mater�als Toolbar �n solidThinking temporar�ly replaces the Model�ng Toolbar w�th�n the ma�n program �nterface, and can be nav�gated �n the same way by scroll�ng through the �cons and double-cl�ck�ng to collapse folders. The ma�n d�fference �s that you can save your own mater�als (and folders) �n th�s toolbar for access at any t�me. (Th�s �s also covered �n Tutorial #4 - Basic Rendering.)


We can now repeat th�s s�mple process to ass�gn a red color to the r�ght lens as well.

Now we have a very s�mple, but useful prev�ew of what the var�ous parts of our 3D v�ewer glasses w�ll look l�ke now that each part �s properly colored.

Select the r�ght lens surface and press the �con for s�mple Red mater�al �n the Colors tab of the Materials Toolbar.

Transparency, shadows and other “photoreal�st�c” effects are not poss�ble w�th the OpenGL or D�rectX �nteract�ve renderers used �n the 3D workspace, so th�s bas�c “color�ng” �s meant only to d�st�ngu�sh the objects �n the model�ng phase. A much more accurate and real�st�c representat�on can be atta�ned us�ng more complex mater�als and the non-�nteract�ve, raster-based renderer �n solidThinking. Aga�n, th�s �s covered �n Tutorial #4 - Rendering Basics.


2We have completed the model�ng of the 3D v�ewer frame and lenses, and we have a very good, textured d�splay of the relevant colors and shad�ng of the object. At th�s po�nt �t �s a good �dea to save the model as �t �s (us�ng the common keyboard shortcuts of Ctrl-S (W�n) or -S (Mac)). After sav�ng the file we can now freely make some mod�ficat�ons to the shape us�ng the construct�on h�story �n solidThinking.

Part 6: Adjustments and Wrap-up

Select the first s�mple NURBS curve we drew for th�s tutor�al (the “L” shape) by e�ther cl�ck�ng on �t �n the Perspective v�ew or by select�ng �t �n the World Browser.

Press the Spacebar to enter the Edit Mode so that we can see and mod�fy the CVs of the NURBS curve.

Cl�ck-and-drag a “select�on box” around the first two po�nts at the bottom of the “L” shape as shown below:


Translate the selected 2 CVs by 3 un�ts �n the negative Y d�rect�on by e�ther cl�ck�ng on one of them and dragg�ng 3 un�ts “down” �n the Top v�ew or by enter�ng a value of -3 �n the Y column of the “To” area of the Translate tool panel.

We can �mmed�ately see that all of the surfaces (both v�s�ble and h�dden) have �nteract�vely changed to meet th�s mod�ficat�on of the or�g�nal “source” curve. Th�s �s log�cal because all of the surfaces have the�r “root” at the profile curve, but perhaps th�s �s st�ll a b�t surpr�s�ng that so much power �s �n the Construction Tree.

As always, when you have mod�fied the object to your sat�sfact�on �n the Edit Mode, press the Spacebar aga�n to return to the Object Mode.


2As we end th�s lesson �t �s �mportant to note that the �nteract�ve changes we made to our objects are a natural part of the model�ng process �n solidThinking. At no po�nt dur�ng the tutor�al d�d we expl�c�tly have to set anyth�ng or remember to “keep” any act�ons �n the Construct�on Tree. The Tree automat�cally reta�ns the relat�onsh�p between the or�g�nal curve and all of the var�ous surfaces we created! The ent�re model�ng env�ronment �n solidThinking �s bu�lt around th�s automat�c, flex�ble and access�ble construct�on h�story, so �t w�ll always be there for us as an add�t�onal “tool” to man�pulate �f we choose to.

You can also not�ce that the or�g�nal “source curve” we drew at the very beg�nn�ng of th�s tutor�al was expl�c�tly used only once; to create our first Extrude surface. Thereafter, we mod�fied that surface by tr�mm�ng �t, and then by repeatedly tr�mm�ng and m�rror�ng the results of each act�on. S�nce each success�ve act�on “h�d” the �nput objects �nstead of destroy�ng them, and because each new object �s l�nked to �ts h�dden source objects �n the Construct�on Tree, any mod�ficat�on of an ex�st�ng object or act�on results �n every l�nked step after �t chang�ng as well.

F�nally, �t �s a good �dea at th�s po�nt to exam�ne the Construct�on Tree for each of the objects v�s�ble �n our scene. You can select each surface �n the scene and scroll down �n the Construct�on Tree to see wh�ch tool was used and what source objects were �nvolved �n each step. If at any po�nt you are confused as to what a h�dden object may have looked l�ke at that step, s�mply select the object from the Construct�on Tree and �t w�ll be d�splayed �n the 3D workspace �n red (selected) but sem�-transparent as well to �nd�cate that �t �s st�ll h�dden.

So although th�s s�mple tutor�al began w�th the bas�cs of NURBS curves and surfaces, and how we can “tr�m” them to su�t our needs, �t also shows the underly�ng structure of construct�on h�story �n solidThinking as well. Th�s concept w�ll be repeated and expanded upon �n later lessons, so �f the way construct�on h�story works �s not ent�rely clear to you r�ght now, don’t worry.

77Tutorial 3 - Beverage Bottle

3

In th�s lesson you w�ll be bu�ld�ng a beverage bottle us�ng curves to define �ts shape and surfaces to enclose �t. Man�pulat�ng curves and surfaces at the Control Vertex level w�ll be the most �mportant and challeng�ng part of th�s lesson. In prev�ous lessons you man�pulated the CVs (or po�nts) of s�mple, non-parametr�c curves, but �n th�s lesson you w�ll be alter�ng the CVs of parametr�c curves and surfaces. These objects w�ll st�ll be controlled by the�r parameters, but you can ach�eve finer control by ed�t�ng them on the po�nt level.

Th�s tutor�al w�ll also �ntroduce the concept of surface cont�nu�ty, and the use of trans�t�onal surfaces to ma�nta�n that cont�nu�ty. The Construct�on Tree w�ll also be a very large part of th�s lesson as you mod�fy curves and surfaces that w�ll affect other, “l�nked” curves and surfaces.

Tutorial 3 - Beverage Bottle


The first step �n creat�ng our bottle �s to define �ts shape w�th an overall element. S�nce bottles are c�rcular �n plan, we can start w�th a s�mple, but powerful, parametr�c curve called the C�rcle pr�m�t�ve.

Part 1: Creating Parametric Curves

Because pr�m�t�ve objects are created relat�ve to the act�ve v�ewport (“v�ew-relat�ve creat�on”), make the Top v�ew act�ve by cl�ck�ng �ns�de �t or by press�ng and hold�ng the Ctrl-key (W�n) or the -key (Mac) wh�le the cursor �s above the v�ew w�ndow. The t�tle of the v�ew w�ll become darker when �t �s act�ve.

When the t�tle bar of the Top v�ew �s act�ve, select the Circle tool from the Curves tab of the Modeling Toolbar. Th�s w�ll place a temporary c�rcle �n our scene for v�s�ble feedback of the “creat�on phase” of our parametr�c C�rcle. (Dur�ng th�s phase of creat�on, we can also see the �nteract�ve “hotspots” that control the parameters of our object.)

The Console w�ll prompt you to define the “Local Axis Origin” and prov�de a default value of (0,0,0). Press Return to accept th�s default value, wh�ch w�ll center our c�rcle on the World Origin.


3The Console w�ll now prompt you to enter the “Radius.” Enter a value of 6 �n the Console and press Return to complete the entry. We w�ll now have a C�rcle w�th a rad�us of 6 un�ts at the World Origin, or�ented relat�ve to the Top v�ew as shown below:

Make Grid Snap #2 the act�ve snap by e�ther cl�ck�ng on the �con from the Snaps Toolbar, or by select�ng �t from the Edit -> Active Snaps submenu.

Pos�t�on�ng objects �n th�s lesson w�ll need to be more prec�se, so we w�ll use the Gr�d Snaps to �nsure that our placement of objects �s at regular �ntervals.


Now Paste a copy of our �n�t�al Circle back �nto our scene w�th Crtl-V (W�n) or -V (Mac). Our pasted Circle w�ll be �n the same locat�on as the or�g�nal, so �t may appear �n the 3D v�ews that no change has taken place.

In the Front v�ew, Translate the cop�ed Circle by clicking-and-dragging �t “upward” 7 un�ts �n the pos�t�ve Z d�rect�on. The act�ve Grid Snap w�ll make �t easy to move by un�t �ncrements.

We w�ll be creat�ng an object that requ�res mult�ple curves to complete, so the eas�est way to get mult�ple curves �s to Copy the Circle we have already created.

Wh�le the Circle �s st�ll selected, Copy �t w�th the Crtl-C (W�n) or -C (Mac) keyboard command. Th�s w�ll place a copy of th�s parametr�c curve �nto our appl�cat�on cl�pboard.


3Paste a second t�me to place a th�rd Circle �n our scene. It w�ll, of course, be �n the exact locat�on as our or�g�nal Circle (the one that was cop�ed at the World Or�g�n) so we must Translate �t as well.

Th�s g�ves us a second Circle that �s �dent�cal to the first but �s located 7 un�ts above the or�g�nal. We need one more curve, so we can Paste a second t�me (because the or�g�nal C�rcle copy �s st�ll �n the appl�cat�on cl�pboard).

Because the Translate tool has no “creat�on phase,” the Tool Panel �s �mmed�ately act�ve. The Translate tool panel has numer�c �nput fields for coord�nates to move your object “To.” The �nput fields are �n the order of X, Y, and then Z, from left to r�ght, wh�ch correspond to un�ts along each ax�s.

Invoke the Translate tool by e�ther cl�ck�ng the Translate tool �con, or (faster) press�ng the “T” shortcut.

Cl�ck �n the “To” sect�on’s Z �nput area and enter a value of 13 un�ts. Press Return to accept the value and then press ESC to end the Translate act�on.


Now that we have our th�rd C�rcle �n the r�ght locat�on we can beg�n to ed�t the Curve �tself. Because each success�ve copy we have made has been a parametr�c pr�m�t�ve, we see that the Tool Panel now has the C�rcle opt�ons �n �t.

Wh�le the th�rd Circle �s st�ll selected, press the Spacebar to enter the object Edit Mode. Th�s w�ll show us the “hotspots” of the Circle pr�m�t�ve once aga�n. (Tool tips w�ll tell us what each hotspot �s, as shown below.)

As ment�oned �n the prev�ous tutor�al, the Ed�t Mode allows us to see �nteract�ve controls that are not normally v�s�ble when s�mply select�ng an object. The parameters and opt�ons d�splayed �n the Tool Panel do not change from Object Mode to Ed�t Mode, but some opt�ons have an �nteract�ve component, or “hotspot” that �s only d�splayed �n Ed�t Mode.


3

As you drag the Rad�us hotspot, you may not�ce that �t does not always “snap” to whole un�t �ncrements (as d�splayed �n the Rad�us value �n the Tool Panel). Th�s �s because the Gr�d Snap �n solidThinking affects the Mouse Cursor locat�on, not necessar�ly the hotspot or object be�ng dragged. Th�s �s where the wh�te “cross locator” shows you the d�fference between where your mouse �s po�nt�ng, and the small wh�te box that shows the po�nt �n space that you are actually snapp�ng to.

In the Top v�ew, click-and-drag the “Radius Point” hotspot “�nward” toward the center of the Circle unt�l the Radius value d�splayed �n the Circle tool panel �s 4. (The act�ve Grid Snap w�ll make th�s eas�er.)

When the Radius �s set, press Spacebar aga�n to ex�t Edit Mode and return to the Object Mode.


Wh�le th�s smaller Circle �s st�ll selected, Copy and Paste �t back �nto our scene.

Th�s w�ll clear the prev�ous C�rcle from the cl�pboard and place a copy of th�s smaller one �nto our scene well “above” the earl�er C�rcles.

Wh�le the pasted C�rcle �s selected, �nvoke the Translate tool (“T”). Once the Translate �s act�ve, hold down the “Z” key to constra�n the translat�ong to the Z axis, and click-and-drag �n the Perspective v�ew to Translate �t 2 un�ts upward.

If you cannot move the c�rcle at all wh�le hold�ng the “Z” key, check �n the lower left corner of the Perspective v�ew to see �f the Z axis �s Red (act�ve). If not, readjust your v�ew so that you are see�ng more of the s�de of the model, rather than the top.


3

If we look at our curves �n the Perspective v�ew, we can see that we have four NURBS Circle pr�m�t�ves pos�t�oned above each other, and that some have d�fferent rad��. These w�ll form the “r�bs” of a surface that we w�ll create next.

Once th�s fourth Circle �s pos�t�oned, change �ts Radius to be 2 by enter�ng th�s value �n the Circle tool panel. (We do not have to enter Edit Mode to make th�s mod�ficat�on to the Radius parameter �n the Tool Panel.)


As we have done �n the prev�ous lesson, we can use these parametr�c NURBS curves to create NURBS surfaces. In th�s case, we w�ll be us�ng more than one curve to define the shape of our surface.

Select the Skin tool from the Surfaces tab of the Modeling Toolbar. (A Sk�n surface �s so named because �t �s created by “stretch�ng” a surface, l�ke sk�n, over the “r�bs” that we spec�fy.)

Part 2: Creating a Skin Surface

When the Console prompts us to “Pick Curves to Skin,” select the four Circles �n our scene start�ng e�ther from the bottom to the top or from the top down. (The d�rect�on of our select�on does not matter �n th�s �nstance, but the curves should be selected, �n sequence, by the�r he�ght.)


3The selected curves w�ll turn Dark Blue as we select them, and a surface (�n Magenta) w�ll be created by �nterpolat�ng from one profile to the next as we cl�ck.

Press Spacebar when you have p�cked all four curves �n order. Th�s w�ll end the select�on process and create the Skin surface.

The “creat�on phase” of th�s type of surface object �s s�m�lar to the creat�on of NURBS pr�m�t�ves and other objects because �t shows you the surface that you are creat�ng wh�le you are defin�ng the requ�red parameters. In th�s case, those parameters are the curves �n our scene that we are us�ng as “r�bs.” Not�ce aga�n that the colors of objects �n the scene are also affected so that we can clearly see what �s �nvolved. The yellow l�ne �n the Sk�n tool shows both the order of the r�bs and the “seam” of the surface.


To clearly see the surface we have created, sw�tch the Perspective v�ew to Shaded d�splay mode. (Toggle the small “S” button on the r�ght s�de of the v�ew t�tle bar.)

Th�s Sk�n surface �s connected to the four parametr�c C�rcles �n our scene through the Construct�on Tree. Th�s means that there �s a act�ve relat�onsh�p between the pos�t�on, or�entat�on, and shape of each C�rcle, and the result�ng shape of the Sk�n surface. We can see that the parameters for the Sk�n surface are extens�ve, and we know from the prev�ous tutor�al that mod�fy�ng any of the “source curves” w�ll also change the surface. However, �n th�s case, our source curves are parametr�c C�rcle pr�m�t�ves wh�ch seem to only have certa�n parameters to ed�t. Part of the true power �n solidThinking �s that all parametr�c curves and surfaces also are NURBS objects w�th ed�table po�nts (or Control Vert�ces) that we can access and man�pulate.


3We are now go�ng to touch on one of the most powerful features of solidThinking - the ab�l�ty to ed�t the NURBS po�nts of a parametr�c object w�thout los�ng any of �ts parameters. Not only th�s, but we w�ll be ed�t�ng th�s object “�ns�de” our Construct�on Tree, so the changes we make w�ll be reflected �nstantly �n the objects that are l�nked to �t.

Whenever an object �s selected (e�ther Red or Magenta) we can see the “source” curves �n our scene h�ghl�ghted �n Green. Th�s makes �t eas�er to see and select the source objects �f they are v�s�ble �n our scene. It �s also eas�er to select curves �n W�reframe d�splay mode because curves have “p�ck pr�or�ty” over surfaces �n th�s d�splay mode, wh�le �n Shaded d�splay, surfaces have pr�or�ty.

Part 3: Editing Points on Parametric Objects

Wh�le our Sk�n object �s st�ll selected, we can clearly see our or�g�nal “source” C�rcles �n the W�reframe d�s-play of e�ther the Front or R�ght v�ews, as shown below . (The Top v�ew has too many “w�res” �n the way.)


Select the second “source” Circle (�n Green) from the bottom of our Sk�n object by cl�ck�ng d�rectly on �t. The curve w�ll turn Red and the surface Blue, to show that we have “swapped” the select�on �n one cl�ck (deselect�ng and select�ng at the same t�me).

Press the Spacebar to enter the Edit Mode for th�s object. Th�s w�ll show the parameter “hotspots” �n Dark Blue �n our �nteract�ve v�ews. Th�s normal state �s called Parameter Edit and �s denoted by the typ�cal �cons seen to the left.

Next, press Alt-Spacebar (W�n) or Option-Spacebar (Mac), wh�ch w�ll change our Parameter Edit over to Point Edit. Th�s �s a “spec�al state” of the Edit Mode and �s denoted by the �con comb�nat�on seen to the left. (The d�fference �n �cons �s sl�ght, but the d�fference on screen �s qu�te large!)


3We can see two very d�st�nct d�fferences �n our model�ng v�ews and workspace. The first, and most obv�ous, �s the appearance of the NURBS Control Vertices (the Dark Blue “po�nts”) of our parametr�c C�rcle pr�m�t�ve. (One of the po�nts �s c�rcled �n below.)

The second d�fference �s that the Circle tool panel has changed to be the Point Edit tool panel.

The Point Edit and Parameter Edit are sub-states of the Ed�t Mode. The “normal” work�ng mode �n solidThinking �s the Object Mode, wh�ch allows us to eas�ly transform whole objects as well as access most parameters. The Ed�t Mode �s “normally” �n Parameter Ed�t, wh�ch adds hotspots to our parameters. Po�nt Ed�t �s therefore a “spec�al state” of a “spec�al mode.” Th�s denotes both the power of th�s state, and the l�m�ts �t places on other act�ons.


If we look at the CVs of our parametr�c Circle �n the Top v�ew, we can see that �t �s made up of 8 po�nts. Th�s number �s spec�fied as a value �n the parameters of the Circle tool panel.

Press the keyboard shortcut to ex�t the Point Edit state (Alt-Spacebar (W�n), Option-Spacebar (Mac)). Th�s w�ll return us to Parameter Edit so we can see the Circle tool panel aga�n, but we are st�ll �n Edit Mode.

If we wanted to select another object and v�ew �ts hotspots and parameters at th�s po�nt, we could not s�mply select �t l�ke we normally do �n the Object Mode. Th�s �s because �n the Ed�t Mode, e�ther hotspots or po�nts are d�splayed on screen to be selected. Select�ng these “parts” of an object w�thout acc�dentally select�ng another ent�re object �n the scene would be d�fficult, so the �nteract�ve select�on of other objects �s d�sabled wh�le �n Ed�t Mode.


3We can see the “Points” parameter �n the Tool Panel, wh�ch defines the number of CVs that make our Circle.

Ed�t th�s “Points” parameter and enter a value of 32 (and press Return to accept that value) so that we w�ll have many more CVs around our Circle.


Press the keyboard shortcut to re-enter the Point Edit state (Alt-Spacebar (W�n), Option-Spacebar (Mac)) so that we can see how th�s parametr�c sett�ng has a d�rect �nfluence on the CVs of our NURBS curve.

It �s good to keep �n m�nd that chang�ng some parameters �n your Tool Panel may not have an �mmed�ately v�s�ble effect on the object. In th�s case, we can only see the effect of �ncreas�ng the “Po�nts” parameter �f we are �n Ed�t Mode and sw�tch to Po�nt Ed�t.

Because these “new” CVs are selectable and ed�table, just l�ke the “hotspots” �n Parameter Edit, we can now man�pulate our parametr�c Circle on the po�nt level. Th�s can be done w�thout los�ng any of the parametr�c qual�t�es of the or�g�nal NURBS c�rcle pr�m�t�ve!


3Select the four h�ghl�ghted po�nts shown below by clicking-and-dragging a “selection box” around them. (They w�ll turn Yellow after you have released the mouse button, unl�ke the �llustrat�on below wh�ch shows them already yellow only for clar�ty.)

Select�ng these po�nts �s s�m�lar to select�ng other objects, or the CVs of a non-parametr�c object. You can drag a select�on box around mult�ple po�nts, and then hold down the Ctrl key to add to th�s select�on.

You can see �n the example above that �t �s easy to select po�nts that l�e next to each other, or even across from each other, by us�ng a selection box �nstead of cl�ck�ng on each separate po�nt wh�le hold�ng the Ctrl key down. We w�ll use th�s method of select�ng po�nts to select half of the po�nts �n th�s Circle �n a spec�fic pattern, but only us�ng four click-and-drag act�ons.


Wh�le hold�ng down the Ctrl key to add to the current po�nt select�on, click-and-drag select�on boxes around the po�nts h�ghl�ghted �n Yellow �n the �mage below. You w�ll not�ce that all of them can be selected �n groups of four by carefully pos�t�on�ng your cursor before dragg�ng the box out.

We can also ed�t these selected po�nts as a group us�ng the standard transformat�on tools of Translate, Rotate, and Scale.

Invoke the Scale tool by e�ther press�ng the “S” shortcut, or select�ng �ts �con from the Transform tab of the Modeling Toolbar.


3When the Scale tool panel appears, select the “Scale” �nput area and enter a value of 0.9, and then press Return.

Press ESC to end the Scale act�on and to clearly see the effect that th�s s�mple change has on the locat�on of the po�nts of our parametr�c Circle.


Press the keyboard shortcut to ex�t the Point Edit state (Alt-Spacebar (W�n), Option-Spacebar (Mac)). Th�s w�ll return us to Parameter Edit �ns�de Edit Mode, and the hotspots for certa�n �nteract�ve parameters w�ll reappear, as well as the Circle tool panel.

We can see clearly �n the Shaded d�splay of the Perspective v�ew that chang�ng the po�nts of one of the “source curves” of the Skin surface automat�cally changes the shape of the result�ng surface as well.

Ed�t�ng these CVs does not change the parametr�c sett�ngs of the selected object, only the pos�t�on of �ts �nternal po�nts. When you sw�tch back to Parameter Ed�t, or even Object Mode, you can st�ll access all of the parameters for the object, and these parametr�c controls w�ll st�ll have the�r �ntended effect on your object.


3

After you are done exper�ment�ng w�th the Rad�us parameter of our ed�ted curve, press the Spacebar to ex�t the Edit Mode. Th�s w�ll return us to the Object Mode, where we can freely work w�th all of the objects �n our scene.

Although �t �s not necessary, you can also exper�ment w�th alter�ng the parameters of the C�rcle after ed�t�ng the po�nts. In the Top v�ew, Click-and-drag on the Radius hotspot of th�s selected Circle , and watch the effect �t has on the Skin surface �n the Shaded Perspective v�ew.

Return the Radius of the Circle to a value of 6, by e�ther dragg�ng the hotspot back to �ts or�g�nal pos�t�on, or by enter�ng a value of 6 d�rectly �n the Radius �nput box of the Circle tool panel.


The surface we have already created w�ll be the top half of our bottle. We w�ll need to add a “mouth” to the bottle, so that we can represent the open�ng accurately. It w�ll also prov�de a place for a “cap” to rest on our fin�shed bottle as well.

Part 4: Creating and Blending the Mouth

In the Top v�ew, select the �nnermost curve of the Sk�n object, as shown below. (Because the Wireframe d�splay method g�ves p�ck “pr�or�ty” to curves, �t w�ll be easy to do th�s �n th�s v�ew w�thout select�ng the Sk�n �tself.)

Wh�le th�s smaller Circle �s st�ll selected, Copy and Paste �t back �nto our scene.


3Invoke the Translate tool (“T”) and move the cop�ed Circle “upward” by 1 un�t �n the pos�t�ve Z d�rect�on.

In the Circle tool panel for th�s cop�ed curve, enter a value of 1.5 �n the Radius �nput box, and press Return to accept th�s value.


The Console w�ll prompt you to “Pick Profile Curve.” Select the most recent copy we made of our Circle pr�m�t�ve.

Select the Extrude tool from the Surfaces tab of the Modeling Toolbar.

Th�s surface w�ll be the base of the “mouth” of our bottle. Next we w�ll connect th�s s�mple surface to the Sk�n surface to v�sually “blend” between the nearest edges of the two, separated surfaces.

At the next Console prompt “Extrusion Length,” enter a value of 2, and press Return to accept th�s value and to complete the creat�on phase of th�s tool.


3Cl�ck on the �con for the Blend Surface tool �n the Surfaces tab of the Modeling Toolbar.

The Console w�ll first prompt you to “Pick Surface #1.” Select the Extrude surface we just created.

The Blend Surface tool w�ll then h�ghl�ght the “edges” of the selected surface �n Dark Blue and show “points” at the Start po�nt of each edge (as shown below).

Before we go on to the next tool, �t w�ll be helpful to sw�tch the Perspective v�ew to Wireframe d�splay mode, and to Zoom Selected, so that our new Extrude �s the center of the v�ew.


To p�ck the Edge near the Start po�nt that we want, select the bottom edge by cl�ck�ng on �t to the right of the dark blue Start po�nt.

Press the Spacebar to end the edge select�on for th�s first surface.

At th�s po�nt the Console w�ll read “Pick Edges near Start on Surface #1...”

The Blend Surface tool �s request�ng that you spec�fy wh�ch edge of the first surface w�ll be used �n the Blend, and wh�ch s�de of the edge’s Start po�nt that the Blend surface w�ll beg�n from. (Th�s means that one cl�ck w�ll both define the edge and the starting point.)

A Blend Surface �s created by “sweep�ng” a profile between the surface edges that �t �s blend�ng between, and creat�ng a surface w�th th�s sweep�ng act�on. Because of th�s, the tool needs to know where to beg�n the sweep and wh�ch d�rect�on to go. The shape of the profile �s dec�ded by the parameters of the Blend Surface tool.


3Next, the Console w�ll prompt you to “Pick Surface #2.” At th�s po�nt, select the Skin surface that �s just below the Extrude we selected first. (It does not matter where you cl�ck on the Sk�n to select �t for the tool.)

The edges of th�s surface w�ll now be h�ghl�ghted �n the same way as the first surface we selected for th�s tool.

When the Console prompts you to “Pick Edges near Start on Surface #2...” select the top edge of the Skin surface, aga�n to the right of the dark blue Start Po�nt. Press Spacebar to end the edge select�on.

Select�ng the second edge w�ll end the “creat�on phase” and w�ll create a Blend Surface between the spec�fied edges of the two surfaces.


We can see that the Blend Surface �s not exactly what we want �n th�s s�tuat�on. We can now eas�ly mod�fy the parameters to ach�eve the blend we are look�ng for.

In the Blend Surface tool panel, select the Tangents opt�on to “Invert surface #2.” Th�s w�ll correct the “bulge” we see at the bottom of our blend.

The edge of a surface has two poss�ble tangent d�rect�ons: toward the surface, and away from �t. In th�s case, the Blend Surface tool s�mply chose the “wrong” d�rect�on for our current purposes.


3That �s much better, but the Blend Surface st�ll has some “�rregular�t�es” �n �t, because a Blend Surface, by default, ma�nta�ns G2 (or “Curvature”) cont�nu�ty from one surface to the next.

We w�ll explore surface cont�nu�ty more �n later lessons, but here �s a qu�ck explanat�on. When two surfaces meet at a common edge, �t �s somet�mes des�rable to have them appear to be one “cont�nuous” surface across that edge by al�gn�ng one or both of the surfaces at the�r po�nt of contact. Th�s “cont�nu�ty” comes �n a var�ety of forms: The most bas�c form �s Tangent�al (or G1) cont�nu�ty, where the edge areas of each surface l�e on the same plane at the po�nt of contact. A more advanced form �s Curvature (G2) cont�nu�ty, where the areas near the edge of each surface “flow” from each other by match�ng the overall curve of one or both surfaces across the po�nt of contact. Th�s �s the case �n the �llustrat�on above, because the “r�dges” �n our sk�n affect the Blend Surface.


In the Blend Surface tool panel, select the G1 Continuity opt�on for “Only G1 on Surface #2.” Th�s means that as the Blend Surface meets the Skin, the result�ng surface w�ll have Tangent�al (G1) cont�nu�ty across that edge.

Now we have a smooth Blend Surface between the edge of the Skin and the Extrude that �s the “mouth” of our bottle.


3The body of our beverage bottle needs to be cyl�ndr�cal to eas�ly accept a label, and �t also needs to have some features on the bottom to prov�de an easy way to stack these bottles. We w�ll create the cyl�ndr�cal center sect�on and then the mod�fied base and blend them to each other and to the top half of our bottle.

Part 5: Creating the body of the Bottle

W�th the Top v�ew act�ve, select the Cylinder pr�m�t�ve from the Primitives tab of the Modeling Toolbar.

When the Console prompts for the “Local Axis Origin,” press Return to accept the default value of (0,0,0). Th�s w�ll beg�n the creat�on phase of our Cyl�nder and place �t at the center of our ex�st�ng geometry.


Next, the Console w�ll prompt for the “Top Radius,” and then the “Bottom Radius.” Enter a value of 5 for each of these two parameters.

At the Console prompt for “Height,” enter a value of -10. Th�s w�ll enter the creat�on phase, and then you should have a cyl�nder of the s�ze and locat�on shown �n the �mage below:

You may not�ce �n the screen �mage above that the 3D gr�d �s not v�s�ble. Th�s �s because �t was turned off to prov�de an un�nterrupted v�ew of our bottle as �t crosses the World Or�g�n. You can turn th�s gr�d d�splay off by go�ng to the appl�cat�on Preferences, and �n the Views tab, toggle the opt�on for “Grid in 3D views.”


3In the Front v�ew, cl�ck-and-drag on th�s new cyl�nder to Translate it “down” �n the negat�ve Z ax�s by 2 un�ts.

Once th�s Cyl�nder has been dragged a short d�stance away from the top of the bottle, we can see that �t �s st�ll closed at the top and bottom.

We w�ll be us�ng th�s cyl�nder as a “tube” rather than a sol�d, so �n the Cylinder Tool Panel, uncheck the Caps opt�ons for both “Top” and “Bottom.”


Now that we have an open-ended Cyl�nder, we can Blend th�s sect�on to the fin�shed top half of our bottle to get a better �dea of the proport�ons of the bottle.

Select the Blend Surface tool from the Surfaces tab of the Modeling Toolbar.

At the first Console prompt to “Pick Surface #1,” select the open Cylinder pr�m�t�ve we just created. The tool w�ll then color all of the ava�lable edges �n Dark Blue.

When the Console prompts you to “Pick Edges near Start on Surface #1,” cl�ck on the top edge of the Cylinder, just to the right of the Start po�nt, as shown below.

Press the Spacebar after you have selected the top edge, to cont�nue the creat�on phase of the Blend Surface tool.


3The Console w�ll now prompt you to “Pick Surface #2.” Select the Sk�n surface that makes up the major�ty of the top of our beverage bottle des�gn.

Next, when the Console asks you to “Pick Edges near Start on Surface #2,” cl�ck on the bottom edge of the Skin, and aga�n, cl�ck to the right of the Start po�nt, as shown below.

Press the Spacebar to end the edge select�on for Surface #2, and to end the creat�on phase for our Blend Surface. Th�s w�ll prov�de us w�th a very good Blend between these two surfaces w�thout need�ng to adjust any parameters at all.


Now that our cyl�ndr�cal body �s attached to the top of our Bottle, �t �s t�me to make the bottom of the bottle and blend that to the body as well. We w�ll start by draw�ng a free form profile for our base.

Part 6: Creating the base of the Bottle

Select the NURBS Curve tool from the Curves tab of the Modeling Toolbar, and press Return to accept the default “Local Axis Origin” of (0,0,0).

In the Front v�ew, Pan down (RMB (W�n) -MB (Mac)) unt�l the bottom, r�ght corner of the Cylinder �s centered �n th�s orthograph�c v�ew.

When the Console prompts you to “Place Point #1,” place your po�nts at the locat�ons shown to the r�ght (just below the bottom, r�ght s�de of the Cylinder).

Press the Spacebar when you are done plac�ng po�nts.


3Select the Lathe tool from the Surfaces tab of the Modeling Toolbar.

We can now Lathe th�s profile around �ts Local Ax�s Or�g�n, wh�ch we already spec�fied as (0,0,0), the same as the World Or�g�n. Th�s �s yet another way to create a cyl�ndr�c surface from a curve.

When the Console prompts you to “Pick Profile Curve,” select the NURBS Curve that we just created below the Cylinder body of our bottle.

The creat�on phase of our Lathe w�ll beg�n w�th the placement of an �nteract�ve gu�de object to g�ve us feedback wh�le work�ng. In th�s case, th�s �n�t�al object �s exactly what we want, so we can sk�p all of the rest of the Console prompts by press�ng Ctrl-Enter (W�n) or -Return (Mac). Th�s w�ll end the creat�on phase �mmed�ately.


To fully enclose our bottle, we w�ll now Blend th�s Lathed base w�th the Cyl�nder pr�m�t�ve above �t.


When the Console prompts you to “Pick Surface #1,” select the Cylinder that we just created below the Cylinder body of our bottle.

When the Console prompts you to “Pick Edges near Start on Surface #1,” cl�ck on the top edge of the Lathe, just to the right of the Start po�nt, as shown below.


3The Console w�ll now prompt you to “Pick Surface #2.” Select the open-ended Cyl�nder pr�m�t�ve that �s the body of our beverage bottle des�gn.

Next, when the Console asks you to “Pick Edges near Start on Surface #2,” cl�ck on the bottom edge of the Cylinder, and to stay cons�stent, cl�ck to the right of the Start po�nt, as shown below.

Press the Spacebar after you have selected the top edge, wh�ch w�ll end th�s phase of the Blend Surface tool.

Press the Spacebar when you have selected the Edge. Th�s w�ll end the creat�on phase and prov�de us w�th our Blend Surface.


We can eas�ly change the Tangent d�rect�on, by go�ng to the Blend Surface tool panel and check�ng the Tangent opt�on to “Invert Surface #2.”

Th�s w�ll prov�de us w�th the smoothly blended surface that we are after.

We can see that the top Tangent “balloons” outward, �nd�cat�ng that �t �s reversed.


3Part 7: Adjusting the shape of the Bottle

We can get an overall v�ew of our Bottle at th�s stage by press�ng the Zoom All button at the top of the Perspective v�ew w�ndow. We w�ll see someth�ng l�ke the �mage below:

It �s fa�rly obv�ous from th�s v�ew that the “body” of our Bottle, made from the open-ended Cyl�nder, �s too narrow �n relat�on to the rest of the form.


Select the Cylinder surface �n any one of the �nteract�ve v�ews, and change the Top and Bottom Radius values for the Cylinder to be 5.5.

Th�s th�ckens the center port�on of our bottle, and the Blends above and below the Cyl�nder automat�cally adjust to meet the surface as �t changes.


3Because we have the freedom of the Construction Tree and the parametr�c controls of our var�ous surfaces, we can add �nterest to our bottle w�thout hav�ng to bu�ld any further surfaces.

Select the Skin surface from the top of our bottle, and then press the Zoom Selected button at the top of the Perspective v�ew w�ndow. Th�s w�ll make �t eas�er to perform and evaluate some adjustments that we are go�ng to make.

Press the Spacebar to enter the Edit Mode, so we can see the �nteract�ve controls of the Skin. We w�ll see Dark Blue l�nes �n the approx�mate locat�ons of the “r�bs,” or source curves, that we used when bu�ld�ng th�s Skin.

Select the second l�ne from the bottom. It w�ll turn Yellow to show �t �s selected and a Tool Tip w�ll come up and tell us wh�ch curve the hotspot represents.


Wh�le th�s hotspot �s selected, change the Seam Position �n the Skin tool panel to be 0.1. (Th�s small amount �s enough to g�ve us a pretty dramat�c effect.) The Option for “User Seam” w�ll automat�cally engage.

Chang�ng the Seam Pos�t�on at one “r�b” hotspot changes the po�nt at wh�ch the Sk�n surface “flows” across the source curve that �s assoc�ated w�th that hotspot. However, we are not mov�ng or affect�ng the source curve �n any way. Only the seam of the surface �s mov�ng. We could der�ve a s�m�lar shape by actually rotat�ng our source curve along the same ax�s as the Sk�n progresses, but th�s �s not always easy to do, and �n some cases may d�sturb other geometry bu�lt from that curve. By chang�ng only th�s parameter, we have d�rect control over the surface and can “reset” our r�b rotat�on at any t�me, after any number of �nteract�ve changes.

You can cont�nue to evaluate the var�ous shapes that adjust�ng these pos�t�ons can create. When you are sat�sfied w�th a final Seam Position value, press the Spacebar to ex�t Edit Mode and return to Object Mode.


3Part 8: Editing points on a parametric surface

Our Beverage Bottle �s just about complete, but �t needs some add�t�onal features on the bottom of �t, to a�d �n stack�ng �t for d�str�but�on and to add stab�l�ty to the shape when �t �s rest�ng on a shelf. In th�s port�on of the tutor�al we w�ll aga�n be ed�t�ng the po�nts of a parametr�c object, but �n th�s case �t �s a surface, not a curve.

Select the Lathe surface that �s the base of our bottle, and press the large Zoom Selected button �n the Application Toolbar. (Th�s button d�ffers from the �nd�v�dual Zoom buttons �n each v�ew, because �t w�ll Zoom all of the orthograph�c w�ndows at once.)

In order to keep all of these Orthographic v�ews al�gned to one another, we can make the Ortho Adjust mode act�ve by cl�ck�ng the �con for th�s mode that �s �n the Application Toolbar, r�ght next to the global Zoom Selected from above.

F�rst we w�ll set up our workspace so that we can concentrate on th�s one part of our model.

And finally, wh�le the Lathe surface �s st�ll selected, press the Zoom Selected button that �s at the top of Perspective v�ew, so that the camera �s focused on th�s surface as well.

The global Zoom Selected button does not zoom �n our Perspect�ve v�ew as well, because that v�ew �s not orthograph�c, and zoom�ng �n �t can somet�mes have very d�fferent results from the orthograph�c v�ews.


To see the �nd�v�dual po�nts that make up our parametr�c Lathe surface, we need to use the Point Edit mod�fier of the Edit Mode, just as we d�d earl�er to see the po�nts of our parametr�c Circle.

Press the Spacebar to enter Edit Mode, and then press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to use the Point Edit mod�fier of Edit Mode.

Aga�n, th�s allows us to see and ed�t the �nd�v�dual po�nts that make up the NURBS surface, even though �t rema�ns a parametr�c object w�th all of �ts controls �ntact.

We can see on screen that the CVs of our parametr�c object match the pos�t�on of the CVs of the source curve, and are repeated around the Lathe at 8 regular �ntervals. Th�s corresponds to the number of po�nts spec�fied �n the parametr�c controls of our Lathe. Therefore, the number and pos�t�on of the CVs �n our Lathe are s�mply the mult�pl�cat�on of the source curve CVs around the Lathe ax�s.


3For a finer level of control over th�s surface, we can �ncrease the number of po�nts used �n the creat�on of the Lathe. Th�s w�ll add another 6 CVs (the number �n our source curve) to our surface for each add�t�onal “po�nt” �n the revolut�on, but the shape of the surface w�ll not change very much.

Press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to ex�t the Point Edit and return to Parameter Edit, wh�le rema�n�ng �n Edit Mode. Th�s w�ll allow us to see and man�pulate the parameters of our Lathe d�rectly �n the tool panel and �n the 3D v�ews.

In the Lathe tool panel, change the number of Points to be 16. Th�s w�ll g�ve us greater local control over our surface when we ed�t �ts po�nts.

After mak�ng th�s adjustment, return to Point Edit by press�ng Alt-Spacebar (W�n) or Option-Spacebar (Mac) aga�n. (After th�s lesson, th�s keyboard shortcut w�ll not be expl�c�tly wr�tten every t�me.)

Just l�ke our earl�er work w�th the parametr�c Circle, we can see that the parameters of the Lathe have a d�rect effect on the underly�ng po�nts of the surface.


In the Top v�ew, drag a selection box around each set of po�nts shown selected below. (Remember to hold down the Ctrl key wh�le cl�ck�ng-and-dragg�ng to select add�t�onal po�nts.)

To add the stack�ng and stab�l�ty “lobes” at the bottom of our bottle, we w�ll “pull down” some of the po�nts of our Lathe. To make �t eas�er to change only the po�nts that we des�re, we w�ll use a powerful feature of the Point Edit mode called Un-Edit.

From th�s v�ew, �t w�ll appear that 16 po�nts have been selected, but we have actually selected the po�nts “below” the ones v�s�ble as well, wh�ch �s what we want.


3In the Front v�ew, Translate the selected po�nts “down” by 2 un�ts �n the negative Z d�rect�on.

(You can �nteract�vely Translate these po�nts by �nvok�ng the Translate tool w�th the “T” shortcut, and then clicking-and-dragging outs�de of the model to avo�d select�ng other po�nts.)

We can see the dramat�c effect th�s change has on our Lathe and the assoc�ated Blends. Th�s �s perhaps too dramat�c.


After Translating these po�nts, drag a selection box around all of the po�nts except the bottom row, as shown below: (Remember not to hold down the Ctrl key, s�nce th�s w�ll s�mply add to your select�on, and we want to replace �t.)

Wh�le th�s new set of po�nts �s selected, press the Un-Edit Selected button �n the Tool Panel for the Point Edit env�ronment. (Be sure not to press the “All” button, as that would reset all of our po�nts, and we only want some reset.)


3All of the selected po�nts “jumped” back to the�r or�g�nal pos�t�ons! Some of these po�nts were among the first set that we Translated down, and th�s one button has returned them to the�r “Un-Ed�ted “ state.

There are two �mportant th�ngs to note about th�s Un-Edit funct�on. Noth�ng happened to the po�nts that were already �n the�r or�g�nal, parametr�c pos�t�ons, because they were never “ed�ted.” In add�t�on, the po�nts we d�d ed�t “remembered” the�r or�g�nal pos�t�ons, desp�te the fact that the Translate tool �s not a part of our Construct�on Tree.

These behav�ors are due to the pers�stent nature of parametr�c objects �n solidThinking. If our Lathe surface was not a parametr�c object, then �ts �nd�v�dual po�nts would not have a parametr�c state to “remember.”

The Un-Edit funct�on �n the Po�nt Ed�t env�ronment w�ll work at any t�me, after any number of mod�ficat�ons. Even after you have gone on to other act�ons, or closed and re-opened the file. The reason that the po�nts of a parametr�c object “remember” the�r or�g�nal pos�t�ons �s because the parameters that defined the�r or�g�nal pos�t�ons are st�ll �ntact, even after many po�nt-ed�ts. Th�s �s a very powerful tool, but �t has one d�sadvantage, however: the po�nts only “remember” the�r or�g�nal parametr�c pos�t�on, even �f you have made mult�ple changes to the�r pos�t�ons. Th�s �s why �t �s called “Un-Ed�t” �nstead of Undo.


Deselect the Lathe and press the Zoom All button �n the Perspective v�ew to get a clear look at our beverage bottle.

Press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to ex�t Point Edit and return to Parameter Edit (so our Lathe tool panel returns). Then press the Spacebar to ex�t Ed�t Mode and return to the full funct�onal�ty of Object Mode.


3Part 9: Adding and Aligning the Cap

The only object that �s m�ss�ng from our bottle �s a cap. We can use a s�mple pr�m�t�ve because th�s bottle �s only a rough des�gn of a bottle, not deta�led enough to be produced.

The Console w�ll then prompt for the “Top” and “Bottom Radii.” Enter a value of 2 for both rad��, and when the Console asks for the Height of the Cylinder, enter a value of 3 un�ts. Th�s w�ll prov�de us w�th a su�table s�zed Cyl�nder for our cap.

W�th the Top v�ew act�ve, select the Cylinder pr�m�t�ve tool and press Return to accept the default “Local Axis Origin” of 0,0,0. Th�s w�ll al�gn our new object w�th the center of our ex�st�ng bottle.


In the Cylinder tool panel, uncheck the Caps opt�on for the Bottom cap. Th�s w�ll prov�de us w�th an open cap surface.

The cap surface �s complete, but we can see from the R�ght v�ew that the Cyl�nder has been created �ns�de our bottle (at the World Or�g�n).


3We can qu�ckly and prec�sely al�gn the cap w�th the top of our bottle us�ng one of the Alignment tools �n solidThinking’s Model�ng Toolbar.

Wh�le the Cylinder �s st�ll selected, choose the Axes Align to Object tool from the small “fly-out” menu of Axis Align tools from the Transforms tab.

The Al�gnment tools �n sol�dTh�nk�ng act upon the currently selected object at the t�me you �nvoke the tool. Th�s �s because the al�gnment act�on �s a comb�nat�on of Translat�on and Rotat�on (�f needed) and funct�ons �n a s�m�lar way.

At the Console prompt to “Choose Reference Object,” select the top of the bottle (the Extrusion) and the “creat�on phase” w�ll be ended and the Axes Align to Object tool panel w�ll become act�ve.


We can see very l�ttle �nteract�ve change �n our cap Cylinder, and th�s �s only because �ts Orientation was already al�gned to the axes of the Extrusion (be�ng centered at the World Or�g�n). In the Axis Align to Object tool panel, check the opt�on for Position al�gnment as well.

And th�s w�ll perfectly al�gn our cap Cylinder and the top “mouth” of our bottle, fin�sh�ng off our model!


3Part 10: Saving the file and Wrap-Up

Congratulat�ons! You have successfully created a beverage bottle us�ng some of the powerful tools and techn�ques �n solidThinking. The relat�onsh�ps between curves and surfaces should be a l�ttle clearer to you, and you have also gotten a gl�mpse of the relat�onsh�p between object parameters and the underly�ng NURBS technology �n solidThinking.

Now that we are done w�th the tutor�al model�ng, �t �s �mportant to Save your file so that you can return to �t for reference at a later t�me, and to complete the next tutor�al. After sav�ng the file as �t currently �s, feel free to exper�ment further w�th the parameters and po�nts of the objects �n your scene, and see what k�nd of d�fferent bottle styles and shapes w�ll emerge. If you have regularly saved your work up to th�s po�nt, then do not be afra�d to make rad�cal changes, or even delet�ng and rebu�ld�ng parts.

In th�s lesson we have learned how to create and ed�t parametr�c curves and surfaces, �nclud�ng the C�rcle pr�m�t�ve, and the Sk�n, Lathe and Blend Surface types. The Blend Surface tool, �n part�cular, w�ll be better expla�ned and explored �n later lessons, but �t serves as an �ntroduct�on to the creat�on of surfaces from other surfaces, �nstead of s�mply from curves.

Dur�ng the process of bu�ld�ng the bottle, we have also tapped �nto the true power of solidThinking’s parametr�c NURBS geometry. Spec�fically, we learned how to ed�t the po�nts (or CVs) of a parametr�c curve or surface wh�le reta�n�ng all of the parametr�c controls of that object. Th�s �s one of the cornerstone technolog�es of solidThinking, and works �n conjunct�on w�th the Construct�on Tree to prov�de an almost l�m�tless flex�b�l�ty to the process of NURBS model�ng.

In later tutor�als we w�ll expand upon these bas�c pr�nc�ples and concepts to explore des�gns and forms �n the free range of th�s flex�b�l�ty. We w�ll also be add�ng un�que and exc�t�ng model�ng techn�ques to our workflow through the use of these bas�c solidThinking pr�nc�ples of parametr�c NURBS and construct�on h�story.

137Tutorial 4 - Basic Rendering

4 Th�s lesson w�ll �ntroduce the concept and pract�ce of creat�ng a real�st�c �mage of your 3D data for the purposes of presentat�on, analys�s, or s�mply to fully real�ze the des�gn you have been work�ng on. We w�ll be us�ng the Bottle that we created �n the prev�ous lesson, so �t �s �mportant that you have completed to progress w�th th�s lesson.

The creat�on of an �mage, whether stat�c or an�mated, �n solidThinking �nvolves the defin�t�on of surface and env�ronment character�st�cs called “Shaders” and the process of d�splay�ng all of your �nformat�on �nto a p�xel-based �mage wh�ch �s called a “Render�ng.”

The techn�cal aspects of Render�ng and Shad�ng are further expla�ned �n the “Techn�cal Br�ef” at the beg�nn�ng of th�s book. Th�s lesson w�ll focus on the pract�cal aspects of actually creat�ng an �mage that accurately represents your object or scene.

Part of th�s lesson �nvolves the use of another �mage as a “source �mage” for the label of our bottle. Th�s �mage �s �ncluded �n the Images folder �nstalled w�th the solidThinking appl�cat�on, but �t �s also ava�lable on the �nstallat�on CD as well.

Tutorial 4 - Basic Rendering


In order to have an object �n our scene that we can apply Mater�als to and render, we w�ll need to first open up a prev�ously created file. You can always apply Mater�als and render at any po�nt �n the process of creat�ng an object or scene, but for the sake of clar�ty, th�s lesson focuses solely on the shad�ng, l�ght�ng and render�ng process.

Part 1: Opening and Setting Up the Scene

Use the File: Open drop-down menu at the top of the solidThinking appl�cat�on w�ndow (or use Ctrl-O (W�n) or -O (Mac)) to load the saved “.st” model of the Beverage Bottle from the prev�ous lesson (#3). Th�s w�ll prov�de us w�th su�table geometry for explor�ng the process of shad�ng, l�ght�ng and render�ng an object or scene �n 3D.

Depend�ng on what you were do�ng when you last saved your Beverage Bottle file, you may have more than just the 8 surfaces that make up the “shell” of the des�gn v�s�ble �n the scene. Because curves cannot be rendered (they are not three-d�mens�onal) �t w�ll be a good �dea to Hide all of the curves �n the scene and keep only the final surfaces v�s�ble �n our scene.

Once the file has been loaded �nto solidThinking, �t �s a good �dea to �mmed�ately do a File: Save As... (or F12) and rename th�s scene as someth�ng other than your prev�ous model. Th�s way you preserve the or�g�nal model for reference, and you can freely add objects and Mater�als to th�s scene for render�ng.


4The final step �n sett�ng up our scene �s to make sure the Grid �n the Perspective (or Camera) v�ews �s not v�s�ble. Th�s tutor�al w�ll focus ent�rely on non-model�ng tasks, so �t w�ll be good to have a clean v�sual of our surfaces.

Open the Preferences panel from e�ther the Help drop-down menu (W�n) or the solidThinking menu (Mac), and sw�tch to the “View” tab, and uncheck the Grid in 3D views checkbox.

Press Okay when you have unchecked th�s opt�on. The Perspective v�ew (and any further cameras you add to the scene, w�ll not d�splay the work�ng gr�ds.


Th�s w�ll change your toolbar on the left (by default) to a select�on of backgrounds and surface Mater�als.

Part 2: Applying Shaders

The eas�est way to use and explore Shaders (also called “textures” or “mater�als”) �s to browse the large l�brary of Mater�als �ncluded w�th solidThinking. To see the Mater�al l�brary �n solidThinking, press Alt-4 (W�n) or Option-4 (Mac), or select the Materials toolbar �con from the Application toolbar at the top.

You can create and save your own custom Mater�als, and they w�ll also show up �n th�s toolbar. You can also create your own categor�es to save Mater�als �nto. (We w�ll get more �nto th�s later on �n th�s tutor�al.)

The qu�ckest way to apply textures �s to select your object or ent�ty and then to cl�ck on a Preset or Saved Shader button from th�s toolbar. Th�s w�ll apply the selected Mater�al to your selected geometry.


4In the Perspective v�ew, press the Zoom All button at the top of the v�ew w�ndow, and then select the upper part of the Bottle object.

Click on the “Cyan” color �n the Colors tab of the Materials Toolbar. (You can see the name for a Mater�al �con the same way you can w�th tool �cons - by hover�ng your mouse cursor over �t and d�splay�ng the “tool t�p.”)


Now change the d�splay mode of the Perspective v�ew to be Textured d�splay (by press�ng the “T” button at the top of the v�ew w�ndow).

In solidThinking, an object can only have a s�ngle mater�al appl�ed to �t. If you select a surface and press the �con for a d�fferent Mater�al, you w�ll replace whatever Mater�al may have been placed on that surface prev�ously w�th the one you have cl�cked on �n the Mater�als Toolbar. Therefore �t �s �mportant to know wh�ch surface �s selected at all t�mes.

Th�s clearly shows that we have changed the “shad�ng color” of th�s surface to be someth�ng other than the default wh�te surface.


4The Textured d�splay method makes �t very hard to determ�ne wh�ch object �s selected because the “selected color” (Red) �s barely v�s�ble above the color appl�ed �n Textured d�splay.

Next, select the Render -> Render Current View menu �tem from the appl�cat�on drop-down menus at the top of the workspace, or press Ctrl-R (W�n) or -R (Mac).

Change the d�splay method of the Perspective v�ew to be s�mple Shaded d�splay aga�n.


We can �mmed�ately see the d�fference between the �nteract�ve Textured d�splay method and the qual�ty and color of a full render�ng. You can freely close th�s w�ndow by cl�ck�ng on the standard “close” button of the float�ng w�ndow.

Th�s w�ll create a new “float�ng” w�ndow on screen to show the render�ng �n progress and the final �mage.

Just as the command says, Render current view w�ll always render the v�ew that �s currently act�ve �n your workspace. Th�s means that �f you select an object �n the Front v�ew and press the Render shortcut, you w�ll render the Front v�ew, not the Perspective w�ndow. Just cl�ck on the Perspective v�ew to make �t act�ve.


4

The Shading panel �s another “dockable” tool panel that can be used at any t�me wh�le float�ng over your workspace. (The small �mage below �s just to show what the panel w�ll look l�ke, but we w�ll go �nto more depth �n a moment.)

Another way to apply textures �s to open the Shading panel from the drop-down menu Managers: Shading or press Ctrl-3 (W�n) or -3 (Mac).

Part 3: Using the Shading panel.


The Shading panel �s where we w�ll perform much of the work �n th�s tutor�al, s�nce �t funct�ons as the “hub” for all of the var�ables and sett�ngs for the surface Mater�als, l�ghts, backgrounds, and output types.

The act�ve tab �s “Surface” wh�ch means we are creat�ng and ed�t�ng the Surface Shader of the selected object(s) �n the scene. The sect�on on the left of th�s tab �s the “Shader tree” wh�ch has each component of a Surface Shader ready to be selected and ed�ted.

Select the “Color” component of the current Shader (wh�ch should be Cyan because we ass�gned th�s s�mple color to th�s surface). We can �mmed�ately see that cl�ck�ng on the Color component allows us to see and ed�t th�s Mater�al parameter (a “Pla�n” color).


4Cl�ck on the “Choose...” button �n the Parameters area of the Shading panel. Th�s w�ll open up your Operat�ng System’s Color P�cker, where you can choose or create a darker blue color. (The exact color �s up to you, but these �llustrat�ons w�ll use a med�um, sky-blue for v�s�b�l�ty.)

After you have accepted the new color, you w�ll see the Render Prev�ew w�ndow on the r�ght s�de of the Shading panel automat�cally update w�th th�s new color. Th�s �s a “l�ve” rendered prev�ew of your surface Mater�al on real geometry.

The drop-down menus above the Render Prev�ew control the object that �s d�splayed �n the w�ndow and the relat�ve resolut�on of the render�ng. If the prev�ew renders very slow or seems to “hang” your computer for a few seconds, then turn the Resolut�on down to “Coarse,” wh�ch w�ll speed th�ngs up.


Just below the Render Preview w�ndow you w�ll see some buttons and a checkbox for “apply�ng” your Mater�al mater�al to the selected object. (Remember, the top of our Bottle �s st�ll selected.)

Mater�als �n solidThinking are stored w�th the descr�pt�on of each p�ece of geometry �n your scene, whether you have used a pre-set Mater�al or created and saved your own. There �s no need to Save every Mater�al you create, espec�ally when you are try�ng out d�fferent looks for a surface. The “Auto Apply” checkbox, or the l�teral “Apply” button w�ll ass�gn the parameters that you see �n the Shading panel to the selected objects. These shad�ng parameters w�ll “stay” w�th the surface(s) unt�l you e�ther ass�gn a new Mater�al by cl�ck�ng on a pre-set or saved Mater�al �n the Mater�als Toolbar, or when you open the Shading panel aga�n and change some of the parameters and apply (or auto-apply) them aga�n.

Check the box for “Auto Apply Material” �f �t �s not already checked. Th�s w�ll mean that any changes you make �n the Shading panel w�ll �mmed�ately be appl�ed to the selected geometry. Th�s way you do not have to press the “Apply” button below �t every t�me you want to ass�gn the altered Mater�al to selected geometry.


4We now have an acceptable color for the top surface of our Bottle, but the Render Prev�ew st�ll shows a “matte” look�ng surface. We can change the other components �n our Shad�ng Tree to accurately s�mulate real mater�als l�ke plast�c, glass, metal, and other surfaces.

Us�ng the RMB (W�n) or -MB (Mac), cl�ck on the Shader tree component labeled “Reflectance.” Th�s w�ll br�ng up a “pop-up” menu of Mater�al reflectance models. Th�s large number of names and terms refers to the way the actual shad�ng (not color) of the surface w�ll behave when struck by l�ght �n our scene.

Part 4: Altering Reflectance and Saving a Shader

Wh�le the menu �s st�ll “popped-up,” scroll to the Reflectance model labeled “Plastic” and cl�ck on �t. (We are only show�ng a port�on of the full menu here because there are so many cho�ces!)


The m�ddle column of the Shading panel �mmed�ately changes to reflect the ava�lable Parameters of th�s Reflectance type, and the Render Prev�ew shows a “sh�n�er” look�ng blue mater�al. We can change all of these parameters just l�ke we ed�ted the Color of our surface Mater�al.

Cl�ck �n the numer�c �nput box of the “Roughness” parameter and enter a value of 0.05 and press Return.


4W�thout clos�ng the Shading panel, press the keyboard shortcut to Render current view (Ctrl-R (W�n), -R (Mac)). Th�s w�ll render the scene w�th the altered Mater�al “auto-appl�ed” to the top of our Bottle.

Th�s has made the surface of the Bottle appear to made from blue plast�c when �t �s rendered. However, the rest of the surfaces st�ll render as matte wh�te. Close the Rendering w�ndow after look�ng at �t.

We can Save th�s mod�fied vers�on of the Cyan Mater�al so that we can eas�ly apply �t to all of the other requ�red surfaces �n our model.


In the Shading panel, press the “Save As...” button to br�ng up the Mater�al sav�ng d�alog box.

Press the “OK” button and solidThinking w�ll save the parameters we have set �nto the overall l�brary of pre-set Mater�als. Scroll down �n the Materials Toolbar to see the new “tab” for your plast�cs, and the �con for the pre-set you just created.

Under the Group head�ng type �n a new group name of “My Plastics” (Or whatever you would l�ke) and �n the Name area, type �n someth�ng descr�pt�ve l�ke “Light Blue Shiny,” to �nd�cate what k�nd of plast�c �t �s.


4We can now apply th�s saved Mater�al to any object �n any scene �n the same way that we appl�ed the default Cyan colored Mater�al.

Once you have selected all of the surfaces �n the scene, press the newly created �con for our “L�ght Blue Sh�ny” Mater�al, and �nvoke the Render current view command aga�n (Ctrl-R (W�n), -R (Mac)).

Close the Shading panel to have a clearer v�ew of the objects �n your scene, and select the other v�s�ble surfaces �n the scene by hold�ng down the Ctrl-key and dragg�ng a select�on box around all of them,


You w�ll note that we have been s�mply clos�ng the render�ng w�ndows after they pop up and we look at the �mage. Th�s �s because solidThinking saves the last 10 render�ngs �n the Render�ngs Browser so that we can compare them and save or delete them �f we would l�ke.

Part 5: Browsing the Latest Renderings

From the “Rendering” drop-down menu, select the Renderings Browser, or use the keyboard shortcut of Ctrl-Alt-R (W�n) or -Option-R (Mac). Th�s w�ll br�ng up the large Renderings Browser w�ndow.


4When you scroll the column of �mages on the left s�de, you can see all of the most recent render�ngs that you created �n solidThinking. By cl�ck�ng on the darkened thumbna�l of each �mage you can d�splay a larger vers�on �n the ma�n �mage to the r�ght. In th�s way you can qu�ckly compare the changes that you have made as each render progressed.

The �mage shown �n the ma�n �mage area may not be at 100% scale because the Render�ngs Browser �s a scalable w�ndow that dynam�cally s�zes the elements �n �t to meet the w�ndow s�ze. Th�s �ncludes �mages.

Beneath each �mage thumbna�l �s the temporary render�ng name (usually based off of your current solidThinking file name) and the date and t�me the render�ng was completed.

At the top of the Browser are three buttons that, from left to r�ght, correspond to “Save Current Image” (wh�ch w�ll open a file browser), “Delete Current Image, Delete All Images.” Th�s last button w�ll clear the Render�ngs Buffer for solidThinking.


So far every render�ng that we have made �n th�s tutor�al has had the exact same l�ght�ng. Th�s �s because solidThinking places a “default” l�ght source �n our scene �f there are no other l�ghts present. W�thout a l�ght source all of our render�ngs would be completely black, s�nce all objects are only v�s�ble when there �s some l�ght h�tt�ng them to allow our “eyes” to see them.

Select the Light tool from the Cam/Light tab, and when the Console prompts for the “Local Axis Origin,” cl�ck-and-drag �n the Front v�ew to place the l�ght approx�mately 15 un�ts to the left of the top area of the Bottle. (The exact locat�on of the l�ght �s not �mportant.)

Part 5: Adding Lights to the Scene

When you add a new l�ght to your scene, solidThinking w�ll automat�cally d�sable the default l�ght�ng, allow�ng you to des�gn the scene as you would l�ke. Th�s �s why �t somet�mes seems that the scene goes “black” �f you s�mply �nsert a l�ght �nto your scene. You need to po�nt your l�ght source at your objects.


4The new l�ght �n our scene looks l�ke a “jack” of three small l�nes �ntersect�ng. We can also not�ce that the default l�ght�ng has not changed �n the Shaded d�splay of our Perspective w�ndow. These two v�sual clues tell us that our “l�ght” �s actually only a placeholder that controls the locat�on of our l�ght.

Wh�le the l�ght “jack” �s st�ll selected, open the Shading panel (Ctrl-3 (W�n) or -3 (Mac)) to ed�t the part�cular parameters of th�s l�ght object.

L�ghts �n solidThinking are treated as spec�al objects that have a “l�ght” Mater�al appl�ed to them. These objects do not have a surface to them to be shaded �n the regular sense, but the l�ght parameters can be save d and appl�ed �n a s�m�lar fash�on to a surface Mater�al.

In the Shader tree of the act�ve L�ght tab, you can see a “Light” component that �s currently set to “<None>.” Cl�ck on th�s component w�th the RMB (W�n) or the -MB (Mac) to br�ng up the l�st of ava�lable Shaders for th�s l�ght object.

Select the “Point” l�ght type from the pop-up menu. Th�s w�ll change our l�ght object �nto a po�nt l�ght (s�m�lar to a l�ght bulb that em�ts l�ght from �ts center outward), and the “jack” �n our scene w�ll change to a “rad�at�ng star” object.


Press the keyboard shortcut for the Shading panel aga�n to h�de �t and clearly see all of our model�ng v�ews.

Orbit �n the Perspective v�ew to exam�ne the effect of the new po�nt l�ght on our scene. We can see how our l�ght�ng �s now d�rect�onal, mean�ng one s�de of our object w�ll not be l�t because �t �s on the oppos�te s�de of our l�ght source.

Repeat the last model�ng act�on of the Light tool by press�ng the Ctrl-Spacebar shortcut, and when the Console prompts for the “Local Axis Origin” of th�s new jack, cl�ck-and-drag �n the Right v�ew to pos�t�on the new placeholder above and to the left of the top of the Bottle.


4Br�ng up the Shading panel aga�n and change the l�ght type for th�s placeholder to be a “Spotlight.” Th�s w�ll change the placeholder “jack” �n our scene �nto a “spotl�ght” object that has a fac�ng d�rect�on (unl�ke the po�nt l�ght wh�ch d�sperses l�ght evenly �n all d�rect�ons).

Close the Shading panel, and wh�le the Spotl�ght �s st�ll selected, press the Spacebar to enter the Edit Mode. Th�s w�ll d�splay the two “hotspots” for th�s object. These are the Position of the Spotl�ght, and �ts Target.

In the Right v�ew, cl�ck-and-drag on the Target hotspot and drag �t to the center of the Bottle geometry �n our scene. Th�s w�ll reor�ent the d�rect�on of the spotl�ght so that �t casts l�ght onto the bottle as well.


Orbit the Perspective v�ew unt�l the Spotlight �s on the r�ght of the Bottle, and the Point Light �s just to the left of the bottle. Th�s w�ll �nsure that we are look�ng at the “l�t” s�de of our object.

After you have placed the Spotl�ght Target, press the Spacebar to ex�t the Edit Mode and return to the Object Mode.

Press the Render current view keyboard shortcut, and exam�ne the l�ght�ng we have set up.

Th�s s�mple l�ght�ng setup that we have created �s called “2 Po�nt L�ght�ng” �n photograph�c and film terms.


4W�th the Top v�ew act�ve, select the NURBS Plane pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar.

When the Console prompts for the “Local Axis Origin,” cl�ck-and-drag to pos�t�on one corner of the plane to the lower left of the bottle, and then cl�ck-and-drag to place the “Opposite Vertex” at the upper r�ght as shown below.

Although our object �s well l�t, �t �s st�ll “float�ng” �n a black vo�d, w�thout any reference “env�ronment” to make �t look real�st�c. Because we need th�s reference for real�sm, we w�ll add a “ground plane” to el�m�nate the float�ng sensat�on.

Th�s �s �n�t�ally small and h�gh up for a ground plane, but we w�ll enlarge and pos�t�on �t more appropr�ately.


In the Right or Front v�ew, cl�ck-and-drag on the Plane to Translate �t �n the negative Z ax�s unt�l �t �s just below the bottom of the Bottle. (It w�ll be eas�er �f the Grid Snaps are temporar�ly d�sabled.)

After the creat�on phase of the Plane �s fin�shed, press the “S” key to �nvoke the Scale tool. Enter a scale value of 10, and press ESC to end the Scale act�on.

Once we have pos�t�oned th�s larger ground plane, we can now check the “look” of the ground plane by mak�ng the Perspective v�ew act�ve and Render the Current View.

Th�s w�ll g�ve a more reasonable s�ze to the ground plane, but the locat�on of the ground plane �ntersects the m�ddle of our Bottle. Th�s �s because our Bottle �s centered at the World Ax�s, and all Top v�ew relat�ve creat�on occurs on that ax�s.


4Select the Spotl�ght �n our scene, and then open the Shading panel and cl�ck on the L�ght component �n the Shader tree column to see the parameters for the Spotl�ght.

We now have the beg�nn�ngs of an “env�ronment” for our Bottle, but the perhaps the most str�k�ng aspect of th�s scene �s that our object st�ll seems to be “float�ng” above the scene. Th�s �s because no shadows are be�ng cast by the l�ghts �n our scene. Shadows v�sually �nd�cate the relat�ve pos�t�on of objects �n space.

Scroll down �n the Spotl�ght parameters unt�l you reach the Shadows act�vat�on checkbox. Check th�s opt�on to be on so that our Spotl�ght w�ll cast a shadow �n the scene.


Th�s Render Prev�ew �s not exactly what our final render�ng w�ll look l�ke because �t �s a square w�ndow, wh�le our actual render reg�on of the camera v�ew �s typ�cally not prec�sely square. Because of th�s, what we see �n the Prev�ew �s exactly that, an �nteract�ve prev�ew that our final render�ng w�ll confirm.

We could �n�t�ate another low-resolut�on render�ng to check that our Spotl�ght �s cast�ng a shadow, but there �s another way to prev�ew the full effects of l�ght�ng and shad�ng �n our scene.

Make sure that the Perspective camera �s the act�ve v�ew, and �n the Render Preview column of the Shading panel, change the Object (of the render prev�ew) to be “Current Camera” from the drop down menu. (Aga�n, �f your Preview takes a long t�me to render due to your processor speed, change the Resolution to “Coarse.”)


4We w�ll want the Bottle to be the focus of our scene and to st�ll not be float�ng �n a black vo�d. The ground plane helps to ach�eve th�s, but us�ng a Background Mater�al w�ll make th�ngs much eas�er. Also, wh�le the Shader panel and �ts Prev�ew Render w�ndow are st�ll open, we can �nteract�vely adjust the Perspective camera to show our Bottle at the best angle.

Part 6: Changing the Background

Orbit and Zoom �n the Perspective v�ew unt�l the Po�nt l�ght �s nearly between the Bottle and the camera, and the Prev�ew looks s�m�lar to what �s seen below. (Aga�n, th�s does not show all of our final rendered v�ew, but the angle w�ll be the same.)


Th�s new camera pos�t�on shows the Bottle at a better angle, but we are also show�ng qu�te a b�t more of the empty, black background.

In the Shading panel, select the “Image” tab at the top to see the opt�ons for the appl�cable foreground and background aspects of our scene.

Right-click (W�n) or -click (Mac) on the Background component of th�s Shader tree, and select “Graduated” from the l�st of ava�lable shaders. Th�s w�ll apply a default black-to-wh�te gradat�on to our v�s�ble background.


4That �s much better, but the Background �s beh�nd everyth�ng �n our scene, �nclud�ng the ground plane. We can make a very spec�al mod�ficat�on to our ground plane to allow our Background to come forward and resemble a “sweep” �n a photograph�c stud�o. (Th�s �s a curved surface that photographers frequently use to g�ve the �llus�on of an “�nfin�te” background w�th no v�s�ble corner.)

In the Perspective v�ew of our workspace (wh�le the Shading panel �s st�ll open) select the ground Plane by cl�ck�ng on �t. Th�s w�ll automat�cally change our Shad�ng tab to the Surface Mater�al sect�on, and h�de the Background �n our Prev�ew render.

Change the Reflectance of th�s ground plane to be the “Shadowcatcher” type. In the Prev�ew Render �t w�ll appear that the ground plane has “d�sappeared” from the scene, or become completely black.

The Shadowcatcher �s a un�que shad�ng property that allows the object(s) w�th th�s Mater�al to be �nv�s�ble �n the render�ng but to st�ll accept and d�splay any shadows cast upon them. Th�s �s typ�cally used to �ntegrate a 3D object �nto a photograph�c background where the object would not normally have a shadow.


Sw�tch back to the Image tab of the Shading panel to see the Prev�ew Render w�th the new propert�es appl�ed to the ground plane.

We can see that when the Graduated Background �s d�splayed, the shadow that �s cast by our Spotl�ght upon the ground plane �s now overla�d onto the Background! Th�s �s a very spec�al way to el�m�nate confus�ng v�sual elements �n our scene and yet st�ll show our objects as “grounded.”

We can now alter the Background to be more �nterest�ng and to h�ghl�ght the color of our object a b�t more.

In the Image tab, change the Background component to be the “Mixed” type. Th�s adds two more component �tems “underneath” the Background l�st�ng �n our Shader tree. These new �tems �nd�cate that we are creat�ng a “layered” Background Mater�al. (Th�s w�ll also temporar�ly set our background to black unt�l we choose the elements to be m�xed.)


4Select the “Base Shader” component �n the Shader tree, and Right-click (W�n) or -click (Mac) to br�ng up the same l�st of ava�lable shaders for the overall Background. Select the Graduated Shader type for th�s component aga�n.

For the “Mixed Shader” component, select the Clouds Shader type. Th�s w�ll create a fractal pattern between the two spec�fied colors.

To ach�eve the subtle look that we are after, change the Scale of the Clouds pattern to be 3, and make the “Background Color” a med�um Purple. Th�s w�ll help to h�ghl�ght the bottle, and not detract from �t.

When we add th�s second Mater�al “layer” to our Background, we can see �n the Prev�ew that the “m�x�ng” act�on results �n a l�ghter Clouds background at the bottom and a darker pattern at the top, just l�ke the Graduated background, but w�th more var�at�on and color.


The background �s nearly sat�sfactory, but we have to tweak the other components of the Shader tree to agree w�th the parameters we have set for the Mixed Shader.

Select the Base Shader component (Graduated) and change the Top color to be a very dark purple. Th�s w�ll blend better w�th the purple of the Clouds pattern.

Next, select the overall Background component (Mixed) and change the Mixing Ratio to be 0.2. Th�s w�ll allow the gradat�on to be more obv�ous and the pattern much more subtle.

F�nally, press the keyboard shortcut to Render the current v�ew and take a look at the scene and background that we have created so far.


4We can now eas�ly tell from the prel�m�nary render�ng of our scene that our Bottle looks real�st�c, and that the background and l�ght�ng focus attent�on on the des�gn and form of �t. However, most real bottles have a label on them.

Part 7: Applying a UV Mapped Label

Wh�le the Shading panel �s open, select the center sect�on of our bottle (the Cyl�nder surface) and, �n the Shader tree for th�s surface’s Mater�al, change the Color component to be a “Wrapped Image” type. (Th�s �s near the bottom of the very large l�st of opt�ons.)

Cl�ck on the “Browse...” button and locate the �mage file (�ncluded w�th th�s manual) named “4-bottlelabel.bmp.” (The file �tself looks l�ke the �mage below. A “model beverage” �ndeed!)


Once you have loaded th�s �mage file, the Render Preview of th�s surface w�ll no longer show the black color of no �mage selected, but w�ll now show the �mage we selected repeat�ng along the surface of the Cyl�nder and very small. The reason for th�s �s because we have not chosen a Texture Space for th�s Mater�al yet.

The default locat�on for solidThinking to find �mage files �s �n the “Textures” folder. Th�s �s the first place that solidThinking w�ll go to when you Browse for an �mage file w�th�n a Mater�al. You can save your �mages elsewhere, and browse to that locat�on, but by default solidThinking w�ll look �nto �ts own Textures folder.

In the Shader tree, select the Texture Space component and change �t to be “UV Label,” �nstead of the default, unass�gned texture space. (Th�s Texture Space component has no �mpact on sol�d colored �tems l�ke the rest of our bottle, wh�ch �s why we have not altered �t before th�s.)

Texture Space refers to the method �n wh�ch a Mater�al �s appl�ed to a surface or object. Th�s �s s�m�lar to the X, Y, Z “Coord�nate Space” that �s used to locate objects w�th�n the arb�trary world of the 3D model�ng program. In order to accurately place many of the 2D Mater�als or �mages used �n solidThinking, we ass�gn a “Texture Space” to the Mater�al that helps us to locate the 2D Mater�al upon a 3D surface.


4It may be hard to tell at the scale of your Preview Render, but our UV Labeled �mage �s �nverted along the length of our Cylinder. Th�s �s because th�s Cyl�nder was created w�th a He�ght of -10, and therefore has a “V parameter” that �s negat�ve. We can fix th�s by chang�ng the V Scale of our UV Label to be -1.

The last adjustment we should make to th�s Mater�al �s to make �t a b�t br�ghter than the blue plast�c around �t �n our scene. Cl�ck on the Reflectance component (Plastic) and change the Ambient and Diffuse Factors to be 1. (Wh�ch corresponds to accept�ng 100% of the l�ght �n the scene.)


Close the Shader panel, and w�th the Perspective v�ew selected, Render the Current View.

Th�s shows that our UV Label mapped �mage �s correctly or�ented and l�t, but we are look�ng at the “edge” of the label and not the center part, wh�ch would be the curved text of the label. We actually do not have to open our Shading panel aga�n to adjust th�s offset problem.


4W�th the Cylinder object st�ll selected, cl�ck on the Texture Positioning tool �n the Texture tab of the Modeling toolbar. Th�s tool w�ll change the Cylinder tool panel for our object to �nstead have the opt�ons for the Texture Position tool.

In order to �nteract�vely see the changes we w�ll make to our texture pos�t�on, press the “T” button at the top of the Perspective v�ew to sw�tch to the Textured d�splay mode. Th�s w�ll show our UV Label appl�ed to the Cyl�nder!


Check the Option for “Interactive Changes” so that we can watch the label change as we repos�t�on on the surface of our surface. (We can also see that the Texture Position tool already knows that we are us�ng a UV Label on th�s surface!)

In the Texture Position tool panel, sl�de the “U Origin” sl�der unt�l the Label �n our scene appears to be centered on the bottle relat�ve to our Perspective camera v�ew. (The actual value w�ll be d�fferent for everyone based on where you have pos�t�oned your camera, but �t w�ll be close to 0.35)

Press ESC to end the Texture Positioning act�on. Th�s has prov�ded us w�th a very �nteract�ve way to pos�t�on our �mage map w�thout hav�ng to go �nto the Shading panel and e�ther squ�nt�ng at the Preview Render, or repeatedly render�ng the same scene.


4Part 8: Adding Procedural Surface Details

In most typ�cal bottles, the cap �s a d�fferent color than the rest of the bottle �n order to add color and to d�st�ngu�sh �t from the rest of the surfaces. Bottle caps also typ�cally have vert�cal “grooves” that make �t eas�er to gr�p them. Our current bottle cap �s only a pla�n Cyl�nder, but we can s�mulate these t�ny surface deta�ls us�ng a D�splacement component.

Select the cap Cylinder of our bottle �n the Perspective v�ew, and open the Shading panel us�ng the keyboard shortcut (Ctrl-3 (W�n) or -3 (Mac)). Th�s w�ll show the parameters of our or�g�nal Blue Plast�c surface.

Cl�ck on the Color component to see �ts Parameters l�sted, and then change the Plain color of th�s Mater�al to be a med�um green, s�m�lar to what �s on the label we just placed.

Our Cylinder has changed �ts color �n both the Render Preview and �n the Textured d�splay mode of the Perspective v�ew, but the cap �s so small that �t �s hard to see �n our scene. We can focus on th�s surface by chang�ng the Object of the Render Prev�ew to be the “Current Object.”


There are many Shader types �n solidThinking that are Procedural. A procedural Mater�al �s dynam�cally computed from �ts Parameter sett�ngs, and can have features that are d�fficult or �mposs�ble to ach�eve w�th just �mage maps and s�mple colors. These features can �nclude true 3D “depth,” �nfin�te deta�l resolut�on, and opt�ons for randomness and no�se.

In the Shader tree, select the Displacement component, and change �t to be the “Wrapped Knurl” type from the l�st of poss�ble Displacement Materials. (Wrapped Knurl refers to the “gr�p” that �s stamped on some common objects, l�ke the lens of a camera or the handle of a b�cycle.)

We can see that th�s Displacement component only has three parameters, and yet �t produces a dramat�c effect that s�mulates the �ndentat�ons of a knurled gr�p on our Cylinder. Th�s �s because th�s �s a “procedural” Mater�al that �s pre-set to s�mulate th�s type of pattern.

Change the Scale of the Wrapped Knurl pattern to be 3. Th�s w�ll help us when we next alter the Texture Space of th�s surface Mater�al.


4Change the Texture Space of th�s Mater�al to be Cylindrical (wh�ch makes sense) and then adjust the “Scale Around Axis” to be 0.01. These changes w�ll create a repeat�ng pattern of �ndentat�ons all along the outs�de of our bottle cap Cyl�nder.

Save th�s procedural Mater�al to a folder �n your Materials Library �n case you would l�ke to re-use th�s for other objects �n other models. Name �t someth�ng log�cal l�ke “bottle cap gr�p.”

It should be noted that the D�splacement component of the Shader tree does not actually change the geometry of the object that �t �s appl�ed to. It works by alter�ng the way the surface responds to local l�ght�ng - �n essence �t �s s�mulat�ng deta�ls added to the otherw�se smooth surface. For th�s reason the “bumps” of your D�splacement Mater�al w�ll not extend beyond the surface of the object, and m�ght look a l�ttle strange when the effect �s v�ewed near the edge of a curv�ng surface. Th�s �s why �t �s best to use D�splacement for small or very shallow deta�ls on larger surfaces.


Part 9: Transparency and Refractions

At th�s po�nt our Bottle �s look�ng very real�st�c w�th a textured label and cap, and a dramat�c background and shadow�ng l�ghts. We could stop at th�s po�nt for any bottles that are made of opaque plast�c, but th�s object would look much more dramat�c and �nterest�ng �f �t was made of transparent plast�c and s�mulated the l�qu�d �ns�de �t.

In the Front v�ew, drag a select�on box around the bottle and all of �ts surfaces. When every surface �s selected, use the Ctrl-click method to deselect the bottle cap Cylinder and the label Cylinder.

Close the Shading panel to make �t eas�er to see the objects �n our 3D v�ews.


4Th�s w�ll leave us w�th the other blue plast�c surfaces of our Bottle st�ll selected. Now we can open the Shading panel to ed�t the surface Mater�al appl�ed to these surfaces.

Make the Perspective v�ew act�ve and then change the Render Prev�ew Object to be the “Current View.” Th�s way we can see all of the selected parts at one t�me. (The Current Object sett�ng only d�splays the last object you selected, not the ent�re group.)

Change the Reflectance component of the selected surfaces to “Glass,” and then Render the Current View. Th�s qu�ck change w�ll add a default transparency to the surfaces, as well as some �nterest�ng effects from refract�ons.


We need to tweak all of the sett�ngs �n our new Glass reflectance to s�mulate a plast�c bottle that �s filled w�th l�qu�d. (Glass behaves d�fferently from water and plast�c �n many ways, but th�s Mater�al can be adjusted to s�mulate the correct effect.)

The transparency, reflect�ons and refract�ons (the d�stort�ons near the edges of the object) that we see �n th�s latest render�ng are produced by Raytrac�ng. Th�s �s a common render�ng technology that calculates the path of the v�rtual “rays” of l�ght �n our scene from each l�ght source to the �mage. Each p�xel of the �mage �s then colored accord�ng to what objects are �n that path. Usually th�s adds qu�te a lot of process�ng t�me to the render�ng, so �n solidThinking �t �s automat�cally enabled only when you have a reflect�ve or refract�ve object �n the scene. Th�s may help to expla�n why the render�ng slows down a b�t now.

In the Glass Parameters, change the Specular Factor to be 0.7, the Transmission to be 0.8, the Mirror to be 0.2, the Roughness to be 0.02, and the Refract�on to be 1.1, as shown below.


4When we Render the Perspective v�ew, we can see that although the bottle looks more l�ke sh�ny, transparent plast�c filled w�th l�qu�d, the shadow st�ll looks l�ke �t �s be�ng cast by an opaque object.

In the Perspective v�ew, select the Spotlight �n the scene, and sw�tch to the Light tab of the Shading panel. Change the Shadow Resolution to have a value of 0.

Render the scene aga�n and we can see that the shadow shows the transparency and color of our bottle as �f l�ght �s actually pass�ng through the transparent surface.

Sett�ng the Shadow Resolut�on to 0 forces the renderer to use Raytraced shadows, �nstead of the default Shadow Map method. Raytraced shadows are always “hard edged,” but are very accurate and can s�mulate these types of transparency and colored shadow effects. Shadow Maps, however, are faster, can have the�r “softness” adjusted, and can be equally accurate (by �ncreas�ng the Resolut�on), but cannot show transparency and colors �n the shaded areas.


Part 10: Final Adjustments & Wrap-up

Our Materials have all been set and we are ready to Render th�s �mage at a larger resolut�on. Open the Rendering Options panel from the drop-down menu of Render -> Options... and change the �mage Resolution to 400 x 1200. Th�s w�ll create a taller �mage area that �s perfectly su�ted for our bottle des�gn. Lower�ng the camera along the bottle w�ll also create some extra drama for th�s �mage.


4The final �mage that we created can be Saved from the Renderings Browser to any locat�on you would l�ke, and can then be pr�nted out or man�pulated us�ng an �mage ed�t�ng appl�cat�on.

One of the most common uses for a render�ng of a package des�gn �s to see what d�fferent labels w�ll look l�ke on the final bottle shape. If the render�ng t�mes of transparent objects such as th�s one are proh�b�t�vely long, you can always render �t once and use an �mage ed�tor to change the colors of parts of �t. To wrap new labels on the bottle, s�mply change the transparent surfaces to bas�c Phong and then change the Label Image. The render�ngs w�ll go much faster, and �f you are us�ng the same camera and render�ng resolut�on, you can drop the opaque bottle render�ng over the transparent and only use the label from the opaque render�ng �n your final ed�ted �mage.

W�th our render�ng fin�shed �t �s a good �dea to Save the file and then cont�nue to adjust sett�ngs and colors and label files unt�l you have the best representat�on of the bottle that you ult�mately des�re. All render�ngs are subject�ve, so the �mage �s not done unt�l �t �s the representat�on of your des�gn that you th�nk shows �t �n the best l�ght.

In th�s tutor�al we have �ntroduced many common concepts of ass�gn�ng and creat�ng Mater�als, ed�t�ng Mater�als, L�ghts and Backgrounds �n the mult�-purpose Shad�ng panel, and us�ng l�ghts and shadows to emphas�ze the des�gn of a 3D product. The �nteract�ve texture mapp�ng of a label or other graph�c �s also very common to many render�ngs that you may do, so �t �s a good �dea to rev�ew the key po�nts of th�s lesson before go�ng on to s�m�lar render�ng projects.


amazzardo

Typewritten Text

Tutorial 5 is under revision

amazzardo

Sticky Note

MigrationConfirmed set by amazzardo

265Tutorial 6 - Sunglasses

6

In th�s lesson you w�ll be creat�ng a pa�r of modern, monoframe sunglasses. Th�s lesson focuses on the Construct�on Tree relat�onsh�ps between parametr�c CVs, curves and surfaces and how you can create objects us�ng those relat�onsh�ps as tools.

You have already used a curve to create and control a surface �n the earl�er lessons, and now you w�ll learn how to use a surface to create and control a curve. Th�s lesson �ncludes some more curve tools and �nteract�ve methods for creat�ng the curves you want very qu�ckly. You w�ll also find advantages �n re-us�ng elements �n your scene us�ng the Construct�on Tree �n solidThinking. Th�s lesson w�ll also �nclude t�ps on the pract�ce of s�mpl�fy�ng your final surfaces so that you can make changes more �nteract�vely wh�le reta�n�ng a prec�se shape.

Because sunglasses are symmetr�cal across the�r centerl�ne, we w�ll model one half of them and then M�rror �t over the other s�de to see our whole object. Th�s techn�que w�ll also �ntroduce the concept of surface cont�nu�ty. Th�s �s how our m�rrored halves w�ll look l�ke they are actually one “cont�nuous” surface across the centerl�ne.

Tutorial 6 - Sunglasses


We w�ll start by draw�ng a NURBS curve to “define” the shape of our r�ght-s�de sunglass lens and then bu�ld further profile curves for our sunglass frames from th�s or�g�nal curve.

Cl�ck the �con for the NURBS Curve tool, then press Return to accept the default Axis Origin (0,0,0), and us�ng the gr�d �n the Front v�ew, place your po�nts �n the pattern shown below:

(Start �n the upper left corner and proceed clockw�se.)

Part 1: Creating The Definition Curves

Turn on the Grid Snap #2 (default spac�ng) for th�s process, �f �t �s not already act�ve.


6Now go to the Tool Panel for the NURBS Curve and check the Curve Type opt�on box for “Closed.”

Once you have set these 7 po�nts, press the Spacebar to end the po�nt placement.

Th�s closed curve w�ll be the gu�de for the shape of our sunglass lenses.

In the World Browser, double-cl�ck the name port�on of th�s curve (“Curve #_”) and rename �t “lens profile” so that we can locate �t qu�ckly later on.


Select the Offset Curve tool from the Curves tab of the Modeling Toolbar. When the Console prompts you to “Select a curve,” select the NURBS curve we just created. When prompted for the “Offset distance,” enter a value of 0.7.

We want the frame of our sunglasses to naturally follow the shape of the lens, we w�ll bu�ld our profile curves for the frame by us�ng the lens shape curve as a base.

Creat�ng a second curve �n th�s way allows us to �nteract�vely control the d�stance from the lens that our frame curves w�ll be offset.

In the World Browser, double-cl�ck th�s curve’s name and change �t to be “frame offset.” We w�ll also need to locate th�s curve later on after we create a few more curves.


6Because the frame w�ll extend to e�ther s�de of th�s lens, we can use a s�mple curve type to create these extens�on areas.

Select the Single Line tool from the Curve tab of the Modeling Toolbar and press RETURN at the �n�t�al Console prompt to accept the default Axis Origin of (0,0,0).

Draw a Line between the two po�nts shown below: (It �s �mportant that the l�ne crosses the Origin (wh�te l�ne) on the Z-axis l�ne for later operat�ons)


Copy (“Ctrl-C” (W�n), “ - C” (Mac)) the Line we just created and Paste �t (“Ctrl-V” (W�n), “ - V” (Mac)) �mmed�ately back �nto our scene. It w�ll be pasted �n the exact same locat�on of the or�g�nal curve.

We w�ll need three more L�ne curves of th�s type, so �t w�ll be eas�est to s�mply Copy and Paste th�s currently selected L�ne �nto our scene and then Translate the cop�es to where we need them.

Translate (“T”) th�s Line down 2 un�ts along the Z axis.


6To get another two cop�es of th�s Line �n our scene, we can repeat the same sequence us�ng the two Lines we now have.

Select both Line curves and use the keyboard shortcuts to qu�ckly Copy and Paste two new cop�es of the Lines �nto our scene.

Translate the selected cop�es by 12 un�ts �n the pos�t�ve X d�rect�on as shown below:


Now that we have all four of our Lines �n the scene, we can fine tune the locat�on of them before we start us�ng them �n our model�ng process.

Change the act�ve Snap to be Grid Snap #1.

Select the two lower Line curves on both s�des, and Translate them (by e�ther cl�ck�ng-and-dragg�ng or enter�ng a To value �n the Translate tool panel) both “up” by 0.5 un�ts �n the pos�t�ve Z d�rect�on.


6W�th all of our curves �n the�r proper places, we can proceed to create the sunglass frame profile curves.

Turn Grid Snap #2 back on to make �t eas�er to place the control po�nts �n the follow�ng steps.

Select the Fillet Curves tool (you may have to cl�ck and hold to expand the “fly-out” menu of Arc tools) from the Curves tab of the Modeling Toolbar.

When the Console prompts you to “Pick Tangent #1” cl�ck-and-drag on the top left Line and pos�t�on the Tangency Hotspot (a dark blue dot) at the wh�te, vert�cal Origin Axis. (It w�ll snap to that po�nt due to the Grid Snap #2 be�ng act�ve.)


At the Console prompt “Pick Tangent #2,” cl�ck-and-drag on the Offset (outer) curve of our sunglass profiles. Pos�t�on the “tangency hotspot” approx�mately where you see �t below. The Fillet Curves tool w�ll snap the po�nt to the closest arc tangent to that po�nt.

If you want to control the exact locat�on of your second po�nt, you can numer�cally enter the value �n the Po�nt #2 locat�on of the F�llet Curves tool panel. However, th�s w�ll shorten your arc.

Wh�le the Fillet Curve �s st�ll selected, go to the tool panel for th�s act�on and check the Option for “Trim Tangents.”


6

Th�s “tr�mm�ng” opt�on does not break construct�on h�story, so we can st�ll adjust the locat�on of our tangency po�nts, or our two source curves, at any t�me and the ent�re Fillet Curve w�ll update!

Check�ng th�s opt�on w�ll both Trim and Combine all curves �nvolved �n the Fillet Curves act�on, leav�ng one cont�nuous, parametr�c curve.


Repeat the Fillet Curve tool by press�ng the Ctrl-Spacebar keyboard shortcut.

For “Tangent #1” cl�ck-and-drag on the top r�ght Line and pos�t�on the Tangent Hotspot (allow�ng the Gr�d to Snap) at th�s locat�on:

Now we w�ll repeat these steps to create fillets at the �ntersect�ons of the other three Lines.


6For “Tangent #2” cl�ck-and-drag on the curve we created w�th the prev�ous Fillet Curve tool (the outer curve) and place the Tangent Hotspot approx�mately at th�s locat�on:

Aga�n, check the Trim Tangents opt�on �n the Fillet Curve tool panel.

Now we have a cont�nuous “profile curve” for the upper part of our sunglass frame that follows the offset shape of our “lens curve” exactly. It �s also tangent to a hor�zontal curve on e�ther s�de of the profile. We w�ll now repeat th�s process for the lower profile of our frame.


The first th�ng we not�ce �s that the curve we named “frame offset” �s no longer v�s�ble �n our workspace. That curve was hidden when we selected the Tr�m Tangent opt�on of the first F�llet Curve. Th�s tr�m opt�on creates a new curve and Hides the two source curves after Trimming and Combining them.

In the World Browser select the object we named “frame offset” and then cl�ck w�th the Right Mouse Button (W�n) or -Mouse Button (Mac) to access the contextual pop-up menu for the World Browser.

Toggle the opt�on for Hidden in Interactive Views to br�ng our or�g�nal curve back �nto v�s�b�l�ty.

Now we can eas�ly cont�nue to create more objects that are l�nked �n the Construction Tree to th�s curve. (And th�s curve �s l�nked to our first curve, the “lens profile,” wh�ch �s st�ll v�s�ble �n the scene.)


6We w�ll now repeat the F�llet Curve act�on aga�n to F�llet the trans�t�ons between the bottom two L�nes and the “frame offset” curve.

For the next Fillet Curve, select the locat�on on the “frame offset” curve as shown below as Tangent Point #1, and then select the po�nt on the lower left L�ne where �t crosses the Origin Axis as Tangent Point #2.

Aga�n, check the opt�on �n the Fillet Curve tool panel to Trim Tangents so we have one cont�nuous curve.


Now repeat the Fillet Curve process for the last curve (the lower r�ght Line) where �t �ntersects the tr�mmed Fillet Curve we just created. Cl�ck-and-drag on the Line first to place the tangency po�nt, and then place the tangency po�nt on the Fillet Curve. Your results should look s�m�lar to the �mage shown below:

We now have the top and bottom profile curves for our sunglass frame!

They are l�nked through the Construction Tree to the or�g�nal lens profile, so we can mod�fy the or�g�nal NURBS Curve (�n the center) and both of our frame curves w�ll update automat�cally.


6Part 2: Creating And Using A Guide Surface

A “Gu�de” surface �s any surface object that ex�sts to help us to pos�t�on �tems �n 3D space. Th�nk of �t as an al�gnment surface for certa�n funct�ons and objects. Somet�mes �t does not become a surface on our final object, but �t allows us to create complex shapes qu�cker and eas�er than �f we d�d not use �t.

Use the NURBS Curve tool �n the Top v�ew to draw a curve w�th 6 points placed where they are shown �n the �mage to the r�ght:

(Place the Local Axes Origin at the default 0,0,0)


Note that we placed two CVs very close to each other at the beg�nn�ng of our curve, next to the Y-ax�s Or�g�n l�ne. These two CVs w�ll be �mportant later on as we bu�ld our object. They are there to help us ma�nta�n surface cont�nu�ty across th�s ax�s when we bu�ld surfaces from th�s curve.

Because th�s new “wraparound” profile curve l�es on the X-Y plane (or “ground plane”) we must extend �t �nto a surface to use �t to create and control other curves.

Cl�ck on the �con for the Extrude tool �n the Surfaces tab of the Modeling Toolbar. When the Console prompts you to “Pick the Profile Curve,” select the NURBS Curve we just created and g�ve �t an Extrude Height of 10 un�ts.


6Now we can project our top and bottom frame profile curves onto th�s surface and they w�ll have more “d�mens�on” than s�mply ly�ng on a flat plane as they do now.

Select the PathCast tool �n the Curves tab of the Modeling Toolbar.

When the Console prompts you to “Pick a Curve” select the top curve of our two sunglass frame profiles, and then to “Pick a Surface” select the Extrude we just created

We now have a properly curved (and extended) profile for the frame of our sunglasses.


Repeat the PathCast act�on by press�ng Ctrl-Spacebar.

When prompted, select the lower frame profile as the Curve to cast and then select the Extrude object aga�n as the Surface to project onto.

In the Perspective v�ew, Orbit around our newly created curves by cl�ck�ng and dragg�ng w�th the Right Mouse Button (W�n) or the -Mouse Button (Mac).

We can clearly see that the planar curves that we created �n the Front v�ew are now projected �nto all three d�mens�ons and can be used to create a more compl�cated surface.


6Because these curves are st�ll pos�t�oned (relat�vely) one above the other, we w�ll make a few mod�ficat�ons to the “Gu�de” Extrude surface that they are projected onto so that the curves w�ll have a better shape �n 3D space.

Select the Extrude object. In the Extrude tool panel, adjust the Sections opt�on to be 3 and the V Order to be 3 as well. Th�s w�ll g�ve us a surface that can smoothly curved.

We want to ed�t the CVs of th�s parametr�c object w�thout break�ng �ts Construct�on Tree relat�onsh�p w�th the curves that created �t, or to the PathCast curves that are lay�ng along �t. We can do th�s by us�ng the Point Edit mod�fier �n the Edit Mode as we have done �n prev�ous lessons w�th other parametr�c surfaces. In th�s �nstance, we are ed�t�ng an object that �s “�ns�de” the Construct�on Tree, nested between other Act�ons. Th�s �s a powerful part of work�ng w�th�n solidThinking.

W�th the Extrude surface st�ll selected, press the Spacebar to enter the Edit Mode, and then press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to enter Point Edit.


In the Right v�ew, cl�ck-and-drag to Select the bottom-front CVs as shown below:

Translate these selected CVs �n the positive Y d�rect�on by 2 un�ts, e�ther us�ng the �nteract�ve method of cl�ck�ng-and-dragg�ng or by enter�ng a value of 2 �n the Y ax�s To �nput box of the Translate tool panel and press ESC when done.


6Th�s has “pulled back” the lower frame profile curve that we PathCasted onto th�s surface. We are man�pulat�ng two of our pr�mary source curves w�thout actually select�ng them, but rather by ed�t�ng the “Gu�de Surface” that �s be�ng used to extend these 2D profile curve along a curv�ng profile path.

Wh�le st�ll �n Point Edit, deselect the bottom CVs and sw�tch to the Front v�ew to select th�s center po�nt shown below:


Translate th�s s�ngle CV by 4 un�ts �n the negative Y d�rect�on, by e�ther cl�ck�ng and dragg�ng �n the Right v�ew, or by enter�ng a value of –4 �n the Y axis �nput box of the To parameters. (Press ESC to end the act�on.)

Return to Parameter Edit by press�ng Alt-Spacebar (W�n) or Option-Spacebar (Mac) and then ex�t the Edit Mode by press�ng the Spacebar aga�n. You w�ll now be �n Object Mode w�th no CVs d�splayed.

You can see by Orbiting �n the Perspective v�ew that our PathCast curves follow th�s surface to create more flu�d and �nterest�ng profile curves for our glasses.


6S�nce we now have a very well formed surface that defines our sunglass frame curves, we can also use �t to create the surface for our lens. In th�s case, our “gu�de surface” fulfills two funct�ons, both to add d�mens�on and curvature to our profile curves, and to conven�ently create our lens elements.

Select the Trim Surface tool from the Surface tab of the Modeling Toolbar.

When the Console prompts you to “Pick a Curve” select the “lens profile curve” that we created at the very beg�nn�ng of th�s tutor�al. (It should st�ll be v�s�ble �n the center of your Front v�ew.)


When the Console prompts you to “Pick a Surface,” select the Extrude surface that we have been us�ng as a Gu�de Surface for our frame curves.

Th�s has tr�mmed the �nter�or port�on of our surface away, wh�ch we would l�ke to keep. To reverse th�s, go to the Trim Surface tool panel, and check the Loop Exterior opt�on for Trim Exterior.


6We now have a lens surface that �s l�nked through the Construct�on Tree to the same surface that gu�des our frame curves. Th�s w�ll make �t easy to man�pulate our frame and lens at the same t�me us�ng the same surface as a “gu�de.”

Here �s the lens surface as seen �n the Perspective v�ew:

And as seen �n the Right v�ew:


We can now create a frame to hold our sunglass lens us�ng the projected profile curves we have just man�pulated. We w�ll start by defin�ng a cross-sect�on that our frame w�ll have over most of �ts length.

Select the Ellipse Curve (2 axis) tool from the Curves tab of the Modeling Toolbar.

Part 3: Creating the Frame Surface

In the Front v�ew, cl�ck to place the Center Point of the Ellipse somewhere outs�de of the curves and surfaces we have already made.

Cl�ck-and-drag Axis Endpoint #1 to be 2 un�ts above that Center Point (�n the pos�t�ve Z d�rect�on) to define the first ax�s d�mens�on, and then cl�ck 1 un�t to e�ther s�de of the Center Point to define the Axis Endpoint #2.


6W�th th�s Ellipse curve selected, press Spacebar to enter Ed�t mode, and then press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to enter Point Edit. You w�ll see the e�ght CVs that make up th�s parametr�c pr�m�t�ve.

Select the center four CVs by cl�ck�ng-and-dragg�ng to select them at once:

Press the “S” key to �nvoke the Scale act�on. In the Scale tool panel, enter a scale amount of 0.5 and then press ESC to accept th�s value and to end the Scale act�on.


Use the qu�ck-keys to return to Parameter Edit and then to ex�t the Edit mode, return�ng to the Object mode.

Select the Birail tool from the Surfaces tab of the Modeling Toolbar.

Scal�ng these parametr�c po�nts prov�des us w�th a flattened Ell�pse that we can use as the cross-sect�on of our frame.

When the Console prompts you to “Pick Profile Curve,” select the flattened Ellipse.


6The Console then prompts you to “Pick Rail Curve #1 near Start.” Select the upper frame profile curve (created w�th the Pathcast tool) at a po�nt near the Origin Axis (by the lens) as shown below:

When prompted for “Rail Curve #2,” select the bottom frame profile curve near the Or�g�n:


The Birail surface that �s created follows our two frame profiles from the centerpo�nt (by the nosep�ece) to the back of the glasses (by the ear p�eces). Unfortunately, when seen from the Top v�ew, �t bulges a b�t at the front and �s qu�te th�n back by the ear p�eces.

In the Birail tool panel, check the Option to Maintain Height. Th�s w�ll keep the Birail surface set to the he�ght of our profile curve.

We can see that th�s �mmed�ately “th�ns” out the B�ra�l at the po�nt that �t crosses the lens area. In fact our lens surface now �ntersects the frame surface!


6

We can see that there are many CVs along the length of th�s B�ra�l surface. More than �s necessary, �n th�s case. Th�s complex�ty �s a result of the surface accuracy of the B�ra�l be�ng mult�pl�ed by the accuracy of the PathCast of the already complex F�llet curves. The result �s an extremely “heavy” surface (or a surface w�th many more CVs than �s needed). Work�ng w�th th�s surface w�ll slow our system down and not prov�de any greater degree of accuracy for our project due to the large number of po�nts on such a relat�vely small surface.

Press the Spacebar to enter Edit Mode and then Alt-Spacebar to enter Point Edit to see the po�nts of our parametr�c Birail surface.

Now that we have our Birail opt�ons correct and a very good surface created, we can exam�ne the surface that we have created a b�t more cr�t�cally.


We entered a value of 0.055 �nstead of a more round value of 0.05 because solidThinking works w�th tolerance values �n a str�ct dec�mal system. Add�ng that extra 5 one thousandths at the end keeps the overall tolerance of 5 one hundredths but adds the constant prec�s�on of go�ng to the thousandths dec�mal place. Th�s w�ll keep our number of surface CVs from vary�ng whenever the Construct�on Tree rebu�lds the B�ra�l surface.

Press the Alt-Spacebar to ex�t the Point Edit state wh�ch w�ll return the B�ra�l parameters to the act�ve tool panel.

Because our Birail �s a s�ngle surface that does not have to al�gn prec�sely to any other surfaces, we can use a lower tolerance (or h�gher numer�c value) to further reduce the total number of po�nts. (We want to have a small enough number of po�nts so that we can eas�ly see and ed�t them �nd�v�dually.)

Scroll down to the bottom of the Birail tool panel and check the “Simplify” opt�on, and enter a Tolerance amount of 0.055. Th�s w�ll dramat�cally reduce the number of po�nts across our surface and st�ll prov�de us w�th a very smooth and cont�nuous shape.


6If we look at our sunglass frame surface �n the Right v�ew w�ndow, we can see that the long p�ece that extends from the “temple” to the “ear p�ece” �s the same th�ckness all along �ts length.

To mod�fy th�s area smoothly, we can use the Taper deformer. Th�s w�ll g�ve us a cont�nuous taper.

Select the Taper tool from the Deformers fly-out menu. (The �con may be h�dden under the Twist deformer.)

The Console w�ll prompt us to “Select an object.” Select the newly S�mpl�fied Birail surface by cl�ck�ng near the end of the “ear p�ece” to avo�d select�ng the lens surface.


When the Console then prompts for the “Scale Value along the X” (and then Y) ax�s, enter a value of 0.5 for both axes. You w�ll have a deformed shape l�ke the �mage below:

We can see that our ent�re frame has been deformed, but we can local�ze the effect by man�pulat�ng the Tool Panel values and the �nteract�ve deformer “Hot-Spots.”

We can start by go�ng to the Taper tool panel and chang�ng the Default Taper Axis to be the Y axis.


6Th�s almost �mmed�ately g�ves us better results, but we can adjust the taper reg�on even more by enter�ng the Edit Mode (Spacebar) wh�le the Taper object �s selected.

Cl�ck-and-drag on the blue “Hotspot” for the Axis Start Point, and move �t to the wh�te X-axis Origin l�ne.

Th�s w�ll l�m�t the Taper to just the area of our frame beh�nd the lens, from the X-axis Origin l�ne and back.


Next, cl�ck-and-drag on the Axis End Point to move �t closer to the or�g�nal “wrap around” profile curve (v�s�ble �n green) for our sunglasses. (For the Taper to be cont�nuous along the ear p�ece of the frame, �t �s �mportant that the Axis End Point extends beyond the end of our frame surface.)

At th�s po�nt we have mod�fied our frame geometry to have a smooth taper �n both th�ckness and curvature along the length of the ear p�ece. We can now cont�nue to mod�fy these surfaces to create the fin�shed sunglasses.


6Part 4: Creating the Lens Opening

Our sunglasses are start�ng to take shape, and now we can make an open�ng �n the frame for the lens surface that we have already modeled, and use the Blend Surface tool to creat�vely br�dge the gap across the �ns�de and outs�de of our frame open�ng.

Select the Trim Surface tool from the Surface tab of the Modeling Toolbar.

At the Console prompt to “Pick a Curve,” select the or�g�nal lens profile curve at the center of our frame to be the Trim curve. (You may have to Orbit the camera up above our model �n the shaded Perspective v�ew to see the curve clearly.)


When the Console prompts you to “Pick a Surface” to tr�m, select the Tapered Birail surface we just created. (Because we don’t want to tr�m the lens aga�n, select the frame surface by cl�ck�ng on �t somewhere not near the lens surface.)

We can see by zoom�ng �n on our Trim area that we have a pretty b�g gap between the back surface and the front of the frame.


6We can br�dge th�s gap by creat�ng a Blend Surface that �s l�nked to both the front and back edges of the Trim area. (A Blend Surface does not need to Blend between two separate surfaces, just two edges of any surfaces.) Th�s way we are also l�nk�ng th�s Blend to the “lens profile” curve because �t w�ll adapt to whatever shape the tr�mmed holes take on.


When the Console prompts “Pick Surface #1,” select our open frame surface as Surface #1.

After we select the frame surface, all of the el�g�ble edges for the Blend Surface are h�ghl�ghted �n dark blue w�th “Start point” dots at the seams of the surface edges.


Then the Console prompts us to “Pick edges near Start on Surface #1.”

To Blend between the front and back edges of the lens area Trim, select the front tr�mmed edge of the frame below the “Edge Start Point” as shown below:

Press the Spacebar to end the edge select�on for Surface #1.

The �mage above shows the �nformat�on that �s presented when you “float” the mouse cursor above any of the dark blue “edge hotspots.” Th�s �s espec�ally helpful when selected edges that are part of the same surface, because you can not�ce �f you are about to select the same edge tw�ce for both edges.


6Now the Console prompts us to “Pick Surface #2.”

Because we want to create a Blend Surface across two Trim edges of the same surface, select the tr�mmed frame surface aga�n as Surface #2. All of the edges of th�s surface are h�ghl�ghted �n dark blue aga�n.

To “Pick edges near start of Surface #2” you can Orbit the Perspective v�ew unt�l you can see the back of the sunglass frame surface, and then select the back edge of the lens open�ng beneath the “Start point.”

Press the Spacebar to end the second edge select�on and to fin�sh the act�on.


A Blend Surface has been created to br�dge the gap between the front and back edges, but the result�ng surface looks �ncorrect at the front of our sunglasses. (See the OpenGL shaded d�splay below:)

Th�s “�ncorrect” surface �s due to the tangent d�rect�on be�ng �nverted for the front edge. Because the edge of a surface can have tangency �n e�ther d�rect�on, the Blend surface tool may need to be expl�c�tly �nstructed wh�ch d�rect�on you would prefer.

We can �nvert th�s tangent d�rect�on by check�ng the Tangent opt�on for “Invert surface #1.”


6Th�s g�ves a much better surface that �s tangent to both the front and back edges, but �t �s a l�ttle “puffy.” We can make the Blend Surface less puffy by adjust�ng the Smoothness amounts for the “two” surface edges.

In the Blend Surfaces tool panel, adjust the “Smoothness #1” to be 0.2, and then change “Smoothness #2” to be the same.

Th�s g�ves us a much n�cer, but st�ll smoothly tangent, surface between the front and back edges of our frame’s open�ng for the lens.


Part 5: Sculpting the nosepiece

One half of our sunglasses �s nearly complete, but we need to add some final deta�ls to create an accurate representat�on of someth�ng that could actually be comfortably worn. It �s eas�er to understand what we are do�ng �f we can see both halves of our sunglasses and v�ew our changes s�multaneously on both s�des. We can do th�s by m�rror�ng the surfaces we have created so far.

Select the Mirror tool from the Transform tab of the Modeling Toolbar.

When the Console prompts you to “Pick the objects to Mirror,” select the Trimmed “frame” surface and the Blend Surface between the front and back edges of the lens open�ng. (Press the Spacebar once you have selected both objects.)

The Console now asks for the “Start of mirror plane.” Press Enter to accept the default value of (0,0,0).

At the Console prompt for the “End of mirror plane,” type a value of “0,1,0” (w�th commas) �nto Console l�ne, and press Enter to accept these values. Th�s effect�vely uses the Y axis as a m�rror plane.


6We can now see the proport�ons of our ent�re sunglass frame accurately �n the workspace.

It �s a very good th�ng that we have already Simplified the B�ra�l surface that th�s Tr�m was made from. If we had not done that act�on, we would aga�n be look�ng at over 800 po�nts to man�pulate!

Select the tr�mmed frame surface (on the non-m�rrored s�de) and enter the Edit Mode and then Point Edit so that you can see the CVs of the parametr�c Trimmed surface. They should appear as shown below.


In the Front v�ew, drag a select�on box around the two columns of CVs at the br�dge of the nosep�ece (where the or�g�nal and m�rrored s�des meet).

Translate these selected po�nts 1 un�t “forward” �n the negative Y d�rect�on (toward the front of the glasses), by �nvok�ng the Translate tool (“T”) and then us�ng the Tool Panel �nput boxes or �nteract�vely cl�ck�ng-and-dragg�ng 1 un�t �n the Right or Top v�ews.

Press ESC to end the Translate act�on, but don’t ex�t Point Edit mode yet.


6As we can see �n the Top v�ew shown below, mov�ng both of these columns of CVs kept our trans�t�on from one half of the glasses to the other relat�vely smooth and cont�nuous.

The reason for putt�ng those two CVs r�ght next to each other when we drew our “wraparound” curve was to create th�s tangent. Although we have created many other objects �n the Construct�on Tree from that defin�ng curve, the pos�t�on of the CVs of th�s curve cont�nue to �nfluence the pos�t�on of CVs on all of the future objects. Even the S�mpl�fy Surface act�on reta�ns the locat�on of these or�g�nal CVs.

Now that we have a place �n our sunglasses for the “br�dge” of the nose, we can also add some nose-pads to keep our glasses from sl�d�ng off of the nose.

Wh�le st�ll rema�n�ng �n the Edit Mode and Point Edit, deselect the two columns of CVs we just adjusted.


Cl�ck�ng and dragg�ng wh�le us�ng the “Pan in Perspective” keyboard shortcut (Ctrl-Shift-RMB (W�n) or -Ctrl-Shift (Mac)) w�ll also help to control the v�ew.

Orbit and Zoom the v�ewpo�nt �n the Perspective v�ew unt�l you can clearly see the CVs that are along the �ns�de of the nose area of our frame.

Select the two back CVs shown below by cl�ck�ng on one and then Ctrl-clicking on the second one to add to the select�on w�thout dragg�ng a select�on box. (It w�ll help to have the Perspective v�ew �n Shaded mode so that you can tell wh�ch CVs are �n the front and wh�ch are �n the back.)


6Translate these two po�nts by 1 un�t �n the positive Y d�rect�on. (Toward the back of the glasses)

Not�ce how not only d�d the m�rrored half of our glasses update �nstantly, but also the Blend surface that br�dges the gap between the front and back tr�mmed edges of our lens open�ng. Th�s �s how solidThinking’s extens�ve and �ntell�gent Construction Tree makes alterat�ons l�ke th�s very easy and flu�d.

Ex�t the Po�nt Ed�t mode and the Ed�t mode us�ng the keyboard shortcuts and zoom out �n the Perspect�ve v�ew to see both halves of our model.


At th�s po�nt we are m�ss�ng the second lens �n our m�rrored half. Rather than m�rror�ng �t at the same t�me as the frame, we w�ll use the Mirror tool separately to ma�nta�n a clear defin�t�on between the lens and the frame, both of wh�ch w�ll be made from d�fferent mater�als later on �n our product�on processes.

Select the Mirror tool a second t�me and when prompted �n the Console to “Pick objects to Mirror,” select the lens surface and press the Spacebar to end the select�on.

The Console now asks for the “Start of mirror plane.” Press Enter to accept the default value of (0,0,0).

At the Console prompt for the “End of mirror plane,” type a value of “0,1,0” (w�th commas) �nto Console l�ne, and press Enter to accept these values.


6Wh�le the front des�gn of our sunglasses �s qu�te complete, and we have an accurate descr�pt�on of the shape and look we are after, the ends of our frames by the ear p�eces are st�ll “open.” We can now close them off to fin�sh the look of the glasses.

To eas�ly move our Perspective v�ew to see the end of our frame, select the or�g�nal, non-M�rrored, half of the frame, and press the “Zoom Selected” button at the top of the Perspective v�ew w�ndow. We can now Orbit our v�ew around to see the back edge of the frame.

Part 6: Closing the frame ends


To beg�n to bu�ld our end cap, we w�ll need a source curve that �s l�nked w�th�n the Construct�on Tree to a spec�fic edge of the frame surface. To do th�s we w�ll use the Edge Extract tool.

When the Console prompts “Pick a Surface,” select the or�g�nal frame surface that we are focused on. Th�s w�ll h�ghl�ght all of the ava�lable “edges” �n dark blue.

When prompted to “Pick Edges,” select the edge of the frame surface at the “open�ng” at the back of the ear p�ece, as shown below:

Select the Edge Extract tool from the Curves tab of the Modeling Toolbar.

Press the Spacebar to end the select�on process and to create the new curve.


6Because th�s new curve ex�sts prec�sely on the edge of the surface that we are try�ng to fill, �t w�ll be helpful to Zoom and center the Orbit of our Perspective v�ew to th�s object by aga�n us�ng the “Zoom Selected” button at the top of the Perspective v�ew w�ndow.

Now we w�ll mod�fy th�s curve to g�ve us the proper offset for creat�ng the end cap.

Select the Offset Curve tool from the Curves tab of the Modeling Toolbar, and when the Console prompt asks to “Pick a Curve,” select the edge curve we just extracted. (It may be helpful to sw�tch to the Wireframe d�splay mode to see, and p�ck, our edge curve eas�er.)

When prompted for an “Offset Distance,” enter a value of –0.1 to �nset the curve. Th�s w�ll end the act�on and g�ve us an Offset curve sl�ghtly smaller than our or�g�nal edge:


We w�ll be us�ng th�s curve to Tr�m another surface for the creat�on of the endcap of our sunglass frame end, but first we need to create and al�gn that surface.

Create a Sphere pr�m�t�ve �n th�s v�ew by select�ng the Sphere tool �con from the Pr�m�t�ves tab of the Modeling Toolbar.

Sw�tch to the Top v�ew and Pan and Zoom the v�ew unt�l you can clearly see the area around the edge we are work�ng on. (You can also select the edge curve and use the “Zoom Selected” button �n th�s w�ndow, but you w�ll need to Zoom Out afterwards s�nce �t places the v�ew a b�t too close to such a small object.)

When prompted for the “Local Axes Origin,” cl�ck �n the Top v�ew near the work�ng edge, so that the Sphere sl�ghtly overlaps the end of the frame as shown below.


6Because we �nteract�vely pos�t�oned th�s sphere us�ng the Top v�ew, �t l�es on the X-Y Origin plane, wh�ch �s about 5.6 un�ts below the area we are work�ng on.

W�th the Sphere st�ll selected, �nvoke the Translate tool (“T”) and enter 5.6 �n the “To” Z ax�s �nput box and press ESC to end the Translate act�on.

Now that our Sphere �s correctly pos�t�oned, we can use the Tr�m tool to create a cap surface from �t.

After �nteract�vely plac�ng the Sphere �n the Top v�ew, press Return to accept the Default Radius value of 1.


Invoke the Trim Surface tool and when prompted to “P�ck Curve,: select the smaller, Offset curve as our tr�m curve, and then when prompted to “P�ck Surface,” select the Sphere as the surface to be tr�mmed.

Th�s w�ll Trim two holes �n our Sphere, but we actually want to keep only the �nter�or port�on of one s�de of our Tr�m area. To do th�s, go to the Trim tool panel and check the Loop Exterior d�rect�on to “Trim Exterior” and set the Projection Direction to be “Curve Normal” only.


6You w�ll then get a s�ngle Trimmed surface s�m�lar to what �s shown below:

Although th�s �s a pretty good place for the first part of our cap surface, we w�ll want to fine tune the Tr�m d�rect�on to �nsure that th�s new surface l�es along the same vector as the rest of our frame ear p�ece (as we would expect from an end cap).

Wh�le the Tr�m surface �s st�ll selected, press the Spacebar to enter the Edit Mode for th�s tool. Th�s w�ll show us the Trim “Hotspots” and allow us to �nteract�vely man�pulate the Projection Direction of our Trim.


D�sable the Grid Snaps (�f any are act�ve) by press�ng the Snap Disabled button �n the Snaps toolbar.

In the Top v�ew, cl�ck-and-drag to move the Projection Start Point unt�l �t l�nes up w�th an arb�trary po�nt along the center of the frame arm, s�m�lar to the �mage below:


6Then, �n the Right v�ew, man�pulate both the Projection Start and End Points so that the Trim Projection Direction �s al�gned w�th the tapered angle of the frame arm.

The changes we have made to the tr�m d�rect�on are very sl�ght �n th�s case, but they w�ll help us to get a very natural trans�t�on from the frame surface to th�s end cap, and �t �s very helpful to know that you can alter your tr�ms �nteract�vely �n th�s way.

Select the Blend Surface tool from the Surface tab of the Modeling Toolbar.

Now that our cap surface �s be�ng tr�mmed from the source Sphere �n the correct pos�t�on, we can create a Blend between th�s endcap and the rest of the sunglass frame to completely enclose the end. (It w�ll also be helpful to set the Perspective v�ew to use the Shaded d�splay mode for these next steps.)


Select the frame surface as “Surface #1” and then select the back, open edge to the r�ght of the Start Point as the start edge of our Blend. (Then press Spacebar to end the edge select�on on th�s surface.)

Now select the Trimmed end cap as “Surface #2” and p�ck �ts edge to the (relat�ve) r�ght of �ts Start Point and press the Spacebar to create our Blend Surface.


6Th�s results �n a much larger Blend than we need for th�s end of the sunglass frame!

The reason th�s surface “bulges” so much at the edge of the Tr�mmed end cap �s because the Blend surface tool automat�cally ma�nta�ns a curvature cont�nuous tangency from one surface edge to the other. The “Smoothness” sett�ng controls how much �nfluence each surface has upon the result�ng Blend.

To reduce the “bulge” of th�s surface, go to the Blend tool panel and set Smoothness #2 (correspond�ng to Surface #2) to have a value of 0.1.


At th�s po�nt we have a very n�cely fin�shed end to our sunglass frame, but �t has only been bu�lt upon one the or�g�nal end of our frame, and �t �s not reflected �n our m�rrored copy. (See the yellow h�ghl�ghted end on the r�ght.)

However, because our Mirror act�on �s �ncluded �n the Construction Tree, we can not only alter parameters relat�ng to the Mirror (such as ax�s or center po�nt), we can also add or subtract �tems that should be m�rrored. In th�s case we would l�ke to add our tr�mmed end cap and the assoc�ated Blend surface


6Select the Mirror object (wh�ch already �ncludes the frame surface and lens open�ng surface) and check the Insert box �n the Mirror tool panel. Th�s act�vates the �nsert�on process, wh�ch allows us to freely select objects �n our scene to �nsert �nto the Mirror act�on.

Insert both the Trim surface end cap, and the Blend surface between �t and the or�g�nal frame surface, and then press Spacebar to end the Insert act�on. These objects are �nstantly added to the Mirror act�on l�st, and we can see that our Mirror object now accurately reflects the ent�re, closed half of the frame.


After sav�ng th�s “completed” vers�on of the file, we can now use solidThinking’s extens�ve and flex�ble Construction Tree to explore the overall shape and des�gn of the glasses and come up w�th a range of d�fferent vers�ons to evaluate. If we go all the way back to the or�g�nal, closed NURBS curve that we created as the v�sual gu�de for our lens-shape, we can select that bas�c curve and ed�t �t to completely alter the look and style of our sunglasses.

Select the curve named “Lens Profile” from the World Browser and press Spacebar to enter Edit Mode. (Because th�s �s a s�mple NURBS curve, we can see the CVs of the curve w�thout hav�ng to enter Po�nt Ed�t.)

Select the CV po�nt that �s at the bottom r�ght-hand corner of the curve, as shown below:

Part 7: Optional adjustments


6W�th th�s CV selected, we can go to the NURBS Curve tool panel and scroll down to the Weight sett�ng for the selected po�nt (or po�nts). G�ve th�s CV a Weight value of 6.

Because NURBS Curves support th�s k�nd of “we�ght�ng” we can adjust the amount of �nfluence that th�s part�cular po�nt has upon the curve that forms the bas�s of our ent�re sunglass shape. (It may take a few seconds for the model to update to reflect th�s change because solidThinking �s recalculat�ng all of the steps w�th�n the History Tree that �nvolve th�s curve. (Th�s would �nclude almost everyth�ng we have done!))


Just th�s s�ngle adjustment has changed the style of our sunglasses dramat�cally!

As you work, keep �n m�nd that many parts of the Construction Tree are dependant on the parameters of prev�ous steps, wh�ch can change dramat�cally depend�ng on the earl�er construct�on h�story of each object. Th�s may help to expla�n why somet�mes parts of your model w�ll seem to change dramat�cally or even “d�sappear” wh�le you are alter�ng objects �n the model’s Construction Tree. If you “Undo” your last act�on (“Ctrl-Z” (W�n) or “-Z” (Mac)) you w�ll go back to state you were just �n, but �t always a good �dea to save your file before mak�ng these global adjustments.

Feel free to cont�nue to e�ther adjust th�s most bas�c curve, or any of the act�ons or objects w�th�n the Construction Tree, to arr�ve at the style of sunglasses you prefer.


6Someth�ng that can also be helpful when des�gn�ng an �tem that �s to be “worn,” such as these sunglasses, �s to �mport a model of the part of the body that they w�ll fit onto and adjust your model to better “fit” th�s v�rtual human surface.

An example of th�s �s shown �n the �mage below us�ng a model of a human head. (The head model shown below �s not �ncluded w�th th�s manual. Sorry!)

335Tutorial 7 - Faucet

7

The creat�on of the s�mpl�fied faucet (or “tap”) for th�s lesson w�ll �ntroduce and d�scuss the concepts of surface cont�nu�ty and curvature analys�s. These are �mportant concepts whenever you des�gn an object that w�ll be h�ghly reflect�ve or that needs to have the appearance of one smooth, flow�ng shape. In the case of th�s faucet, we w�ll create the object from mult�ple surfaces, but ma�nta�n the appearance that �t �s cast and pol�shed from a s�ngle mold. The des�gn, however, w�ll cont�nue to be very flex�ble and easy to man�pulate us�ng the Construct�on Tree. Many of the tools used �n th�s tutor�al have been prev�ously �ntroduced, but the�r finer funct�ons and opt�ons w�ll be explored here. All of these tools w�ll also have the�r ab�l�ty to produce “curvature cont�nuous” surfaces used at all t�mes. For a more thorough d�scuss�on of curvature cont�nu�ty, see the “Techn�cal Br�ef” at the beg�nn�ng of th�s book.

Tutorial 7 - Faucet


Because our faucet des�gn w�ll be composed of many d�fferent surfaces, �t �s a good �dea to “block out” the scene and try to use as few curves and surfaces as poss�ble when start�ng so that th�ngs are less confus�ng as we progress and be�ng to create all of the surfaces necessary to represent the des�gn of th�s object. The first steps w�ll be to define the overall base, “neck” and handle areas of the faucet des�gn.

Part 1: Setting up the Scene

Th�s lesson uses prec�se d�mens�ons and complex surfac�ng tools that requ�re very str�ct tolerances. Set the Positional 3D Tolerance �n your solidThinking Preferences to be .001 for th�s project, �f �t �s not already the default �n your preferences. If you do not complete th�s step, some funct�ons as descr�bed �n th�s tutor�al w�ll fa�l to bu�ld any surfaces at all due to the small un�t numbers of the model be�ng created.

Important Note about Tolerances


7

Th�s Cylinder w�ll become the “base” of our faucet. Th�s �s the po�nt at wh�ch the “spout” and handle w�ll be attached. Next we w�ll define the d�rect�on and curvature of our “spout.”

W�th the Top v�ew act�ve, select the Cylinder pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar, and press Return to accept the default “Local Axis Origin” of 0,0,0.

The Console w�ll then prompt us for the “Top Radius,” wh�ch should be 4 un�ts, and then for the “Bottom Radius,” wh�ch we would l�ke to be a l�ttle larger at 5 un�ts.

At the final Console prompt for the “Height” of the Cylinder, enter a value of 12 un�ts. Th�s w�ll end the creat�on phase and produce a sl�ghtly tapered cyl�nder.


Th�s small curve w�ll define the overall curvature of the spout as seen from the s�de, but we also need some curves to define the shape of the spout surface as well.

Select the NURBS Curve tool from the Curves tab of the Modeling Toolbar, and press Return to accept the default “Local Axis Origin” of 0,0,0.

Make Grid Snap #2 the act�ve snap by e�ther cl�ck�ng on the �con from the Snaps Toolbar, or by select�ng �t from the Edit -> Active Snaps submenu.

In the Right v�ew, cl�ck-and-drag to place the four po�nts of th�s curve �n the approx�mate locat�ons shown below, go�ng from r�ght to left, and press Spacebar when you have placed all four po�nts.


7

Select the Rounded Polyline tool from the Surfaces tab of the Modeling Toolbar. (It may be h�dden beneath the Open Polyline tool �n the “fly-out” �con menu of Polyline tools.)

At the Console prompt to define the “Center,” cl�ck to the r�ght of the Cylinder at any locat�on �n the Front v�ew. (The prec�se locat�on does not matter, even though we w�ll be us�ng th�s curve �n model�ng funct�ons.)

At the next Console prompt for the “Axis Endpoint #1” cl�ck-and-drag to place th�s ax�s endpo�nt 3 un�ts to the r�ght of the center po�nt, and then place “Axis Endpoint #2” by cl�ck�ng and dragg�ng 2 un�ts above the center po�nt.

W�th the Front v�ew act�ve, select the Ellipse (2 axis) tool from the Curves tab of the Modeling Toolbar.

Th�s curve w�ll be used to define one of the cross-sect�ons of our “spout” surface. We w�ll use a d�fferent type of curve for the second cross-sect�on.


In the Rounded Polyline tool panel, change the Radius (for all po�nts) to be 0.6.

At the Console prompt for the “Local Axis Origin,” press Return to accept the default 0,0,0, and when the Console prompts you for “Point #1,” beg�n plac�ng 4 po�nts �n the arrangement and locat�on shown below.

Press the Spacebar when you are done plac�ng the po�nts �n the scene, wh�ch w�ll fin�sh the creat�on phase of th�s tool, and �n the Rounded Polyline tool panel (wh�ch �s act�ve now), toggle the Option for a “Closed” curve.


7

When the Console prompts us to “Pick Profile Curves,” first select the Ellipse by cl�ck�ng on �t �n our scene, and then select the Rounded Polyline second, after th�s press the Spacebar. (The order �n wh�ch you select these profiles affects the final surface.)

Th�s w�ll “round” off the corners of our s�mple polyl�ne. (Wh�ch �s why �t �s called a Rounded Polyline!) We can now use these two curves as “source curves” �n the creat�on of another object for our scene.

Select the Loft tool from the Surfaces tab of the Modeling Toolbar.


In the Loft tool panel, scroll down to the Options, and check the opt�on for an “End Cap.” Th�s w�ll close off the ends of our Loft that faces “away” from the Cylinder base of the faucet.

The Extrus�on Path curve �s cons�dered the “sp�ne” of the result�ng Loft surface, and the surface w�ll be bu�lt along th�s path, w�thout any regard to the placement of the profile curves. Th�s �s why �t was okay to place one profile “�ns�de” the other.

Next the Console prompts us to “Pick Extrusion Path Curve.” Select the NURBS Curve that we drew as the profile of our faucet’s “spout.” Th�s last step w�ll fin�sh the creat�on phase and bu�ld the Loft surface “over” th�s curve.


7

The first part �s to prov�de a locat�on for the two surfaces to jo�n each other. The Loft �s open on one end, wh�ch �s �deal, but the Cylinder �s a completely closed object.

Part 2: Trimming and Blending the Base

The two parts that we have created w�ll need to be connected somehow �n order to represent a funct�onal faucet spout and base. However, these parts are typ�cally cast as one sol�d construct�on, and therefore have perfectly smooth trans�t�ons from one shape to another. In order to ma�nta�n th�s we w�ll have to pay attent�on to curvature cont�nu�ty between our surfaces.

W�th the Right v�ew act�ve, select the Circle pr�m�t�ve tool from the Curves tab.

When the Console prompts us to place the “Local Axis Origin,” cl�ck-and-drag to place the Circle Center m�dway up the s�de of the Cylinder near the Loft surface.


At the next Console prompt to define the Radius, enter a value of 5.5, wh�ch �s nearly the he�ght of our Cylinder.

Select the Trim surface tool from the Surfaces tab, and when the Console prompts us to “Pick Curve,” select the Circle we just created.

At the next Console prompt to “Pick Surface,” select the tapered Cylinder �n our scene. Th�s w�ll tr�m out a rounded port�on of the s�de of the Cylinder, wh�ch we can use to blend another surface �nto.


7Select the Blend Surface tool from the Surfaces tab, and when the Console first prompts us to “Pick Surface #1,” select the tr�mmed Cylinder. The el�g�ble edges for Blending w�ll become dark blue.

Next hold down the Ctrl-key wh�le select�ng the second edge of th�s open�ng near the r�ght s�de, as shown by the arrow cursor �n the second �llustrat�on.

The Console w�ll then prompt us to “Pick Edges near Start on Surface #1.” F�rst p�ck the “upper edge” of the open�ng on �ts left s�de as shown by the arrow cursor �n the first �llustrat�on.

Press Spacebar after select�ng these two edges.


Next the Console w�ll prompt us to “Pick Surface #2.” Select the Loft surface as the second surface to construct the Blend from.

When the Console prompts “Pick Edges near Start on Surface #2,” select the open edge of the Loft surface at the upper r�ght of the “Start Po�nt” along the edge, as shown below.

Press Spacebar to fin�sh the edge select�on, and to bu�ld the Blend Surface.


7To correct the strange tangency results at the Cylinder edges, check the Tangent opt�on to “Invert Surface #1.” Th�s w�ll reverse the Tangent d�rect�on, and our Shaded d�splay mode w�ll show the smoother surface.

We can see that th�s has created a Blend Surface between the two objects, but the�r are a few changes we can make to prov�de us w�th an opt�mal blend�ng surface.

The Blend Surface has created G2, or curvature cont�nuous, tangency w�th both surfaces. Th�s �s why the Blend appears so smooth and flu�d as �t passes from one d�sparate edge to the next. Th�s �s a very complex surface that requ�res a lot of calculat�on to correctly bu�ld. In solidThinking, th�s �s an �mportant and common tool for creat�ng flow�ng shapes and br�dg�ng between objects �n a smooth manner.


Part 3: Analyzing the Curvature

The Blend Surface has many parameters w�th poss�bly confus�ng terms assoc�ated w�th them. Most of these are related to th�s tool’s �nherent ab�l�ty to create G2, curvature cont�nuous trans�t�ons between d�sparate surfaces. We can use the graph�cal analys�s tools �n solidThinking to understand and adjust these parameters �n the context of the�r cont�nu�ty

Select the Loft surface we have bu�lt �n the scene (wh�ch w�ll deselect the Blend Surface) and then Ctrl-cl�ck to select the tr�mmed Cylinder. F�nally, Ctrl-cl�ck to reselect the Blend Surface. (Th�s w�ll leave the Tool Panel w�th the opt�ons for the Blend Surface.)

In the drop-down menus at the top of the appl�cat�on, select the View -> Curvature... menu �tem (Alt-Shift-C (W�n) or -Shift-C (Mac)) Th�s w�ll open the surface analys�s Curvature Display w�ndow.


7In the Curvature d�splay opt�ons, select the opt�on for “Gaussian” d�splay. (Th�s w�ll automat�cally select the “Curvature” d�splay opt�on as well.)

Press the “Display for currently selected objects” button at the bottom of the control panel. Th�s w�ll change the d�splays �n all of our v�ews to show the relat�ve curvature changes across the selected surfaces.


In the Blend Surface tool panel, change the “Smoothness #2” value to be 0.3. (Th�s w�ll soften the edge of the Blend where �t enters the Loft surface.) Observe the change �n the shad�ng of our curvature d�splay.

Expand the Perspective v�ew to fill the workspace so that we can analyze our surfaces �n more deta�l. (The d�splay �s based on the OpenGL or D�rectX d�splay capab�l�t�es of your graph�cs card, so the fewer v�ews, the faster the �nteract�v�ty w�ll be.)

The colors that are d�splayed are what �s known as a “false color d�splay.” Th�s means that they are an arb�trary grad�ent of colors (red does not mean a bad area, nor does blue �nd�cate “cool”) that are only there to make �t eas�er to d�st�ngu�sh between changes �n the relat�ve curvature of the surface. The scale for the curvature �s set �n the Curvature D�splay panel.

We can see that some of the “r�pples” �n the surface (that were not apparent �n the general 3D shaded v�ew) were reduced by th�s change. Th�s �s the power and purpose beh�nd th�s �nteract�ve d�splay.


7In the Blend tool panel, check the Only G1 Continuity opt�on for “G1 on Surf #2.” Th�s w�ll reduce the tangent of the Blend Surface where �t contacts the Loft surface to have G1 (or s�mple tangent�al) cont�nu�ty, �nstead of the default, G2 curvature cont�nu�ty of the Blend.

When we �nspect our Blend Surface where �t meets the Loft, we can see a dramat�c color d�fference at the edge. Wh�le exam�n�ng th�s surface �n regular Shaded d�splay, the d�fference would be almost �mpercept�ble.

Uncheck the G1 Continuity opt�on to return our Blend to all G2 cont�nu�ty w�th the adjo�n�ng surfaces.


We can st�ll some “r�pples” of color along what �s supposed to be a smoothly curved surface. (The color �nd�-cates changes �n the curvature, so the red area near the top of the Blend �s to be expected, s�nce the curvature r�ses dramat�cally to meet the Cylinder.)

Change the Smoothness #1 to be 0.3 �n the Blend Surfaces tool panel. Th�s w�ll reduce the “r�pples” to an almost �nv�s�ble level. (Keep �n m�nd that we are analyz�ng a very narrow spectrum of curvature change, so the rema�n�ng m�nor r�pples are not to be worr�ed about.)

We can also detect a very sl�ght “r�ng” of color chang�ng r�ght at the po�nt where the Blend meets the Loft surface. (Check th�s on screen, because the color var�at�ons are so sl�ght they may not be v�s�ble �n pr�nt.)


7Th�s sl�ght curvature change �nd�cates to us that the trans�t�on from the Blend to the Loft surface �s not 100% smooth, although �t �s very close. Th�s �s due to the Curvature Side be�ng reversed. (We are analyz�ng trans�t�on deta�ls that are beyond most common uses at th�s po�nt, but �t �s good analyt�c pract�ce.)

Change the subtle curvature for the Loft (Surface #2) by check�ng the “Invert Surf #2” opt�on �n the Curvature Side opt�on area. (Be careful not to acc�dentally �nvert the Tangent d�rect�on, wh�ch �s just fine!)

Our Blend Surface, although very smooth as far as Curvature Cont�nu�ty �s concerned, �s also less “curved” than before we started because of the Smoothness changes we made. So the final change we can make �s to set the Smoothness #2 back up to 0.5. (After mak�ng other adjustments, the Blend rema�ns cont�nuous to a h�gh tolerance w�th th�s sett�ng now.)

When you are done mak�ng adjustments to the Blend Surface, go to the Curvature Display panel and check the opt�on for “None” and press the “Display for currently selected objects” button aga�n. Th�s w�ll return our d�splay back to normal and we can close the Curvature Display panel.


Now that we have a curvature cont�nuous Blend between our two surfaces, we can Combine them �nto a s�ngle object. Because we added an End Cap to the Loft surface, and because the Cylinder was closed before we tr�mmed �t, comb�n-�ng these w�th the Blend w�ll create a man�fold sol�d surface.

Select the Combine tool from the Transforms tab, and when the Console prompts to “Pick Objects to Combine,” select the tr�mmed Cylinder, the Loft surface, and the Blend Surface between them. They w�ll turn Magenta when selected.

Press the Spacebar when all three surfaces have been selected.

Part 4: Booleans and Rounds


7Once all three of these enclos�ng surfaces have been Combined �nto one sol�d object, we can perform sol�d model�ng operat�ons upon �t. Th�s �ncludes round�ng off the end cap of the loft surface, add�ng an outlet to the end of the spout, and round�ng the sharp corners of the overall shape.

When the Console prompts you to define the “Local Axis Origin,” cl�ck-and-drag �n the Right v�ew to place the Sphere at the locat�on shown below, near the end of the spout.

The next Console prompt w�ll ask you for the “Radius” of our new Sphere. Enter a value of 3.5, so that the edge of the Sphere �s close to the end of the spout.

W�th the Right v�ew act�ve, select the Sphere pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar.


Select the Boolean Operator from the Surfaces tab of the Modeling Toolbar, and when prompted to “Pick Surface #1,” select the Sphere on the left, �n the Right v�ew.

Wh�le th�s Sphere �s st�ll selected, Copy and Paste a second, �dent�cal Sphere �nto the scene.

Cl�ck-and-drag on th�s second Sphere to Translate �t 5 un�ts �n the negative Y d�rect�on, or to the left of the or�g�nal Sphere.

When the Console prompts to “Pick Surface #2,” select the first Sphere (on the r�ght).


7The final Console prompts us to dec�de what type of Boolean Operator we would l�ke to use. E�ther “Diff1, Diff2, Intersect, Union, or Merge.” Enter a value of 1 to �nd�cate a Difference keep�ng surface #1.

Th�s ser�es of act�ons has created a custom Boolean “cut shape” that we can use to remove the flat end of the spout of our sol�d faucet base.

Press Ctrl-Spacebar to repeat the Boolean Operator tool, and when the Console prompts us to “P�ck Surface #1,” select the sol�d base and spout of our faucet.


Select the boolean “cut shape” as “Surface #2,” and then enter 1 aga�n as the Boolean Operator to perform. Th�s w�ll result �n remov�ng the end of the spout and replac�ng �t w�th a custom-cut, rounded end.

Because Boolean operat�ons are so (relat�vely) fast, stable and repeatable, we can “stack” them �n th�s way to create the prec�se surfaces that we des�re, wh�le ma�nta�n�ng the Construct�on Tree h�story beh�nd all of the operat�ons. Th�s way we can mod�fy any of the parameters (such as the rad�� of the Spheres) at any po�nt later on.

In the Top v�ew, select the Cylinder pr�m�t�ve from the Primitives tab of the Modeling Toolbar. We w�ll use th�s tool to create the actual “outlet” for water from our faucet des�gn.


7When the Console prompts for the “Local Axis Origin,” cl�ck-and-drag �n the Top v�ew to place the new Cylinder approx�mately 1.5 un�ts from the end of the faucet neck.

At the Console prompt to define the “Top Radius,” enter a value of 1.5 un�ts, and for the “Bottom Radius” enter a value of 1.2 un�ts. (Aga�n th�s w�ll prov�de us w�th a sl�ghtly tapered Cylinder.)

The final Console prompt w�ll ask for the “Height.” Press Return to accept the default value of 1 un�t.


In the Right v�ew we can see that our water outlet needs to be moved up to connect w�th the spout of the faucet. Cl�ck-and-drag the Cylinder wh�le hold�ng down the “Z” key to Translate �t upward by 12 un�ts.

Th�s tapered Cyl�nder w�ll be the “spout” of our Faucet des�gn. Because we are concerned w�th the overall des�gn of our shape and not the mechan�cs of how the water w�ll flow through �t, th�s s�mple pr�m�t�ve w�ll work as a representat�on of a mechan�cal deta�l that can be added later.

IF you would l�ke to make a very complete Faucet, you can come back to th�s “spout” element after complet�ng the rest of the tutor�al and e�ther jo�n �t to the rest of the Faucet body us�ng the flex�b�l�ty of the Construct�on Tree, or you can add deta�ls such as mount�ng r�ngs and a screen to �t on �ts own.


7Now that we have a completed faucet base, we can round some of the edges to produce a more real�st�c result.

When the Console prompts you to “Click edges where you want to insert radii,” cl�ck on the front edge of the faucet spout, and then on the top edge of the cyl�ndr�cal base. Press Spacebar after select�ng these two edges.

Select the Round tool, and when the Console prompts “Select Surface,” p�ck the sol�d faucet base object.

Enter a value of 0.5 for the “Default radius for new insertion,” when the Console prompts you for �t.


F�nally, when the Console asks you “GO? (Y/N),” enter Y to bu�ld the Round surfaces us�ng these rad��.

It should be noted that the Round surfaces that are bu�lt by default are only G1 cont�nu�ty. In other words, reflect�ons may “jump” as they pass over these abrupt curvature changes, wh�le w�th the G2 cont�nu�ty of the Blend Surface, we w�ll see no such jump. Th�s �s the pr�mary reason for us�ng G2 cont�nu�ty on larger surfaces. Very sh�ny or reflect�ve surfaces w�ll “look” better and seem more organ�c that the sl�ghtly less cont�nuous Rounds that use the default “C�rcular” cross-sect�on. (In th�s case, us�ng the Blend cross-sect�on �n the Round Opt�ons would produce a G2 cont�nuous surface.)

Th�s has g�ven us a very fin�shed spout and base for our faucet. We d�d not Round the edge where the water outlet attaches to the “neck” of the faucet, but �f you would l�ke you can Insert a rad�us hotspot there and rebu�ld the surface w�th th�s add�t�onal small deta�l.


7Part 5: Organizing with Layers

To start w�th Layers, scroll to the bottom of your World Browser l�st (wh�ch �s eas�er �f you “close” the World �con at the top of the l�st) and you w�ll see the “Layers” sect�on of the Browser.

Now that we have fin�shed the first part of our faucet des�gn, we can see that our 3D workspace �s gett�ng crowded. We have all of the “source curves” for our objects d�splayed, and the rounded sol�d of the faucet base �s very dense �n Wireframe d�splay mode. A qu�ck way to organ�ze our workspace �s to use Layers.

Layers �n solidThinking funct�on just l�ke layers �n other 3D or graph�cs appl�cat�ons. You can create mult�ple layers and keep certa�n objects on those layers for reference, and then you can h�de ent�re layers (and the�r contents) or “lock” the layer to prevent the acc�dental select�on or mod�ficat�on of �tems. You can also change the d�splay color for all objects �n the layer, or browse only the objects �n each layer. The Layers �n solidThinking are also “drag-and-drop” from w�th�n the World Browser, so mov�ng objects to and from layers �s very easy.


Cl�ck the “expans�on” button (or arrow) next to the Layers sect�on head�ng and you w�ll see all of the layers conta�ned �n the Scene. (As of r�ght now, everyth�ng �s be�ng bu�lt upon the Default layer.)

At the top of the World Browser, the last 3 buttons are related to layer management. Hold your mouse cursor to see the “tool t�p” descr�pt�on of the button, and cl�ck on the Layer Off button. Th�s w�ll turn the act�ve (Default) layer “off.”

Wow! We can �mmed�ately see a dramat�c d�fference �n our workspace. All of the �tems that we have spend all th�s t�me bu�ld�ng are gone from v�ew, and we d�d not manually set them all to “H�dden.” The layer �con for the Default layer �s also “ghosted” to �nd�cate that �t �s off.

Select the Default layer, and we w�ll see that th�s automat�cally selects all �tems �n that layer! In many cases, as you work w�th many more than just one, default layer, th�s w�ll be des�rable. If you only have one layer, you never need to select �t.


7S�nce we are not qu�te done us�ng the model we have made so far, press the Layer On button to br�ng all of the objects �n th�s layer (�nclud�ng cameras and l�ghts) back �nto v�s�b�l�ty and selectab�l�ty.

Wh�le every v�s�ble object deselected, press the Layer Locked button. The �con for the layer w�ll show a small padlock to �nd�cate that �t �s, �ndeed, locked.

S�nce all of the objects �n our rather complex scene are st�ll selected, cl�ck �n the empty space of the any of the 3D v�ews to deselect everyth�ng (�nclud�ng Hidden �tems).

Now try to select any �tem �n our 3D v�ews by cl�ck�ng on �t. We find that although they are v�s�ble, they cannot be selected to be mod�fied. They are “locked,” wh�ch �s helpful for us�ng objects as reference only.


Wh�le th�s layer �s locked, br�ng up the World Browser “context menu” by cl�ck�ng and hold�ng �n the World Browser w�th the Right Mouse Button (W�n) or -Mouse Button (Mac).

Select the New Layer �tem from th�s pop-up menu. Th�s w�ll create a new, empty layer �n our World Browser and scene. (We can also see that the Layer Controls for “Off/On/Locked” are also access�ble through th�s context menu.)

Th�s new layer �s automat�cally set to be the “Act�ve Layer,” (�t �s h�ghl�ghted �n Yellow) and any new objects we create w�ll be placed on th�s layer wh�le �t �s act�ve.

Each layer has two �nd�cators �n add�t�on to be�ng On/Off/Locked. When h�ghl�ghted �n Yellow, the layer �s the act�ve layer for new construct�on. When the layer �con �tself �s Red, then the Layer �tself �s selected and w�ll also select all of the �tems �n that layer. It �s poss�ble to select a layer (to Lock �t, for �nstance) and st�ll not have that layer be the act�ve layer for new objects created �n the scene. The drop-down menu at the top of the World Browser controls th�s.


7

W�th the Right v�ew act�ve, select the Sphere pr�m�t�ve tool, and when the Console prompts for the “Local Axis Origin,” cl�ck-and-drag to place the Sphere at the center, upper edge of the Cylinder part of our faucet base.

At the next Console prompt to define the “Radius,” enter a value of 3.8. Th�s w�ll create a Sphere that �s sl�ghtly smaller than the top of the Cylinder �tself.

Because the layer that conta�ns our faucet base �s st�ll “locked” we can use these surfaces as v�sual reference, but we cannot select them for any model�ng act�ons �n the 3D v�ews, but th�s �s not needed r�ght now.

Double-cl�ck on the text of th�s “new layer,” and rename �t to be “handle” s�nce we are go�ng to act�vely bu�ld the handle for our faucet on th�s new layer.


Th�s Sphere w�ll form the bas�s of the handle for the faucet. However, �t extends “�nto” the cyl�ndr�cal base of the faucet. Because we are only concerned w�th the des�gn of the faucet, we should l�m�t th�s �ntersect�on of parts.

In the Sphere tool panel, change the Longitude End Angle to be 180 degrees. Th�s w�ll create a hem�sphere.

Our new “handle” layer now has geometry �ns�de �t, and there �s an expans�on button or arrow next to the layer �con �n the World Browser. If we expand th�s layer, we w�ll see our new Sphere surface �s the only object �n th�s layer.

The overall World Browser st�ll shows all of the objects �n our scene, regardless of what layer they are on, or whether that layer �s On or Locked or Act�ve. The Layer sect�on of the Browser Panel �s a subsect�on of the World Browser.


7

Select the NURBS Curve from the Curve tab, and press Return to accept the default “Local Axis Origin” of 0,0,0.

Part 6: Creating the Handle

Now that we have pos�t�oned our Sphere us�ng the Default layer’s faucet geometry as a gu�de, we can turn that layer “Off” to h�de th�s clutter. We can then proceed to create a handle �ndependently on the act�ve layer. We w�ll create the handle from common NURBS Curves us�ng more trans�t�onal surface tools.

Cl�ck on the Default layer’s �con �n the Layer sect�on, and press the Layer Off button at the top of the World Browser, or use the “context menu” to h�de th�s layer and �ts objects from d�splay.

W�th a w�de open workspace we can eas�ly draw curves and v�ew our work from var�ous angles w�thout any v�sual confus�on of see�ng other objects �n our scene that w�ll not be used �n the construct�on of our new objects. Th�s �s one of the pr�mary advantages beh�nd us�ng Layers for organ�zat�on.


Press Ctrl-Spacebar to repeat the NURBS Curve tool. Accept the default “Local Axis Origin” and then proceed to create another curve below the first by cl�ck�ng and dragg�ng to place 5 po�nts �n the arrangement shown below.

When the Console prompts us to define “Point #1” cl�ck-and-drag �n the Right v�ew to place the follow�ng 4 po�nts extend�ng from the hem�sphere out �nto the workspace. Press Spacebar when you are done.


7Repeat the NURBS Curve tool a th�rd t�me, and press Return to accept the default “Local Axis Origin.” Th�s t�me, however, we w�ll be sw�tch�ng v�ew w�ndows wh�le plac�ng po�nts, so we w�ll go slower.

Next, sw�tch to the Top v�ew wh�le st�ll �n po�nt placement mode. Place the next two po�nts to the r�ght (�n the Top v�ew) of the first po�nt.

Place the first po�nt (#1) at the locat�on shared by the ends of the first two curves. Th�s w�ll be the “end” of our handle.


Now we w�ll sw�tch our focus back to the Right v�ew for the next two po�nts. Cl�ck-and-drag to place the next two po�nts �n the last two pos�t�ons shown to the r�ght of the ex�st�ng “l�ne” of po�nts, and the press the Spacebar to end the po�nt placement of th�s curve.

Now we can adjust the locat�on of some of these po�nts. Wh�le the last curve �s st�ll selected, press the Spacebar to enter the Edit Mode.

Select the second to last po�nt �n the curve, as shown below.


7In the Top v�ew, cl�ck-and-drag to Translate the selected po�nt 2 un�ts �n the negative X d�rect�on (to the left �n the Top v�ew).

Once you have moved th�s po�nt, press the Spacebar to return to the Object Mode, and to h�de the po�nts.

Select the Mirror tool from the Transforms tab, and when the Console prompts us to “Pick Objects to Mirror,” select the NURBS Curve we just mod�fied, and then press the Spacebar.


Then the Console w�ll prompt us to determ�ne the “Start of mirror plane.” Press Enter to accept the default value of (0,0,0).

Select the Skin tool from the Surfaces tab of the Modeling Toolbar. We can now use th�s tool to connect the four curves we have arranged �nto a surface su�table for creat�ng a handle.

Next the Console w�ll prompt us to determ�ne the “End of mirror plane.” Enter a value of “0,1,0” �nto the Console l�ne and press Enter to m�rror our curve across the Y axis.


7When the Console prompts us to “Pick Curves to Skin,” select the four curves �n a progress�ve pattern, wh�ch w�ll create the Sk�n surface after each mouse cl�ck but result �n an “open” surface �n the end. (Do not select the first curve tw�ce to close the curve - we w�ll fin�sh th�s shortly.)

In the Skin tool panel, change the Interpolation method to be “Periodic Skin.” Th�s w�ll close the Skin surface and ma�nta�n the same �nterpolat�on we were us�ng wh�le choos�ng the curves.

Press the Spacebar to end the curve select�on and to create the “open” sk�n.


Select the Fillet Surface tool from the Surfaces tab of the Modeling Toolbar.

When the Console prompts us to “Pick Surface #1,” select the Skin surface we just created, and then at the prompt to “Pick Surface #2,” select the hem�sphere pr�m�t�ve.

The Fillet Surface tool w�ll now �nteract�vely d�splay the poss�ble d�rect�on and s�ze of the fillet you are about to create. Th�s �s an �mportant d�splay, as �t �mmed�ately �nforms you whether the surface you are about to create w�ll be what you des�re. You should have a Fillet Direction d�splay s�m�lar to the one shown below on screen at th�s po�nt. (If not, we can correct th�s to match the des�red results �n a few moments.)

We can now smoothly jo�n these two surfaces by us�ng another type of trans�t�onal surface that �s a comb�nat�on of the Blend Surface and the Round tools that we have already used. The Fillet Surface tool prov�des the �nteract�ve feedback of the Blend and the prec�se rad�us and cross-sect�on opt�ons of the Round tool, but for only one “edge” at a t�me.


7The Console w�ll now prompt you for the “Fillet Radius.” Enter a value of 2 and press Return to bu�ld the Fillet Surface.

If we exam�ne the trans�t�onal surface that th�s tool creates between the Skin and the Sphere, we can see that there �s a small “hole.” Th�s �s due to the currently selected Boundary Trimming type.


In the Fillet Surface tool panel, change the Boundary Trimming Type to be “Create a Bevel” �nstead of the default Blend type. Th�s w�ll al�gn the two boundary edges of the fillet and close the hole.

By alter�ng the Fillet Radius and the Cross Section type, you can very qu�ckly evaluate many d�fferent var�at�ons for the handle of the faucet. Because the F�llet Surface tool automat�cally updates, the Shaded d�splay method can be used to prov�de �mmed�ate v�sual feedback for your des�gn cho�ces.


7We are fin�shed w�th the des�gn for both the handle and the body of the faucet. To clearly see the relat�onsh�ps between them, we can turn the or�g�nal work�ng layer (“Default”) back “on,” wh�ch w�ll return the ent�re layer and �ts contents to a v�s�ble and act�ve state. We can then cont�nue to mod�fy our model (after sav�ng �t) to explore the des�gn poss�b�l�t�es that are poss�ble.

Part 7: Adjustments and Wrap-up

Th�s s�mple faucet �s made up of mult�ple pr�m�t�ves shapes, some curve-based surfaces, and three types of trans�t�onal surfaces: the Blend Surface, the Round, and the F�llet Surface. It �s these trans�t�onal surfaces that create the smooth shape of our final des�gn, and qu�ckly create surfaces that would be very d�fficult to control otherw�se. By mod�fy�ng the parameters of each of these trans�t�onal surfaces, and by analyz�ng the results, you can refine your des�gns to meet the prec�se v�sual representat�on that you des�re.

Select the “Default” layer �n the Layers menu, and then br�ng up the “context menu” by cl�ck�ng and hold�ng �n the World Browser w�th the RMB (W�n) or -MB (Mac), so you can use the “Layer On” opt�on to return the ent�re layer and �ts contents to a v�s�ble and act�ve state.

381Tutorial 8 - Auto Wheel

8

The wheel of a car �s a good example of rad�al symmetry �n a common object. In th�s lesson we w�ll use th�s object to explore how you can create a complex set of surfaces and sol�ds by concentrat�ng on one part of the overall construct�on and us�ng certa�n repl�cat�on tools to tune and prev�ew the des�gn. Th�s w�ll also help us to explore the connect�ons between sol�ds and surfaces �n solidThinking and how one can �nfluence the other �n the construct�on process. We w�ll work progress�vely by creat�ng var�ous parts of a s�ngle “spoke” of the wheel, and then creat�ng a surface wh�ch can be “extended” �nto a sol�d for later round�ng and repl�cat�on operat�ons. The process w�ll re�nforce the flex�b�l�ty and cont�nu�ty of the final des�gn, wh�ch w�ll be full real�zed and st�ll eas�ly mod�fied.

Tutorial 8 - Car Wheel


We w�ll start by draw�ng a NURBS curve to define the profile of the “spokes” of our wheel. Because the spokes must be attached to the hub of the wheel at a po�nt that �s “�ns�de” the enclosure of the t�re and r�m, our profile w�ll also reflect th�s attachment po�nt. We can then bu�ld surfaces from th�s s�mple profile and mod�fy them to create a s�ngle spoke.

Part 1: Creating and Lathing the Profile

Turn on the Grid Snap #2, �f �t �s not already act�ve.

Th�s lesson uses prec�se d�mens�ons and complex surfac�ng tools that requ�re very str�ct tolerances. Set the Positional 3D Tolerance �n your solidThinking Preferences to be .001 for th�s project, �f �t �s not already the default �n your preferences. If you do not complete th�s step, some funct�ons as descr�bed �n th�s tutor�al w�ll fa�l to bu�ld any surfaces at all due to the small un�t numbers of the model be�ng created.

Important Note about Tolerances


8Cl�ck the �con for the NURBS Curve tool, then press Return to accept the default “Axis Origin (0,0,0),” and us�ng the gr�d �n the Top v�ew, place your po�nts �n the pattern shown below. (Start at the center and proceed to the “r�ght” �n the Top v�ew.) Once you have set these 6 po�nts, press the Spacebar to end the po�nt placement.

Select the Lathe tool from the Surfaces tab of the Modeling Toolbar.

At the Console prompt to “Pick Profile Curve,” select the profile curve we just drew. The Lathe tool w�ll create a temporary “creat�on phase” object (typ�cally Lathed on the Z axis) to gu�de our creat�on of the surface we would l�ke. We w�ll mod�fy th�s object wh�le we cont�nue the creat�on phase.

At the Console prompt to “Revolution Axis Start,” press Return to accept the default value of (0,0,0) wh�ch corresponds the Local Axis Origin of our source curve (wh�ch �n th�s case �s the same as World Origin).


When the Console prompts you for the “Revolution Axis Direction (X, Y, Z, Vertical, Horizontal),” enter “Y” wh�ch �s also the rotat�onal ax�s of our wheel overall. Th�s w�ll complete the creat�on phase of the Lathe and produce a surface s�m�lar to the one shown below.

Although th�s could represent the overall “front face” of our wheel des�gn, we w�ll be work�ng on just one of the spokes of our wheel �nstead, and therefore we don’t need a full 360 degrees of revolut�on for our first surface (s�nce we w�ll only be us�ng a port�on of �t).


8In the Lathe tool panel, change the Longitude End Angle to be 72 (degrees). Th�s w�ll reduce our Lathe surface to only the port�on of the overall rotat�on of the ax�s that we need for one spoke.

Because th�s results �n a Lathe surface that l�es “below” the X-Y gr�d plane that �s d�splayed �n our Perspective v�ew, �t would be a good �dea to turn th�s d�splay element off wh�le work�ng.

In the solidThinking Preferences panel, sw�tch to the “Views” tab, and uncheck the “Grid in 3D views” opt�on. Press Okay to accept th�s, and we can work w�thout the v�sual clutter of the gr�d for the rest of the tutor�al.

As we ment�oned �n the beg�nn�ng of the tutor�al, we w�ll only be model�ng a s�ngle spoke to our wheels at first. Our �n�t�al des�gn w�ll be for a common 5-spoke wheel, wh�ch means that each spoke w�ll encompass 72 degrees (360/5 = 72). We can later mod�fy the number of spokes by chang�ng the value we enter here (60 degrees = 6 spokes, etc.).


S�nce we are not go�ng to make a “spoke” for our wheel that ent�rely fills the 72 degrees sweep of each sect�on (wh�ch �s essent�ally a sol�d wheel), we w�ll Trim th�s swept profile surface to accurately represent the shape of a s�ngle spoke. The Tr�m curves for the shape that we want w�ll need to be as s�mple and flex�ble as poss�ble, so that later on we can mod�fy the Tr�m curve and eas�ly create new des�gns wh�le ma�nta�n�ng most of the rest of the act�ons we are go�ng to take.

Select the NURBS Curve tool aga�n, and press Return to accept the default “Local Axis Origin” or 0,0,0.

Part 2: Defining the Spoke Shape

In the Front v�ew, cl�ck-and-drag to place 5 po�nts �n the pos�t�ons shown below. (If you make a m�stake, you can always go back and ed�t the po�nts to correct for �t after fin�sh�ng the po�nt placement, so don’t


8When you have placed all 5 po�nts, press Spacebar to end the po�nt placement and fin�sh the creat�on of th�s new “defin�t�on curve” for our spoke shape.

It may seem l�ke th�s curve �n �ts current pos�t�on only encompasses half of the wheel sweep of 72 degrees, and that �s correct. What we are creat�ng �s a s�ngle, rad�ally symmetr�cal curve that can be used to define both s�des of the spoke shape. We w�ll demonstrate th�s next.

Select the DynaStep tool from the Transforms tab of the Modeling Toolbar. Th�s tool w�ll allow us to accurately repl�cate the defin�t�on curve around the center po�nt of our scene.

When the Console prompts to “Pick Object to Copy,” select the spoke defin�t�on curve that we just created, and at the next prompt for “Number of Copies” enter a value of 2. (Th�s number �ncludes the or�g�nal curve.)


In the DynaStep tool panel, change the Translation amounts to be 0,0,0 for all ax�s (the default �s a value of 3 �n the Z ax�s), and change the “Rotation” value �n the Y ax�s (the second �nput box) to be -72.

Th�s DynaStep act�on equates to a controllable repl�cat�on and rotat�on of our curve that we can mod�fy at any t�me us�ng these s�mple �nput areas to get the results that we des�re.


8We can now use these DynaStep controlled curves to Tr�m out the port�on of the Lathe surface that w�ll be used to create the s�ngle, 72 degree spoke for our wheel.

Select the Trim Surface tool from the Surfaces tab, and when the Console prompts you to “Pick Curve,” select the DynaStep curve(s). (It w�ll actually select both curves �n the DynaStep, because they are cons�dered a s�ngle object.)

When the Console prompts you to “Pick Surface,” select the Lathe surface. Th�s w�ll end the creat�on phase and create a tr�mmed surface that looks l�ke the �mage below.

Now �t �s probably more apparent why we set up our scene w�th a s�ngle “defin�t�on curve” for the Trim act�on, �nstead of two. Th�s arrangement allows us to freely ed�t a s�ngle curve, �nstead of two match�ng ones.


Part 3: Previewing the Design

Now matter how much pre-plann�ng we can do, �t �s st�ll fa�rly d�fficult to �mag�ne what the overall shape and des�gn of our wheel �s go�ng to be wh�le look�ng at only a s�ngle spoke. For reference, we w�ll create a “r�m” shape and then repl�cate th�s �n�t�al, early stage vers�on (surface only) of our spoke to “prev�ew” the des�gn and make any des�gn dec�s�ons and adjustments we m�ght want to.

Select the NURBS Curve tool, and press Return to accept the default “Local Axis Origin” of 0,0,0. We w�ll create the profile for the r�m wh�ch w�ll be used as reference for our spoke des�gn prev�ew.

In the Top v�ew, cl�ck-and-drag to place the 13 po�nts of th�s curve �n the locat�ons shown below:


8

Select the Lathe tool from the Surfaces tab, and at the Console prompt to “Pick Profile Curve,” select the profile curve we just drew, and press Return to accept the default “Revolution Axis Start” as 0,0,0.

Press Spacebar to fin�sh plac�ng the po�nts �n th�s curve and to end the creat�on phase.

In the NURBS Curve tool panel, change the “Curve Type” opt�on to be Closed. Th�s w�ll prov�de us w�th a n�ce profile for our r�m.

We can see that the temporary object that �s created dur�ng th�s creat�on phase only extends for 72 degrees. Th�s �s because the Lathe tool has a “memory” for the last used sett�ngs, and the prev�ous Lathe we created was adjusted to only extend 72 degrees. In th�s case, th�s repet�t�on works �n our favor.

When the Console prompts you for the “Revolution Axis Direction (X, Y, Z, Vertical, Horizontal),” enter “Y.”


To v�sual�ze our spoke des�gn as they cont�nue around the wheel, select the DynaStep tool aga�n, and when the Console prompts to “Pick Object to Copy,” select the tr�mmed spoke surface.

Th�s w�ll create a 72 degree Lathe of our r�m profile �n the exact al�gnment w�th our spoke surface.

The DynaStep tool that we are go�ng to use to v�sual�ze the 5 separate spokes of our wheel only repl�cates a s�ngle �tem at a t�me. Th�s means that the 72 degree sect�on of our r�m would need to be DynaStepped separately to see the ent�re wheel. However, �n th�s case we can s�mply adjust the Lathe parameters of �t, so we do not need to DynaStep more than just the spokes.


8

Aga�n, change the Translation values of the DynaStep to be 0,0,0 and the rotat�on �n the Y ax�s to be -72 degrees.

When prompted by the Console for the “Number of Copies,” enter a value of 5 for each of the spokes �nclud�ng th�s or�g�nal. Th�s w�ll end the creat�on phase and prov�de us w�th the default 3 un�ts of Z spac�ng between our cop�es.


We now have 5 spokes arranged �n the rad�al pattern that they w�ll hold when we are done w�th the construct�on of all of the spokes. We w�ll st�ll need to change the Lathe for the r�m to get a good v�ew of our potent�al des�gn.

Select the r�m object, and �n the Lathe tool panel, change the “Longitude End Angle” to be the full 360 degrees.


8Th�s shows us a greatly s�mpl�fied vers�on of the overall des�gn for our wheel. We can clearly see how the 72 degree �ncrements w�ll form the 5 spokes of our wheel, and we can see the length of the spokes that are produced by the Trim act�on on the port�on of the or�g�nal Lathe surface.

Spend a few moments to Orbit around th�s shaded d�splay of our potent�al wheel �n the Perspective v�ew. We w�ll soon go back to the construct�on process of a s�ngle spoke, because that �s more effic�ent, but we can already see how we w�ll translate th�s �nto a group of 5 spokes.


Wh�le the Lathe surface �s st�ll selected, change the “Longitude End Angle” back to a value of 72 degrees.

Next, select the DynaStep of our wheel spokes, and at the top of the DynaStep tool panel, cl�ck on the Replace checkbox just below the source object name. Cl�ck �n the empty space of our scene, away from any other objects, and th�s w�ll put “no object” �nto our DynaStep object and return our s�ngle Tr�m spoke surface to the scene. (Th�s w�ll also end the Replace mode for the tool and uncheck the box for us.)

We can keep th�s DynaStep �n our scene unt�l later because we already know that �t �s set up to repl�cate any object around the World Origin 5 t�mes �n 72 degree �ncrements, and th�s �s how we are bu�ld�ng our final spokes. The Replace opt�on �n the DynaStep w�ll be used aga�n to place our fin�shed geometry �nto th�s pre-made repl�cat�on.

We can now reset our surfaces and objects back to the�r states before we paused to v�sual�ze what the completed wheel w�ll look l�ke �n 3D space. (It �s also probably a good �dea to save after resett�ng these objects.)


8Part 4: Going from Surfaces to Solids

As we prev�ewed our wheel des�gn just now, we could see that the “r�m” surface when lathed 360 degrees looked l�ke a sol�d, real r�m. However, the spoke surface looked too th�n to actually support the we�ght of a car. Add�ng th�ckness to th�s surface w�ll be our next step, and by creat�ng sol�ds we can also perform other �mportant model�ng act�ons upon the spoke to create our final des�gn.

Select the Surface Extrusion tool from the Surfaces tab, and when the Console prompts us to “Pick a NURBS Surface Object,” select the spoke surface that has been returned to our v�ew by the “no object” Replace act�on of the DynaStep.

When the Console prompts us to define the “End Point” of our extrus�on, cl�ck-and-drag �n the Top v�ew 2 un�ts �n the pos�t�ve Y d�rect�on from the World Origin. Th�s w�ll g�ve us an extruded depth of 2 un�ts.


We can see that th�s very qu�ckly created a sol�d from our th�n spoke surface. Th�s �s espec�ally useful for objects that are essent�ally offset �n one d�rect�on w�th connect�ng surfaces appl�ed, such as our spoke object. In the case of the r�m surface, we cannot use the same tool to make �t a sol�d because the ends of the surface s�mply need to be closed.

Select the Edge Extract tool from the Curves tab of the Modeling Toolbar. The Console w�ll prompt us to “Pick a Surface,” and we w�ll select the lathed r�m surface �n our scene. (The surface �tself w�ll turn Green and the el�g�ble edges to be Extracted w�ll be h�ghl�ghted �n Dark Blue.)

When the Console asks you to “Pick Edges,” select the top Dark Blue edge to create the curve from, and press the Spacebar to end the select�on process. Th�s w�ll create a curve �n our scene that �s l�nked to th�s surface edge.


8Repeat the Edge Extract tool by us�ng the Ctrl-Spacebar keyboard shortcut (W�n & Mac), and select the Lathe r�m surface aga�n, but select the edge at the oppos�te end and press the Spacebar to create th�s second Extracted curve.

Select the Fillpath tool from the Surfaces tab of the Modeling Toolbar, and when the Console prompts you to “Select Curves to Fill,” select the Extracted curve we just created at the top edge of the r�m surface.

Next we w�ll create “cap” surfaces for both ends of our r�m surface, so that we can get closer to a sol�d enclosure to make future operat�ons eas�er, and also to make th�s sect�on a complete ent�ty.


When you are done select�ng th�s one curve, press the Spacebar to end the select�on process and to bu�ld the surface,

By Orbiting our v�ew around so that we can see the oppos�te end of the Lathe r�m surface, we can see that th�s oppos�te end also needs to be closed off �n th�s same manner.

Repeat the Fillpath tool by us�ng Ctrl-Spacebar aga�n, and select the Extracted Edge curve at the oppos�te end and press the Spacebar to create the final “cap” surface.


8We have created “cap surfaces” for our Lathe surface that are parametr�cally l�nked �n the Construct�on Tree to the Lathe �tself, and therefore w�ll change pos�t�on �f we ever change the Lathe surface. However, these are st�ll three separate surfaces, and not the s�ngle sol�d that we requ�re.

Select the Combine tool from the Transforms tab, and when the Console prompts you to “Pick Objects to Combine,” select the Lathed r�m surface and both newly created “cap surfaces” as well. Press the Spacebar to end the select�on. The Combine tool w�ll create a s�ngle, sol�d object from these enclos�ng surfaces.

Keep �n m�nd that the Comb�ne tool does not always create sol�d geometr�es. It s�mply creates a s�ngle new object from var�ous surfaces (or curves) that �s l�nked to the or�g�nal objects through the Construct�on Tree. If the source objects all happen to completely enclose a volume, and all of the edges l�ne up w�th each other, then solidThinking w�ll cons�der these collected surfaces to be a sol�d ent�ty for tools and operat�ons that requ�re a sol�d object.


In the Snaps Toolbar, temporar�ly turn off all forms of snapp�ng by press�ng the Disable Snaps button.

W�th the Front v�ew act�ve, select the Circle pr�m�t�ve tool from the Curves tab, and cl�ck-and-drag to place the “Local Axis Origin” (or center po�nt of the c�rcle) �n l�ne w�th the m�ddle of the “spoke sol�d” that we have �n our scene, as shown below.

Part 5: Editing and Joining Solids

Sol�d ent�t�es �n solidThinking can be made from and man�pulated �n many of the same ways as surfaces, such by tr�mm�ng or po�nt ed�t�ng, but they can also be used to create objects that are much more complex than separate surfaces. Next we w�ll create the “mount�ng holes” and a des�gn accent for our wheel spokes, and then jo�n �t to our sol�d r�m sect�on.


8When the Console prompts us to enter the “Rad�us” of the C�rcle, enter a value of 0.7. Th�s w�ll mark the placement of the “mount�ng holes” �n our wheel.

Select the Trim Solid tool from the Surfaces tab, and when the Console then prompts us to “Pick a Curve” for the tr�m operat�on, select the Circle pr�m�t�ve we just created.

Toggle the Disable Snaps button off aga�n, wh�ch w�ll allow Grid Snap #2 to become act�ve aga�n.

At the next Console prompt to “Pick a Surface” that we would l�ke to Trim, select the Extruded, sol�d “spoke.”


Th�s has tr�mmed a hole through the sol�d ent�ty �n the same way that the Tr�m Surface tool would tr�m through a s�ngle surface, except that �n th�s case the sol�d ent�ty rema�ns a closed sol�d. We can now use another method to “carve out” a port�on of our spoke sol�d.

W�th the Top v�ew act�ve, select the Ellipse (2 axis) tool from the Curves tab of the Modeling Toolbar.

The next three Console prompts w�ll ask you to place the “Center point” and each “Axis Endpoint” to define the Ellipse. Cl�ck-and-drag �n the Top v�ew to create an Ellipse at the locat�on and s�ze shown below.

Wh�le the Ellipse �s st�ll selected, select the Rotate tool and �n the tool panel, change the Rotation “Origin” to be the Axis Origin.


8Then �n the Rotate tool panel, enter a Angle value of 36 (half of 72 degrees) and change the “Predetermined Rotation Axis” to be the “Y” ax�s.

Press ESC to end the Rotate act�on.


W�th the Front v�ew act�ve, select the Circle pr�m�t�ve tool aga�n, and when the Console prompts for the “Local Axis Origin,” respond by accept�ng all of the default values us�ng the keyboard shortcut of Ctrl-Enter (W�n) or -Return (Mac).

Th�s w�ll place the Ellipse d�rectly �n l�ne w�th the center of the spoke sol�d �n our scene.

Th�s w�ll place a Circle w�th a 1 un�t rad�us at the World Origin of our scene.


8Select the Pipe tool from the Surface tab of the Modeling Toolbar.

When the Console prompts you to “Pick Profile Curve,” select the Circle pr�m�t�ve we just created at the Origin, and when prompted for the “Path Curve,” select the Ellipse that we rotated downward.

Th�s surface w�ll form the bas�s for a “feature” that we w�ll add to the surface of the wheel spoke �n order to g�ve �t a b�t more �nterest than just be�ng a flat, “featureless” spoke.


Select the Boolean Operator tool from the Surfaces tab, and when the Console prompts “Pick Surface #1,” select the spoke sol�d �n our scene.

Th�s w�ll qu�te gracefully cut a feature from the Front of our wheel spoke, and because we used a Boolean Operator, we can ed�t the source object at any t�me to change the feature as we develop our des�gn.

When the Console prompts to “Pick Surface #2,” select the Pipe ell�pse object, and at when the Console asks wh�ch type of Boolean operator to perform (“Diff1, Diff2, Inters...”) enter 1 for a Boolean Difference w�th surface #1 as the result.


8We now have a spoke that �s fully developed, but �f we DynaStep the spoke, once aga�n �t w�ll not �nclude the sol�d of our r�m sect�on, and we need both objects �n the same sol�d to perform other operat�ons as well. We can “jo�n” these two sol�ds �n a very un�que way us�ng the Boolean Union operator.

Press Ctrl-Spacebar to repeat the Boolean Operator, and at the Console prompt to “Pick Surface #1,” select the current spoke sol�d �n our scene and then for “Surface #2,” select the r�m sol�d that we created earl�er.

When the Console aga�n asks whether to perform a “Diff1, Diff2, Inters, Union, Merge” operat�on, enter “U” to perform a Union between the two sol�d objects. Th�s w�ll tr�m the areas that �ntersect between the two objects and jo�n the objects at the edges along these �ntersect�ons.


Select the Round tool from the Surfaces tab of the Modeling Toolbar.

When the Console prompts you to “Select Surface,” select the Boolean Union wheel sect�on �n our scene.

Part 6: Rounding the Edges

At th�s po�nt we have an accurate representat�on of one fifth of the overall wheel, but �ts corners and edges are st�ll extremely “sharp.” Because we have created and worked w�th cont�nuous sol�ds, we can eas�ly Round these corners and prov�de more natural, flow�ng trans�t�ons from one surface to the next.

Then, at the Console prompt to “Click Edges Where You Want to Insert Radii,” drag a select�on box around the central area of the Unioned wheel sect�on that �ncludes the edges where the spoke and r�m meet and the “feature” we added to the surface, as shown below.


8Press the Spacebar when you have selected all of these edges. Th�s w�ll place Round rad�us hotspots at every edge �ns�de the select�on box, both �n the back and the front of the object.

At the next Console prompt to define the “Default Radius for New Insertion,” enter a value of 0.5, and at the final prompt to “Perform GO (Y/N)?” enter “Y” to allow the Round to bu�ld the surfaces.

Th�s w�ll create Rounded edges that soften the overall look of our wheel sect�on, and we can eas�ly ed�t these rad�� to create d�fferent looks and emphas�s on the surface �tself.


Wh�le the Round object �s st�ll selected, press the Spacebar to enter Edit Mode and to see all of the Round rad�us hotspots aga�n.

Deselect all of the hotspots (wh�ch are by default all selected) by cl�ck�ng outs�de of the Round object �n the workspace. Don’t worry about select�ng another object by m�stake, s�nce we are �n Edit Mode.

In the Perspective v�ew, Orbit and Zoom unt�l you can eas�ly see the back of the wheel sect�on, and then Ctrl-Click to select the two back edges shown below.


8

W�th these three rad�� hotspots selected, change the�r rad�� n the Round tool panel to be 0.2.

And �n the Front v�ew, Ctrl-click to add the “feature” edge to the select�on of rad�us hotspots.


W�thout hold�ng down the Ctrl-key (wh�ch w�ll deselect any selected po�nts w�th a cl�ck), select the rad�us hotspot at the front edge where the spoke meets the r�m, and change �ts value to be 2.

Now press “GO” at the top of the tool panel to see these changes bu�lt �n the Round operat�on.


8In the World Browser, scroll through the �tems �n the scene (both Hidden and Visible) and locate the object called “DynaStep” that has no “plus arrow” next to �t.

Th�s lack of a plus or “arrow” symbol means that the object �tself �s “empty” or has no �nternal ent�t�es. Th�s �s what happens when we remove the act�ve object �n an act�on or operat�on: �t does not go away or become deleted - �nstead �t pat�ently wa�ts for another object to be �nserted �nto �t as a new “source” object so that �t can complete �ts act�on based on the parameters set out for �t prev�ously.

We now have a completely rounded and well-made sect�on to our car wheel, but �t �s st�ll only a very deta�led sect�on of the overall des�gn w�th 5 spokes �n �t. We can now use the DynaStep that we prev�ously created when prev�ew�ng th�s des�gn to fin�sh our des�gn.

Part 7: Final Replication and Wrap-Up


Wh�le th�s “empty” DynaStep object �s selected, cl�ck on the “Replace” button near the top of the tool panel, and then select the rounded wheel sect�on �n our scene to become the new object to DynaStep.

It may tale a few seconds for the scene to update (s�nce we are repl�cat�ng a very complex object 5 t�mes over), but very soon we w�ll have a completed car wheel �n our scene.


8We are now fin�shed w�th th�s lesson, and have used the Construct�on Tree and parametr�c act�ons �n solidThinking to create a very deta�led and flex�ble car wheel. At th�s po�nt you can save your project, and then go back to some of the source objects �n the scene to ed�t them and change the des�gn to your l�k�ng.

One of the most powerful poss�b�l�t�es �s to go back to the or�g�nal DynaStep for the Tr�m curves and change the Rotat�on amount to be 60 degrees, or even 45 degrees, and then change the Rotat�on amount �n th�s last DynaStep to match that amount and alter the number of cop�es to keep the wheel completed (w�th e�ther 6 or 8 spokes for the poss�ble numbers quoted here).

419Tutorial 9 - Advanced Rendering

9

In th�s tutor�al we w�ll expand upon the techn�ques �ntroduced �n our earl�er render�ng lesson, and explore ways to create hyper-real�st�c �mages w�th env�ronments, spec�al types of l�ght�ng and layered shad�ng. Th�s lesson w�ll also �nclude the construct�on of “sets” that are actual, textured geometry that can be saved separately from the ma�n object of the scene and qu�ckly re-used w�th d�fferent objects. We w�ll also explore reflect�on parameters and us�ng raytrac�ng to prec�sely s�mulate certa�n metall�c and techn�cal surfaces, and use non-photoreal�st�c methods of render�ng to produce �mages that can be used whenever a photo �s not des�red.

The goal of th�s advanced render�ng tutor�al �s to �ntroduce these new techn�ques and techn�cal methods for produc�ng very h�gh qual�ty �mages. However, the best render�ng representat�on for your des�gn �s ent�rely up to your subject�ve judgement. Therefore �t �s not completely necessary to use the prec�se values that are d�splayed �n the �llustrat�ons or �n the text. The examples shown �n th�s lesson are there to gu�de you �n the creat�on of your own �mage to best �llustrate the object you have already created.

Tutorial 9 - Advanced Rendering


To have an object �n our scene that we can render, we w�ll need to first open up a prev�ously created file. We w�ll be us�ng the Faucet from tutor�al #7 �n th�s book, so �f you have not completed that lesson �t would be best to reserve th�s lesson unt�l you have constructed that geometry. Aga�n, what you render �s not as �mportant as the techn�ques, but just us�ng the same object w�ll make the lesson eas�er to follow.

Part 1: Opening and Setting Up the Scene

We w�ll start th�s lesson by prepar�ng our scene before we load the geometry to be rendered. If you have not already done so, select File -> New (Ctrl-N (W�n) or -N (Mac)) from the drop-down menus at the top of the sol�dTh�nkn�g appl�cat�on w�ndow �n order to create a new, empty scene.

All new scenes conta�n a default camera (labeled “Perspective”) and a “Default” Layer for you to create your geometry �n. We w�ll be us�ng these two �tems cont�nually throughout th�s lesson, so �t �s a good �dea to change the�r names �n the World Browser to someth�ng spec�fic l�ke “Render Camera” and “Scene Layer” before we cont�nue.


9

Use the File -> Merge menu �tem (or Ctrl-M (W�n) or -M (Mac)) to load the saved “.st” model of the Faucet from the earl�er lesson (#7). Th�s w�ll prov�de us w�th the geometry needed for th�s advanced render�ng tutor�al.

The Merge funct�on d�ffers from the Open command because �t �nserts all of the geometry, groups, layers and custom cameras from another scene �nto the one you are work�ng on w�thout clos�ng the prev�ous file. (sol�dTh�nk�ng can only have one file open at any g�ven t�me.)

Because th�s lesson w�ll be us�ng the geometry from tutor�al #7, wh�ch was bu�lt to h�gher than normal tolerances, set the Positional 3D Tolerance �n your solidThinking Preferences to be .001 for th�s project, �f �t �s not already the default �n your preferences. Th�s w�ll �nsure that the geometry from the prev�ous tutor�al (wh�ch used a s�m�lar tolerance) w�ll rebu�ld accurately �n th�s new scene.

Next we w�ll use the Merge funct�on to �mport the geometry from the Faucet tutor�al, wh�ch w�ll serve as the bas�s for the creat�on of our scene and our set.


The final step �n sett�ng up our scene �s to go to the Preferences panel and uncheck the Grid in 3D views opt�on so that there �s no gr�d �n the Perspective. Th�s w�ll g�ve us an un�nterrupted v�ew as we bu�ld around our geometry and evaluate shaded l�ght�ng and other non-model�ng tasks.

It �s now a good �dea to use the File -> Save As... menu �tem (or the F12 key) to �mmed�ately name th�s file and preserve all aspects of the Merged geometry �n the scene. (We have �mported qu�te a b�t of work!)

Depend�ng on wh�ch layers were “on” or “off” �n the Faucet file when you last saved �t, the Merged layers may or may not d�splay the�r contents �n our model�ng v�ews. Select each layer and use the button states at the top of the World Browser to ver�fy that both �mported layers are “on” so we can select geometry w�th�n them.

After Merg�ng th�s file w�th our carefully set up scene, we can see that the layers of the Faucet file rema�n separated from the act�ve layer we have just renamed. Th�s w�ll help us to stay organ�zed as we bu�ld our scene.


9Part 2: Setting the stage

The best way to create a scene for photoreal�st�c render�ng �s to cons�der that your object �s the center of �nterest for your scene, and create an env�ronment around �t that h�ghl�ghts your object for the best v�s�b�l�ty wh�le mak�ng a harmon�ous �mage. Th�s �s s�m�lar to how a stage �s set up for the actors �n a play, all the way down to the l�ght�ng and the color of the props and walls on the stage, or the “set.” Because we are sett�ng the stage for a faucet des�gn, we would expect to find �t near a s�nk or bath, and that the env�ronment around �t should “reflect” the typ�cal room you would find th�s object �n. In th�s case we w�ll create a bathroom w�th a s�nk that �s very s�mpl�fied, but w�ll meet our needs for prov�d�ng a “context” for th�s faucet des�gn.

Before creat�ng any new geometry, �t w�ll be a good �dea to Hide all of the v�s�ble curves �n the �mported scene and keep only the final surfaces v�s�ble. As ment�oned before, th�s creates less v�sual clutter �n our workspace, and prevents us from acc�dentally select�ng or mod�fy�ng a curve �n the scene (because our model st�ll has a complete, and act�ve Construction Tree beh�nd �t!).

To create the “s�nk” object for our scene, we w�ll use a pr�m�t�ve Sphere. Before select�ng the tool, make sure that the “Scene Layer” �s the act�ve layer for all new geometry (h�ghl�ghted �n Yellow), and then Zoom out �n the Top v�ew unt�l you can clearly see the Faucet geometry and the area around �t.


At the Console prompt for “Radius,” �nteract�vely cl�ck-and-drag to pull the Radius out unt�l �t �s close to the edge of the cyl�ndr�cal “base” of our faucet geometry, as shown below. (Th�s �s a numer�c Rad�us value of approx�mately 20 un�ts)

Select the Sphere tool from the Primitives tab of the Model�ng Toolbar, and when the Console prompts you for the “Local Axis Origin” cl�ck-and-drag �n the Top v�ew to pos�t�on the Sphere just “below” the front of the faucet geometry.


9Once the “creat�on phase” of the Sphere tool �s complete, go to the Sphere tool panel and change the Latitude Top Angle value to be 0. Th�s w�ll change our sphere to a hem�sphere, leav�ng only the bottom half.

To make our s�mple “s�nk” shape more conv�nc�ng than just a hem�sphere, we can w�den �t by non-proport�onally scal�ng the po�nts of the surface �tself.

Press the Spacebar to enter Edit Mode, and then press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to use Point Edit to see the po�nts of our Sphere.

Next, toggle off the Y and Z axes �n the Application Toolbar, leav�ng only the X axis as act�ve.

F�nally, use the drop-down menu command for Selection -> All to select all of the po�nts of the hem�sphere, or draw a select�on box around them �n one of the orthograph�c v�ews.


Now �nvoke the Scale tool (“S”) and enter a Scale value of 1.3 �n the tool panel. Press ESC when you are sat�sfied w�th the result�ng shape.

Press Alt-Spacebar (W�n) or Option-Spacebar (Mac) to return to Parameter Edit to h�de the po�nts of our Sphere and br�g back the standard tool panel, then press the Spacebar to return to Object Mode.

Be sure to toggle the Y and Z axes back “on” so that any further operat�ons w�ll use all three axes.

In the Snaps toolbar, select Grid Snap #2 to be the act�ve snap (w�th the default gr�d spac�ng). Th�s w�ll make the next few commands much eas�er to control.


9Cl�ck-and-drag to Translate the s�nk hem�sphere “down” by 2 un�ts �n the negative Z d�rect�on.

Now that the s�nk �s �n the correct pos�t�on, we can create a countertop to surround �t and to prov�de a base for our faucet assembly to be rest�ng on.

Select the Rounded Polyline tool from the Curves tab of the Modeling Toolbar, and press Return to accept the default locat�on (0,0,0) for the “Local Axis Origin.”

In the Right v�ew, click-and-drag to place 4 po�nts at the approx�mate locat�ons shown below, start�ng at the “edge” of the s�nk hem�sphere. Press the Spacebar when you are done plac�ng the po�nts.


In the Rounded Polyline tool panel change the Radius value (for all of the po�nts) to be 1. Th�s w�ll “round” the end of our profile curve that overhangs the s�nk open�ng.

Select the Edge Extract tool, and when the Console prompts to “Pick a Surface,” select the s�nk hem�sphere.

When the Console prompts to “Pick Edges” select the top edge of the open hem�sphere and press the Spacebar to extract a curve from that edge.


9To create the rounded r�m of the s�nk surround, we can sweep the Rounded Polyl�ne profile along th�s extracted edge curve. Th�s way �f we need to change the s�nk at any t�me, our r�m w�ll follow the hem�sphere.

Select the Pipe tool from the Surfaces tab, and when the Console prompts you to “Pick Profile Curve,” select the Rounded Polyl�ne �n the scene.

Next the Console w�ll prompt you to “Pick Extrusion Path Curve.” Select the Edge Extract curve by cl�ck�ng on the top edge of the open hem�sphere �n any Wireframe v�ew. Th�s w�ll complete the tool and create a p�pe surface along the top edge of the hem�sphere.

Because th�s Pipe surface does not exactly l�ne up w�th the top edge of our hem�sphere (�t defaults to be centered around �t) change the Align To parameter to be “Profile Start” �n the Pipe tool panel.


Th�s prov�des us w�th a n�ce “r�m” for our s�nk, but we now need to bu�ld the rest of the countertop for our faucet to rest upon.

In the Snaps toolbar, select Grid Snap #$ to be the act�ve snap (w�th the default gr�d spac�ng).

We w�ll be carefully plac�ng the vert�ces of the countertop �n the Top v�ew, so �t �s best to expand the Top v�ew to fill the workspace and to Zoom out so that we can clearly see all around our faucet and s�nk.)

Select the Cube pr�m�t�ve from the Primitives tab of the Modeling Toolbar. When the Console prompts for “Local Axis Origin,” cl�ck-and-drag �n the Top v�ew to place the Origin vertex 20 un�ts (or two Gr�d #4 snap po�nts) to the left of the edge of the s�nk “r�m” as shown below.


9When the Console then prompts for the “Oppos�te Vertex,” cl�ck-and-drag to place the vertex 100 un�ts away �n the pos�t�ve X ax�s and 60 un�ts �n the pos�t�ve Y ax�s.

After the creat�on phase �s fin�shed, use the act�ve Cube tool panel to change the Height value to -10.


Our s�mpl�fied countertop needs to be opened up to show the s�nk, but also to show the r�m of the s�nk that we have already constructed.

Select the Edge Extract tool, and when the Console prompts to “Pick a Surface,” select the Piped “r�m” of the s�nk.

When the Console prompts to “Pick Edges” select the outer edge of the “r�m” Pipe surface, and press the Spacebar to extract a curve from that edge.


9Select the Trim tool from the Surface tab, and at the Console prompt to “P�ck Curve,” select the curve we just Extracted from the “r�m” surface outer edge.

When prompted to “Pick Surface,” select the countertop Cube we constructed around the s�nk and r�m. Th�s w�ll create a matched open�ng �n the Cube allow�ng both the s�nk and the r�m surface to be exposed.

Because the curve used to Tr�m the countertop surface was Extracted from the outer edge of the “r�m” surface, the two surfaces w�ll meet up exactly, and w�ll appear seamless when rendered (�f they have the same mater�al appl�ed, wh�ch we w�ll get to shortly).


Th�s w�ll show us the approx�mate amount of our stage “set” that w�ll be v�s�ble when we render the scene. (Remember, we are focus�ng on the Faucet, not the s�nk we qu�ckly constructed.)

Now that our s�mpl�fied s�nk and countertop are �n place, we can beg�n to apply custom Mater�als to them and prev�ew the look of our scene.

Part 3: Creating the first Materials

In the Perspect�ve v�ew (now named “Render Camera” or whatever you have chosen) select the ma�n body of the Faucet that we have prev�ously modeled, and press the Zoom Selected button at the top of that w�ndow.


9Wh�le the body of the Faucet �s selected, open the Shading panel (Ctrl-3 (W�n) or -3 (Mac)) so we can see and ed�t the surface Material of th�s object.

In the Surface tab of the Shading panel, change the Reflectance component of the Shader Tree to be “Conductor” by RMB-clicking (W�n) or -clicking (Mac) on the channel to d�splay the pop-up menu of poss�ble reflectance models.

The Conductor reflectance model �s used to s�mulate mater�als that are metall�c. The name refers to the conduct�ve nature of metals, wh�ch although they appear to s�mply reflect the l�ght that str�kes them, they actually absorb (or conduct) qu�te a b�t of th�s l�ght energy �n d�fferent wavelengths depend�ng on the type of metal. Th�s �s why when you scroll down the Parameters of the Conductor shader you w�ll see d�fferent parameters for the Refract�on and Absorpt�on amounts of the three component colors that are used �n 3D render�ng. Th�s �s, of course, an approx�mat�on of how actual metals work w�th l�ght, but the effect �s that the mater�al you create can have d�fferent colors on �ts surface and �n the reflect�ons v�s�ble �n �t, just l�ke real metals that are conduct�ve.


For r�ght now, we w�ll set up the non-conduct�ve parameters of th�s shader type to s�mulate a pol�shed n�ckel fin�sh to a (typ�cally) brass faucet body. (Because of th�s we can leave the Color at the default Wh�te.)

In the Parameters, change the Ambient factor to be 0.3, the Diffuse factor to 0.7, the Specular and Mirror factors can stay at 0.8, and the Roughness should be changed to a very low 0.02. The effect that th�s w�ll produce w�ll be a br�ght, reflect�ve metal w�th very sh�ny h�ghl�ghts l�ke �t has been pol�shed.

Next, select the Render -> Render Current View menu �tem from the appl�cat�on drop-down menus at the top of the workspace, or press Ctrl-R (W�n) or -R (Mac).


9We can see �n the rendered v�ew that our Faucet body �s br�ghtly reflect�ng the wh�te countertop and s�nk, and that the scene around �t �s ent�rely black. Th�s produces a very stark contrast that �s not what we want �n the final �mage. However, rather than chang�ng the Mater�al of the faucet body, wh�ch �s somewhat accurate, we can change the env�ronment that �t �s reflect�ng to produce the real�st�c and pleas�ng results we want.

The next step w�ll be to change the blank wh�te s�nk and countertop �n our scene �nto a somewhat more real�st�c surfaces that w�ll enhance the Faucet des�gn that we are present�ng.


Select the hem�spher�cal “s�nk bas�n” surface �n the scene. If you have closed the Shad�ng panel, s�mply open �t aga�n to show the unass�gned Mater�al of the s�nk bas�n.

The An�sotrop�c shader model for Reflectance creates a d�rect�onally dependant surface effect that changes the reflect�on and specular h�ghl�ghts of a surface. Th�s effect �s usually seen on woven or non-sh�ny mater�als l�ke velvet or brushed metal, but �n th�s case represents the soft speculars of porcela�n.

The default wh�te color of unshaded objects �s actually a good color for a s�nk bas�n, but we w�ll change the Reflectance component to be softer, and show some �nterest�ng shad�ng effects. From the RMB-click (W�n) or -click (Mac) pop-up menu, select “Wrapped Anisotropic” as the Reflectance model.

Aga�n the default values �n the Parameters sect�on of th�s shader type w�ll be su�table for our s�nk surface.


9Wh�le the Shader panel �s st�ll open, select the “r�m” of the s�nk (wh�ch w�ll deselect the s�nk bas�n), and then Ctrl-click on the countertop surface (tr�mmed Cube) to add �t to the act�ve select�on. We w�ll now change the Mater�al parameters of both of these surfaces at the same t�me.

Change the Color component to the procedural “Granite” type. Th�s shader uses mathemat�cal formulas to s�mulate the very complex patterns of var�ous types of gran�te. Th�s color type �s a “sol�d” shader, so the pattern of the gran�te evenly d�str�buted �n all three d�mens�ons of whatever mater�al �t �s appl�ed to. Th�s w�ll work well for the curv�ng “r�m” of our countertop.


Because our Faucet object �s a l�ght, reflect�ve metal, �t w�ll be best offset by us�ng darker colors �n the M�neral Color sect�ons. Exper�ment w�th these color parameters to produce the gran�te you prefer.

To g�ve our gran�te surfaces a pol�shed look, change the Reflectance model to “Mirror,” and set the Ambient factor to 0.8 and the Diffuse to 1. Th�s w�ll “br�ghten” up the mater�al. To m�n�m�ze d�stract�ng h�ghl�ghts and reflect�ons, set the Specular factor to 0.5 and the Mirror factor (reflect�v�ty) to just 0.3.


9By Rendering the Perspective camera v�ew aga�n, we can see the changes that the new s�nk bas�n and countertop mater�als have upon our scene. Our Faucet appears more real�st�c because the env�ronment around �t �s more real�st�c.

At th�s po�nt the “spout” of the Faucet and the handle do not have Mater�als ass�gned to them at all. We can very qu�ckly correct th�s by us�ng a tr�ck for apply�ng an unsaved Mater�al from an ex�st�ng object to other objects �n the scene. We can then mod�fy the Mater�als of the �nd�v�dual objects to produce the results we would l�ke.


In the Shader panel, you w�ll see that the Shader tree parameters d�splayed are for the last selected object, wh�ch �s the body of the Faucet. Press the Apply button �n the lower r�ght corner of the Shader panel, and you w�ll effect�vely “copy” the body Mater�al to the other two objects that are selected.

Deselect all objects �n your scene and then select, �n order, the tapered Cylinder of the “spout,” the handle assembly, and finally the body of the Faucet. (If you prev�ously jo�ned the spout to the body when model�ng these objects, you can �gnore th�s part and s�mply concentrate on the handle.)

Select only the handle assembly and you can see that the Shader panel shows that �t now has the same type of “Conductor” Reflectance type that the body has as well.

Th�s �s a qu�ck way to d�str�bute ass�gned, but unsaved, Mater�als to other objects �n your scene, but �f you are very pleased w�th a certa�n Mater�al, �t �s best to expl�c�tly Save �t to your Materials Library for qu�ck access and easy re-use later on �n other models. Th�s also prevents “los�ng” a favored Mater�al as well.


9Right-click on the Displacement component �n the Shader tree to br�ng up the l�st of ava�lable shaders for that component. We can see that there are presets for s�mulat�ng the surface effects of var�ous �ndustr�al mater�als. Select the “Rough” d�splacement model from the l�st to add some texture to our mater�al.

The handle of our faucet �s the part that most users w�ll touch and man�pulate dur�ng normal use. For th�s reason, and for ease of clean�ng, many faucets have faucet handles are “textured” to assure a proper gr�p when they are wet, and also to m�n�m�ze the appearance of d�rt or fingerpr�nts on the metal surface. To s�mulate th�s we can add a Displacement component to our ex�st�ng metall�c mater�al.

If we do a qu�ck prev�ew render of our handle by us�ng the Render -> Render Selected Objects menu command, we can see that th�s default roughness �s a l�ttle too much for the s�ze and shape of our handle.

In the Parameters for the Rough d�splacement, change the Scale to 0.5, and then adjust the Amplitude to 0.01. These two sett�ngs w�ll create a D�splacement effect that �s s�m�lar to a gently textured metal.


By us�ng the Zoom Selected button �n our Perspective v�ew and the Render Selected Object menu command, we can get a closer look at our object and th�s mater�al. (If you would l�ke, and your computer processor speed �s fast enough, you can change the Render -> Options... resolut�on sett�ng to 640 x 480 to get a larger �mage when render�ng.)

Th�s looks much better, but we can see that �t appears to be too sh�ny and reflect�ve at th�s po�nt. (A roughened metal, even when coated, w�ll not reflect as much specular l�ght as a pol�shed surface.) Select the Conductor shader �n the Reflectance component and change the Specular and Mirror factors to be 0.4, and then change the Roughness to be 0.1. Th�s w�ll better s�mulate a real�st�c handle metal.

The “Roughness” �n the Conductor reflectance shader, and the Rough d�splacement shader have s�m�lar names because they s�mulate the same th�ng. When l�ght str�kes a mater�al, �t �s reflected back at our eyes �n e�ther a d�rect way (sh�ny) or �t �s scattered by small surface bumps. The br�ghtness of th�s reflect�on �s s�mulated by the Specular factor �n shaders, wh�le the scatter�ng �s controlled by the Roughness. A more scattered, or w�der and softer, specular h�ghl�ght thereby g�ves the �mpress�on of a roughened surface.


9Our Faucet and s�nk area are textured and ready to render, but we st�ll have these objects “float�ng” �n a black env�ronment when they should be seen �n a properly l�t bathroom to have the correct “context” that we d�scussed �n the beg�nn�ng of th�s tutor�al. To create a s�mpl�fied “room” for our scene we w�ll create and ed�t a s�mple Cube pr�m�t�ve.

Part 4: Reflecting a Room

Select the Cube pr�m�t�ve from the Primitives tab of the Modeling Toolbar. When the Console prompts for “Local Axis Origin,” cl�ck-and-drag �n the Right v�ew to place the Origin vertex somewhere near the front of the s�nk and countertop.

At the Console prompt for “Opposite Vertex (width, thickness, height),” enter values of 2, 2, 2 to create a sl�ghtly larger than default cube.


W�th the Cube st�ll selected, �nvoke the Scale tool (“S”) and �n the tool panel, enter a Scale value of 75 and press ESC to end the tool. Th�s w�ll create four walls, a ce�l�ng and floor around our s�nk and countertop very qu�ckly!

By press�ng the Zoom All button �n the Application Toolbar, we w�ll see �n our orthograph�c v�ews that th�s Cube �s not �n the correct pos�t�on for the typ�cal boundar�es of a bathroom.

Translate the Cube so that the �t just touches the back of our countertop and that �t �s centered vert�cally above our s�nk, as shown �n the �llustrat�on below.


9Although th�s �s a somewhat small bathroom, we w�ll be render�ng our scene from a camera “�ns�de” th�s cube and focused on the faucet, so the external d�mens�ons are not very �mportant. It just needs to be enough to g�ve the feel�ng of a room surround�ng our s�mpl�fied “stage set.”

If we do a qu�ck Render from the Perspective v�ew, we w�ll see that our Faucet now “reflects” all of the wh�te surfaces of the �ns�de of th�s Cube. We can change the Mater�al ass�gned to the Cube to create the �mpress�on of a t�led bathroom.

Wh�le the Cube �s st�ll selected, open the Shader panel (�f closed) and change the Color component of the wh�te Cube to be “Wrapped Textured Brick.” We w�ll mod�fy th�s shader to s�mulate a t�led wall.

By look�ng at the Material Preview w�ndow �n the Shader panel, we can �mmed�ately see that th�s shader creates “blocks” of color that are w�de, l�ke br�cks (of course) not l�ke t�les. Change the Brick Height to be 1 to equal the Brick Width and make square “t�les.”


We can also see that the default red “br�ck” color �s too strong for our bathroom. Change the two Brick Colors (1 & 2) to be l�ghter, less saturated colors. These two colors are “m�xed” to create a softly patterned effect, so �f they are not too d�fferent the effect can be qu�te n�ce. A cream and gold works well.

Next, change the Mortar Size to 0.05 and the Mortar Color to a clean wh�te. Th�s w�ll s�mulate the common t�le mortar used �n a bathroom.


9Th�s �s much closer to the color and setup of a common bathroom t�le, but there �s a �rregular�ty to the pattern that �s not common �n t�les. Scroll down �n the Parameters sect�on and change the Rough Amplitude to be 0. Th�s w�ll “stra�ghten” out the �rregular�t�es.

The last step �s to make sure that th�s new “t�le” texture maps correctly to the walls of our bathroom. In the Shader Tree, change the Texture Space component to be “Auto-Axis.” Th�s w�ll apply the t�le texture �ndependently to each “wall” of the Cube.

Render the scene from the Perspective v�ew to see the new “t�led” walls of our bathroom sett�ng.


In the rendered �mage we can �mmed�ately see that our t�les are very small �n relat�on to the faucet and s�nk. Th�s �s somet�mes des�rable, but we have spent enough t�me mak�ng these t�les �nterest�ng, that we should at least show them off!

In the Texture Space component, change the “Auto-Axis” Scale parameter to be 10, and render the scene aga�n to see the change.

Our Faucet now reflects the t�les of the “bathroom” around �t and appears more real�st�c as a result, but the t�les are now tak�ng some of the focus away from the Faucet des�gn and shape. One of the common elements of a bathroom that w�ll actually help us to “refocus” the scene on our Faucet �s a bathroom m�rror.

W�th the Front v�ew act�ve, select the Plane pr�m�t�ve tool from the Primitives tab of the Modeling Toolbar. Th�s w�ll be our s�mpl�fied m�rror surface.

At the Console prompt to define the “Local Axis Origin,” cl�ck-and-drag to place th�s corner of the Plane a b�t above the countertop and to the far left s�de of the w�dth of the countertop.


9

In the Shader panel, change the Reflectance model for th�s new object’s Mater�al to be Mirror (of course!). Th�s �s all �t takes to create a real�st�c m�rror Mater�al!

At the Console prompt to define the “Opposite Vertex,” cl�ck-and-drag to place the other corner of the Plane well above the faucet and on roughly equ�d�stant from the r�ght s�de of the countertop as shown �n the �llustrat�on below.

Render the Perspective camera v�ew to see th�s new element of our bathroom scene. We can qu�ckly see �n th�s render�ng that the m�rror b�sects our Faucet. We need to move the m�rror closer to the wall.


In the Right v�ew, cl�ck-and-drag on the Plane pr�m�t�ve to Translate �t “beh�nd” the Faucet, relat�ve to the camera that we are us�ng to render our scene �n the Perspective v�ew.

When we Render the scene aga�n from the Perspective v�ew, we can now see that add�ng th�s m�rrored surface allows us to see the “back” of our Faucet des�gn at the same t�me as we see the front! Th�s �s a great way to show more of your des�gn �n one render�ng.

We should add a “frame” to th�s m�rror to keep �f from “float�ng” above the wall and countertop. We can do th�s by repeat�ng the steps that we used to create the “r�m” of our s�nk.


9

Select the Edge Extract tool, and when the Console prompts to “Pick a Surface,” select the Plane pr�m�t�ve of our m�rror.

At the Console prompt to “Pick Edges,” Ctrl-click on all 4 edges of the Plane and press the Spacebar to extract a s�ngle curve from all of the edges.

Select the NURBS curve tool from the Curves tab, and press Return to accept the default “Local Axis Origin.”

In the Right v�ew, cl�ck-and-drag to place 8 po�nts �n the arrangement shown �n the �llustrat�on below. (Where the curve �s located �s not as �mportant as the final shape.)


Select the Pipe tool from the Surfaces tab, and when the Console prompts you to “Pick Profile Curve,” select the NURBS curve we have just drawn �n the scene.

Next the Console w�ll prompt you to “Pick Extrusion Path Curve.” Select the Edge Extract curve by cl�ck�ng on any edge of the Plane pr�m�t�ve where �t �s located. Th�s w�ll complete the tool and create a “frame” that follows the outs�de of the m�rror.

We can now create and apply a bas�c Material for th�s surface wh�le �t �s st�ll selected. Open the Shading panel (Ctrl-3 (W�n) or -3 (Mac), �f not already open) and change the Color component to be “Plain.”

For the color of the frame, change the Color parameter of the Plain shader type to be black or another dark, warm color from your system color p�cker.


9To g�ve th�s frame a sat�n fin�sh, change the Reflectance component to be the “Wrapped An�sotrop�c” that we used �n the s�nk bas�n to get the porcela�n effect. The darker base color w�ll h�ghl�ght the an�sotrop�c specular h�ghl�ghts qu�te n�cely.

A qu�ck Render�ng of the scene as �t �s from our Perspect�ve v�ew w�ll show that our stage �s nearly set w�th all the elements we need for a successful, real�st�c render�ng. But we are st�ll us�ng the default l�ght source!


Part 5: Lighting and Saving the Stage

L�ght�ng �s one of the most �mportant parts of any good �mage, whether �n a photograph�c stud�o or �ns�de sol�dTh�nk�ng. We can use the l�ght�ng to add depth to a scene and to h�ghl�ght the �nd�v�dual elements �ns�de �t. In th�s case we w�ll be add�ng l�ghts to emphas�ze the Faucet that �s the center of our focus.

Wh�le the Front v�ew �s act�ve, select the Light tool from the Cam/Light tab of the Modeling Toolbar. The Console w�ll prompt you for the “Local Axis Origin,” or pos�t�on of the L�ght. Cl�ck-and-drag �n the Front v�ew to place the l�ght object just above the top of the m�rror on the r�ght s�de of the Faucet.


9After plac�ng the Light pos�t�on locator (a s�mple “jack” shape), open the Shading panel and sw�tch to the Light tab �f needed. RMB-click (W�n) or -click (Mac) on the Light component, and change �t to a “Spot” l�ght type. Any shaded v�ews you have open w�ll �mmed�ately darken to show the effect of th�s new l�ght.

Wh�le th�s new Spotlight �s st�ll selected, press the Spacebar to enter the Edit Mode. Th�s w�ll show you the Position and Target “hotspots” of th�s l�ght. (Zoom �n to see both hotspots clearly separated.)

In the Front v�ew, cl�ck-and-drag the Target hotspot unt�l �t �s just to the r�ght of the Faucet assembly �n the center of our scene.


Render the scene from the Perspective v�ew and we w�ll see a dramat�c change to the look of our scene. It �s mostly dark aga�n, but w�th the Faucet tak�ng “center stage” under the spotl�ght. Although th�s �s a dramat�c way to h�ghl�ght our model, we w�ll add some add�t�onal l�ghts to make the scene look more “real�st�c.”

Press the Spacebar aga�n to return to the Object Mode when you have pos�t�oned the Target.

Wh�le the Spotlight �s st�ll selected, go to the Shading panel and cl�ck on the Spot component of th�s l�ght to v�ew the adjustable parameters. Scroll down �n these parameters and check the Shadows checkbox so that th�s Spotlight w�ll cast shadows as well as l�ght.

Press Ctrl-Spacebar to repeat the Light tool aga�n, and cl�ck-and-drag �n the Front v�ew to place th�s new l�ght object just above the top of the m�rror �n the center of the scene.

In the Shading panel change the Light component of th�s l�ght object to be the “Simple Sky” l�ght type. Th�s l�ght type s�mulates the amb�ent l�ght of a skydome by plac�ng a hem�sphere of “v�rtual” l�ghts around your scene wh�ch add an even, l�ght �llum�nat�on (s�m�lar to the sky when you are outdoors).


9One poss�ble way to fix these “shadow errors” �s to �ncrease the accuracy of our shadow maps �n the Spotlight Shading panel, but a better way �s to s�mply “turn off the shadows for non-essent�al objects �n our scene.

A qu�ck Render w�ll tell us that th�s does �ndeed “br�ghten” up our scene qu�te a b�t, and we can even see the t�le walls reflected �n the m�rror above our s�nk. Th�s �s the even �llum�nat�on we are work�ng toward. However, we can see some problems w�th the shadows be�ng cast by our spotl�ght (espec�ally �n the s�nk bas�n).

In the World Browser, cl�ck on the Layer �con for the act�ve, “Scene Layer.” Th�s w�ll automat�cally select all of the objects we have created �n our scene around the Faucet. Once all of these objects are selected, press the “Do Not Cast Shadows” button at the top of the World Browser. Th�s w�ll turn off all unneeded shadows!

Th�s �s where the advantages of 3D render�ng over photography come �nto the�r own. In a photograph�c stud�o you do not have to “render” your scene, only look through the v�ewfinder and press a button. However, photographers must constantly be careful to arrange the shadows cast by the�r l�ghts so that noth�ng �s d�stract�ng to the�r final �mage. Many t�mes they w�ll use “bounce cards” and “soft boxes” to get the effect that an object does not cast a shadow. In 3D, all shadows take t�me to cast, so there �s the opt�on to s�mply “turn them off” on an object-by-object bas�s! Th�s w�ll not only g�ve us a better �mage, but shorten our render�ng t�mes as well! Shadow management �s very �mportant.


Although the objects on our stage sett�ng cannot “cast shadows” they can st�ll rece�ve them (l�ke the countertop under the faucet) and they st�ll need to be adequately l�t for a conv�nc�ng scene. One area of the scene that m�ght get �gnored �s the part of the bathroom “reflected” �n the m�rror.

Press Ctrl-Spacebar to repeat the Light tool one more t�me, and cl�ck-and-drag �n the Right v�ew to place th�s l�ght object just “�n front of” the s�nk and countertop, or to the left of them �n th�s v�ew.

In the Shading panel change the Light component of th�s l�ght object to be a “Spot” l�ght type l�ke the first l�ght. Then, �n the Parameters for th�s new spotl�ght, change the Intensity to be 0.6, and the Cone Angle to be 160.

Press the Spacebar to enter the Edit Mode, and �n the Front v�ew, cl�ck-and-drag the Target “hotspot” of th�s l�ght to be completely hor�zontal and “fac�ng” to the left of the Faucet.


9The reflect�ons �n our m�rror are now clearly the t�led wall of a bathroom. R�ght now, however, w�th all of these l�ghts added to the scene, our Faucet �tself �s start�ng to get “blown out,” or too br�ght. We can now adjust the Mater�als appl�ed to the Faucet to compensate for th�s new effect.

Wh�le �t �s poss�ble to correct for blown out Mater�als by reduc�ng the l�ght�ng �n the scene, �n th�s case �t �s only the Conductor-based mater�als that are show�ng up as “too br�ght.” All of the other shaders that we have created w�th other Reflectance models and colors are just fine, and actually look pretty good. Therefore, �f we reduced the �ntens�ty of the l�ghts our Conductor mater�als would �mprove, but at the cost of the rest of our scene. It �s best to go back and s�mply adjust the few Mater�als that are too br�ght.

Press the Spacebar aga�n to return to the Object Mode when you have pos�t�oned the Target, and then Render the Perspective v�ew to see the effect th�s new l�ght has on the scene reflected �n the m�rror.

W�th the Perspective v�ew act�ve, open the Shad�ng panel and change the Object of the Material Preview w�ndow to be “Current Camera” from the drop down menu. (If your Preview takes a long t�me to render due to your processor speed, change the Resolution to “Coarse.”) Th�s w�ll g�ve us �mmed�ate feedback as we adjust certa�n shaders �n relat�on to the l�ght�ng of our scene.


Select both the faucet body and the small, tapered Cyl�nder “spout” at the end of the neck of the faucet. In the Shading panel, change the Color component from <none> to “Plain.”

Now select the handle surfaces and add a “Plain” Color component to �t as well. When you ed�t the Color parameter of th�s shader, s�mply choose the blue-grey swatch that you saved from the prev�ous shader so that the two mater�als match each other �n color, but d�ffer �n roughness and reflect�v�ty.

In the Plain shader parameters, change the Color by open�ng the system color p�cker and choos�ng a dark grey w�th a sl�ghtly blue color. Save th�s new color to a “swatch” �n your color p�cker for later.

But how d�d we know to just add a color to our Mater�al, as opposed to chang�ng values of the Conductor reflectance propert�es? The reflectance component controls how shad�ng, reflect�ons and specular h�ghl�ghts are created on the surface of our object, but these effects are layered “on top” of the base color. If only the specular h�ghl�ghts were too br�ght, and not the reflect�ons, then that parameter alone should be ed�ted. In th�s case, all aspects of the Conductor reflectance model were too br�ght, so the underly�ng color �s the first th�ng to try. Plus, �t �s a component w�th only one parameter, wh�ch �s easy to test.


9Now that we have th�s “stage” set perfectly for our faucet, �t would be a good �dea to save �t for use w�th other faucet des�gns, or even ent�rely d�fferent objects! Be�ng able to re-use all of th�s hard work �s cr�t�cal to ma�nta�n�ng product�v�ty and the Models L�brary prov�des us w�th a way to do th�s.

In the World Browser, cl�ck on the Layer �con for the act�ve, “Scene Layer.” Th�s w�ll automat�cally select all of the objects we have created �n our scene around the Faucet.

From the drop-down menus at the top of the appl�cat�on, select File -> Save as Model (or Ctrl-F12 (W�n) or -F12 (Mac). Th�s w�ll br�ng up the Model L�brary save d�alog that w�ll show you a small rendered prev�ew of the scene you are sav�ng along w�th areas for you to fill �n the Name and Group of th�s model.

To re-use th�s “set,” s�mply open the file of the Faucet des�gn (or any other object) and browse the Models Library (Alt-5 (W�n) or Option-5 (Mac)) unt�l you see the button w�th th�s rendered prev�ew as �ts �con. Press that button w�th the name you have chosen and all of the �tems that are selected (l�ghts, s�nk, countertop, walls, etc.) w�ll be �nserted �nto that scene w�thout hav�ng to Merge anyth�ng at all.


Part 6: Sketch Rendering & Wrap-up

We have completed the scene and l�ght�ng setup for our Faucet des�gn, and we are ready to Render at a h�gher resolut�on and poss�bly even use ant�-al�as�ng. The s�ze of your final render�ng �s up to you, but keep �n m�nd that an �mage tw�ce the s�ze of another w�ll take four t�mes as long, on average.

However, at the end of th�s lesson on sett�ng up and adjust�ng a photoreal�st�c render�ng, we recogn�ze that there are often t�mes when photoreal�sm �s not des�red. Frequently when someth�ng looks “too” real�st�c we are reluctant to make changes to �t, or we �mag�ne that those changes w�ll take as much t�me as w�th an actual object (�f your real�sm �s good enough). These are the t�mes when the non-photoreal�st�c, or “sketch” render�ng styles �n sol�dTh�nk�ng w�ll come �n very handy.

In the Rendering Options panel, change the render�ng Method to “Sketch Render�ng.” Now open up the Shading panel and cl�ck on the Image tab to d�splay the Image Shader Tree.

From the drop-down menu Render -> Render Options... open the Render�ng Opt�ons panel (Ctrl-Shift-R (W�n) or -Shift-R (Mac)) and set the �mage resolut�on to 1024 x 768 p�xels to v�ew our scene at a reasonable s�ze.

RMB-click (W�n) or -click (Mac) on the Sketch Style component to d�splay the l�st of non-photoreal�st�c render�ng styles ava�lable �n sol�dTh�nk�ng. Select the “Lines and Shadow” opt�on and then Render the Perspective v�ew to see the result of th�s Sketch Style. Th�s �s a very d�fferent representat�on of our scene!


9Next, try the Oil Painting style as a render�ng method for th�s scene. The results we can see are qu�te d�fferent from the standard Raytrace or Scanline render�ng, but these types of render�ng can be used �n s�tuat�ons where a photoreal�st�c render�ng would not be used, but w�thout chang�ng anyth�ng �n the scene except the Rendering Method and the Sketch Style.

In conclus�on we can see that sett�ng up a real�st�c scene for our models �s not necessar�ly hard work, but does take some pre-plann�ng and an understand�ng of how l�ghts and mater�al shaders �nteract. W�th pract�ce and t�me you w�ll bu�ld up a L�brary of Mater�als and Models to a�d you �n produc�ng very qu�ck and accurate results, but you w�ll also bu�ld up an understand�ng of how to change parts of your scene to better match real�st�c and non-photoreal�st�c goals.

467Appendices

Appendix A - Keyboard Shortcuts

Ctrl Hold wh�le p�ck�ng mult�ple objects/po�nts

Ctrl + Spacebar Recall last model�ng tool act�vated

Ctrl + Enter Sk�p all console prompts

ESC Abort an act�ve model�ng tool

Del Delete

Spacebar Toggle Object/ Ed�t mode

Alt + Spacebar Toggle Po�nt/ Parameter Ed�t

T Translate R Rotate

S Scale

Ctrl + Z Undo

Ctrl + G Group

Ctrl + U Ungroup

This is only a partial list of the commonly mentioned shortcuts in this manual. A complete list of Keyboard Shortcuts can be found in the Help menu of the solidThinking application.

Ctrl Hold wh�le p�ck�ng mult�ple objects/po�nts

Ctrl + Spacebar Recall last model�ng tool act�vated

+ Enter Sk�p all console prompts

ESC Abort an act�ve model�ng tool

+ Backspace Delete

Spacebar Toggle Object/ Ed�t mode

Option + Spacebar Toggle Po�nt/ Parameter Ed�t

T Translate R Rotate

S Scale

+ Z Undo

+ G Group

+ U Ungroup


Appendix B - Index of Tools

AAssign Materials, 71

Axis Align, 133, 253

BBackground, 166

Blend Surface, 103, 297, 345

Boolean operator, 256

CCircle, 78

Cube, 5

Curvature Display, 340

Cylinder, 16, 25

Each tool is listed with the page on which that tool was either introduced, or where additional options for that tool were introduced. Many of these tools also have associated Tips, which can be found in the next index.

DDynastep, 387, 392

EEdge Extract, 258, 318

Ellipse, 2-Axis, 339

Extrude, 43

FFillet Curves, 273

Fillet Surface, 376

GGrid Snap, 40

IInspector, 31

Intersect CT, 210

LLabel Maps, 171

Lathe, 115, 261

Layers, 355, 420, 423

Light object, 156

Line, Single, 269

Loft, 341

469Appendices

MMerge, 421

Mirror, 67

MultiSweep, 204

NNURBS Curve, 41

OOffset Curve, 268

Open Polyline, 51

Ortho Adjust, 123

PPathcast, 283

Pipe, 407

Plane, 161

Points (CVs), 92

Preferences, 139

RRender, 143

Renderings Browser, 154

Rotate, 28

Round, 242

Rounded Polyline, 56, 219

SSave As Material, 152

Save As Model, 463

Scale, 27

Shader selection, 149

Shading Panel, 145

Sketch render, 464

Skin, 86, 122, 197

Snaps, disable, 324

Sphere, 22

Surface Extrusion, 397

TTaper, 299

Texture Positioning, 175

Texture Space, 172

Textured Display, 70

Translate, 14, 29, 34

Trim Solid, 233

Trim Surface, 55, 322, 389

UUn-Edit Points, 128

WWorld Browser, 45, 192


Appendix C - Index of Tips

AAlignment, 133

Axis, active, 24, 25

BBlend Surface, 104, 306

Boolean Operations, 256, 358

CClick-and-drag, 8, 29, 52

“Creation Phase”, 5, 7, 87

Combine, 240

Console, 189

Construction Tree, 45, 47, 315, 332

Continuity, 107, 282, 313, 347, 362

Copy & Paste, 32

Curvature Display, 350

Curve creation, 57

DDefault Radius, 247

Dimension Entry, 179

Displacement, 179

Dynastep, 396

EEdit Mode, 46, 235

FFillet Curves, 274

Folders, default, 172

G“Guide” surfaces, 281

HHotspots, 82, 208

I“Insert” , 202

LLabel Maps, 185

Layer states, 366, 367

Layers, 363

Lighting, default, 156

Light objects, 157

Loft, 342

Tips are usually found within the tutorial or context in which they would have the most meaning, and tool-spe-cific tips are typically located near the introduction of that tool. The name of the Tip used in this index may not always be found within the Tip itself, but rather is a description of the toppic.

471Appendices

MMaterial preview, 147, 164

Materials Toolbar, 71, 140

Materials, 148, 462

Materials, assigning, 442

Merge, 421

Mirror, 68, 192

MultiSweep, 209, 225, 247

OObject Modes, 50

Orbit, 21

Origin, local axis, 41

Ortho Adjust, 123

Overexposure, 453

PPalettes, docking, 40

Pan in Perspective, 314

Parametrics, 88

Picking Disabled, 192

Point Edit, 91, 285

Points, complexity, 297

Points, editing, 98, 124

Points, Un-Edit, 129

Procedural shaders, 178

RRaytracing, 182

Render, 144

Renderings Browser, 155

Replace, 388

Replication, radial, 377

“Roughness” , 444

Round hotspots, 244

Round, 195, 246, 362

Rounds, variable, 207

SSave As…, 35, 138

Seam position, 122

Selection Colors, 13, 89

Selection priority, 92

Shadow resolution, 183

Shadowcatcher, 167

Shadows in 3D, 459

Snaps, 83

Solids, 253

TTangent direction, 106, 308

Texture Space, 172

Tolerances, 188, 298, 336, 382

Transforms, 14, 15, 27

Translate, from-to, 81

Trim direction, 325

Trim Surface, 54, 433

VView relative, 19

ZZoom selected, 12


Des�gned, Wr�tten,and Illustrated byMark Banas

473Appendices

NOTES


NOTES

475Appendices

NOTES


NOTES

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