Rhinoceros®
Rhinoceros
®
modeling tools for designers
Training Manual
Level 1
RH50-TM-L1-Sep-2013
Rhinoceros v5.0, Level 1, Training Manual
Revised 9/30/2013, Mary Fugier [email protected]
Q&A 9/30/2013,, Jerry Hambly [email protected]
© Robert McNeel & Associates 2013
All Rights Reserved.
Printed in USA
Copyright © by Robert McNeel & Associates
Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted
without fee provided that copies are not made or distributed for profit or commercial advantage. To copy
otherwise, to republish, to post on servers, or to redistribute to lists requires prior specific permission.
Request permission to republish from: Publications, Robert McNeel & Associates, 3670 Woodland Park Avenue
North, Seattle, WA 98103; FAX (206) 545-7321; e-mail [email protected]
Credits:
Phil Cook, Simply Rhino Limited, UK, www.simplyrhino.co.uk for the exercises on SmartTrack and Constraints
Bob Koll, [email protected] Robert McNeel for Gumball Puzzle and Cplane Exercises
Jerry Hambly, Technical Review and Final Edits.
ii
Robert McNeel & Associates
Table of Contents
PART ONE Introduction and Overview ............................. 7 Move Objects ................................................................. 28 1 Introduction and Overview ............................................ 9 Copy Objects .................................................................. 29 Introduction ...................................................................... 9 Changing the view of your model ................................... 30 Duration ....................................................................... 9 Viewports ................................................................... 30 Course Objectives ....................................................... 9 Parallel vs. Perspective Projection............................. 31 Schedule A: Three Classroom Days ......................... 10 Panning and Zooming .................................................... 31 Schedule B: Six Half Days (On-line Training) ............ 10 Reset Your View ............................................................ 31 Overview - What is Rhino?............................................. 11 PART TWO Creating and Editing Geometry ................... 35 Object types ................................................................... 11 3 Creating Geometry ........................................................ 37 Surface ...................................................................... 11 Drawing lines .................................................................. 37 Polysurface................................................................ 12 Drawing free-form curves ............................................... 38 Solid .......................................................................... 12 Modeling aids ................................................................. 39 Lightweight Extrusion Objects ................................... 13 Grid Snap .................................................................. 40 Curve ......................................................................... 13 Ortho.......................................................................... 40 Polygon Mesh ............................................................ 13 Osnap ........................................................................ 40 2 The Rhino for Windows Interface ................................ 14 SmartTrack ................................................................ 40 The Rhino Screen .......................................................... 14 Planar ........................................................................ 40 The Rhino Screen ..................................................... 15 Gumball ..................................................................... 40 Menus........................................................................ 16 Record History ........................................................... 40 Toolbars .................................................................... 16 Filter........................................................................... 40 Tooltips ...................................................................... 16 Saving your work ............................................................ 40 Cascading toolbars .................................................... 16 Layers ............................................................................ 41 Graphics Area ........................................................... 17 Selecting objects ............................................................ 44 Viewports................................................................... 17 Dedicated selection commands ................................. 46 Viewport tabs............................................................. 18 Filter Selection ........................................................... 47 Command Area ......................................................... 18 4 Precision modeling ....................................................... 49 The Mouse ..................................................................... 18 Coordinate entry ............................................................. 49 Entering Commands ...................................................... 19 Absolute coordinates ................................................. 49 Shortcuts and Aliases ................................................ 19 Relative coordinates .................................................. 50 Clickable options ....................................................... 19 Polar coordinates ....................................................... 50 Autocomplete command name .................................. 19 Distance and angle constraint entry ............................... 51 Repeating commands ............................................... 20 Object Snaps .................................................................. 55 Canceling commands ................................................ 20 Additional modeling aids ................................................ 59 Help ............................................................................... 21 SmartTrack ................................................................ 59 View the Command Line History ............................... 22 Tab Constraint ........................................................... 60 View Recent Commands ........................................... 22 Project constraint ....................................................... 60 Panels ............................................................................ 23 Planar constraint ........................................................ 61 Navigating Around the Model ......................................... 27 Viewports and construction planes ................................. 62 Zooming in and out .................................................... 28 Viewports ................................................................... 63 Zooming extents ........................................................ 28 Construction planes ................................................... 63 Robert McNeel & Associates
iii
Analysis commands ....................................................... 74 Separate the bill from the head ................................ 148 Distance .................................................................... 74 Create the duck’s neck ............................................ 149 Length ....................................................................... 75 Render a picture of the ducky .................................. 153 Radius ....................................................................... 75 8 Modeling with Solids .................................................. 155 Point evaluation ......................................................... 76 Model a bar with engraved text .................................... 156 Drawing with precision ................................................... 76 Offset solid text ........................................................ 159 Circles ....................................................................... 76 9 Creating surfaces ........................................................ 162 Arcs ........................................................................... 81 Simple surfaces - Phone .............................................. 162 Ellipses and polygons .................................................... 84 Planes ...................................................................... 163 Ellipses ...................................................................... 84 Surface from planar curves ...................................... 164 Polygons .................................................................... 85 Surface from edge curves ........................................ 164 Rectangles................................................................. 85 Extruding curves ...................................................... 165 Free-form curves ....................................................... 89 Join .......................................................................... 168 Helix and Spiral .............................................................. 91 Lofted surfaces - Canoe ............................................... 171 5 Editing Geometry .......................................................... 96 Revolved surfaces – Vase ............................................ 176 Fillet ............................................................................... 96 Rail Revolve – Heart, star............................................. 176 Blend .............................................................................. 99 Sweeps andcurve networks.......................................... 178 Chamfer ....................................................................... 103 Rear-view mirror ...................................................... 179 Move ............................................................................ 106 Toy hammer ............................................................. 183 Copy............................................................................. 107 Squeeze bottle ......................................................... 190 Undo and Redo ............................................................ 108 10 Importing and exporting........................................ 196 Rotate .......................................................................... 108 Exporting Rhino File Information .................................. 196 Group ........................................................................... 109 Importing other file formats into Rhino .......................... 196 Mirror ............................................................................ 110 11 Rendering ............................................................... 199 Join .............................................................................. 110 Apply materials ............................................................. 199 Scale ............................................................................ 111 Add lights...................................................................... 204 Editing with the gumball ............................................... 112 Add textures ................................................................. 206 Gumball actions: ...................................................... 112 Use a groundplane ....................................................... 212 Gumball Controls ..................................................... 113 12 Annotating your model.......................................... 215 Trim .............................................................................. 120 Dimensions................................................................... 215 Split .............................................................................. 121 Dimension types ...................................................... 215 Extend .......................................................................... 122 Dimension tools ....................................................... 215 Offset ........................................................................... 124 Linear Dimensions ................................................... 217 Array ............................................................................ 128 Leaders .................................................................... 217 6 Point editing ................................................................ 133 Making a 2-D drawing from a 3-D model ...................... 219 About control points, edit points, and knots ............. 133 13 Printing and Layouts ............................................. 221 Nudge Controls........................................................ 136 Printing ......................................................................... 221 PART THREE 3-D Modeling and Editing....................... 141 Layouts ......................................................................... 221 7 Creating Deformable Shapes ..................................... 143 PART FOUR Extras ......................................................... 231 The Rubber Ducky ....................................................... 143 Create the body and head shapes........................... 143 iv
14 Transforming solids .............................................. 233 Flow along surface ....................................................... 233 Robert McNeel & Associates
Surface direction .......................................................... 234 History and Gumball .................................................... 234 Flow ............................................................................. 238 Exercises
Exercise 1—Rhino basics .................................................. 24 Exercise 2—Display options ............................................... 32 Exercise 3—Drawing lines ................................................. 37 Exercise 4—Drawing interpolated curves........................... 39 Exercise 5—Drawing curves from control points ................ 39 Exercise 41—Join............................................................. 110 Exercise 42—Scaling objects ........................................... 111 Exercise 43—Gumball basics ........................................... 113 Exercise 44—Practice with Gumball................................. 117 Exercise 45—Trim ............................................................ 120 Exercise 6—Drawing lines and curves
using mode functions ......................................................... 40 Exercise 46—Split ............................................................ 121 Exercise 7—Layers ............................................................ 42 Exercise 47—Extend ........................................................ 122 Exercise 8—Practice using selection options ..................... 44 Exercise 48—Offset.......................................................... 124 Exercise 9⎯Setting up a model ......................................... 49 Exercise 10—Entering absolute coordinates...................... 49 Exercise 11—Entering relative coordinates........................ 50 Exercise 12—Entering polar coordinates ........................... 51 Exercise 13—Distance constraint entry.............................. 51 Exercise 49—Polar Array ................................................. 128 Exercise 50—Practice ...................................................... 129 Exercise 51—Practice ...................................................... 130 Exercise 52—Practice ...................................................... 131 Exercise 53—Control point editing ................................... 133 Exercise 14—Distance and angle constraint entry ............. 51 Exercise 54—Practice with curves and
control point editing .......................................................... 138 Exercise 15—Practice using distance and
angle constraint entry ......................................................... 52 Exercise 55—Creating a rubber duck ............................... 143 Exercise 16—Practice using distance and
angle constraints ................................................................ 55 Exercise 17—Using object snaps ....................................... 56 Exercise 18—SmartTrack .................................................. 59 Exercise 19—Tab Constraint ............................................. 60 Exercise 20—Project Constraint ........................................ 60 Exercise 21—Planar Constraint ......................................... 61 Exercise 22—Intro to construction planes .......................... 62 Exercise 23—Viewports and construction planes .............. 66 Exercise 24—Modeling in 3-D space ................................. 67 Exercise 25—Drawing circles ............................................. 77 Exercise 26—Using circle-related object snaps ................. 80 Exercise 27—Practice drawing arcs (1) ............................. 81 Exercise 28—Practice drawing arcs (2) ............................. 84 Exercise 29—Practice drawing ellipses and polygons ....... 85 Exercise 30—Practice drawing curves (1).......................... 89 Exercise 31—Practice drawing curves (2).......................... 91 Exercise 32—Drawing free-form curves ............................. 93 Exercise 33—Fillet ............................................................. 96 Exercise 34—Chamfer ..................................................... 103 Exercise 35—Practice with Fillet and Chamfer ................ 105 Exercise 36—Move .......................................................... 106 Exercise 56—Model a bar with text .................................. 156 Exercise 57— Create simple surfaces .............................. 162 Exercise 59—Basic techniques joining
surfaces together .............................................................. 168 Exercise 59—Lofted surfaces ........................................... 171 Exercise 60—Revolved surfaces ...................................... 176 Exercise 61—Using a rail revolve ..................................... 176 Exercise 62—Using 1-rail sweeps to create surfaces....... 178 Exercise 63—Using two-rail sweeps to create surfaces ... 179 Exercise 64—Using a network of curves to
create surfaces ................................................................. 181 Exercise 65—Practice using one-rail sweeps ................... 182 Exercise 66—Creating a toy hammer ............................... 183 Exercise 67—Creating a squeeze bottle .......................... 190 Exercise 68—Exporting models........................................ 196 Exercise 69—Practice rendering a model ........................ 199 Exercise 70—Dimensioning the model ............................. 216 Exercise 71—Practice making a 2-D drawing................... 219 Exercise 72—Printing the model ...................................... 221 Exercise 73—Scaling and locking details on a layout....... 227 Exercise 74—Flowing Solids to a Surface ........................ 233 Exercise 75—Flowing a logo onto a freeform surface ...... 236 Exercise 76—Making a Ring with Flow ............................ 238 Exercise 37—Copy........................................................... 107 Exercise 38—Rotate ........................................................ 108 Exercise 39—Grouping .................................................... 109 Exercise 40—Mirror.......................................................... 110 Robert McNeel & Associates
v
Robert McNeel & Associates
vi
PART ONE
Introduction and Overview
Robert McNeel & Associates
7
Robert McNeel & Associates
8
1 Introduction and Overview
Introduction
This course guide accompanies the Level 1 training sessions. Level 1 shows you how to produce 3-D models using
NURBS geometry and arrange models for export, annotation and plotting.
In class, you will receive information at an accelerated pace. For best results, practice at a Rhino workstation
between class sessions, and consult your Rhino reference manual and the Help file for additional information.
Duration
3 full days or 6 half day sessions
Course Objectives
In Level 1, you learn how to:
•
•
•
•
•
•
•
•
•
•
•
•
Utilize the features of the Rhino user interface
Customize your modeling environment
Create basic graphic objects—lines, circles, arcs, curves, solids, and surfaces
Model with precision using coordinate input, object snaps, and SmartTrack™ tools
Modify curves and surfaces with edit commands and Gumball
Use control point editing to modify curves and surfaces
Analyze your model
Display any portion of the model
Export and import models to and from different file formats
Render the model using Rhino Render
Dimension and annotate model with test and hatch
Use Layouts to arrange views of model on paper for printing
Robert McNeel & Associates
9
1
INTRODUCTION AND OVERVIEW
Schedule A: Three Classroom Days
Day 1
Topic
8-10AM
Introduction, Rhino interface
10AM-12PM
Rhino interface, panning & zooming
12-1PM
Lunch
1-3PM
Creating geometry
3 -5PM
Creating geometry
Day 2
Topic
8-10AM
Editing
10AM-12PM
Editing
12-1PM
Lunch
1-3PM
Editing
3 -5PM
Control point editing, modeling with solids
Day 3
Topic
8-10AM
Surfacing
10AM-12PM
Surfacing
12-1PM
Lunch
1-3PM
Modeling practice
3 -5PM
Import/export, rendering, dimensioning, printing, customization
Schedule B: Six Half Days (On-line Training)
10
Session 1
Topic
9-10:45AM
Introduction, Rhino interface
10:45-11AM
Break
11AM-12:45PM
Rhino interface, panning & zooming
Session 2
Topic
9-10:45AM
Creating geometry
10:45-11AM
Break
11AM-12:45PM
Creating geometry
Session 3
Topic
9-10:45AM
Editing
10:45-11AM
Break
11AM-12:45PM
Editing
Robert McNeel & Associates
1
INTRODUCTION AND OVERVIEW
Session 4
Topic
9-10:45AM
Editing
10:45-11AM
Break
11AM-12:45PM
Control point editing, modeling with solids
Session 5
Topic
9-10:45AM
Surfacing
10:45-11AM
Break
11AM-12:45PM
Surfacing
Session 6
Topic
9-10:45AM
Modeling practice
10:45-11AM
Break
11AM-12:45PM
Import/export, rendering, dimensioning, printing, customization
Overview - What is Rhino?
Rhinoceros is 3D modeling software that can be used in a variety of ways and for very different purposes. It is
primarily a surface modeling tool, but has many related functions as well. Many users use only a small portion of
what Rhino has to offer, while others need and use a lot more; it depends on what the individual user is trying to
accomplish with the application. Even very experienced users can find new and useful tools of which they were
previously unaware. In this introduction, a broad overview of various elements that you will encounter while using
Rhino to get your work done is provided.
Object types
What does surface modeler mean?
Rhino has tools to create and edit several different types of objects, of which surfaces are one. A surface in Rhino
refers to an infinitely thin, infinitely flexible, mathematically defined digital membrane.
Surface
Surfaces are represented on screen by
either some outline curves plus some
interior curves, called isocurves, or by a
shaded picture which makes a surface
appear to have some substance and to
show light and shading. How surfaces are
painted on the screen is dependent on
the display mode in the viewport, and
does not affect the surface in any way.
The important thing to remember about
surfaces is that they are defined with
great precision at every point by complex
math formulas, they are not
approximations.
Robert McNeel & Associates
A surface, shown in wireframe
…and shaded views.
11
1
INTRODUCTION AND OVERVIEW
Polysurface
Rhino also has objects which consist of two or more surfaces joined together.
This is possible when the edge of one surface is located very close to the edge
(within tolerance set in the file) of another surface. We call joined surfaces
polysurfaces. Since there are some restrictions on editing polysurfaces,
Rhino makes it very easy to extract the individual surfaces from polysurfaces
and join them back together.
A polysurface in shaded view.
Solid
We have already said that surfaces are infinitely thin; they have zero
thickness.
However, any physical object will have some thickness—not zero.
If you need your objects to have thickness, or volume, there are two ways
to accomplish this. The first is to make sure the surface closes on itself and
has no openings anywhere. Spheres and ellipsoids are examples of this type
of surface.
A Sphere and Ellipsoid object.
The second method is to join enough single surfaces
together to enclose a space, again, with no openings, not
even very small ones. A box is an example of this type of
object. We call these objects solid, but it is important to
remember that there is nothing inside them- they are
volumes in space enclosed by the infinitely thin surfaces.
If you remove one side of a box, and look inside you will
see the backsides of the five surfaces.
Closed (solid) and open Polysurface.
12
Robert McNeel & Associates
1
INTRODUCTION AND OVERVIEW
Lightweight Extrusion Objects
Another object type that is related to a polysurface and a solid is
the lightweight extrusion object. Lightweight extrusion objects
use less memory, mesh faster, and save smaller than the
traditional polysurfaces.
In models containing large numbers of extrusions represented by
traditional polysurfaces, performance can be sluggish due to the
relatively high demand on resources. If the same objects made
in Rhino as lightweight extrusion objects, are more responsive
and leave plenty of memory available.
In Rhino 5 commands like Box, Cylinder, Pipe, and ExtrudeCrv
create lightweight extrusion objects by default
Lightweight extrusion objects
Curve
Another object type that is related to a surface is a curve. In Rhino
terminology, the word curve includes lines, polylines (think of these as series
of straight line segments strung together end to end and joined), arcs,
ellipses, circles, or free-form curves that are generally smooth. Polycurves
are curves made up of two or more curves joined end to end. Separate
polycurves into curves by using the Explode command.
You can use Curves as inputs for creating and editing surfaces. For example,
you can trim a surface or polysurface with a curve, but they may be useful in
themselves as well, as in making a 2D drawing of a 3D model, or as reference
or construction geometry. You can derive and extract from surfaces. For
example, all surfaces have edges, and it is possible to extract an edge curve if
needed. You can also extract surface isocurves.
Curves
Polygon Mesh
Rhino also creates, edits, and otherwise uses polygon meshes.
Polygon meshes are sometimes used to depict the same type of objects as
surfaces but there are important differences. Polygon meshes consist of a
number, sometimes a very large number, of points in space connected by
straight lines. These straight lines form closed loops of three or four sides,
that is, polygons.
One important thing to know about polygon meshes is that the 3D data only
exists for these points, or mesh vertices; the space between these points is
not considered. Dense meshes are more accurate than very loose ones, but
not as accurate as surfaces. Although meshes are important in 3D modeling,
initially we will not discuss them.
For instance, if you look at a surface in a shaded viewport, what you see is
actually a polygon mesh derived from the surface for the purposes of
making a nice image on screen. Typically, you will export mesh data for
rapid-prototyped parts. Deriving accurate meshes from surface models is
important. Rhino has a number of tools to help accomplish this.
Robert McNeel & Associates
A Sphere surface and mesh sphere
object.
13
2 The Rhino for Windows Interface
Before learning individual tools, we will be acquainted with the Rhino interface. The following exercises examine
the interface elements used in Rhino: the Rhino window, viewports, menus, toolbars, panels and dialog boxes.
There are many ways to access the commands in Rhino—the keyboard, menus, and toolbars. We will focus on the
menus in this class.
To open Rhino:
`
Double-click the Rhino icon from the Windows desktop.
The Rhino Screen
Rhino divides its several areas that supply information or prompt you for input.
Screen Area
Description
Menu Bar
Access commands, options, and help.
Command area
Lists prompts, commands you enter, and information displayed by the command.
Command
history window
Displays 500 lines of the most recently used commands. Activate this window with F2.
Tabbed
toolbars
Groups are containers with one or more toolbars, with a tab at the top for each toolbar. Floating a toolbar
makes single-toolbar group.
Sidebars
Access shortcuts to commands and options. Updates when selecting tabbed toolbar.
Graphics area
Displays the open model. Several viewports can be displayed. The default viewport layout displays four
viewports (Top, Front, Right, and Perspective).
Viewports
Displays different views of the model within the graphics area. Viewports can show a grid, grid axes and world
axes icon.
Status bar
Displays the coordinates of the pointer, the units and current layer of the model, toggles and other options.
Panels
Rhino controls like layers, properties, materials, lights, display mode and more are displayed in panels with
tabs.
Osnap bar
Access running object snap settings
Robert McNeel & Associates
14
2
THE RHINO FOR WINDOWS INTERFACE
The Rhino Screen
Rhino Main Screen Configuration
Robert McNeel & Associates
15
2
THE RHINO FOR WINDOWS INTERFACE
Menus
You can find most of the Rhino commands in the menus.
Toolbars
Rhino toolbars contain buttons that provide shortcuts
to commands. You can float a toolbar anywhere on the
screen, or dock it at the edge of the graphics area.
Rhino starts up with the Standard toolbar group
docked above the graphics area and the Main toolbar
as the sidebar on the left.
Rhino View menu
Tooltips
Tooltips tell what each button does. Move your pointer over a button without clicking it. A
small yellow tag with the name of the command appears. In Rhino, many buttons can
execute two commands. The tooltips indicate which buttons have dual functions.
For example, to start a Polyline, click the Left Mouse Button (LMB), to start the Line
Segments command click the Right Mouse Button (RMB).
Cascading toolbars
A button on a toolbar may include other command buttons in a cascading toolbar. Usually
the cascading toolbar contains variations on the base command. After you select a button
on the cascading toolbar, the toolbar disappears.
Buttons with cascading toolbars are marked with a small black triangle in the lower right
corner. To open the cascading toolbar, hover over the black triangle and LMB click when
the large blue triangle with the tooltip [Cascade “xxx”] appears.
For example, the Lines toolbar is linked to the Main sidebar. After the cascading toolbar is
open, you can pick any of the buttons on the toolbar to start a command.
16
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Graphics Area
The Rhino graphics area includes the viewports. You can customize the viewports and their position to suit your
preferences. The position of viewports is adjustable.
Viewports
Viewports are windows in the graphics area that show you views of your model. To move and resize viewports,
drag the viewport title or borders. You can create new viewports, rename viewports, and use predefined viewport
configurations.
Each viewport has its own construction plane and grid that the cursor normally moves on and a projection mode.
To toggle between a small viewport and one that fills the graphics area, double-click the viewport title.
Rearranged Rhino screen. Command line at the bottom, single maximized viewport, toolbars
docked in different locations, and tabbed panels docked on the right.
Robert McNeel & Associates
17
2
THE RHINO FOR WINDOWS INTERFACE
Viewport tabs
You can display the viewport titles in tabs if you prefer. The highlighted tab designates the active viewport. Tabs
make it easy to switch between viewports when using maximized or floating viewports.
The tabs are located below the graphics area.
Command Area
The command area displays commands and command prompts. You can dock the command line at the top or the
bottom of the screen or it can float anywhere. The command window shows two lines by default. To open a
window that displays the command history, press F2. You can select and copy the text in the Command History
window to the Windows clipboard.
The Mouse
In a Rhino viewport, the left mouse button selects objects and picks locations. The right mouse button has several
functions including panning and zooming, popping up a context-sensitive menu, and acting the same as pressing
the Enter key. Use the left mouse button to select objects in the model, commands or options on the menus, and
buttons in the toolbars. Use the right mouse button to complete a command, to move between stages of
commands, and to repeat the previous command. Use the right mouse button to initiate commands from some
toolbar buttons.
Drag with the right mouse button to pan and rotate in viewports. Use the mouse wheel or hold down the Ctrl key
and drag with the right mouse button to zoom in and out in a viewport. You must press and hold the right mouse
button down to activate this feature.
18
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Entering Commands
Use the command line to type commands, pick command options, type coordinates, type distances, angles, or
radii, type shortcuts, and view command prompts.
To enter information typed at the command line, press Enter, Spacebar, or right mouse button over a viewport.
Note: Enter and Spacebar perform the same function.
Shortcuts and Aliases
Shortcuts are customizable key combinations. You can program the function keys and Ctrl key combinations to
perform Rhino commands.
Command aliases run individual Rhino commands or scripts. You can type command aliases just like normal Rhino
commands or use them to create abbreviations for often used commands or command scripts.
Rhinoceros Level 2 training discusses Shortcuts and Aliases in detail.
Clickable options
To use command options, click the option on the command line or type the underlined letter of the option and
press Enter. (The interior capitalization is meaningless.)
Autocomplete command name
Type the first letter of a command name to
activate the autocomplete command list. As you
type letters on the command line, the command
name that includes those letters will
autocomplete and display in a drop down menu.
Press Enter to activate the command once the
full command name appears or left click on the
command in the list to start it.
Robert McNeel & Associates
19
2
THE RHINO FOR WINDOWS INTERFACE
When enabling the "Use fuzzy
autocomplete" feature in Options
and Appearance, the in-line
autocomplete suggests the most
used candidate.
For example, LI most likely
autocompletes to Line rather than
something like LimitReferenceModel
and the autocomplete menu
contains best partial and inexact
matches.
When disabled, autocomplete
uses the first letters of the
command name in an
alphabetical list.
Options -> Appearance
Repeating commands
To repeat the last command, right-click in a viewport, press Enter, or press the spacebar. To repeat previous
commands, right-click in the command line window and select from a list.
Canceling commands
To cancel a command, press Esc or enter a new command from a button or a menu.
20
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Help
Press F1
at any time to access Rhino Help. In addition to finding information about each command, Rhino
help has conceptual information as well as many examples and graphics to help you complete your model. When
you are confused or unsure about what to do, the first place you should look is the help file. You can also access
help for a specific command by starting the command and press F1.
In addition, the CommandHelp command displays the help topics in a dockable window and displays help for the
current command.
Most of the commands include short video clips that show how the command and the options work.
If Auto-update is checked, the help for the current command displays. If Auto-update is unchecked, you can type
the name of the command that you want displayed and press Enter to display the information.
Robert McNeel & Associates
21
2
THE RHINO FOR WINDOWS INTERFACE
View the Command Line History
The command history window lists the
last 500 command lines from the current
Rhino session. Press F2 to view the
command history.
View Recent Commands
Right-click the command line to view recently
used commands. To repeat the command, select
it from the popup menu.
The number of commands listed is set in Rhino
Options. The default limit is twenty commands.
When you use your twenty-first command the
first one drops off the list.
22
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Panels
Many Rhino controls are contained in tabbed panels.
Open the panels from the
Panels menu or from the
tabbed Panels right-click
menu.
Panels that you will work
with in Level 1 training
are:
• Display
• Layers
• Help
• Named CPlanes
• Notes
• Properties
• Web browser
The Panels menu shows the docked panels on the
right side of graphics windows.
Note:
The tabbed panels right-click
menu.
Positioning the mouse over the tabs allows the mouse wheel to scroll through the tabs.
Robert McNeel & Associates
23
2
THE RHINO FOR WINDOWS INTERFACE
Exercise 1—Rhino basics
To get started:
1
Download the Level 1
Training models.
2
Unzip the downloaded file
into a Level 1 folder on your
computer.
After downloading the
Level 1 Training.zip file to
your computer, unzip files
into a Level 1 folder
located in Desktop or My
Documents, or another
location in which you have
full rights.
3
From the File menu, click
Open.
4
In the Open dialog box,
navigate to the Level 1
folder and Open the model
Start.3dm.
This model contains five
objects: a cube, a cone, a
cylinder, a sphere, and a
rectangular plane.
5
Two parallel viewports and one perspective viewport.
From the View menu click
Viewport Layout, and then
click 4 Viewports.
Three parallel viewports and one perspective viewport
6
In the Status Bar, click Grid Snap to turn on the grid snap.
Grid Snap may already be on in your system. Be careful that you do not turn it off instead of on. If Grid
Snap is on, it will be bold and black in the status bar. If it is off, the word it will be gray.
24
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Note: This is an important step. Grid Snap only lets your cursor move in certain intervals. In this model, the
setting for Grid Snap is one-half of a grid line. Grid Snap helps you line up your objects as if you were
building with LEGO® blocks.
7
Click the mouse in the Perspective viewport to make it active.
The viewport title highlights when it is active. The active viewport is the viewport where all your commands
and actions take place.
8
Click the arrow icon to the right of the
Perspective title or Right Mouse click on
the title to open the drop down menu, and
then click Shaded.
The objects appear shaded. A shaded
viewport lets you preview the shapes. The
viewport will remain shaded until you
change it back to a wireframe view.
You can change any viewport to shaded
mode. Later we will discuss the other
viewport display options.
The viewport shows a Shaded display.
9
From the Render menu click Render.
Rendering the model opens a separate render
window. The model displays in render colors
previously assigned to the objects. You can also
set lights and a background color. You will learn
about doing this later.
You cannot manipulate the view in the render
display window but you can save image to a
file.
10 Close the render window.
Render
11 In the Perspective
viewport, click and drag
with your right mouse
button held down to
rotate the view.
The plane helps you stay
oriented. If the objects
disappear, you are looking at
the bottom of the plane.
Rotate the view in shaded display.
Robert McNeel & Associates
X-Ray shaded display.
25
2
THE RHINO FOR WINDOWS INTERFACE
12 Click the arrow icon to the
right of the Perspective
viewport title, and then
click X-ray.
13 Click the arrow icon to the
right of the Perspective
viewport title, and then
click Ghosted.
14 Click the arrow icon to the
right of the Perspective
viewport title, and then
click Rendered.
Ghosted shade display.
Rendered display
15 Click the arrow icon to the right of the Perspective viewport title,
and then click Technical, Artistic, and Pen.
Technical mode displays lines as though the drawing were a 2-D,
flat drawing on paper.
This mode uses real-time silhouettes and intersections, creases,
borders, blended shaded and rendered display. Objects behind
other objects appear occluded.
Technical display
Artistic mode displays
lines as though the
drawing were a 2-D,
flat, pencil drawing on
textured paper.
Pen mode displays
lines as though the
drawing were a 2-D,
flat, pen drawing on
paper.
Artistic display
26
Pen display
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
16 Change to Wireframe
mode.
17 To rotate your view,
drag from the bottom of
the view toward the top.
You are now under the
objects looking up.
18 Change to Shaded
mode.
The plane obscures
the objects. In shaded
mode, the plane helps
you see when your
viewpoint is below the
objects.
This view looks at the objects from the
bottom in wireframe mode.
This view looks at the objects from the
bottom in shaded mode.
To get back to your original view:
`
Press the Home key to undo your view changes.
If you are “lost in space” in the perspective view:
`
From the View menu click Viewport Layout, and then click 4 Viewports twice.
This takes you back to the default viewport settings.
Navigating Around the Model
You have used the right mouse button to rotate in the Perspective viewport. You can hold Shift and drag with the
right mouse button to pan. Dragging the right mouse button to move around does not interrupt any commands in
progress.
To pan in a viewport:
1
In the Perspective
viewport, hold the Shift
and drag with the right
mouse button to pan the
view.
2
Pan the view in the
parallel viewports by
dragging with the right
mouse button.
The Top, Front, and
Right viewports use a
parallel projection
In the parallel
viewports, it is not
necessary to press the
Shift key.
Robert McNeel & Associates
Pan the viewport using Shift and the
right mouse button.
Pan the viewport in a parallel view with
the right mouse button.
27
2
THE RHINO FOR WINDOWS INTERFACE
Zooming in and out
Sometimes you want to get closer to your objects or move back so you can see more. This is zooming. As with
many things in Rhino, there are several ways to do this. The easiest way is to turn the mouse wheel to zoom in
and out. If you do not have a wheel mouse, hold down the Ctrl key and drag up and down in a viewport with the
right mouse button.
To zoom in and out:
1
In the Perspective viewport, roll the wheel on your mouse
forward to zoom in, roll it backward to zoom out.
The camera zooms at cursor position.
2
In the Perspective viewport, hold the Ctrl key, click and hold the
right mouse button, and drag the mouse up and down.
Drag up to zoom in.
Drag down to zoom out.
Zoom the viewport using the Ctrl key and
the right mouse button.
Zooming extents
The Zoom Extents command, displays a viewport so the objects fill up the viewport as much as possible. You can
use this command to make everything visible.
To zoom extents in a viewport:
`
From the View menu click Zoom, and then click Zoom Extents.
If you get lost, it is often handy to zoom extents in all your viewports at once, so there is a command to do
just that.
To zoom extents in all viewports:
`
From the View menu click Zoom, and then click Zoom Extents All.
Move Objects
If Gumball is bold face in the Status bar, click to turn Gumball off. We will discuss Gumball later in this training.
Dragging follows the construction plane of the current viewport.
Now drag the objects around. You can drag in any viewport. In this model, the Grid Snap setting is one-half of a
grid line. Using this snap, you should be able to line objects up with each other.
To move objects:
1
Click the cone and drag it.
The selected cone highlights.
The selected cone highlights.
28
Robert McNeel & Associates
2
2
THE RHINO FOR WINDOWS INTERFACE
Drag the cone in the Perspective viewport until it lines up with the
cylinder.
It will be inside the cylinder.
The cone moves on the base represented by the grid. This base is
a construction plane. Each viewport has its own construction
plane. When you start Rhino, the Perspective viewport has the
same construction plane as the Top viewport. You will learn more
about using construction planes later.
Drag the cone to move it.
3
In the Front viewport, drag the cone to the top of the cylinder.
Watch what happens in the Perspective viewport.
Watch the other viewports to place your objects.
Move the cone in the Front viewport.
4
Click in the Perspective viewport.
5
Change the viewport to a Rendered Display.
Rendered Display with Shadows.
Copy Objects
To create more objects, copy the shapes.
To open the same model again:
1
From the File menu, click Open.
2
Do not save the changes.
3
In the Open dialog box, select Start.3dm.
Robert McNeel & Associates
29
2
THE RHINO FOR WINDOWS INTERFACE
To copy objects:
1
Click the box to select it.
2
From the Transform menu, click Copy.
3
Click somewhere in the Top viewport.
Select and copy the box.
It usually helps to click a spot that relates to the object like the
middle or near a corner.
4
Click where you want the
first copy. Zoom in closer
if you like.
5
Click other places to
make more copies of the
box.
6
When you have enough
copies, press Enter.
Try on Your Own
`
Make copies of more objects and move them around. See if you
can build something.
Changing the view of your model
When you add detail to your models, you will need to see different parts of your model with different
magnifications. You can use the view commands, the mouse, and the keyboard to change the view in a viewport.
Each view corresponds to the view through a camera lens. The invisible target of the camera is located in the
middle of the viewport.
Viewports
With Rhino, you can open an unlimited number of viewports. Each viewport has its own projection, view,
construction plane, and grid. If a command is active, a viewport becomes active when you move the mouse over
it. If a command is not active, you must click in the viewport to activate it.
30
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
Most viewport controls can be accessed through the viewport popup menu.
To open the popup menu, right click the viewport title. Or Click the small triangle on the viewport title.
Parallel vs. Perspective Projection
Unlike other modelers, Rhino lets you work in both parallel and perspective views.
To toggle a viewport between parallel and perspective view:
1
Right-click the viewport title, click Viewport Properties.
2
In the Viewport Properties dialog box, for Projection click Parallel or Perspective, and then click OK.
Panning and Zooming
The simplest way to change the view is to hold down the Shift key and drag the mouse with right mouse button
held down. This pans the view. To zoom in and out, hold down the Ctrl key and drag up and down or use the
mouse wheel.
You can also use the keyboard to navigate:
Perspective Projection
Parallel Projection
Key
Action
Action + Ctrl
Action
Left Arrow
Rotate left
Pan left
Pan left
Right Arrow
Rotate right
Pan right
Pan right
Up Arrow
Rotate up
Pan up
Pan up
Down Arrow
Rotate down
Pan down
Pan down
Page Up
Zoom in
Zoom in
Page Down
Zoom out
Zoom out
Home
Undo View Change
Undo View Change
End
Redo View Change
Redo View Change
You can change your view in the middle of a command to see precisely where you want to select an object or
select a point.
There are additional Zoom controls that will be discussed in other exercises.
Reset Your View
If you get lost, four view techniques can help you get back to a starting place.
To undo and redo view changes:
`
Click in a viewport, press your Home or End key on your keyboard to undo and redo view changes.
To set your view so you are looking straight down on the construction plane:
`
From the View menu click Set View, and then click Plan.
Robert McNeel & Associates
31
2
THE RHINO FOR WINDOWS INTERFACE
To bring all your objects into view:
`
From the View menu click Zoom, and then click Zoom Extents.
To bring all your objects into view in all viewports:
From the View menu click Zoom, and then click Zoom Extents All.
Exercise 2—Display options
`
Open the model Camera.3dm.
You will use this to practice
changing views. You will create
views from six directions and an
oblique perspective view.
To change the number of viewports:
1
Make the Top viewport active.
2
From the View menu click Viewport
Layout, and then click Split
Horizontal.
3
Make the Front viewport active.
4
From the View menu click Viewport
Layout, and then click Split
Vertical.
5
Repeat this step for the Right
Viewport.
6
Right click on the Top viewport title
at the top, click Set View, and then
click Bottom.
Three viewports are split down the middle either horizontally or
vertically.
32
Robert McNeel & Associates
2
THE RHINO FOR WINDOWS INTERFACE
To change the shape of viewports:
1
Move your cursor to the edge of a viewport until you see the resizing
or
button down, and drag the bar. If two viewports share the edge, both resize.
2
cursor, hold the left mouse, and
Move your cursor to the corner of a viewport until you see the resizing
drag the intersection in any direction. If several viewports touch at that corner, all resize.
cursor, hold the left mouse
To synchronize the viewports:
1
Adjust the size or shape of the
viewports.
2
Make one of the Front viewports
active.
3
From the View menu click Zoom,
and then click Zoom Extents.
4
Right click on the Front viewport
title, click Set Camera, and then
click Synchronize Views.
5
Change the viewport displays to one
of the shaded viewport settings.
6
Right click on the Front viewport title
on the left, click Set View, then click
Left.
7
Right click on the Right viewport title
on the right, click Set View, then
click Back.
All the parallel views are sized to the same scale as the active
viewport and aligned with each other.
To zoom to a window:
1
From the View menu click Zoom,
and then click Zoom Window.
2
Click and drag a window around a
portion of the model.
To zoom a selected object:
1
Select the shutter release.
2
From the View menu click Zoom, and
then click Zoom Selected.
The view zooms to the selected
object.
Robert McNeel & Associates
33
2
THE RHINO FOR WINDOWS INTERFACE
To rotate the view:
1
In a perspective viewport, drag with right mouse button.
2
In a parallel viewport, from the View menu, click Rotate or use Ctrl +Shift and drag with the right mouse
button.
To maximize and restore a viewport:
1
Double-click the viewport title to maximize it.
2
Double-click the title of the maximized viewport to restore it to its smaller size and reveal the other viewports.
34
Robert McNeel & Associates
PART TWO
Creating and Editing Geometry
Robert McNeel & Associates
35
Robert McNeel & Associates
36
3 Creating Geometry
Drawing lines
The Line, Lines, and Polyline commands draw straight lines. The Line command draws a single line segment. The
Lines command draws multiple end-to-end line segments. The Polyline command draws a series of straight or arc
joined segments (a single linear curve with multiple segments).
Option
Description
Close
Closes the shape by drawing a segment from the last point picked to the first point picked. This ends the
command.
Undo
Deletes the last point picked.
Exercise 3—Drawing lines
1
From the File menu click New. Do not save changes.
2
In the Template File dialog box, double click Small Object - Millimeters.3dm.
3
From the File menu click Save As.
4
In the Save dialog box, type Lines, and then click Save.
To draw line segments:
1
From the Curve menu click Line, and then click Line Segments to begin
the Lines command.
2
Pick a point in a viewport.
3
Pick another point in a viewport.
A line segment appears between the two points.
4
Continue to pick points.
Additional segments appear.
5
Press Enter to end the command.
The segments meet at a common point, but are not joined.
To use the Close option:
1
Repeat the Lines command.
2
Pick a Start point and 3 or 4 more points.
3
Click Close on the command line.
This is one of the clickable options discussed in the previous chapter.
The last line segment will end at the original start.
Robert McNeel & Associates
37
3
CREATING GEOMETRY
To draw a polyline:
1
Use the Undo command to undo the segments you just created.
2
From the Curve menu click Polyline, and then click Polyline to begin the
Polyline command.
3
Pick a Start point and 3 or 4 more points.
4
Press Enter when done.
This makes an open polyline. A polyline is made of line segments that
are joined together. It is one object.
To use the Undo option:
1
Repeat the Polyline command.
2
Pick a Start point and 3 or 4 more points.
3
Click Undo on the command line.
Notice that your cursor moves back to the previous point and one
segment of the polyline is removed.
4
Continue to pick points.
5
Click Close to end the command.
This makes a closed polyline.
To draw a single line segment:
1
From the Curve menu click Line, and then click Single Line to begin the
Line command.
2
Pick a Start point.
3
Pick an End point.
The command ends after one segment is drawn.
To use the Bothsides option:
1
From the Curve menu click Line, and then click Single Line to begin the
Line command.
2
Click Bothsides on the command line.
3
Pick a Middle point.
4
Pick an End point.
A segment is drawn with equal length on both sides of the middle point.
Drawing free-form curves
The InterpCrv and Curve commands draw free-form curves. The InterpCrv command draws a curve through the
points you pick. The Curve command uses control points to create a curve.
Option
38
Description
Robert McNeel & Associates
3
CREATING GEOMETRY
Close
Closes the shape by drawing from the last point picked to the first point picked. This ends the command.
EndTangent
After choosing a point on another curve, the next segment will be tangent to the point you picked and end
the command.
Undo
Deletes the last point picked.
Degree
You can set the degree of the curve.
Knots
Determines how the interpolated curve is parameterized.
When you draw an interpolated curve, the points you pick are converted into knot values on the curve.
The parameterization means how the intervals between knots are chosen.
Sharp
When you make a closed curve, it will come to a point instead of making a smooth closure as it normally
does.
Exercise 4—Drawing interpolated curves
1
From the Curve menu click Free-form, and then click Interpolate
Points.
2
Pick a Start point.
3
Continue picking points.
Notice that with this command the curve goes through each point that
you pick.
4
Press Enter to end the command.
This makes an open curve.
Exercise 5—Drawing curves from control points
1
From the Curve menu click Free-form, and then click Control Points.
2
Pick a Start point.
3
Continue picking points.
Notice that most of the points you pick are off the curve as control
points.
4
Click Close to make a closed curve.
Modeling aids
Modeling aids are modes that you can toggle on or off by pressing shortcut keys, a function key, typing a single
letter command, or clicking a button.
Robert McNeel & Associates
39
3
CREATING GEOMETRY
Click the Grid Snap, Ortho, Planar, Gumball, SmartTrack or Record History panes on the status bar to
toggle these modeling aids on and off.
Grid Snap
This modeling aid constrains the marker to snap on grid intersections.
You can also toggle Grid Snap on and off by pressing F9 or typing the letter S and pressing Enter.
Pressing F7 hides or shows a reference grid in the current viewport of the graphics screen at the construction plane.
Ortho
This modeling aid constrains the marker movement to the points at a specified angle from the last point created.
The default angle is 90 degrees.
You can also toggle Ortho on and off by pressing F8 or pressing and holding the Shift key down.
Osnap
Object snaps constrain the marker to an exact location on an object such as the end of a line or the center of a
circle.
SmartTrack
This modeling aid uses temporary reference lines and points that are drawn in the Rhino viewport using implicit
relationships among various 3-D points, other geometry in space, and the coordinate axes' directions.
Planar
This is a modeling aid similar to Ortho. This helps you model planar objects by constraining the input to be on a
plane parallel to the construction plane that passes through the last point that you picked.
You can also toggle Planar on and off by typing the letter P and pressing Enter.
Gumball
Displays a display widget, on a selected object, facilitating move, scale, and rotate transformations around the
gumball origin.
Record History
Records history and updates history-aware objects. With History recording and Update turned on, a lofted surface,
for example, can be changed by editing the input curves.
In general, it is best to leave the Record option set to No and use the Record History status bar pane to selectively
record history. Recording history uses computer resources and makes saved files larger.
Filter
This modeling aid restricts any selection mode to specified object types. Objects types that can be restricted are:
Annotations, Blocks, Control points, Curves, Lights, Meshes, Point clouds, Points, Polysurfaces, Surfaces, Hatches,
and others.
Exercise 6—Drawing lines and curves using mode functions
1
Toggle Grid Snap on and draw some lines.
In this model the marker snaps to each grid intersection. This is because in the template file we’re using the
SnapSize and the Grid-MinorLineSpacing is set to the same value (1).
2
Toggle Grid Snap off, toggle Ortho on and draw some lines and curves.
You can only input points that are at 90 degree intervals from the last point. Using Grid Snap and Ortho toggles
you can draw with precision. We will discuss other ways to get precision in a later session.
Saving your work
Save your work periodically during a session to keep it from being accidentally deleted.
To save your model:
`
40
From the File menu click Save.
Or, click one of the other options. You will have an opportunity to save your work.
Robert McNeel & Associates
3
CREATING GEOMETRY
It is good practice to save your model in stages under different names, using the Save As command. This
lets you go back to an earlier version of your model for modifications if necessary.
Command
Description
Save
Saves your model and keeps it open.
SaveSmall
Save your model without render or analysis meshes and preview image to minimize file
size.
IncrementalSave
Save sequentially numbered versions of your model.
SaveAs
Saves your model to a specified file name, location, and format.
SaveAsTemplate
Save as a template.
Revert
Discards changes and reverts to the previously saved document.
Layers
Rhino layers work like CAD layering systems. By creating objects on different layers, you can edit and view related
portions of a model separately or as a composite. You can create as many layers as you like.
You can display all layers simultaneously or turn
any of them off. You can lock layers so they are
displayed but cannot be selected. Each layer has a
color. You can assign a name to each layer (for
example, Base, Body, Top) to organize the model
or you can use preset layer names (Default,
Layer 01, Layer 02, Layer 03).
The Layers panel manages layers. Use it to set up
layers for your model. The Layers panel can be
floating or docked with the other tabbed panels
like Properties, Command Help, Lights, Notes, and
more.
Robert McNeel & Associates
41
3
CREATING GEOMETRY
Exercise 7—Layers
To create a new layer:
1
From the Edit menu click Layers, and then click Edit Layers.
2
In the Layers panel, click the New icon.
3
The new layer, Layer 06, appears in the list. Type Lines and
press Tab.
Use the Tab key to quickly add layers.
4
The new layer, Layer 06, appears again. Type Curves and
press Tab.
5
The new layer, Layer 06, appears. Type Solids and press
Enter.
The Default layer is created
automatically when you start a new
model with no template. If you use a
standard Rhino template, a few
additional layers are also created.
To assign a color to a layer:
1
Click the square Color patch on the Lines row in the list.
2
In the Select Color dialog box, click Red from the list.
The right half of the sample rectangle turns red.
Hue, Sat, Val are the hue, saturation and value components of
the color.
R, G, and B are the red, green and blue components of the
color.
3
Click OK.
4
In the Layers panel, the new color appears in the color patch
on the Lines row of the layer list.
5
Repeat steps 1–3 to make the Curves layer Blue.
6
Click OK to close the dialog box,
To make a layer current:
1
In the Status Bar, click the Layer pane.
The Status Bar-Layer pane displays the current layer (Default).
42
Robert McNeel & Associates
3
2
CREATING GEOMETRY
In the Layer popup, click Lines.
The current layer is displayed in the Layer pane.
3
Draw some lines.
The lines are on the Lines layer and they are colored red.
4
To make a different layer current, click the Layer pane again.
5
Click Curves.
6
Draw some curves.
They are on the Curves layer and are colored blue.
7
Clicking the name or the
checkbox sets the current
layer.
Draw more lines and curves on each layer.
Note: If objects are highlighted, and a layer is selected from the Status bar, the highlighted objects will be
changed to the selected layer and the current layer does not change.
To lock a layer:
1
In the Status Bar, click the Layer pane, click Solids to make the Solids layer current.
2
In the Layer popup, click the Lock icon on the row for the Lines layer.
Locking a layer turns it into a reference only layer. You can see and snap to objects on
locked layers. You cannot select any objects on locked layers. You cannot make a locked
layer current without unlocking it.
To turn a layer off:
1
In the Status Bar, click the Layer pane.
2
In the Layer popup, click the On/Off icon (light bulb) in the row for the Curves layer.
Turning a layer off makes all objects on it invisible.
To select a single object:
`
Move your pointer arrow over the object and left-click.
The object turns yellow, which is the default highlight color.
To select more than one object:
1
Move your pointer arrow over the first object and left-click.
2
While holding the Shift key down, move your pointer over another object and left click.
To hide an object:
1
Select an object.
2
From the Edit menu click Visibility, and then click Hide.
The object becomes invisible.
To show hidden objects:
`
From the Edit menu click Visibility, and then click Show.
The Show command redisplays all hidden objects.
Robert McNeel & Associates
43
3
CREATING GEOMETRY
To lock an object:
1
Select an object.
2
From the Edit menu click Visibility, and then click Lock.
The object becomes shaded gray. You can see the locked object, you can snap to it, but you cannot select it.
To unlock locked objects:
`
From the Edit menu click Visibility, and then click Unlock.
The Unlock command unlocks all locked objects.
To change an object from one layer to another:
1
Select an object.
2
From the Edit menu click Layers, and then click Change Object Layer.
3
In the Layer for object dialog box, select the new layer for the object, and
click OK.
Selecting objects
Delete removes selected objects from the model. Use Delete to practice selecting objects.
Exercise 8—Practice using selection options
1
Open the model Delete.3dm.
2
Select the square and the circle.
3
From the Edit menu click Delete or press the Delete key.
The objects disappear.
44
Robert McNeel & Associates
3
CREATING GEOMETRY
To select objects for deletion:
1
Select one of the lines on the hexagon in
the Top viewport.
Because there are several curves
superimposed on each other, the
selection menu appears, allowing you to
select one of the curves.
2
Select the top curve from the list.
3
From the Edit menu click Delete.
Observe one disappear in the
Perspective viewport.
4
In the Top viewport, use a crossing
box to select the surface and the
polyline in the top right part of the
drawing.
A crossing box is used when
selecting in an open area and then
dragging the window from right to
left.
Both objects are selected.
5
From the Edit menu click Delete.
6
Make a window to select the polyline
and the cylinder in the lower right
part of the drawing.
Only those objects that are
completely inside the window are
selected.
7
Hold the Ctrl key down and click on
the cylinder to remove it from the
selection set.
8
From the Edit menu click Delete.
9
Continue deleting objects in the drawing.
Practice using different selection methods to select and deselect objects. Use crossing and window.
The Shift key while selecting will let you add to your selection set.
The Ctrl key while selecting will let you to remove objects from your selection set.
To undo and redo deletions:
1
From the Edit menu click Undo.
Each time you click, Undo takes you back one command.
Robert McNeel & Associates
45
3
2
CREATING GEOMETRY
From the Edit menu click Redo.
Each time you click, the previous Undo is reinstated.
3
Undo all the deletions you made in the previous exercise.
Dedicated selection commands
In addition to the selection options we just practiced, there are several other useful tools for selecting objects. In
the next exercise we will use some of these tools.
Command
Button
Menu Label
Description
SelAll
All Objects
(Ctrl+A)
Select all objects.
SelNone
None (Esc)
Deselect all objects. Note: SelNone does not run inside a command to clear preselected objects.
Invert
Invert
Deselects all selected objects and selects all visible objects that were not
previously selected.
SelPrev
Previous Selection
Re-selects the previous selection set.
SelLast
Last Created
Objects
Selects the last changed objects.
SelPt
Points
Select all point objects.
SelCrv
Curves
Select all curves.
SelPolyline
Polylines
Select all polylines.
SelSrf
Surfaces
Select all surfaces.
SelPolysrf
Polysurfaces
Select all polysurfaces.
To access select tools from the Select Toolbar:
1
From the Tools menu, click Toolbar
Layout.
2
Select Default under Files.
3
Choose Select as the toolbar to show.
The Select toolbar appears.
46
Robert McNeel & Associates
3
CREATING GEOMETRY
To select objects using select tools:
1
From the Edit menu click Select Objects, and then click Curves.
All the curves are selected.
2
From the Edit menu click Select Objects, and then click Invert.
Everything but the previously selected curves is selected.
3
From the Edit menu click Select Objects, and then click None.
Everything is unselected.
4
From the Edit menu click Select Objects, and then click Polylines.
All of the polylines are selected.
5
From the Edit menu click Select Objects, and then click Surfaces.
The single surface is added to the selection set.
6
From the Edit menu click Select Objects, and then click Polysurfaces.
The polysurfaces are added to the selection set.
7
From the Edit menu click Select Objects, and then click None.
8
Draw a few lines and curves.
9
From the Edit menu click Select Objects, and then click Last Created Objects.
The last object you created is selected.
Filter Selection
A filter restricts any selection mode to specified object types. Objects types that can be restricted are:
Annotations, Blocks, Control points, Curves, Lights, Meshes, Point clouds, Points, Polysurfaces, Surfaces, Hatches,
and Others.
1
From the Status bar, click on Filter. The
selection Filter dialog will appear.
2
Right-click Curves and all other selection
options are unchecked.
3
Use a crossing box to select the entire
the drawing.
Only the curves are selected.
4
Press Esc to deselect.
Robert McNeel & Associates
47
3
CREATING GEOMETRY
5
Right-click Surfaces and all other selection options are unchecked.
6
Use a crossing box to select the entire
the drawing.
Only the surfaces are selected.
7
Press Esc to deselect.
8
Right-click Polysurfaces and all other selection options are unchecked.
9
Use a crossing box to select the entire
the drawing.
Only the Polysurface objects are
selected.
10 Press Esc to deselect.
11 Reset all filters to on.
48
Robert McNeel & Associates
4 Precision modeling
So far you have been drawing imprecise lines. Now you will try drawing lines at specific places. To do this you will
use coordinates.
Whenever you draw a curve, or create a solid primitive, Rhino asks you for a series of points. You can tell that
Rhino is asking for point input two ways: the command prompt has a prompt like Start of line, Start of polyline,
Start of curve, or Next point and the arrow-shaped cursor turns into a cross-shaped
cursor.
You can enter a point two ways: pick a point in a viewport with the mouse, or type coordinates at the command
line.
You will select the units and tolerance of the model before you begin. You can do this in the Options dialog under
the Units page or by picking a template that has units and Tolerance already set.
You can change the tolerance after you start, but objects that are edited before the change still have the old
tolerance value.
Coordinate entry
Rhino uses a fixed Cartesian coordinate system called the world coordinate system (WCS), based on three axes
(the x-, y-, and z-axes) that define locations in three-dimensional space.
Each viewport has a construction plane that defines coordinates for that viewport. We will work in the Top and
Perspective viewports where the two coordinate systems are the same.
Absolute coordinates
The first forms of coordinates you will use are called absolute coordinates. Absolute coordinates are exact
locations relative to the x-, y-, and z-axes.
Exercise 9⎯Setting up a model
1
From the File menu click New.
2
Click Small Object - Millimeters.3dm, and then click Open.
3
From the File menu click Save As. Name the model BOXES.
Use the BOXES.3dm model to learn how to draw with absolute coordinates.
Exercise 10—Entering absolute coordinates
1
Double-click the viewport title to maximize the Top viewport.
2
From the Curve menu click Polyline, and then click Polyline.
3
To Start type 0 and press Enter.
0,5
5,5
0,0
5,0
If you are going to start at the origin of the sheet (0,0,0) you
can simply type 0 as a shortcut.
4
For the Next point type 5,0 and press Enter.
5
For the Next point type 5,5 and press Enter.
6
For the Next point type 0,5 and press Enter.
7
Click Close to close the polyline.
Robert McNeel & Associates
49
4
PRECISION MODELING
Relative coordinates
Absolute coordinates can be slow and cumbersome, but they do work. Most of the time, relative coordinates are
easier to use.
Every time you select a point, Rhino saves that point as the last
point.
Next Point
Relative coordinates are based on the last point entered, instead of
on the origin (0,0,0) of the construction plane.
Precede the x,y,z coordinates with a single R (upper or lower case) to
enter relative coordinates. Use the @ symbol instead of an R to start
relative coordinates if you prefer.
Change in Y
Last Point
Change in X
Exercise 11—Entering relative coordinates
1
From the Curve menu click Polyline, and then click Polyline.
2
To Start type 8,0 and press Enter.
R-5,0
R5,5
3
5.00
These are absolute coordinates.
For the Next point type R5,5 and press Enter.
These are relative coordinates.
4
For the Next point type R-5,0 and press Enter.
5
Click Close to close the polyline.
8,0
5.00
Polar coordinates
Polar coordinates specify a point that is a distance and direction away from 0,0 in the current construction plane.
60
30
Angle
180
0
Last Point
33
0
0
21
270
Instead of using x, y, and z coordinates,
enter relative polar coordinates like
this: Rdistance<angle.
0
30
50
15
0
Distance
240
Relative polar coordinates are
preceded by R or @; absolute polar
coordinates are not.
Next Point
0
12
For example, if you want a point four
units away from the construction
plane origin, at a 45° angle
counterclockwise from the
construction plane x-axis, type 4<45,
and press Enter.
90
Vector directions in Rhino start with Zero degrees at 3 o'clock on a standard clock. They change in an anticlockwise direction as illustrated below.
Robert McNeel & Associates
4
PRECISION MODELING
Exercise 12—Entering polar coordinates
1
From the Curve menu click Polyline, and then click Polyline.
2
To Start type 0,8 and press Enter.
3
For the Next point type R5<0 and press Enter.
4
For the Next point type R5<90 and press Enter.
5
For the Next point type R5<180 and press Enter.
6
Click Close to close the polyline.
R5<180
0,8
R5<90
R5<0
Distance and angle constraint entry
Using distance constraint entry, you can specify a point by typing a distance and pressing Enter. Then as you
move your cursor in any direction, the distance from the last point will be constrained. This is a good way to
specify a line length quickly.
Using angle constraint entry, you can specify an angle by typing < followed by a value and pressing Enter. The
next point is constrained to lines at multiples of the angle relative to the x-axis you specified.
Using the Shift key to toggle Ortho on and off:
When Ortho is off, hold the Shift key down to toggle it on. This method is an efficient way to draw perpendicular
lines. In the following example, draw a line five units long using distance constraints.
Exercise 13—Distance constraint entry
1
From the Curve menu click Polyline, and then click Polyline.
2
To Start type 8,8 and press Enter.
3
For the Next point type 5 and press Enter.
4
Hold the Shift key down and pick a point to the right.
Ortho constrains the marker to 0 degrees.
5
For the Next point type 5 and press Enter.
6
Hold the Shift key down and pick a point up.
Distance Constraint
Ortho constrains the cursor to 90 degrees
7
For the Next point type 5 and press Enter.
8
Hold the Shift key down and pick a point to the left.
Ortho constrains the cursor to 180 degrees.
9
Click Close to close the polyline.
Exercise 14—Distance and angle constraint entry
1
From the Curve menu click Polyline, and then click Polyline.
2
To Start type 16,5 and press Enter.
3
For the Next point type 5 and press Enter, then type <45 and press
Enter.
Angle Constraint
As you drag your cursor around, the marker snaps to a distance of 5
and an angle of 45 degrees.
Robert McNeel & Associates
51
4
4
PRECISION MODELING
Pick a point down and to the right.
The angle constraint sets the angle.
5
For the Next point type 5 and press Enter, then type <45 and press Enter.
6
Pick a point up and to the right.
The angle constraint sets the angle.
7
For the Next point type 5 and press Enter, then type <45 and press Enter.
8
Pick a point up and to the left.
The angle constraint sets the angle.
9
Click Close to close the polyline.
10 Save your model. You will use this model for another exercise.
Exercise 15—Practice using distance and angle constraint entry
1
Start a new model, use the Small Objects - Millimeters.3dm template. Save as Arrow.
Since the object is symmetrical, you will only draw the lower half of the model.
START MODEL AT -11,0
2.00
2.00
1.00
2.00
1.00
8.00
11.00
6.00
Draw the arrow with a polyline, using a combination of absolute coordinates (x,y), relative coordinates
(Rx,y), polar coordinates (Rdistance<angle), and distance constraint.
The following is an example of the command line input that you might use:
Absolute x,y
2
From the Curve menu click Polyline, then click Polyline.
3
For the Start of Polyline type -11,0.
Relative x,y
4
For the Next point, type r-2,-2.
Distance constraint
5
For the Next point, type 8 and press Enter, turn Ortho on and then pick to the right.
Relative x,y
6
For the Next point, type r1,1.
Relative polar
52
Robert McNeel & Associates
4
PRECISION MODELING
7
For the Next point, type r11<0.
Distance constraint
8
For the Next point, type 1 and press Enter, turn Ortho on and then
pick down.
9
For the Next point, type r6,2.
10 For the Next point, press Enter to end the command.
11 Save your model.
To make a copy of the polyline:
1
Select the polyline.
2
From the Transform menu click Copy.
3
For the Point to copy from, pick a point near the polyline.
4
For the Point to copy to, type 6 and press Enter, turn Ortho on and
pick above the selected polyline.
5
Press Enter to end the command.
To make a mirror image of the polyline:
1
Select the original polyline.
2
From the Transform menu click Mirror.
3
For the Start of mirror plane, type 0 and press Enter.
4
For the End of mirror plane, turn Ortho on and then pick to the right.
To make it 3-D:
1
Right-click on the Perspective title and set the display mode to Shaded.
2
Select the original polyline and the mirror copy.
3
From the Solid menu and click Extrude Planar Curve, click Straight.
4
For the Extrusion distance, type 1 and press Enter.
Your arrow is now a
three-dimensional model.
Robert McNeel & Associates
53
4
PRECISION MODELING
To make it 3-D (alternate):
1
Select the copy of the polyline.
2
On the Status bar, click Osnap.
3
On the Osnap toolbar check End.
4
From the Surface menu click Revolve.
5
For the Start of revolve axis, select the end of the polyline.
6
For the End of revolve axis, select the other end of the polyline along
the centerline.
7
Press Enter to use the default Start angle.
8
Press Enter to use the default Revolution angle.
Your arrow is now a
three-dimensional model.
To deform the shape:
1
Select the 3-D arrow.
2
From the Transform menu click Bend.
3
For the Start of spine, click
the end point on the left end of
the arrow.
4
For the End of Spine, click the
end point on the right end of
arrow.
5
For the Point to bend through, drag the cursor down and pick a
point.
54
Robert McNeel & Associates
4
PRECISION MODELING
Exercise 16—Practice using distance and angle constraints
1
2
Start a new model using the Small Objects –
Millimeters.3dm template. Save as V-Block.
8.0
Double-click the viewport title in the Front viewport to
maximize it.
45°
Create the following model in the front construction
plane.
3
4
40.0
Draw the object below using a combination of absolute
coordinates (x,y), relative coordinates (rx,y), and
relative polar coordinates (rdistance<angle).
8.0
12.0
8.0
Start your model at 0 in the Front viewport.
8.0
Try to create the model using a single polyline in a
clockwise direction.
5
36.77
40.0
Double-click the viewport title of the Front viewport to
restore your views.
120°
8.0
16.0
40.0
6
Select the polyline.
7
From the Solid menu click Extrude Planar Curve
Straight.
8
For the Extrusion Distance type 150 and press Enter.
, and then click
You can view the model as a three-dimensional object in the Perspective
viewport.
9
Save your model.
Object Snaps
Object Snaps are tools for specifying points on existing objects. Use osnaps for precision modeling and to get
accurate data. Object snaps are often referred to as osnaps. In Rhino, reliable modeling and easy editing depends
on objects actually meeting at specified points. Objects snaps give you precision you cannot get using the
“eyeball” method
To open the Osnap toolbar
`
Click the Osnap pane in the status bar.
This toolbar controls persistent object snaps.
The display of the Osnap toolbar is controlled with the Osnap pane in the Status bar.
Click on it to toggle the display on and off.
Use persistent objects snaps to maintain an object snap through choosing several points without having to
reactivate the object snap.
Robert McNeel & Associates
55
4
PRECISION MODELING
When an object snap is active, moving the cursor near an eligible point on an object causes the marker to jump to
that point and a tooltip to appear.
Left click on a check box to turn on the object snap.
Right click on a check box to turn on the object snap and clear all other osnaps.
You can place the toolbar anywhere on your desktop.
Command
Button
Description
End
End snaps to the end of a curve, surface edge corner or polyline segment end.
Near
Near snaps to the nearest point on an existing curve or surface edge.
Point
Point snaps to a control point or point object.
Mid
Midpoint snaps to the midpoint of a curve or surface edge.
Cen
Center snaps to the center point of a curve. This works best with circles and arcs.
Int
Intersection snaps to the intersection of two curves.
Perp
Knot
Perpendicular To snaps to the point on a curve that makes a perpendicular to the last selected point.
It doesn't work on the first point that a command prompts you to pick.
Tangent To snaps to the point on a curve that makes a tangent to the last selected point. It doesn't
work on the first point that a command prompts you to pick.
Quad snaps to the quadrant point. The quadrant point is the maximum or minimum direction on a
curve in the x or y construction plane direction.
Knot snaps to knot points on curves or surface edges.
Project
Projects the snap point to the construction plane.
Vertex
Mesh vertex is the location where the edges of the mesh faces meet.
Disable
Temporarily turns off persistent object snaps, retaining settings
Tan
Quad
Exercise 17—Using object snaps
In this model we will practice using most of the osnaps listed on the toolbar.
1
Open the model Osnap.3dm.
2
Toggle Grid Snap and Ortho off.
Using End and Midpoint object snaps:
1
Click the Osnap pane on the status bar.
You can leave the Osnap toolbar displayed.
Osnap bar with the End and Mid osnaps turned on.
2
Check End and Mid.
You can check and clear individual object snaps to make modeling with precision easy.
56
Robert McNeel & Associates
4
PRECISION MODELING
3
From the Curve menu click Polyline,
and then click Polyline.
4
For the Start of Polyline, move your
cursor close to the end of the line at
the lower left corner of the first
square and pick when the marker
snaps to the end of the line.
The line starts exactly at that
corner.
5
For the Next point, move your cursor close to the midpoint of the vertical line at the right side of the square
on the right, pick when the marker snaps to the midpoint.
The marker snaps to the midpoint of the line that the cursor touches, making the new line cross to the exact
midpoint of that side.
6
For the Next point, move your cursor close to the end of the line at the
upper left corner of the first square, pick when the marker snaps to the
end of the line.
The marker snaps to the end of the line.
7
Press Enter to end the command.
Using Near and Perpendicular to object snaps:
1
In the Osnap toolbar check Near and
Perp, clear End and Mid.
2
From the Curve menu click Line, and
then click Single Line.
3
For the Start of line, pick on the
lower edge of the circle at the top
right.
The marker snaps to the point on
the circle nearest to where the
cursor is positioned.
4
For the End of line, pick the top
horizontal edge of the second square
when the Perp tooltip appears.
The marker snaps to a point making a perpendicular to the previous point.
Robert McNeel & Associates
57
4
PRECISION MODELING
Using Intersection and Tangent to object snaps:
1
In the Osnap toolbar check Int and
Tan; clear Near and Perp.
2
From the Curve menu click Line, and
then click Single Line.
3
For the Start of line, pick the
intersection where the diagonal line
crosses the vertical line on the first
square.
The marker snaps to the intersection
between the two lines.
4
For the End of line, pick the top, left edge of the circle on the right.
The marker snaps to a point tangent to the circle.
Using Center of object snap:
1
In the Osnap toolbar check Cen, clear
Int and Tan.
2
From the Curve menu click Line, and
then click Single Line.
3
For the Start of line, pick on the
edge of a circle.
The marker snaps to the center of
the circle.
4
For the End of line, pick on the edge
of the other circle.
The marker snaps to the center of
the circle.
Using Quadrant of object snap:
1
In the Osnap toolbar check Quad,
clear Cen.
2
From the Curve menu click Polyline,
and then click Polyline.
3
For the Start of Polyline, pick a
point on the top edge of the first
circle.
The marker snaps to the quadrant
point of the circle.
4
For the Next point, pick the left edge
of the circle.
The marker snaps to the quadrant
point of the circle.
58
Robert McNeel & Associates
4
PRECISION MODELING
5
For the Next point, pick the bottom edge of the circle.
6
For the Next point, pick the right edge of the circle.
7
Click Close to finish.
8
Use the SaveAs command to save the model. Name it Analyze. We will
use it for a later exercise.
Additional modeling aids
As well as allowing the user to work in a completely unconstrained free-form manner Rhino has a number of
modeling aids and constraints that help with precision modeling. This section outlines these aids and constraints.
SmartTrack
SmartTrack creates a set of temporary reference lines and points that work in conjunction with Rhino’s object
snaps. Using SmartTrack obviates the need to create dummy reference lines and points. SmartTrack works on
both 2-D and 3-D objects. It can be used in conjunction with the Project and Planar constraints described later in
this section.
Exercise 18—SmartTrack
To use the SmartTrack tool:
1
Open the model Constraints.3dm and maximize the Top Viewport.
2
Make sure that the following object snaps are turned on: End, Near, Point, Mid, Cen and Int.
3
Turn on SmartTrack on the Status Bar.
4
From the Curve menu click Point Object, then
click Single Point.
5
Hover the cursor over the lower left corner of
the green rectangle, the End snap will be
displayed and a white marker point becomes
visible.
6
Repeat this process on the bottom left hand
corner of the gold rectangle.
7
Now move the cursor towards the apparent
intersection point of these two corners. Two
temporary construction lines are displayed.
The point is positioned on the intersection of
these two construction lines.
8
Click to place the Point Object.
SmartTrack will work with any of the available
object snaps. Experiment with some
alternatives.
Robert McNeel & Associates
59
4
PRECISION MODELING
Tab Constraint
The Tab constraint allows the user to fix a direction to a reference point and thereby constrain cursor movement.
The following example shows a simplistic use of the Tab constraint.
Exercise 19—Tab Constraint
To use the Tab Constraint:
1
We will work with the Constraints.3dm file as
previous and again maximize Top view.
2
Turn off SmartTrack.
3
From the Curve menu click Line, then click
Single Line.
4
For the Start of Line, snap to the End of the
bottom left hand corner of the gold rectangle.
5
For the End of Line, hover the mouse over the
bottom left hand corner of the green rectangle,
when the End snap appears press the Tab key.
Note that the line now becomes white and the
direction is constrained.
6
For the End of Line, drag your mouse to the
desired location and click.
The Tab constraint will work in conjunction
with all object snaps and all tools that require
a directional input, for example Move, Copy,
and Rotate.
Project constraint
By default 2-D geometry is created on the active construction plane. Object snaps override this behavior and
snapping to objects that are not on the construction plane will cause the geometry to be non-planar. The Project
constraint ignores objects snaps and pushes all the geometry onto the active construction plane.
Exercise 20—Project Constraint
To use the Project Constraint:
1
We will again work with the Constraints.3dm
file as previous.
2
Make sure that the Ortho constraint is On.
3
Turn Layer 01 off and turn Layer 02 on.
The surfaces on Layer 02 are located at
different elevations.
4
From the View menu, click Zoom, then click
Zoom Extents.
5
Double-click on the Top viewport title to restore
the 4 View layout.
6
Working in Top viewport, draw a Polyline around the perimeter of the three rectangles.
In the Perspective view, notice how the how the planar nature of the polyline is overridden by the object
snaps.
60
Robert McNeel & Associates
4
PRECISION MODELING
7
Delete the Polyline.
8
Turn on the Project constraint on the Osnap
toolbar.
9
Again, working in Top viewport, draw a Polyline
around the perimeter of the three rectangles.
Look in the Perspective viewport as you draw
the polyline and note how the object snaps for
the endpoints of the green and blue rectangles
are projected to the construction plane.
The Project constraint forces all the segments of the polyline onto the construction plane. The resulting
polyline is planar.
10 Delete the Polyline.
Planar constraint
The Planar constraint limits successive picked locations to the same construction plane elevation as the previous
location. For example a command such as Polyline can be started off the construction plane and the Planar
constraint will override Rhino’s default behavior of snapping back to the construction plane.
Exercise 21—Planar Constraint
To use the Planar Constraint:
We will first look at what happens with the Planar constraint Off. Then, we will turn the Planar constraint On to see
what changes.
1
We will again work with the Constraints.3dm
file as previous.
2
Turn off the Ortho and Planar constraints, and
Project on the Osnap toolbar.
3
Start the Polyline command.
4
Working in the Top Viewport, start the Polyline
at the lower left corner of the Green rectangle.
5
Add some more segments without snapping to
any of the objects.
Look at the Perspective viewport and notice
how the polyline pulls back onto the
construction plane after the initial point.
6
To override this behavior and create a planar
curve delete the Polyline and turn on the Planar
constraint.
7
Draw the Polyline again.
Note how it now remains planar.
8
Delete the Polyline.
Robert McNeel & Associates
61
4
PRECISION MODELING
To create a planar curve above the active construction plane:
First we will draw a polyline without the Project constraint activated. Then we will use the planar constraint in
conjunction with the Project constraint to see what changes.
1
Turn the Planar constraint On.
2
In the Top viewport, draw a new Polyline starting again at one of the corners
of the Green rectangle.
3
Create some additional points this time snapping to some of the Blue and Gold
rectangle corner points.
Look at the Perspective view and note how the object snaps override the
Planar constraint.
4
Delete the Polyline.
5
In the Perspective viewport, draw a new
Polyline starting again at one of the corners of
the Green rectangle.
6
After making the first point, turn the Project
constraint On.
7
Create some additional points, snapping to
some of the Blue and Gold rectangle corner
points.
Note that the points stay planar to the first
point, even though you are snapping to
points that are at different elevations.
Viewports and construction planes
In the following exercise, we will practice using Osnaps while learning more about Viewports and Construction
planes.
Exercise 22—Intro to construction planes
`
62
Open the model Cplanes.3dm.
Robert McNeel & Associates
4
PRECISION MODELING
Viewports
Viewports are windows in the Rhino graphics area that show you a view of your model. To move and resize
viewports, drag the viewport title or borders. You can create new viewports, rename viewports, and use
predefined viewport configurations. To activate a viewport click anywhere in the viewport and the title highlights.
If you are in a command sequence, you simply have to move your cursor into a viewport to activate it.
Construction planes
The construction plane is the guide used for modeling Rhino objects. Points you pick are always on the
construction plane unless you use coordinate input, elevator mode, or object snaps.
Each construction plane has its own axes, a grid, and
an orientation relative to the world coordinate system.
The grid is a plane of perpendicular lines lying on the
construction plane. On default grids, every fifth line is
slightly thicker.
The red line represents the construction plane x-axis.
The green line represents the construction plane y-axis.
The red and green lines meet at the construction plane
origin.
The icon in the left hand corner always shows world
coordinates, which are different from the construction
plane axes.
Default construction planes are provided with the
default viewports.
• The Top construction plane x- and y-axes align with the world x- and y-axes.
• The Right construction plane (x- and y-axes) align with the world y- and z-axes.
• The Front construction plane (x- and y-axes) align with the world x- and z-axes.
• The Perspective viewport uses the Top construction plane.
Robert McNeel & Associates
63
4
PRECISION MODELING
You can set construction planes by:
• Typing Cplane
• From the View Menu
• Right click on the viewport title
• Pick the Arrow on the viewport title.
There are many options to the Cplane
command. In this exercise, you will work
with:
• Origin
• 3 Point
• To Object
• Named Cplanes
To change a Cplane using the 3 Point option:
1
From the View menu click Set Cplane, and then click 3 Points.
2
For the Cplane origin, snap to the lower left corner of the surface labeled
as 1.
3
For the X axis direction, snap to the lower right corner of the surface
labeled as 1.
64
Robert McNeel & Associates
4
4
PRECISION MODELING
For the Cplane orientation, snap to
the upper left corner of the surface
labeled as 1.
Now the Cplane is set
5
From the Solid menu click Cylinder.
6
For the Base of cylinder and Radius pick points anywhere on the new
cplane.
7
Drag and click to get the End of cylinder.
To save the new Cplane:
1
From the View menu click Set Cplane, and then click Named Cplanes.
2
A Panel will open with Named Cplanes controls.
3
Click the Save as button in the toolbar area.
4
Enter a name or use the default name Cplane 01, click OK.
You have a named Cplane that can be restored at any time.
5
Repeat setting and saving named
Cplanes for surfaces labeled 2 and 3.
To set a Cplane to an object:
1
From the View menu click Set Cplane, and then click To Object.
2
Select the surface labeled as 4.
The Cplane is set to the surface. The origin of the new Cplane is the
center of the underlying untrimmed surface.
3
Using Named Cplane, name this cplane Cplane 04.
Robert McNeel & Associates
65
4
PRECISION MODELING
To change the origin of a Cplane:
1
From the View menu click Set Cplane, and then click Origin.
2
For the Cplane origin, snap to the upper left corner of the surface
labeled 4.
3
Set a Cplane by Object for the surface labeled 5.
4
Set a new Cplane Origin for the surface labeled 5.
5
Using Named Cplane, name this cplane, Cplane 05.
Exercise 23—Viewports and construction planes
`
Open the model Chair.3dm.
Next, we will turn on layers that illustrate how the default construction planes relate to each other. Each layer
contains an image for a chair. Later in this exercise we will create our own chair.
`
Turn the following layers on:
• CP-Top
• CP-Front
• CP-Right
Each of the layers contains an image of a
view of a tubular chair.
Notice that all the Chair images intersect at
the origin of the model (0,0,0).
When you draw on any viewport the
geometry will be located on the
construction plane, unless you use Osnaps,
Planar mode, or Elevator mode.
66
Robert McNeel & Associates
4
PRECISION MODELING
Exercise 24—Modeling in 3-D space
Chair: Technical Method (Recommended)
Rhino makes it easy to draw in 3-D space. You can draw
on a different construction plane by simply moving your
cursor into a different viewport.
Using the technical drawing on the right and the precision
drawing and coordinate input to create the chair curves.
When you have completed the curves, go to section
“Finishing the chair.”
Chair: Elevator Mode Method (Alternate)
Another method for modeling in 3-D space is modeling using elevator mode.
In the following exercise we will draw in different viewports and use elevator mode to move some points in 3-D
space.
Elevator mode lets you pick points that are off the construction plane. Elevator mode requires two point picks to
completely define the point. The first specifies the base point. The second specifies how far the final point is above
or below the base point.
After the base point is specified, the marker is constrained to a tracking line perpendicular to the construction
plane that passes through the base point.
Pick a second point to specify the coordinate of the desired point. You can pick a point with the mouse, or type a
single number to specify the height above the construction plane. Positive numbers are above the construction
plane; negative numbers are below.
You will use Snap, Ortho and Elevator mode to draw in different viewports.
Robert McNeel & Associates
67
4
PRECISION MODELING
1
Toggle Planar on and Grid Snap on.
Toggle Ortho on as needed.
2
Turn on the Point osnap.
3
From the Curve menu click Polyline,
and then click Polyline.
4
Move your cursor into the Front
viewport.
5
To start click at the lower left side of
the tubular chair image.
6
Use coordinate input or the image to
draw the first part of the chair frame.
7
After you complete the profile lines,
move your cursor to the Right
viewport to draw a horizontal line.
8
Move your cursor to the Front
viewport until it snaps to the point at
the lower end of the diagonal line.
Don’t click at this time.
9
While the cursor is locked onto the
point, hold down the Ctrl key, and
pick (Left mouse click).
Front View
Right View
Front View
Perspective View
(Holding the Ctrl key while clicking
with the left mouse button activates
elevator mode.)
10 Release the Ctrl key. Move your
cursor to the Perspective viewport
and drag the point until it snaps to
the previous point, and pick (Left
mouse click).
68
Robert McNeel & Associates
4
PRECISION MODELING
11 Move your cursor to the
Perspective view. Continue drawing
the rest of the chair frame using the
same technique.
Snap to the next point in the Front
viewport, activate elevator mode,
then move your mouse to the
Perspective viewport to position the
point.
Perspective View
Perspective View
Perspective View
Perspective View
12 For the last segment you can click
Close on the command line or snap
to the start point and click.
Robert McNeel & Associates
69
4
PRECISION MODELING
Finishing the chair
After creating the chair curve either with the technical modeling method or by using the elevator mode, you now
need to construct the chair surfaces. It will help to first create a custom cplane aligned to the back of the chair.
To make a custom construction plane:
We now want to draw along the chair back, so we will change the construction plane.
1
On the Status Bar, click Osnap, and
check End.
2
Change to the Perspective viewport
and turn on the Grid, if necessary,
by pressing F7.
3
From the View menu click Set
CPlane, and then click 3 Points.
4
For the CPlane origin, pick vertex
(1).
5
For X axis direction, pick vertex (2).
6
For the CPlane orientation, pick
vertex (3).
The construction plane is aligned
with the back of the chair.
To create a named construction plane
1
From the View menu click Set CPlane, and click Named CPlanes.
2
In the Named CPlanes panel, click Save.
3
In the Save CPlanes dialog, type ChairBack, then click OK.
You have a custom cplane that can be restored as needed. This custom cplane is saved to the file.
70
Robert McNeel & Associates
4
PRECISION MODELING
To create a named view:
1
From the View menu click Set View,
click Plan.
The view changes. You are looking
straight down on the new
construction plane.
2
From the View menu click Set View,
click Named Views.
3
In the Named Views panel, click
SaveAs.
4
In the Save Viewport As Named
View dialog, type ChairBack, then
click OK.
This creates a custom view that can
be restored as needed.
5
Change back to the Perspective view.
6
From the View menu click Set View,
then click Perspective.
7
Draw some lines on the new
construction plane.
To make it solid:
1
Change to the Frame layer.
2
Select the chair frame.
3
From the Solid menu, click Pipe.
4
For the Start and End Radius, type 3 and press Enter.
The chair has a solid frame.
5
Save the model.
Robert McNeel & Associates
71
4
PRECISION MODELING
To Fillet the corners:
1
Undo the Pipe.
2
Select the chair frame.
3
From the Curve menu click Fillet
corners.
4
Click Radius and type 10 and press
Enter.
The fillet will be applied to all the
chair corners.
To make the seat surface:
1
Select the curve you just filleted. From
the Edit menu click Explode.
2
From the Surface menu click Edge
Curves.
3
Select the two side edges of the back
of the chair, then press Enter.
A back surface is created.
4
Repeat this procedure for additional
seat surfaces.
5
Select all the seat surfaces. From the
Edit menu click Join.
The seat will be joined into one
polysurface. Next trim out the
opening in the back.
72
Robert McNeel & Associates
4
PRECISION MODELING
6
Select the rectangular curve you
created earlier.
7
From the Edit menu click Trim.
8
Click on the part the surface inside the
rectangle to trim the chair back.
9
Highlight the seat surfaces. Using the
Layer pane in the Status bar, select
the Seat layer.
10 Turn off the Seat layer.
11 Select the curves for the frame.
12 From the Edit menu click Join.
13 Use the Pipe command to make the
new curves into a tubular frame.
14 Turn Seat layer back on.
15 Render your model.
Completed rendering of chair.
Robert McNeel & Associates
73
4
PRECISION MODELING
On your own:
`
Try some variations and add some features.
Analysis commands
Rhino provides analysis tools for finding lengths, angles, areas, distances, and the volume and centroid of solids.
Additional commands let you analyze curve curvature, determine continuity between curves, and find unjoined
edges.
Command
Description
Distance
Displays the distance between two points.
Length
Displays the length of a curve object or surface edge.
Angle
Displays the angle between two lines.
Radius
Measures the radius of curvature of a curve, circle, or arc at the point where you pick the
curve and displays it on the command line.
EvaluatePt
The Cartesian coordinates of the point, in both world and construction plane coordinates are
displayed on the command line in x,y,z format.
Distance
Measures the distance between two picked points.
To find the distance between two points:
1
Open the model Analyze.3dm that you saved from an earlier exercise.
If you didn’t get a chance to save the model, open the model Analyze01.3dm instead.
2
From the Analyze menu click Distance.
3
Pick the intersection where a diagonal line intersects a vertical line.
4
Pick the intersection where the other diagonal line intersects the same
vertical line.
Use object snaps.
5
Press F2 to display the information.
Cplane angles and deltas: xy = 90 elevation = 0
dx = 0 dy = 3.077 dz = 0
World angles and deltas: xy = 90 elevation = 0
dx = 0 dy = 3.077 dz = 0
Distance = 3.077 millimeters
74
Robert McNeel & Associates
4
PRECISION MODELING
Length
Displays the length of a selected line.
To find the length of a line:
1
From the Analyze menu click Length.
2
Select the line between the centers of the circles.
Length = 8.000 millimeters
To measure the angle between two lines:
1
From the Analyze menu click Angle.
2
Select a point that defines the vertex
of an angle line.
3
Select a point that defines the end of
an angle line.
Use object snaps as appropriate.
4
Select a point that defines the vertex
of the second angle line.
5
Select a point that defines the end of the second angle line.
The angle displays on the command line in the following format: Angle = 21.7711
Radius
Displays the radius of a circle, arc, or curve segment.
To measure the radius of a circle:
1
From the Analyze menu click Radius.
2
Select one of the circles.
This also measures the radius of curvature of a curve at a point.
The radius displays on the command line in the following format:
Radius = 2.5
Robert McNeel & Associates
75
4
PRECISION MODELING
Point evaluation
Displays the coordinates of a picked location.
To display the coordinates of a point:
1
From the Analyze menu click Point.
2
Snap to the end point of the tangent line.
The x,y,z point is displayed for the world coordinate plane and the current
construction plane.
Point in world coordinates = 8.203,11.488,0.000
CPlane coordinates = 8.203,11.488,0.000
Drawing with precision
Circles
You can create circles using a center point and radius, center point and a diameter, two points on the diameter,
three points on the circumference, and tangent points to two coplanar curves and a radius.
Button
76
Command
Description
Circle
Draw a circle using the center and radius.
Circle 3Point
Draw a circle through three points on its circumference
Circle Diameter
Draw a circle using two diameter points.
Circle Tangent,
Tangent, Radius
Draw a circle tangent to two curves with a given radius.
Circle Tangent to 3
Curves
Draw a circle tangent to three curves.
Circle AroundCurve
Draw a circle perpendicular to a curve at the chosen point.
Deformable
Draws an approximation of a circle with a defined number of control points..
Vertical
Draw a circle perpendicular to the construction plane.
Robert McNeel & Associates
4
PRECISION MODELING
Exercise 25—Drawing circles
`
Open the model Circles.3dm.
R2.00
R4.00
7.50
15.00
TTR
Ø4.00
2P
10.00
20.00
To draw a center, radius circle:
1
From the Curve menu click Circle, and then click Center, Radius.
2
For the Center of circle snap to the intersection of the centerlines.
3
For the Radius type 4 and press Enter.
A circle is created around the centerline intersection.
To divide a curve by the number of segments:
For the next part of this exercise, we need to find some specific points to locate two of the circles. We will use the
Divide command to create the points.
1
From the Curve menu click Point Object, then click Divide Curve by,
and then click Number of segments.
2
Select the bottom line as the curve to divide, press Enter.
3
For the Number of segments type 4 and press Enter.
The line is marked off into four segments with a point at the end of each
segment.
Robert McNeel & Associates
77
4
PRECISION MODELING
To draw a diameter circle:
1
Turn On the Point osnap.
2
From the Curve menu click Circle,
and then click 2 Points.
3
For the Start of diameter pick snap
to the second point from the left end
of the line you divided.
4
For the End of diameter type 4 and
press Enter, then turn Ortho on and
pick in the straight up direction.
A circle is created with the two points you picked as the diameter, and the diameter was constrained to a
value of 4.
5
Repeat these steps for the second diameter circle.
To draw a tangent, tangent, radius circle:
1
From the Curve menu click Circle,
and then click Tangent, Tangent,
Radius.
2
For the First tangent curve, select
the top line.
3
For the Second tangent curve,
select the left line.
4
For the Radius, type 2 and press
Enter.
A circle is created that is tangent to
the two lines you selected with a
radius of 2.
5
78
Repeat these steps for the second TTR circle.
Robert McNeel & Associates
4
PRECISION MODELING
To make it 3-D:
1
Select the lines that form the rectangle.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
For the Extrusion Distance, type 2 and press Enter.
The rectangle generates a box.
4
Select the four smaller circles.
5
From the Solid menu click Extrude Planar Curve, and then click
Straight.
6
For the Extrusion Distance type, -6 and press Enter.
The circles generate cylinders.
7
Select the large circle in the center.
8
From the Solid menu click Extrude Planar Curve, and then click
Straight.
9
For the Extrusion Distance ,type 4 and press Enter.
The circle generates a cylinder.
Robert McNeel & Associates
79
4
PRECISION MODELING
Exercise 26—Using circle-related object snaps
1
Open the model Link.3dm.
2
Complete the model as shown.
3
Draw the three large circles first.
Snap to the centerline intersections to place
the circles.
4
Draw the small holes next.
Use object snaps to snap to the centers of the
large circles
To draw the tangent lines:
1
From the Curve menu click Line, and then
click Tangent to 2 Curves.
2
For the First tangent point pick on the edge
of one of the circles near where you want the
tangent line to attach.
3
For the Second tangent point pick on the
edge of another circle. Rhino will find the
tangent points for you.
4
Continue to use this command to complete
the model.
80
Robert McNeel & Associates
4
PRECISION MODELING
Arcs
You can create arcs using various points on the arc and construction geometry.
You can continue an existing curve with an arc to an existing curve, to a point or by an angle.
Button
Command
Description
Arc
Draw an arc from the center, start, and angle.
Arc : Start, End, Point on Arc
Draw an arc from three points.
Arc: Start, End, Direction
Draw an arc from start point, end point, and the direction from the
start point. The direction can be entered after the start point is
entered or after the end point is entered.
Arc: Tangent, Tangent, Radius
Creates an arc from tangents and radius.
Arc: Start End Radius
Creates an arc from start point, end point, and radius.
Convert Output=arcs
Converts a curve to arc segments that are joined together.
Arc options
Option
Description
Deformable
Creates an arc shaped NURBS curve
Extension
Extend a curve with an arc.
Exercise 27—Practice drawing arcs (1)
`
Open the model
Arc1.3dm.
Arc: Start, End, Direction
Arc: Start, End, Radius
R2.00
R2.00
R2.00
4.00
R6.00
Ø2.00
R3.00
Arc: TTR
Arc: Center, Start, End
2.00
7.00
Extend Curve:
By Arc
Extend Curve:
By Arc to a Point
To draw a center, start, end or angle arc:
1
From the Curve menu click Arc, and then click Center, Start, Angle.
2
For the Center of arc snap to the center of the circle at the lower left.
3
For the Start of arc snap to the end of the line.
4
For the End point or angle snap to the end of the other line.
Robert McNeel & Associates
81
4
PRECISION MODELING
To draw a start, end, direction arc:
1
From the Curve menu click Arc, and then click Start, End, Direction.
2
For the Start of arc snap to the upper end of the vertical line.
3
For an End of arc snap to the adjacent end of the horizontal line at the
top.
4
For the Direction at start, toggle Ortho on and drag in the straight up
direction and pick.
5
Make another Direction Arc at the upper right.
6
For the Start of arc, snap to the right end of the horizontal line.
7
For an End of arc type R2,-2 and press Enter.
8
For the Direction at start, toggle Ortho on and drag in the straight down
direction and pick..
To add more arc segments using extension option:
1
From the Curve menu click Arc, and then click Center, Start, Angle.
2
Click Extension on the command line.
3
For the Select near curve end pick near the end of the arc you just made.
4
For the End of arc, type 4 and press Enter.
5
With Ortho on pick a point below the first point.
The arc will be tangent to the curve you chose.
To add more arc segments using the extension option:
1
From the Curve menu click Arc, and then click Center, Start, Angle.
2
Click Extension on the command line.
3
For the Select near curve end pick near the end of the arc you just made.
4
For the End of arc, snap to the end of the horizontal line.
82
Robert McNeel & Associates
4
PRECISION MODELING
To draw a tangent, tangent, radius arc:
1
From the Curve menu click Arc, and then click Tangent, Tangent,
Radius.
2
For the First tangent curve pick the lower right side of the top circle.
3
For the Radius type 3 and press Enter.
4
For the Second tangent curve pick the upper right side of the lower
circle.
5
Move your cursor and pick when the correct arc is displayed.
6
From the Curve menu click Arc, and then click Tangent, Tangent,
Radius.
7
For the First tangent curve pick the upper left side of the top circle.
8
For the Radius type 6 and press Enter.
9
For the Second tangent curve pick the lower left side of the lower
circle.
10 Move your cursor and pick when the correct arc is displayed.
To make it solid:
First you will have to trim the two small circles, then you can extrude the remaining curves.
1
Select the two arcs you just
completed.
2
From the Edit menu click Trim.
3
For the objects to trim pick on the
inner edge of each small circle.
You will be left with a slot.
4
Use the Circle command to draw the
circle concentric to the arc on the
right.
5
Select all the curves.
6
From the Solid menu click Extrude Planar Curve, and then click
Straight.
7
For the Extrusion distance type 1 and press Enter.
The curves have been extruded and capped.
Robert McNeel & Associates
83
4
PRECISION MODELING
Exercise 28—Practice drawing arcs (2)
It might be helpful to start this model by drawing centerlines first and then lock them or put them on a locked
layer. Use the Line command to construct the centerlines. When you have the centerlines drawn, you can use
their intersection points to draw your arcs and circles.
1
Start a new model, use the Small
Objects - Inches.3dm template.
Save as Arc2.
2
Create this model using object snaps
and the Line, Circle, and Arc
commands.
To make it solid:
1
Select the curves.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
For the Extrusion distance type 1 and press Enter.
The curves have been extruded and capped.
Ellipses and polygons
You can draw ellipses from the center or by the ends. You can draw polygons from a center point or an edge. You
can draw a rectangle from diagonal corners or by choosing three points.
Ellipses
Button
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
84
Command
Description
Ellipse
Draw an ellipse by specifying the center point and axis ends.
Ellipse Diameter
Draw an ellipse by specifying the axis ends.
Ellipse FromFoci
Draw the ellipse from the focus points.
Ellipse AroundCurve
Draw an ellipse whose axes are perpendicular to a curve.
Robert McNeel & Associates
4
PRECISION MODELING
Polygons
Button
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
Command
Description
Polygon
Creates a polygon from its center and radius.
Polygon Edge
Draw a polygon by specifying the ends of one edge.
Polygon Star
Draw a polygonal star.
Polygon options
Option
Description
NumSides
Specify the number of sides for the polygon.
Circumscribed
Draw a polygon that is circumscribed about a radius. The default is to draw a polygon that is inscribed in a
specified radius.
Rectangles
Button
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
Command
Description
Rectangle
Draw a rectangle using opposite corners.
Rectangle Center
Draw a rectangle from center and a corner.
Rectangle 3Point
Draw a rectangle through three points.
Rectangle Vertical
Draw a rectangle that is perpendicular to the construction plane.
Rectangle Rounded
Create a rectangle with rounded corners (arc or conic).
Exercise 29—Practice drawing ellipses and polygons
`
Start a new model, use the Small Objects - Millimeters.3dm template. Save as Toy.
20
19
9 8
5
8
14
18
Robert McNeel & Associates
4 10
R1.5 for all
polygons
85
4
PRECISION MODELING
To draw a rectangle from diagonal corners:
1
From the Curve menu click Rectangle, and then click Corner to
Corner.
2
For the First Corner, type -10,-5 and press Enter.
3
For the Length, type 20 and press Enter.
4
For the Width, type 10 and press Enter.
Draw rectangles from a center point with a length and width, and rounded corners:
1
From the Curve menu click Rectangle, and then click Center, Corner.
2
Type R, and press Enter to give the rectangle rounded corners.
3
For the Center of rectangle, type 0 and press Enter.
4
For the Length, type 19 and press Enter.
5
For the Width, type 9 and press Enter.
6
For the Radius, type 1, and press Enter.
If you are creating a rounded rectangle, you can choose to select a
point in the corner to set its curvature instead of typing a radius value.
To change the type of corner, click Corner on the command line to toggle from circular rounded corners to
conic rounded corners.
7
Repeat these steps for a second rounded rectangle with a length of 18 and a width of 8 with .5 radius corners.
To draw an ellipse from its center and axis ends:
1
From the Curve menu click Ellipse, and then click From Center.
2
For the Ellipse center, type 0 and press Enter.
3
For the End of first axis, type 4, and press Enter.
4
Toggle Ortho on and pick to the right.
5
For the End of second axis, type 2.5, and press Enter.
6
Pick a point.
86
Robert McNeel & Associates
4
PRECISION MODELING
To draw a polygon from its center and radius:
1
From the Curve menu click Polygon, and then click Center, Radius.
2
Click NumSides on the command line, type 3 and press Enter to change
the number of sides for the polygon.
3
For the Center, type -7,-2 and press Enter to locate the center point for
the polygon.
4
For the Corner, type 1.5, and press Enter.
5
Pick a point to orient the polygon.
6
Continue drawing the rest of the polygons. Use the same radius for each
one.
To make the rounded rectangles solid:
1
Select the larger and the smaller
rounded rectangle.
2
From the Solid menu click Extrude
Planar Curve, and then click
Straight.
3
Drag both down to set the thickness
and click or type a value for the
thickness. Use a negative number to
extrude down.
The two rounded rectangles are
coplanar or in the same plane.
Because of this the smaller rounded
rectangle is removed from the
larger one, and the difference is
extruded.
To make the rectangle solid:
1
Select the rectangle.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
Set the Bothsides option to No.
4
Drag it up to set the thickness and click.
Robert McNeel & Associates
87
4
PRECISION MODELING
To make the ellipse solid:
1
Select the ellipse.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
Set the Bothsides option to Yes.
4
Pick to set the thickness.
Make sure the thickness is enough to protrude through both sides of the
rectangular solid.
To cut the ellipse solid from the rectangle:
1
Select the solid rectangle.
2
From the Solid menu click Difference.
3
Select the solid ellipse, and press Enter.
To extrude the polygons:
1
Select the polygons.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
Pick to set the thickness.
Make sure the thickness is enough to protrude through both sides of the
rectangular solid.
To cut holes with the solid polygons:
1
Select the rectangular solid.
2
From the Solid menu click Difference.
3
On the command line click DeleteInput.
Make sure it is set to: DeleteInput=No.
4
For the second set of surfaces or polysurfaces, select the solid polygons
and press Enter.
Holes will be cut, but the objects will remain.
88
Robert McNeel & Associates
4
PRECISION MODELING
Free-form curves
The use of free-form curves allows more flexibility to create complex shapes.
Button
Command
Description
Curve
Curve by control points draws a curve from specified control points. Control
points mostly do not lie on the curve, but they determine its shape.
InterpCrv
Interpolated curve creates a curve going through specified interpolate points.
These points lie on the curve and determine its shape.
Conic
Draws a conic curve, which is part of an ellipse, parabola, or hyperbola.
Option
Description
Undo
Allows you to back up one point.
Close
Makes a closed curve.
Autoclose
Move the cursor close to the start point of the curve, and pick.
The curve will close automatically. Press Alt to suspend autoclose.
Sharp
If Yes, when you make a closed curve, it will have a kink at the start/end point instead of
making a smooth (periodic) closure.
Degree
Allows you to set the degree of the curve.
PersistentClose
Closes the curve as soon as there are two points placed. You can continue to pick points.
The curve updates the shape while remaining closed.
Exercise 30—Practice drawing curves (1)
1
Open the model Curve.3dm.
In this exercise, you will learn how to make a curve by control points, an interpolated curve, and a conic curve
to compare the differences between the three methods.
A common method for creating free-form curves is to draw lines that are accurately measured. Use these lines
as guidelines. Another method for creating free-form curves is to use a background image made from a sketch
or a photograph. In this exercise the guidelines have been created for one of the exercises and an image has
been included for the other exercise.
2
In the Osnap toolbar, check End and Near, clear all others.
If you click End with your right mouse, it will clear all the others.
3
Toggle Ortho and Grid Snap off.
To draw a curve by control points:
Control points define the curvature of the curve, but the points are usually not on the curve.
1
From the Curve menu click Free-form, and then click Control Points.
2
For the Start of Curve, snap to the end point of the polyline guideline.
3
For the Next point, snap on the polyline guideline using the Near object
snap.
4
Continue to snap to the guideline until you get to the end.
5
Press Enter.
A free-form curve is drawn. The control points, while on the guideline,
were not on the curve itself except at the two ends.
Robert McNeel & Associates
89
4
PRECISION MODELING
To draw a curve interpolate through points:
1
Change to the Interpolated Curve layer.
2
From the Curve menu click Free-form, and then click Interpolate
Points.
3
For the Start of Curve, snap to the intersection of the centerline and the
image using the Near object snap.
4
For the Next point, continue to pick points along the edge of the image
until you get to the other end, then use the Near object snap to snap to
the intersection of the centerline and the image.
5
Press Enter.
A free-form curve is created from specified interpolate points. These
points lie on the curve and determine its curvature.
To draw a conic curve:
1
Change to the Conic layer.
2
From the Curve menu click Conic.
3
For the Start of conic, snap to the point (1) at the lower left.
4
For the End of conic, snap to the point (2) above and to the right from
the previous point.
5
For the Apex, snap to the point (3) in between the previous points.
6
For the Curvature point or rho, pick a point for the desired curvature.
To make the curve into a surface:
1
Select the control point curve.
2
From the Surface menu click
Revolve.
3
For the Start of revolve axis, snap
either end of the curve.
4
For the End of revolve axis, snap to
the other end of the curve.
5
For the Start angle, click FullCircle.
6
Repeat steps 2-5 for the interpolated
curve.
90
Robert McNeel & Associates
4
PRECISION MODELING
Helix and Spiral
Button
Command
Description
Helix
Draw a helix. User can specify a radius, the number of turns, the length and
direction of the axis.
Spiral
Draw a spiral. User can specify two radii, the number of turns, the length and
direction of the axis.
Option
Description
Vertical
The helix or spiral axis will be perpendicular to the construction plane in the active viewport.
AroundCurve
Select a curve for the helix or spiral to wind around to create "phone cord" shapes. This option
supports History.
Flat
Allows you to draw a planar spiral.
Mode
Determines whether the number of turns or the distance between turns is used to create the
helix or spiral
Turns
Allows you to set the number of turns along the axis.
Pitch
Allows you to set the distance between turns along the axis.
ReverseTwist
Allows you to reverse the twist direction of the helix or spiral.
Exercise 31—Practice drawing curves (2)
1
Open the model Helix-Spiral.3dm.
2
In the Osnap toolbar, check End and Point, clear all others.
If you click End with your right mouse, it will clear all the others.
3
Toggle Ortho and Grid Snap off.
To draw a helix
1
Change to the Helix layer.
2
From the Curve menu click Helix.
3
For the Start of axis, snap to the end of the vertical line (1) in the Perspective
viewport.
4
For the End of axis, snap to the end of the vertical line (2) in the Perspective
viewport.
5
Click Mode on the command line until it is set to Mode=Turns.
6
Click Turns on the command line.
7
For the Number of turns, type 10 and press Enter.
8
Pick the point (3) to the right of the axis line.
A helix with 10 turns and a radius of 20 is created.
Robert McNeel & Associates
91
4
PRECISION MODELING
To draw a spiral:
1
Change to the Spiral layer.
2
From the Curve menu click Spiral.
3
For the Start of axis, snap to the end of the other vertical line (1) in the
Perspective viewport.
4
For the End of axis, snap to the other end of the same line (2).
5
Click Mode on the command line until it is set to Mode=Pitch.
6
Click Pitch on the command line.
7
For the Pitch, type 15 and press Enter.
8
Click ReverseTwist on the command line until it is set to Reverse
Twist=Yes.
9
Snap the point (3) for the Radius of the base of the spiral.
10 Snap to the other point (4) for the Ending radius.
A spiral is created with a reverse twist and the distance between each turn is 15.
To draw a helix around a curve:
1
Change to the HelixAlongCurve layer.
2
From the Curve menu click Helix.
3
Click AroundCurve.
4
Select the free-form curve.
5
Click Mode=Turns.
6
Click Turns
7
Type 25 and press Enter.
8
Click ReverseTwist=No.
9
For the Radius type 5 and press Enter.
10 Pick a point for the Start point.
A helix is created around the curve. Undo this helix.
To draw a helix around a curve with History:
1
In the Status bar, click RecordHistory pane.
2
From the Curve menu click Helix.
3
Click AroundCurve.
4
Select the free-form curve.
5
Click Mode=Turns.
6
Click Turns
7
Type 25 and press Enter.
8
Click ReverseTwist=No.
92
Robert McNeel & Associates
4
9
PRECISION MODELING
For the Radius type 5 and press Enter.
10 Pick a point for the Start point.
A helix is created around the curve.
11 Highlight the free-form curve. Type PointsOn (F10).
12 Pick a few control points and pull the curve into a new shape.
13 Helix will update automatically to the new shape for the free-from curve.
Exercise 32—Drawing free-form curves
The use of free-form curves allows more flexibility to create complex shapes. In the following exercise we will
draw the guidelines and free-form curves for a toy screwdriver.
1
Start a new model, use the Small Objects - Millimeters.3dm
template. Save as Screwdriver.
2
Create Construction and Curve layers.
Make them different colors.
To create the construction lines:
1
Change to the Construction layer.
2
Draw a Polyline, in the Top viewport, using these dimensions for the guideline.
50
20
8
18
6
42
25
3
11
10
A good starting point for the Polyline would be -70,0.
Robert McNeel & Associates
93
4
PRECISION MODELING
To create the curve by control points:
1
Change to the Curve layer.
2
Use the Curve command to draw the shape for the toy screwdriver.
3
Save your model.
CURVE FROM
CONTROL POINTS
TWO POINTS IN
A ROW (ORTHO)
WILL GIVE YOU
A TANGENT AT
THE ENDPOINT
THREE OR MORE POINTS IN A
ROW (ORTHO) WILL ALLOW
YOU TO MAKE A PORTION OF
THE CONTROL POINT CURVE
STRAIGHT
To make it solid:
1
Toggle Grid Snap and Ortho on.
2
Select the curve.
3
From the Surface menu and click
Revolve.
4
For the Start of revolve axis, snap
to the end of the curve.
5
For the End of revolve axis, snap to
the other end of the curve.
6
For the Start angle, click FullCircle.
Your model is now a threedimensional surface.
Add details on your own:
Since we haven’t discussed many of the commands that you need to complete this model, use Command Help for
assistance. Following is a list of procedures for one method to finish the model.
1
In the Top view draw a Single Line
that will be used to slice the flat part
from the screwdriver blade.
2
Select the line.
3
From the Solid menu, click Solid
Editing Tools, and then click
Wirecut.
94
Robert McNeel & Associates
4
PRECISION MODELING
4
For the Select objects to cut,
choose the screwdriver, and then
press Enter.
5
For the First cut depth point. Press
Enter to cut through object, press
Enter.
6
For the Part to cut away, choose
the part you want to remove, and
then press Enter.
7
Mirror the line and repeat steps 3-6
to complete the other side of the
blade.
8
Draw a Curve along the top of the
handle to be used for cutting grooves.
If you do this in the Front viewport,
you will eliminate any problems that
might arise from having one of the
slots along the seam of the surface.
9
Use the Pipe command to make a
surface on the curve.
10 Use the ArrayPolar command to
make copies of the pipe around the
handle.
11 Use the BooleanDifference
command to remove the pipes from
the handle.
12 Try using the Render command to
make a rendering of the finished
screwdriver.
Robert McNeel & Associates
95
5 Editing Geometry
Once you create objects, you can move and edit them to produce complex and detailed variations.
Fillet
Fillet connects two lines, arcs, circles, or curves extending or trimming them to touch or to join with a circular arc.
Rules to follow when filleting curves:
• The curves must be coplanar.
• The created fillet is determined by picking on the curve portion to keep.
• The radius cannot be so large that it runs past the end of the curve.
Option
Description
Radius
Sets the fillet radius. A radius of 0 extends or trims the curves to a corner, but does not create a fillet.
Join
Yes, joins the fillet to the curves.
No, does not join the fillet to the curves.
Trim
Yes, trims the curves to the fillet arc.
No, does not trim the curves.
Exercise 33—Fillet
`
Open the model Fillet.3dm.
To connect lines that intersect:
1
From the Curve menu click Connect Curves.
2
Select an outer vertical line.
3
Select an adjacent horizontal line.
The ends of the lines are trimmed to a
corner.
Robert McNeel & Associates
96
5
EDITING GEOMETRY
4
Press Enter to repeat the command.
5
Connect the other corners, as shown.
Remember to pick on the part of the line that
you want to keep.
To join the connected objects:
1
Select lines you just connected.
2
From the Edit menu click Join.
The objects are joined together. Curves join only if they touch.
To fillet lines using an arc:
1
From the Curve menu click Fillet Curves.
2
Type 2 and press Enter to change the radius.
This is another method to change the radius.
3
Click Join to change the Join option to Yes.
This option joins the curves as they are filleted.
4
Select an outer vertical line.
5
Select an adjacent horizontal line.
The ends of the lines are trimmed to a radius.
6
Press Enter to repeat the command.
7
Fillet the other corners as shown.
8
Press Enter to repeat the command.
9
Type 1 and press Enter.
This radius will be used for the smaller object.
10 Select an inner vertical line.
11 Select an adjacent horizontal line.
12 Fillet the other corners as shown.
Robert McNeel & Associates
97
5
EDITING GEOMETRY
To fillet circles:
1
From the Curve menu click Fillet Curves.
2
Type 3 and press Enter.
3
Select the right edge of a circle.
4
Select the right edge of the other circle.
5
Repeat the command for the left side of the circles.
6
Select the two fillets you just created.
7
From the Edit menu click Trim.
8
For the objects to trim pick on the inner edge of each circle.
To fillet and join arcs and lines:
1
From the Curve menu click Fillet Curves.
Set Join=Yes and Trim=Yes.
2
Select the line in the lower left part of the
viewport.
Make sure you pick on the left half of the
line.
3
Select the adjacent arc right above the
selected line.
4
Repeat this procedure for the two arcs below
the line and the arc you just filleted.
98
Robert McNeel & Associates
5
EDITING GEOMETRY
To fillet the corners of a closed polyline:
1
Select the closed polyline.
2
From the Curve menu click Fillet Corners.
3
For the Fillet radius, type 2 and press
Enter.
All corners are filleted at once.
Blend
Blending is another method to connect lines, arcs, or curves. There are three blend commands that work on
curves, BlendCrv (default), Blend (Quick Blend) and ArcBlend.
BlendCrv allows you to adjust the continuity with the input curves and has adjustable endpoints.
Selection
Option
Description
Curves
Restricts the selection to curves.
Edges
Restricts selection to surface edges.
Option
Description
Continuity
Continuity describes the relationship between curves and surfaces. Types of continuity: Position (G0),
Tangent (G1), and Curvature (G2), G3, and G4
Flip 1 & Flip 2
Reverses direction of specified curve.
Trim
Trims the input curves to the resulting curve.
Join
Joins the resulting curves.
CurvatureGraph
Displays the curvature graph for the blended curve.
Robert McNeel & Associates
99
5
EDITING GEOMETRY
ArcBlend consists of two arcs with adjustable endpoints and bulge.
Option
Description
AlternateSolution
Offers the longer solution when more than one arc fills the requirements.
RadiusDifference
Makes it possible to draw an S-shaped blend where the difference of the two radii is specified.
If the difference is positive the first radius will be bigger than second, and if negative the first radius will be
smaller.
Trim
Trims the input curves to the resulting curve.
Join
Joins the resulting curves.
Blend (Quick Blend) creates a between two curves maintaining continuity with the input curves. It is similar to
the adjustable blend curve without any adjustments.
Option
Description
Perpendicular
When Continuity=Tangent or Curvature, allows you to blend a curve to a surface edge perpendicular to the
surface with continuity.
AtAngle
When Continuity=Tangent or Curvature, orients the direction of the blend curve other than perpendicular to
the edge.
Continuity
Continuity describes the relationship between curves and surfaces. Types of continuity: Position (G0),
Tangent (G1), and Curvature (G2).
To blend two curves with Quick Blend:
1
From the Curve menu, Blend Curves, then
click Quick Curve Blend.
2
Select the curves to blend near the ends that
you want to connect.
The arcs are connected with a smooth curve.
The default continuity is Curvature.
3
Undo to remove the blend.
To blend two curves with ArcBlend:
1
From the Curve menu, Blend Curves, then
click Arc Blend.
2
Select the curves to blend near the ends that
you want to connect.
The two input curves are connected with two
arcs.
3
100
Undo to remove the blend.
Robert McNeel & Associates
5
EDITING GEOMETRY
To blend two curves with Adjustable curve blend:
1 From the Curve menu, Blend Curves, then click Adjustable Curve Blend.
2
Select the upper right curve near the left end,
then select the lower left curve near the right
end to blend the curves.
You will see a preview of the default blend
with control points displayed and a dialog.
3
Check the Join and the Trim option.
4
For the Select control point to adjust, select the point (1) and drag it
further up the curve and click.
5
For the Select control point to adjust, select
the point to the right of (2), drag it closer to (2)
and click.
6
After making your adjustments, pick the OK
button to make the blend.
Robert McNeel & Associates
101
5
EDITING GEOMETRY
To make a lofted surface with closed curves:
The curves in this model are at two different elevations. You are going to connect the curves at different
elevations with a surface.
1
Change to the Surfaces layer.
2
Select the two squares in the upper left part of the Top viewport.
3
Change to the Perspective viewport.
4
From the Surface menu click Loft.
The two squares show a seam direction arrow.
They should point the same direction.
If the seams don’t line up at corresponding
points on the two curves, drag the seam point
until it does.
5
Press Enter.
6
In the Loft Options dialog box, click OK.
A surface is generated between the two closed
polylines.
7
Repeat the procedure for the rounded squares.
8
In the Loft Options dialog box, click OK.
To make a lofted surface with open curves:
1
Repeat the Loft command for the three open
curves.
2
In the Loft Options dialog box, change the
Style to Loose, click Preview.
102
Robert McNeel & Associates
5
EDITING GEOMETRY
3
Change the Style to Straight sections, click Preview.
4
Change the Style to Normal, click Preview.
5
For the Cross-section curve options, change
to Rebuild with, change the number of control
points to 12, click Preview.
6
Change to Refit within, click Preview.
7
Change back to Do not simplify, click OK.
Chamfer
Chamfer connects two curves by extending or trimming them to intersect or to join with a beveled line. Chamfer
works on convergent or intersecting curves.
Option
Description
Distances
The first chamfer distance specifies the distance from the chamfer end on the first curve to the point where
the two curves would intersect. The second chamfer distance specifies the distance of the chamfer end on
the second curve to the intersection point.
A chamfer distance of 0 trims or extends that curve to the intersection point. If the chamfer distance is
non-zero, a chamfer line is created that far from the intersection, and the curve is extended to the chamfer
line. If you enter 0 for both distances, the curves are trimmed or extended to their intersection, but no
chamfer line is created.
Exercise 34—Chamfer
`
Open the model Chamfer.3dm.
To chamfer lines:
1
From the Curve menu click Chamfer
Curves
.
2
For the Select first curve to
chamfer, type 1,1 and press Enter,
to set the distances.
3
Set Join=Yes.
4
Select one of the inner vertical lines.
5
Select an adjacent horizontal line.
6
Continue creating chamfers on all of
the corners.
Robert McNeel & Associates
103
5
EDITING GEOMETRY
7
Press Enter to repeat the command.
8
For the Select first curve to
chamfer, type 3,2 and press Enter.
9
Select one of the outer horizontal
lines.
10 Select an adjacent vertical line.
The first value is the distance from
the intersection of the two curves
on first curve selected, the second
value is the distance from the
intersection of the two curves on
the second line selected.
To turn the curves into surfaces:
1
Change to the Surfaces layer.
2
From the Edit menu click Select
Objects, and then click Curves.
3
From the Surface menu click Loft.
4
Adjust the seam line if necessary, press
Enter.
5
In the Loft Options dialog box,
click OK.
A surface is generated between the two
chamfered rectangles.
6
104
Save your model.
Robert McNeel & Associates
5
EDITING GEOMETRY
Exercise 35—Practice with Fillet and Chamfer
1
Open the model Filletex.3dm.
2
Use Fillet and Chamfer to edit the
drawing as shown.
All fillets and rounds use a radius of
0.5 units.
To make it solid:
1
From the Edit menu click Select Objects, and then click Curves.
2
From the Solid menu click Extrude Planar Curve, and then click
Straight.
3
For the Extrusion distance, type 1 and press Enter.
Robert McNeel & Associates
105
5
EDITING GEOMETRY
To fillet the top edge of the solid:
1
From the Solid menu click Fillet Edge, and then click Fillet Edge.
2
Change the CurrentRadius to 0.25.
3
Select the edges around the top of the solid, press Enter.
Move
Use Move to move objects without changing orientation or size.
Option
Description
Vertical
Moves the selected objects vertical to the current construction plane.
Exercise 36—Move
1
Open the model Move.3dm.
2
Turn off both Ortho and Grid Snap so you can move objects freely.
3
Turn Cen object snap on.
To move using object snaps for placement:
1
Select the small circle at the bottom
left side of the Top viewport.
2
From the Transform menu click
Move.
3
For the Point to move from, snap to
the center of the small circle.
4
For the Point to move to, snap to
the center of the arc at the lower left
of the object.
106
Robert McNeel & Associates
5
EDITING GEOMETRY
To move using absolute coordinates:
1
From the Edit menu click Select
Objects, and then click Curves.
2
From the Transform menu click
Move.
3
For the Point to move from, snap
to the end of the line at the lower
part of the object.
4
For the Point to move to, type 0,0
and press Enter.
The end of the line is exactly at point 0,0 in the Top viewport.
To move using relative coordinates:
1
Select the large slotted circle in the middle of the object.
You will move the slotted circle relative to the part.
2
From the Transform menu click Move.
3
Pick any point in the Top viewport.
It is usually better if you pick near the object you are going to move.
4
For the Point to move to, type r0,-.25 and press Enter.
The circle moved down .25 units.
Copy
Copy duplicates selected objects and places them in a new location. The command can repeat to create more than
one copy in the same command sequence.
Option
Description
Vertical
Copies the selected objects vertical to the current construction plane.
InPlace
Duplicates the object at the current location.
Exercise 37—Copy
To copy using object snaps for placement:
1
Select the small circle at the lower left of the object.
2
From the Transform menu click Copy.
3
For the Point to copy from, snap to the center of the small circle.
4
For the Point to copy to, snap to the center of the arc at the upper
left of the object.
5
Pick to place the object, and press Enter.
Robert McNeel & Associates
107
5
EDITING GEOMETRY
To make multiple copies:
1
Select the small circle at the lower left of the object.
2
From the Transform menu click Copy.
3
For the Point to copy from, snap to the center of the small circle.
4
For the Point to copy to, begin picking points on the screen.
Each time you pick, a circle will be copied to that location.
5
Press Enter to end the command.
6
Undo the multiple copies.
Undo and Redo
If you make a mistake or do not like the results of a command, use Undo. If you decide you want those undone
results back after all, use Redo command. Redo restores the last thing undone.
Rhino
Button
Mouse
Button
Command
Description
Left-click or Ctrl+Z
Undo
Cancels the effects of the last command.
Right-click or Ctrl+Y
Redo
Restores the effects of undo.
The number of undos kept in memory can be set in Rhino Options on the General page.
If a command has an Undo option, type U to enter it, or click Undo on the command prompt.
You cannot use the Undo command after you exit the modeling session or open a different model.
Rotate
Use Rotate to move objects in a circular motion around a base point. For precise rotation, enter a number of
degrees to rotate. Positive numbers rotate counterclockwise; negative numbers rotate clockwise.
Option
Description
Copy
Duplicates the object as it is rotated
Exercise 38—Rotate
1
Select the large slotted circle in the middle of
the object.
2
From the Transform menu click Rotate.
3
For the Center of rotation, snap to the center
of the slotted circle.
4
For the Angle, type -28 and press Enter.
108
Robert McNeel & Associates
5
EDITING GEOMETRY
Group
Grouping objects allows all members of the group to be selected as one. You can then apply commands to the
entire group.
Rhino
Button
Mouse
Button
Command
Description
Left-click or
Ctrl+G
Group
Makes a group from selected objects.
Left-click or
Ctrl+Shift+
G
Ungroup
Removes grouping.
Left-click
AddToGroup
To add objects to a group.
Left-click
RemoveFromGroup
To remove objects from a group.
Left-click
SetGroupName
To name groups
Exercise 39—Grouping
To group selected objects:
1
Select the two circles that you placed.
2
From the Edit menu click Groups, and then click Group.
To add objects to a group:
1
Select the polyline on the left, the original
circle, and the slotted circle in the center.
2
On the command line type AddToGroup
from
or pick the AddToGroup icon
the Grouping toolbar, press Enter.
3
For the Select Group, select one of the
circles in the previous group.
The objects are part of the group.
Robert McNeel & Associates
109
5
EDITING GEOMETRY
To remove an object from a group:
1
On the command line type RemoveFromGroup or pick the
RemoveFromGroup icon
2
from the Grouping toolbar.
For the Select objects to remove from group, select the slotted circle,
press Enter.
The slotted circle is removed from the group.
Mirror
Mirror creates a copy of the objects flipped over a specified axis on the construction plane.
Exercise 40—Mirror
1
Select the group.
2
From the Transform menu click Mirror.
3
For the Start of Mirror plane type 0,0
or snap to the end of the line at the lower
right of the part.
4
Toggle Ortho on and pick directly above
the previous point.
Since you mirrored a group, in addition
to having a mirror image copy, you also
have two groups.
Join
Join unites curves that meet at a common end, making a single curve. Join can unite curves that do not touch, if
you select them after the command has started. As you select non-touching curves, a dialog box asks if you want
to fill the gap.
Exercise 41—Join
1
Select the two polylines.
2
From the Edit menu click Join.
110
Robert McNeel & Associates
5
EDITING GEOMETRY
Scale
Scale changes the size of existing objects without changing their shape. This command scales three-dimensional
objects equally along all three axes. There are also 2-dimensional, one-dimensional, and non-uniform scale
commands.
Option
Description
Copy
Preserves the object as it creates a new scaled one.
Scale factor
Inputs a value for scale factor. Less than one reduces the size, more than one increases the size.
Exercise 42—Scaling objects
1
From the Edit menu click Select Objects, and then click Curves.
2
From the Transform menu click Scale, and then click Scale 2-D
3
For the Origin point, type 0 and press Enter.
4
For the Scale factor, type .75 and press Enter.
.
The whole part scaled to 75 percent of its original size.
To Scale2-D using the reference point option:
1
Select the slotted circle.
2
From the Transform menu click Scale, and
then click Scale 2-D.
3
For the Origin point, snap to the center of the
slotted circle.
4
For the First reference point, snap to the
quadrant of the slotted circle.
The radius of the slotted circle is the reference
for the scale factor.
5
For the Second reference point, type 1.375 and press Enter.
The slotted circle now has a larger radius of 1.375.
Robert McNeel & Associates
111
5
EDITING GEOMETRY
To make it solid:
1
From the Edit menu click Select Objects, and then click Curves.
2
From the Solid menu click Extrude Planar Curves, and then click
Straight.
3
For the Extrusion distance, type 1 and press Enter.
To scale in 3-D:
1
From the Edit menu click Select Objects, and then click Polysurfaces.
2
From the Transform menu click Scale, and then click Scale 3-D
3
For the Origin point type 0 and press Enter.
4
For the Scale factor type 1.5 and press Enter.
.
The solid is larger in every dimension.
To scale in one dimension:
1
From the Edit menu click Select
Objects, and then click Polysurfaces.
2
From the Transform menu click Scale,
and then click Scale 1-D
.
3
For the Origin point, type 0 and press
Enter.
4
For the First reference point, snap to
the Perpendicular point at the top of the
part.
5
For the Second reference point, type .5 and press Enter.
The object is half as thick.
Editing with the gumball
Gumball displays a widget on a selected object which is used to facilitate the direct editing. The gumball provides
move, scale, and rotate transformations around the gumball origin.
Click the Gumball pane in the status bar.
Gumball actions:
•
•
•
•
112
Drag gumball arrows to Move the object.
Drag scale handles (squares) to Scale the object in one direction.
Drag arcs to rotate the object.
Tap the Alt key after starting to drag to toggle copy mode.
Robert McNeel & Associates
5
EDITING GEOMETRY
• Click a control handle to enter a numeric value.
• Hold the Shift key during Scale to force 3-D scale.
Gumball Controls
1.
Axis plane indicator
2.
Free move origin
3.
Menu ball
Move arrows,
4.
Move X,
5.
Move Y
6.
Move Z
Rotation arcs
7.
Rotate X
8.
Rotate Y
9.
Rotate Z
Scale handles
10. Scale X
11. Scale Y
12. Scale Z
Exercise 43—Gumball basics
To move geometry with the Gumball:
In this exercise we will drag gumball arrows to Move an object. There are 3 arrows: x (red), y (green) and z
(blue).
1
Open the model Gumball.3dm.
2
Highlight the cone in the Top
viewport.
3
Drag the red arrow to move the
object in the positive x or negative x
direction.
4
Drag the green arrow to move the
object in the positive y or negative y
direction.
Robert McNeel & Associates
113
5
EDITING GEOMETRY
5
Highlight the cone in the Front viewport.
6
Drag the blue arrow to move the object in the positive z or negative z
direction.
7
Undo enough times to get back to the original model.
8
Highlight the cone in the Front
viewport.
9
Click x Move Arrow (red) to enter
numeric value of 1.
Cone moves a distance of 1 units to
the right.
10 Repeat for y Move Arrow and z
Move Arrow.
To copy objects with Gumball:
In this exercise you will drag objects with the gumball and tap the Alt key after starting to drag to toggle copy
mode.
1
Highlight the cone in the Top
viewport.
2
Drag the red arrow to move the
object in the positive x or negative x
direction.
3
While still dragging, tap the Alt key.
A plus appear to the right of the red
arrow.
When you release the mouse button,
a copy of the object is created.
114
Robert McNeel & Associates
5
EDITING GEOMETRY
4
Highlight the two cones in the Top
viewport.
5
Drag the green arrow to move the
objects in the positive y direction.
6
While still dragging, tap the Alt key.
A plus appear to the right of the
green arrow.
When you release the mouse button,
a copy of the object is created.
7
Undo enough times to get back to the
original model.
To rotate objects with Gumball:
Drag arcs to rotate the object.
1
Highlight the cone in the Top viewport.
2
Press and drag along blue arc to rotate cone.
3
Make the Right viewport active.
4
Press and drag along green arc to rotate cone.
5
Undo enough times to get back to the original model.
Scaling with Gumball
•
•
•
Drag scale handles (squares) to Scale the object in one direction.
Click a scale control handles (squares) to enter numeric value.
Hold the Shift key during Scale to force 3-D scale.
To scale objects with Gumball:
1
Highlight the cone in the Top
viewport.
2
Drag the red scale handle (square)
to scale the object.
Release the mouse button to
complete the scale.
Robert McNeel & Associates
115
5
EDITING GEOMETRY
3
Highlight a cone in the Front viewport.
4
Drag the blue scale handle
(square) down to scale the object
larger in height.
Release the mouse button to
complete the scale.
5
Try clicking a scale control handle
(square) and enter numeric value or
scale factor like .75.
6
Highlight the cone in the Front
viewport.
7
While holding down the Shift key,
drag the red scale handle (square) to
scale the object uniformly in the x, y,
and z direction. Let go to complete the
scale.
8
Undo enough times to get back to the
original model.
Relocating Gumball Widget
The gumball provides move, scale, and rotate transformations around the gumball origin.
1
Highlight the cone in the Front
viewport.
2
Left click on the Gumball menu
marker (circle).
3
Click Relocate Gumball.
116
Robert McNeel & Associates
5
4
EDITING GEOMETRY
With the End point osnap, pick on
the top of the cone and press Enter.
The Gumball origin is now located at
top of cone. All editing is in
reference to the new origin.
5
Click on the Blue arc.
A text box will appear. You can type
a rotation angle into this box to
rotate an object an exact angle.
6
Type 90 and press Enter.
The cone is rotated exactly 90
degrees in a counter clockwise
direction.
Exercise 44—Practice with Gumball
Gumball Exercise:
1
In the Layer panel, do the following:
Make Default the current layer.
Turn off the Cone layer.
Turn on the parent Puzzle layer.
Note:
2
The Puzzle layer contains sublayers.
Turning on or off the parent Puzzle layer,
affects the sublayers visibility, too.
From the View menu, select Zoom and Zoom Extents All (Alt+Ctrl+E) to see the puzzle pieces.
Robert McNeel & Associates
117
5
EDITING GEOMETRY
3
From the Status bar, turn Ortho and Grid
Snap on. Next right click Grid Snap and click
Settings.
4
For the Snap Spacing, type a value of 0.05.
5
Click OK.
Hint:
Grid Snap, Ortho, and Gumball should all
be on in the Status bar.
To reposition the puzzle pieces:
1
Highlight the red puzzle Piece 1 in
the Front viewport.
2
Left click on the Gumball menu
marker (circle).
3
Click Relocate Gumball.
4
With the End point osnap, pick lower
left corner of the piece.
5
Press and drag along blue arc to
rotate pieces to 90 degrees.
To rotate and move the other Puzzle Pieces:
Repeat these steps for puzzle Pieces 3, 5, 6.
1
Move with Gumball
2
Relocate Gumball origin.
3
Rotate with Gumball
Use the appropriate viewport for rotation.
Hint:
118
Rotate Piece 3 in the Front viewport, rotate Piece 5 and 6 in the Right viewport.
Robert McNeel & Associates
5
EDITING GEOMETRY
Puzzle Piece 3
Puzzle Piece 5
Puzzle Piece 6
4
Now use Gumball to move the final Piece 4 into position on the top of the box using the Axis plane
indicator.
Drag by the plane icon to constrain movement to that plane.
Robert McNeel & Associates
119
5
EDITING GEOMETRY
Trim
Trim cuts and deletes portions of an object to make it end precisely at its intersection with another object.
Exercise 45—Trim
In this exercise, we will to pre-select the cutting objects.
To trim curves:
1
Open the model Trim-Split.3dm.
2
Toggle Gumball Off.
3
around the grid in the
Zoom Window
lower left corner of the Top viewport.
4
Pre-select the cutting objects by selecting
the two outside vertical lines in the grid.
5
From the Edit menu click Trim.
6
Select each of the horizontal lines at their
left and right ends.
The lines are trimmed to the cutting edges.
7
Press Enter.
To trim surfaces:
1
Zoom Window around a sphere and surface
in the Perspective viewport.
2
Select the surface that intersects the sphere
in the Perspective viewport as the cutting
object.
3
From the Edit menu click Trim.
4
For the Object to trim, pick the right side of the sphere.
The sphere is trimmed at the surface.
5
120
Press Enter.
Robert McNeel & Associates
5
EDITING GEOMETRY
Split
Split divides objects into parts using other objects as cutters. The Split command breaks the object where it
intersects the cutting object but does not delete anything.
Exercise 46—Split
In this exercise, we will to pre-select the object or objects we are going to split.
To split a curve:
1
Zoom Window around the closed curve in
the lower right corner of the Top viewport.
2
Select the closed curve.
3
From the Edit menu click Split.
4
Select the lines and press Enter.
The curve is separated into four curves
precisely where the lines intersect it.
To split a surface:
1
From the View menu click Zoom, and then
click Zoom Extents All.
2
Select the surface that intersects the sphere.
3
From the Edit menu click Split.
4
Select the sphere, and press Enter.
The sphere is separated into two pieces precisely where the surface
intersects it.
Robert McNeel & Associates
121
5
EDITING GEOMETRY
Extend
Extend lengthens an object to make it end precisely at its intersection with another object or you can lengthen an
object when there is no intersection.
Exercise 47—Extend
1
Open the model Extend.3dm.
2
From the Curve menu click Extend Curve, and then click Extend Curve.
3
For the Select boundary objects, select the line at the left and the curve at the
right.
4
For the Select curve to extend, click Type=Natural on the command line.
5
Change to Type=Line.
6
Select both ends of the top line and the left end of
two curves.
The curve and line extend to touch the boundary.
The extension is a straight segment.
7
For the Select curve to extend, click Type=Line on
the command line.
8
Change to Type=Arc.
9
Select the right end of the middle curve.
The curve extends with a tangent arc to touch the
boundary.
10 For the Select curve to extend, click Type=Arc on
the command line.
11 Change to Type=Smooth.
12 Select the right side of the bottom curve.
The curve extends with a curvature (G2) continuous
extension to touch the boundary.
13 Press Enter to end the command.
122
Robert McNeel & Associates
5
EDITING GEOMETRY
To extend with a set extension length:
1
From the Curve menu click Extend Curve, and then
click Extend Curve.
2
For the Select boundary objects or enter
extension length. Press Enter for dynamic
extend, type 4 and press Enter.
3
Select the upper end of the curve on the right.
The curve extends exactly 4 units.
4
Press Enter to end the command.
To extend a curve dynamically:
1
From the Curve menu click Extend Curve, and then
click Extend Curve.
2
For the Select boundary objects or enter
extension length. Press Enter for dynamic
extend, press Enter for a dynamic extension.
3
Select the lower end of the curve on the right.
The curve continues with the cursor.
4
Click to end the extension.
5
Press Enter to end the command.
To extend to a surface:
1
From the Curve menu click Extend
Curve, and then click Extend Curve.
2
For the boundary objects, select
the cylinder on the left and the
surface on the right.
3
Press Enter.
Robert McNeel & Associates
123
5
EDITING GEOMETRY
4
Change the type to Type=Arc.
5
Select both ends of the line and the curve.
The curves extend to the surface of the cylinder and to the surface.
Offset
Offset creates an object parallel or concentric to another object. Use Offset to create specialized copies, such as
parallel lines, concentric circles, and concentric arcs, through specified points or at pre-set distances.
Exercise 48—Offset
1
Open the model Offset.3dm.
2
Maximize the Top viewport.
3
Select the line.
4
From the Curve menu click Offset, then click
Offset Curve.
5
For the Side to offset, pick on the upper right
side of the line.
A parallel line is created.
To offset with the through point option:
1
Turn on the End osnap.
2
Select the circle.
3
From the Curve menu click Offset, then
click Offset Curve.
4
For the Side to offset, click
Throughpoint on the command line.
5
For the Throughpoint, snap to the lower
right end of the line you offset.
A concentric circle is created that goes
through the endpoint of the line.
124
Robert McNeel & Associates
5
EDITING GEOMETRY
To offset a polyline with sharp corners:
1
Select the polyline.
2
From the Curve menu click Offset, then click Offset Curve.
3
Type 1 and press Enter to change the offset distance.
4
For the Side to offset, pick inside the polyline.
The polyline is offset with sharp corners.
To offset a polyline with round corners:
1
Select the polyline.
2
From the Curve menu click Offset, then click Offset Curve.
3
Click Corner=Sharp on the command line.
4
Change the type to Corner=Round.
5
Pick outside the polyline.
The polyline is offset, but the corners are rounded with arcs.
Other corner options include Smooth and Chamfer. Smooth makes a
tangent curve that is smoother than an arc at each vertex, while Chamfer
makes a bevel at each vertex.
To offset a curve on bothsides:
1
Select the free-form curve.
2
From the Curve menu click Offset, then click Offset Curve.
3
Click Bothsides on the command line.
4
For Side to offset, pick on either side of the curve.
Free-form curves are created on both sides of the selected curve.
5
Repeat this process on the arc.
Concentric arcs are created on both sides of the selected arc.
To offset a curve on bothsides with caps:
1
Select the arc.
2
From the Curve menu click Offset, then click Offset Curve.
3
Click Cap on the command line, and then click Round.
4
Click Bothsides on the command line.
5
For Side to offset, pick on either side of the curve.
Concentric arcs are created on both sides of the selected arc with a rounded end
piece connecting the offset curves.
Robert McNeel & Associates
125
5
EDITING GEOMETRY
To offset a surface:
1
Select one of the open surfaces.
2
From the Surface menu click Offset Surface.
3
Place your cursor over the surface and click your left mouse button to change
the offset direction.
4
Press Enter.
The surface is offset in the direction of the arrows.
To offset a surface to a solid:
1
Select the other open surface.
2
From the Surface menu click Offset Surface.
3
Click on the surface to change the normal direction if necessary.
4
Choose the Solid option.
5
Press Enter to create the offset surface and the surfaces needed to make the
solid.
To offset a polysurface:
Offsetting polysurfaces may not give the desired results. In this example we will demonstrate some of the
problems.
126
Robert McNeel & Associates
5
EDITING GEOMETRY
1
Select the cylinder.
2
From the Surface menu click Offset
Surface.
The normals on a closed polysurface
will always point to the outside.
3
Pick Distance and type 1.
4
Pick Corners=Round. Press Enter.
Each surface of the polysurface is
offset as a separate surface, then
extended or filleted, and joined
together as a solid.
5
Undo. Repeat and pick
Corners=Sharp.
What you have in both cases is a solid
inside of a solid.
Hint:
Use the What command to confirm
that offset polysurface is a closed
solid.
To Shell a polysurface:
1
Undo.
2
Select the Cylinder.
3
Type Shell on the command line.
4
For Select faces to remove pick the
top of the cylinder and press Enter.
The surface is removed and the
remainder is offset inward, using the
outer parts of the removed surface
to join the inner and outer parts.
Robert McNeel & Associates
127
5
EDITING GEOMETRY
Array
Use the Array commands to make multiple copies of selected objects. Array Rectangular makes rows and columns
of objects. Array Polar copies objects in a circle around a center point
Exercise 49—Polar Array
To create a polar array:
1
Open the model Array.3dm.
2
Select the small circle in the Top viewport.
3
From the Transform menu click Array, and
then click Polar.
4
For the Center of polar array, snap to the
center of the large circle.
5
For the Number of items, type 10 and press
Enter.
6
For the Angle to fill, check to see if it is set to
360, press Enter.
The small circle is arrayed around the larger one.
7
Save your model.
You must include the original and the copies as the number in the array.
To make the shape for the column:
1
Window select the circles.
2
From the Curve menu click Curve Edit Tools,
then click Curve Boolean.
3
For the Regions to keep, click inside the
large curve.
The inside of the circle, excluding the smaller
circles is shaded.
4
On the command line, click DeleteInput, click
All, and press Enter.
To make the column:
1
Select the new polycurve.
2
From the Solid menu click Extrude Planar Curve, then click Straight.
3
For the Extrusion distance, type 14, press Enter.
128
Robert McNeel & Associates
5
EDITING GEOMETRY
To make a partial polar array:
1
Turn on the Base layer.
2
Select the column base, the column, and the column cap.
3
From the Edit menu click Groups, then click Group.
The three parts are grouped into one.
4
Select the group.
5
From the Transform menu click Array, and then click Polar.
6
For the Center of polar array, type 0, press Enter.
7
For the Number of items, type 6 and press Enter.
8
For the Angle to fill, type -180, press Enter.
Six columns are arrayed to fill 180 degrees in the negative direction.
To create a rectangular array:
1
Select the same column group as the last exercise.
2
From the Transform menu click Array, then click Rectangular.
3
For the Number in X direction, type 4, press Enter.
4
For the Number in Y direction, type 4, press Enter.
5
For the Number in Z direction, type 1, press Enter.
6
For the X spacing, type 12 and press Enter.
7
For the Y spacing, type 12 and press Enter.
The columns are visible.
8
At this stage you can change the number in each direction or the
spacing.
If you need to make a change, click the option in the command line
and then make the adjustment.
9
Press Enter to accept.
10 Turn on all the layers to see the result.
Exercise 50—Practice
1
Start a new model, use the Small Objects - Inches.3dm template. Save as Gasket1.
Robert McNeel & Associates
129
5
EDITING GEOMETRY
2
Use Circle, Arc, Trim, Fillet, and Join to create the part shown.
3
Use Extrude Planar Curve > Straight on the Solid menu to create the 3-D part.
The extrusion thickness is .125.
Exercise 51—Practice
1
Start a new model, use the Small Objects - Inches.3dm template. Save as Cam.
2
Use Circle, Arc, Line, Trim, Join, and PolarArray to draw the part shown.
130
Robert McNeel & Associates
5
3
EDITING GEOMETRY
Use Extrude Planar Curve > Straight on the Solid menu to create the 3-D part.
The extrusion thickness is 0.5.
Exercise 52—Practice
1
Start a new model, use the Small Objects - Inches.3dm template. Save as Link.
2
Use Line, Arc, Trim, Offset, Join, Fillet and Circle to draw the part shown.
3
Use Extrude Planar Curve > Straight on the Solid menu to create the 3-D part. The extrusion thickness is
0.5.
Robert McNeel & Associates
131
6 Point editing
You can display the control points or the edit points of an object so that you can adjust the shape of an object,
rather than manipulating the whole object at once. That is called control point editing.
You can use point editing on meshes, curves, and surfaces, but not on polysurfaces or solids.
Rhino’s curves are represented internally with non-uniform rational B-splines (NURBS). Three things determine
the shape of a NURBS curve:
• A list of points called control points
• Degree
• A list of numbers called knots
If you change any of these things, it changes the shape of the curve.
About control points, edit points, and knots
•
•
•
•
•
Control points do not have to be on the curve.
Edit points are always on the curve.
Rhino lets you edit curves and surfaces by moving control points and edit points.
Knots are parameters (that is, numbers, not points).
Adding knots to a curve or surface lets you control the movement of the object during control-point
editing.
Exercise 53—Control point editing
In this exercise we are going to experiment with moving control points. Understanding how curves and lines react
when control points are moved is very important to understanding NURBS modeling.
To edit control points:
1
Open the model Control Point.3dm.
There are pairs of curves with different
degrees in the model.
2
Turn Ortho and Grid Snap on.
3
From the Edit menu click Select Objects, and
then click Curves.
4
From the Edit menu click Control Points, and
then click Control Points On (F10).
5
In the Front viewport select the middle row of
points.
6
Drag the points vertically, 8 units.
Notice that the degree 1 curves (polylines)
come to a point at each moved control point
and the control points are exactly on the
curve.
The degree 3 and 5 curves are smooth. The
degree 3 curves have more curvature than
the degree 5 curves
Individual points have more influence on a small area of the curve with degree 3 curves, while points have
greater influence over a wider span of the curve with degree 5 curves.
Robert McNeel & Associates
133
6
POINT EDITING
To check the differences:
1
Turn off the control points by pressing the
F11 key or use the Esc key.
2
Turn the Plane layer on.
3
Select the curves and the plane.
4
From the Curve menu click Curve from
objects, then click Intersection.
Lines are shown on the surface showing the
intersections.
5
Note the difference between the degree 3 and 5 curves.
The higher the degree, the greater the influence over the span of a
curve, when you edit control points.
As you can see by the illustration, editing one point out of 11, on the
degree 5 curve, influenced most of the curve. The degree 3 curve has a
sharper curvature, because the influence of one point takes place over a
shorter span.
6
Undo twice, until you get back to seeing just the curves.
The intersections will disappear, and the Plane layer is off.
To continue editing control points:
1
In the Front viewport select the two rows of
points that are three points on either side of
the center.
2
Drag the points vertically, 5 units.
3
Turn off the control points by pressing the F11
key or use the Esc key.
When a curve or polyline bends sharply at a
point, like this, it is called a kink.
If you create a surface from a curve that has
a kink, it will have a seam at the kink.
To make a lofted surface:
1
Select the curves.
2
From the Surface menu click Loft.
3
In the Loft options dialog box, click OK.
Because the degree 1 curves were included in the loft, a polysurface is created
with a seam at each kink.
4
Select the surface.
5
Turn on the control points.
The points do not turn on and the following message is displayed on the
command line: Cannot turn on points for polysurfaces.
6
134
Undo the loft.
Robert McNeel & Associates
6
POINT EDITING
To change the polylines into curves without kinks:
1
Select both polylines.
2
From the Edit menu click Rebuild.
3
In the Rebuild dialog box change the point
count to 11 and the degree to 3, and click OK.
A degree 3 curve cannot have kinks. The
curve smoothens and changes shape.
To loft a surface over the curves:
1
Select all of the curves.
2
From the Surface menu click Loft.
3
In the Loft Options dialog box, click OK.
A single surface appears over the curves.
The surface can be edited with control
points.
4
Select the surface.
5
Turn on the control points.
Note that there are more control points than
what you started with. Rhino adds control
points to make the surface conform the
original curves.
To rebuild a surface:
1
Turn off the control points.
2
Select the surface.
3
From the Edit menu click Rebuild.
4
In the Rebuild Surface dialog, change the
point count to 8 in U direction and 13 in
the V direction. Change the degree to 3 for
both U and V. Check Delete input.
The surface is smoother with fewer control
points.
Robert McNeel & Associates
135
6
POINT EDITING
Nudge Controls
Another method to move control points and other geometry in a more subtle way is to use the Nudge keys. The
nudge keys are the arrow keys on the keyboard activated with the Alt, Alt+Ctrl, and Alt+Shift keys.
To change the nudge settings:
1
From the Tools menu click
Options.
2
In the Options dialog box, on
the Modeling Aids page, note
the Nudge settings.
Any of these values can be
changed.
To use Nudge keys to move control points:
1
Select one or two control points in the Front
viewport.
2
Hold the Alt key down and press an Arrow key.
Notice that it moves (nudges) the point a
small amount.
3
Hold the Alt and the Ctrl key down and press
another Arrow key.
The movement is much smaller.
4
Hold the Alt and the Shift key down and press
another Arrow key.
The movement is magnified.
5
136
Hold the Alt and press the Page Up or Page Down key to nudge in the Cplane Z direction.
Robert McNeel & Associates
6
POINT EDITING
To use Set X, Y, Z coordinates to adjust points:
1
Select all the points in one row along the top of the surface.
2
From the Transform menu click Set X, Y, Z coordinates.
3
In the Set Points dialog box, check Set Z, and uncheck Set X and Set Y.
4
In the Right viewport move the points and
click.
The control points are aligned in the World Z
direction.
5
Repeat this on some of the other rows of
points.
To use Gumball to move Control Points:
You can use the Gumball to move, rotate and
scale Control Points, in a very similar way as you
were able to transform objects. Let’s look at
moving the Control Points with the Gumball.
1
Select the surface.
2
From the Edit menu select Control Points
and Control Points On (F10).
3
Turn on Gumball and select the points in one row along the top of the
surface.
Robert McNeel & Associates
137
6
POINT EDITING
4
In the Front viewport, pick to the upper left
of the screen.
5
Next, drag the cursor to the lower right and
pick. A selection window will appear and
select all the points within the window.
The points along the top row are selected.
6
In the Front viewport, pick the green
Gumball arrow, drag up and pick. The
points move up.
7
In the Front viewport, pick the red Gumball
arrow, drag to the right and pick. The points
move to the right. Press Esc to unselect
points.
8
In the Front viewport, pick the green
Gumball arrow, drag down and pick.
The points move in the top rows move
down.
Note: Use the Gumball for Control Point editing
whenever possible in the next few
exercises.
Exercise 54—Practice with curves and control point editing
1
Start a new model, use the Small Objects - Millimeters.3dm template. Save
as Glass.
2
Use the Curve command to create a half cross-section of the glass.
3
Use control point editing to adjust the curve until you get the desired shape.
To make it 3-D:
1
Select the curve you created.
2
From the Surface menu click Revolve.
3
For the Start of revolve axis, pick one end of the curve.
138
Robert McNeel & Associates
6
POINT EDITING
4
For the End of revolve axis, pick the other end of the curve.
5
For the Start Angle, click Deformable=Yes.
This changes the structure of the revolved surface to make it easier to deform
without creating kinks.
6
For the Start Angle, click FullCircle.
7
Save your model.
8
Experiment with adjusting the control points to see what happens.
9
Save your model.
Robert McNeel & Associates
139
Robert McNeel & Associates
140
PART THREE
3-D Modeling and Editing
Robert McNeel & Associates
141
Robert McNeel & Associates
142
7 Creating Deformable Shapes
When building models in Rhino, you should first determine which methods should be used for each part of the
project. There are two basic ways to model in Rhino—free-form and accurate. Some models require more
attention to exact dimensions because they might have to be manufactured or parts may have to fit together.
Sometimes it is the shape of the object, not the accuracy that is important. These techniques can be merged
together to create accurate, free-form shapes. This tutorial focuses only on the free-form, squishy aspect. The
exact size and placement of the objects is not critical. The overall form is the main objective.
The Rubber Ducky
This exercise shows:
•
•
•
•
•
•
•
Simple surface creation
Surface rebuilding
Control point editing
Curve creation ( drawing, projecting )
Splitting surfaces with curves and surfaces
Blending between two surfaces
Lighting and rendering
When you model the rubber ducky, you will use similar modeling techniques for the head and the body. You will
create spheres that will be deformed to make the shapes.
If you need to know more about control points and surfaces, search the Rhino Help index for “control points.”
Exercise 55—Creating a rubber duck
1
Start a new model use the Small Objects - Millimeters.3dm template. Save as
Duck.
2
You can use layers to separate your parts, but for this model, it is not
necessary.
For more information about layers, look up “layer” in the Rhino Help index.
Create the body and head shapes
The body and head of the ducky are created by modifying two spheres. The size and placement of the spheres
does not need to be exact.
To create the basic shapes:
1
From the Solid menu click Sphere, and then click Center, Radius.
2
Pick a point in the Front viewport.
3
Pick another point in the same viewport to create a sphere.
4
Repeat this procedure for the second sphere.
Robert McNeel & Associates
143
7
CREATING DEFORMABLE SHAPES
To make the spheres deformable:
1
Select both spheres.
2
From the Edit menu click Rebuild.
3
In the Rebuild Surface dialog box, change the
Point Count to 8 for both U and V.
4
Change the Degree to 3 for both U and V.
5
Check Delete Input, clear Current Layer, and
click OK.
The spheres are now deformable. Having
more control points allows more control over
smaller parts of the surface. A degree-three
surface will have a smoother shape when
deformed.
To modify the body shape:
1
Select the large sphere.
2
From the Edit menu click Control Points, and
then click Control Points On.
3
In the Front viewport select the control points
near the bottom of the sphere.
To window select, drag a box left to right
around the control points.
4
From the Transform menu click Set X, Y, Z
coordinates.
5
In the Set Points dialog box check Set Z, and
Align to World as illustrated above.
6
Drag the selected control points up, snap to one
of the upper most selected points.
This aligns all of the selected control points to
the same world z-value (vertical in Front
viewport), flattening the surface.
144
Robert McNeel & Associates
7
CREATING DEFORMABLE SHAPES
To scale the sphere shape:
1
Turn off control points and select the body
shape.
2
From the Transform menu click Scale, and
then click Scale1D.
3
For the Origin point, pick a point near the
center of the body sphere.
4
For the First reference point, with Ortho on,
pick a point to the right in the Front viewport.
5
For the Second reference point, pick a point
further to the right in the Front viewport.
The body is shaped like an ellipsoid.
To reshape the chest and tail
1
Turn the control points on.
2
Window select the control points at the top right
of the body, and drag them to the right to bulge
out the chest.
3
Window select the control points at the upper
left edge of the body, and drag them up to form
the tail.
Notice in the Top viewport that two control
points are selected, though in the Front
viewport, it looks like only one is selected. This
is because the second control point is directly
behind the one you can see in the Front
viewport.
Robert McNeel & Associates
145
7
CREATING DEFORMABLE SHAPES
To add control for further shaping the tail:
Before we start to edit the tail further, we will add an additional set of points to the tail portion of the body.
1
From the Edit menu click
Control Points, and
then click Insert Knot.
2
For the Surface for
knot insertion, pick the
body surface.
A surface isocurve will
be displayed. It will
either be in the U or
the V direction.
3
Change the direction if
necessary.
4
For the Point on
surface to add knot,
pick a point midway
between the tail and the
center of the body.
5
Press Enter to end the command.
A new set of isocurves and a new row of points have been added to the body.
6
Window select the control points at the
upper part of the new isocurve, and drag
them down to further form the tail and
the body.
7
You can adjust the control points further
until you get the shape you want.
8
Save your model.
146
Robert McNeel & Associates
7
CREATING DEFORMABLE SHAPES
To create the head:
1
In the Front viewport select the small sphere.
2
From the Edit menu click Control Points, and
then click Control Points On.
3
Select the control points on the right side and
drag them to begin forming the bill.
4
Window select the control points further back on
the same isocurve and drag them forward to
widen the bill.
Remember to use a window to select the
control points. There may be multiple control
points in the same location in this view.
Robert McNeel & Associates
147
7
CREATING DEFORMABLE SHAPES
5
Window select control points at the top of the
bill and drag them down as shown.
6
Press Esc to turn control points off.
Separate the bill from the head
For the final rendering, the bill must be a different color from the body. To do this, they must be separate
surfaces. You can split a single surface into multiple surfaces many ways. The following technique is just one.
To split a surface with a curve:
1
In the Front viewport create a curve that looks
like the illustration on the right.
2
Select the head.
3
From the Edit menu click Split.
4
For the Cutting object, pick the curve you just
created.
5
Press Enter.
The bill and head are now separate surfaces.
This will allow you to render the surfaces with
different colors.
148
Robert McNeel & Associates
7
CREATING DEFORMABLE SHAPES
Create the duck’s neck
The ducky needs a neck. You will first make an edge on the surface of the head and a corresponding edge on the
surface of the body so you can create a blended surface between the two edges.
To trim the head and the body:
1
Draw a Line across the bottom of the head.
2
Copy the line and adjust it so that it intersects
the top of the body as illustrated on the right.
It is important that the lines intersect the
bottom of the head and the body completely.
3
Select the lines.
4
From the Edit menu click Trim.
5
For the Object to
trim, pick the bottom
of the head and the
top of the body.
The bottom of the
head and the top of
the body is
trimmed.
6
Save your model.
To create the blend surface between the head and body:
1
From the Surface menu click Blend Surface.
2
For the Segment for first edge, pick the edge curve at the bottom of the
head.
3
If the whole edge is not selected, click All on the command line.
4
Press Enter to go to the next stage of the command.
5
For the Segment for second edge, pick the edge curve at the top of the hole
in the body.
6
If the whole edge is not selected, click All on the command line.
7
Press Enter to go to the next stage of the command.
8
In the Adjust Surface Blend dialog box, check the
Preview check box.
The blend surface between the body and the head is
displayed.
9
Make any adjustments you desire by moving the
slider bars in the dialog box, click OK when finished.
If you click the lock icon at the left of the sliders the
surface adjustments are symmetrical.
10 Save your model.
Robert McNeel & Associates
149
7
CREATING DEFORMABLE SHAPES
To join the parts:
1
Select the body the blend surface and the back of the head.
2
From the Edit menu click Join.
The three surfaces are joined into one. The bill is left separate for rendering
purposes.
To make an eye:
For this part of the exercise we will make a curve and revolve it to get the surfaces for the eye.
1
Toggle Ortho and Grid Snap on to help.
2
From the Curve menu click Conic.
3
In the Front or Right viewport make a conic
curve as illustrated.
Start of Conic (1), End of Conic (2), Apex (3),
Curvature point.
4
Use SmartTrack, with Point, End and Int
osnaps on, to help place the two points as
illustrated.
These points will be used for placement of the eye on the head.
5
From the Curve menu click Point Object,
then click Multiple Points.
6
For the Location of point object, hover over
the end of the conic until the point activates,
drag you cursor down and click to place the
point.
The point should be placed above the lower
end of the conic.
This will be the insertion point for eye.
7
For the Location of point object, hover over the point you just made until the point activates, drag you
cursor left and click when you reach the intersection point.
This point is for scaling and rotating the eye.
150
Robert McNeel & Associates
7
CREATING DEFORMABLE SHAPES
To split the curve:
1
Draw a line that intersects the conic
2
Select the conic curve,
3
From the Edit menu click Split.
4
For the Cutting object, select the line.
Splitting the curve allows you to assign a
different color and material properties for the
eye and the pupil.
This step can be done at this stage or after
you make the surface.
To make the surface:
1
Select both parts of the conic curve.
2
From the Surface menu click Revolve.
3
For the Start of revolve axis, snap to the
point.
4
For the End of revolve axis, snap to the end of
the conic.
5
For the Start Angle, click FullCircle.
To assign display color and material color:
1
Select the top of the eye.
2
From the Edit menu click Object Properties.
3
For the Display color, choose a contrasting
color, like red.
4
With surface still selected, in the Properties
pane, select the Material page button
Robert McNeel & Associates
151
7
CREATING DEFORMABLE SHAPES
5
In Assign Materials by select Object.
6
With Default Material selected, type the
name of the new material to be used for the
pupil of the eye, like Black.
7
In the Basic Settings, select the Color
swatch. The Select Color dialog appears.
Pick Black and Ok. Also set the Gloss finish
to 50%.
8
Repeat these steps create a white material for
the eye.
9
From the Render menu click Render Preview to see the
material color.
To place the eye on the head:
1
In the Top viewport select both parts of the eye.
2
From the Edit menu click Groups and then click Group.
The eye parts are grouped as one object.
3
Select the group.
4
From the Transform menu click Orient, then
click On Surface.
5
For Base point, snap to the point at the center
of the eye.
6
For Reference point for scaling and
rotation, snap to the point at the edge of the
eye.
7
For Surface to Orient on, pick the head.
152
Robert McNeel & Associates
7
CREATING DEFORMABLE SHAPES
8
In the Orient on Surface dialog, for Scale
check Prompt and Rigid, click OK.
9
For the Point of surface to orient to, pick a
point on the head.
10 For the Scale factor, drag your mouse and pick
to scale the eye.
11 Mirror the eye to the other side of the head.
Render a picture of the ducky
Rendering creates a realistic picture of your model with colors you assign. These render colors are different from
the layer colors you might be using, which control the display in wireframe and shaded mode.
To render the ducky:
1
Select the beak.
2
From the Edit menu click Object Properties.
3
In the Properties panel, on the Material page, click Basic and click the color swatch.
4
In the Select Color dialog box, select a color for the beak, like orange.
5
Select the body.
6
From the Edit menu click Object Properties.
7
In the Properties panel, on the Material page, check Basic and select a color for the body, like yellow.
8
From the Render menu click Render.
Robert McNeel & Associates
153
7
CREATING DEFORMABLE SHAPES
To place lights:
1
From the Render menu click Create
Spotlight.
2
Select a point in the middle of the model.
3
Drag the radius until it is approximately three
times as large as the model.
4
Pick a point in the Top viewport while holding
the Ctrl key down to activate elevator mode.
In the Front viewport pick a point slightly
above the object.
5
154
From the Render menu click Render.
Robert McNeel & Associates
8 Modeling with Solids
Several commands that enable you create and edit solid objects.
Solids in Rhino are closed surfaces or polysurfaces that enclose a volume. Some of the solid primitives are closed
single-surfaces carefully edge-matched, others are polysurfaces.
Rhino’s polysurface objects are deformable by using the UDT (Uniform Deformation Technology) tools. You can
also extract surfaces and deform the surfaces with control point editing like the last exercise.
In this part of the class we will focus on making some solids, separating the parts, making changes and then
joining the parts back together to make a solid.
Button
Command
Description
Box
Draw a rectangular box from two diagonal corners and a height.
Box 3Point
Draw a box from two adjacent corners, a point on the edge across from them, and a height.
Sphere
Draw a sphere from a center point and a radius.
Sphere 2Point
Draw a sphere from the two ends of a diameter.
Sphere 3Point
Draw a sphere from three points on its surface.
Cylinder
Draw a solid cylinder from a center point, a radius, and a height.
Tube
Draw a solid tube from a center point, two radii, and a height.
Cone
Draw a solid cone from a base point, a base radius, and a height.
TCone
Draw a truncated cone that ends in a circular plane from a base point, two radii, and a height.
Ellipsoid
Draw an ellipsoid from a center point, and three axis endpoints.
Torus
Draw a solid Torus from a center point, a radius for the center of the tube, and a tube radius.
Pipe
Draw a pipe around an existing curve. The pipe has a circular cross-section and optional caps
at the ends.
The Thick option lets you specify two radii at each end of the curve to create pipes with holes
bored through the middle like tubing.
TextObject
Draw text as outline curves, surfaces, or solids.
ExtrudeCrv
Draw a solid by extruding a closed planar curve vertically.
ExtrudeSrf
Creates a solid by extruding a surface vertically.
Cap
Creates planar surfaces to close planar holes in a surface or partial solid.
BooleanUnion
Boolean operation in Rhino to combine solids.
BooleanDifference
Boolean operation in Rhino to subtract surfaces and solids from one another.
BooleanIntersection
Boolean operation in Rhino to create the intersection of two surfaces or solids.
Robert McNeel & Associates
155
8
MODELING WITH SOLIDS
Model a bar with engraved text
In the following exercise we will make a solid primitive, extract some surfaces, rebuild a surface and deform it,
join the new surfaces into a solid, fillet the edges, add text to a surface, and do a Boolean operation on the solid.
Exercise 56—Model a bar with text
1
Start a new model using the Small Objects - Millimeters template.
Save as Bar.
2
From the Solid menu click Box,
3
For the First corner type 0,0 and press Enter.
4
For the Length type 15 and press Enter.
5
For the Width type 6 and press Enter.
6
For the Height type 1 and press Enter.
and then click Corner to Corner, Height.
To edit a surface:
1
From the Solid menu click Extract Surface.
2
For the Surface to extract, select the top and both
end surfaces, press Enter.
3
Select the two ends and delete them.
4
Select the top surface.
5
From the Edit menu click Rebuild.
6
In the Rebuild Surface dialog box, set the Point
count to 4 and the Degree to 3 for both U and V,
click OK.
7
Press F10 to turn Control Points On.
156
Robert McNeel & Associates
8
MODELING WITH SOLIDS
8
In the Right viewport, window select the middle
points.
9
Drag the points up approximately one unit.
10 Press F11 to turn Control Points Off.
To make the bar solid:
1
Select all of the surfaces.
2
From the Edit menu click Join.
The surfaces are joined making an open
polysurface.
3
Select the polysurface.
4
From the Solid menu click Cap Planar Holes.
Two end caps are created.
To fillet the edges:
1
From the Solid menu click Fillet Edge, and then click
Fillet Edge.
2
Set the Next Radius=1.0.
3
For Select edges to fillet, pick the four vertical
edges, press Enter.
4
For Select fillet handle to edit, press Enter.
5
Repeat the FilletEdge command.
6
Set the Next Radius=0.2.
7
For Select edges to fillet, window select the entire
bar to get the horizontal edges, press Enter.
8
For Select fillet handle to edit, press Enter.
Robert McNeel & Associates
157
8
MODELING WITH SOLIDS
To make a copy of the bar on a different layer:
We need to make a copy of the finished bar for the next part of this exercise. On one of the copies we will engrave
text, on the other we will emboss text.
1
Select the finished bar.
2
From the Edit menu click Layers, then Copy
objects to layer.
3
In the Select layer to copy objects dialog, pick
Layer 01 and click OK.
4
In the Layer panel, turn Layer 01 off.
To make solid text:
1
Change the layer to Layer 02.
2
From the Solid menu click Text.
3
In the Text Object dialog box, select a bold
Font, like Arial Black.
Under Create click Solids.
Under Text size, set the Height to 3.00,
the Solid thickness to 1.00, check Group
objects, click OK.
4
For the Insertion point position the text in
the center of the bar in the Top viewport
and click.
5
In the Front or Right viewport, drag the text
until it protrudes through the top surface.
To engrave the text in the bar:
1
Select the bar.
2
From the Solid menu click Difference.
3
For Select second set of surfaces or polysurfaces, set DeleteInput=Yes,
select the text, press Enter.
The text is engraved into the bar. However, it does not follow the curvature of
the bar. Let’s look at how to make this text better follow a curved surface.
158
Robert McNeel & Associates
8
MODELING WITH SOLIDS
Offset solid text
Occasionally you will want to create text that exactly follows the curvature of a base surface. One method is to
split the top surface of the bar with the text curves and offset the surface into solid text objects. The solid text can
be used to engrave (difference) or emboss (union) into the original surface or polysurface:
To make a label:
1
Turn Layer 01 on and turn the Default layer off.
2
From the Solid menu click Extract Surface.
3
Click Copy=Yes in command line. Select the top
surface, press Enter.
4
Select the lower part of the bar and Hide it.
5
Make the Top viewport active.
6
From the Solid menu click Text.
7
In the Text Object dialog box, under Create, click Curves, and check Group
Objects. Click OK.
8
For the Insertion point position the text in the center of the bar in the Top
viewport and click.
To split the top surface of the bar with the text:
1
In the Top or Perspective viewport select the text curves.
2
From the Edit menu click Trim.
3
Select the surface in 3 places: near outer edge, in center of O, and in center of R.
Remember to trim out the center of letters like R and O.
Since the Group objects box was checked when you created the text, you can
pick all of the text by clicking on one element.
The curves have split the surface. Each part of the text is a separate surface.
4
Delete the original text curves.
Hint:
Selcrv will select just the curves.
5
Select the text surfaces.
6
From the Edit menu click Group, and then click Group.
The text surfaces are now grouped for easier selection.
Robert McNeel & Associates
159
8
MODELING WITH SOLIDS
To create solid text:
1
From the Edit menu click Select Objects, and then click Previous Selection.
This selects the text surfaces again.
2
From the Surface menu click Offset Surface.
3
For the Offset distance, click Bothsides=Yes, Solid=Yes, and
DeleteInput=Yes on the command line.
4
For the Distance, type .1 and press Enter.
5
In the Properties panel, on the Material page, for Assign material by choose
object, click the color swatch and select another color for the text.
6
Right click on the Perspective viewport title.
7
Select Rendered from the popup menu.
The letters render in a different color.
8
Show the bar.
9
Use the Gumball to Copy the bar and solid text.
To make embossed text:
1
Unlock the bottom part of the bar and Join it with top part.
2
Select the bar and the text.
3
From the Solid menu click Union.
The text and the bar are joined into one closed polysurface with the text embossed on
the surface.
160
Robert McNeel & Associates
8
MODELING WITH SOLIDS
To make engraved text:
1
Select the bottom polysurface from the copy you made.
2
From the Solid menu click Difference.
3
For the Select surfaces or polysurfaces to subtract with DeleteInput=Yes ,
select the text and press Enter.
The text and the bar are joined into one closed polysurface with the text
engraved into the surface.
Embossed Polysurface
Robert McNeel & Associates
Engraved Polysurface
161
9 Creating surfaces
A Rhino surface is similar to a piece of stretchy fabric. It can take on many different shapes.
Surfaces are bounded by curves called edges. To visualize the surface shape Rhino displays a grid of isoparametric
curves (isocurves) on the surface.
Surfaces have an area, their shape can be changed by moving control points, and they can be meshed.
Button
Command
Description
SrfPt
Creates a surface by picking three or four points in space for corners.
EdgeSrf
Creates a surface by selecting two, three, or four existing curves whose ends meet exactly.
PlanarSrf
Creates a surface from planar curves that enclose an area.
Patch
Creates a surface that approximates a set of curves and/or point objects.
Revolve
Revolves a curve around an axis to create a surface.
Loft
Creates a surface from shape curves; the normal, loose, and tight options make a surface
with no creases as it passes over the shape curves.
The StraightSections option creates a surface with creases at each shape curve and straight
sections between the shapes curves.
Sweep1
Creates a surface from shape curves that follow along a rail curve that defines one edge of
the surface.
Sweep2
Creates a surface from shape curves that follow along two rail curves that define two edges of
the surface.
FilletSrf
Creates a fillet or round between two surfaces.
BlendSrf
Makes a smooth surface between two existing surfaces
RailRevolve
Revolves a shape curve holding one end along a rail curve. This command is very useful for
putting a smooth end cap on an irregularly shaped surface.
ExtrudeCrv
Extrudes a curve perpendicular to the construction plane with option to taper the surface with
a draft angle.
ExtrudeCrvAlongCurve
Extrudes a curve following along a second curve.
ExtrudeCrvToPoint
Extrudes a curve to a point.
Plane
Creates a rectangular planar surface parallel to the construction plane from two diagonal
points.
Plane 3Point
Creates a rectangular planar surface from 3 points.
Plane Vertical
Creates a rectangular planar surface from 3 points that is vertical to the construction plane.
Simple surfaces - Phone
Exercise 57— Create simple surfaces
In this exercise, you will model some simple surfaces.
1
Start a new model, use the Small Objects - Millimeters.3dm template. Save as Surfaces.
2
Turn on Grid Snap and Planar.
Robert McNeel & Associates
162
9
CREATING SURFACES
Planes
1
From the Surface menu click Plane, and then click Corner to Corner.
2
For the First corner of plane, pick a point.
3
For the Other corner, pick another point to make a rectangular plane.
To create a vertical plane:
1
From the Surface menu click Plane, and then click Vertical.
2
For the Start of edge, snap to the endpoint at the right side of the
surface.
3
For the End of edge, snap to the other endpoint at the right side of the
surface.
4
Drag your cursor up and pick.
To create a plane from 3 points:
1
From the Surface menu click Plane,
and then click 3 Points.
2
For the Start of edge, snap to the
endpoint at the left of the first
surface.
3
For the End of edge, snap to the
other endpoint at the left side of the
first surface.
4
For the Height, use SmartTrack to track a point from the top of the vertical plane. Drag the tracking point
until the surface is tilted slightly and click.
To create a plane from corner points:
1
From the Surface menu click Corner
Points.
When you pick the points in the
next four steps, pick them in a
clockwise direction.
2
For the First corner, snap to an
endpoint at the edge of the first
surface.
Robert McNeel & Associates
163
9
CREATING SURFACES
3
For the Second corner, snap to the endpoint at the edge of the second surface.
4
For the Third corner, snap to an endpoint at the edge of the third surface.
5
For the Fourth corner, snap to the other endpoint at the edge of the third surface.
A surface will be created with corners at the points you selected.
Surface from planar curves
To create a surface from planar curves:
1
Turn Planar mode on.
2
Draw a curve that starts and ends at the top of the two vertical surfaces
as shown below.
Planar mode keeps this curve on the same plane as the surface corners.
3
From the Surface menu click Planar
Curves.
4
Select the curve you just created.
5
Select the top edge of the three
surfaces and press Enter.
A surface is created.
Surface from edge curves
To create a surface from edge curves:
1
From the Surface menu click Edge
Curves.
2
Select the four surface edges.
A surface is created.
3
Select all the surfaces and from the
Edit menu click Join.
Result should be valid, closed
polysurface.
Hint: Use the What command to confirm that offset polysurface is valid, closed solid.
164
Robert McNeel & Associates
9
CREATING SURFACES
Extruding curves
In this exercise, you will be creating a cordless phone using
extrusions. To aid in organizing the model, surface and curve
layers have been created. Make sure you change layers as you are
making the extrusions.
To extrude a curve:
1
Open the model Extrude.3dm.
2
Make the Top Surface layer current.
3
Select the curve as shown.
4
From the Surface menu click
Extrude Curve, and then click
Straight.
5
For the Extrusion distance,
type-3.5 and press Enter.
If the object being extruded is a
planar curve, the curve is extruded
perpendicular to the plane of the
curve.
To extrude a curve along another curve:
1
Select the curve (1) on the left of the first
extruded surface.
2
From the Surface menu click Extrude
Curve, and then click Along Curve.
3
Select the path curve (2) near its right
end.
The curve is extruded along the path of
the secondary curve.
If you don’t get the answer you expected, undo and try picking near the other end of the path curve.
Robert McNeel & Associates
165
9
CREATING SURFACES
To extrude a curve with a taper (draft angle):
1
Select the curve on the right.
2
From the Surface menu click Extrude
Curve, and then click Tapered.
3
For the Extrusion distance, click
DraftAngle on the command line.
4
For the Draft angle, type -3 and press
Enter.
5
For the Extrusion distance, type .375 and press Enter.
The curve is extruded with a three-degree draft angle in the positive direction on the y-axis.
To create a surface from planar curves:
1
From the Surface menu click Planar
Curves.
2
Select the edge curves that bound the
opening of the tapered extrusion at the
top.
3
Press Enter.
A surface is created at the end.
4
Select the four surfaces.
5
From the Edit menu click Join.
To make the extruded surfaces for the other half of the phone:
Next, we will repeat the previous steps for the other half of the phone.
1
Make the Bottom Surface layer
current.
2
Select the curve as shown.
3
From the Surface menu, click
Extrude Curve, and then click
Straight.
4
For the Extrusion distance,
type -3.5 and press Enter.
If the object being extruded is a
planar curve, the curve is extruded
perpendicular to the plane of the
curve.
166
Robert McNeel & Associates
9
CREATING SURFACES
5
Select the curve (1) on the left of the
first extruded surface.
6
From the Surface menu, click
Extrude Curve, and then click Along
Curve.
7
Select the path curve (2) near its
right end.
The curve is extruded along the
path of the secondary curve.
8
Select the curve on the right.
9
From the Surface menu, click
Extrude Curve, and then click
Tapered.
10 For the Extrusion distance, type
-1.375 and press Enter.
The curve is extruded with a threedegree draft angle in the negative
direction on the y-axis.
11 From the Surface menu, click Planar
Curves.
12 Select the edge curves that bound the
openings of the tapered extrusion at
the top.
13 Press Enter.
A surface is created at the end.
14 Select the four surfaces.
15 From the Edit menu, click Join.
To create an extruded surface on both sides of a curve:
1
Turn on the Extrude Straightbothsides layer.
2
Select the freeform curve as shown.
3
From the Surface menu click
Extrude Curve, and then click
Straight.
4
For the Extrusion distance, click
Bothsides on the command line.
5
For the Extrusion distance, drag the extrusion and pick.
Make sure the surface extends past the other surfaces in both directions. The surface is extruded
symmetrically from the curve.
Robert McNeel & Associates
167
9
CREATING SURFACES
Exercise 58—Basic techniques joining surfaces together
To trim the surfaces:
1
Select the joined Top and Bottom
polysurfaces, and the surface you just
extruded.
2
From the Edit menu click Trim.
3
For the Object to trim, pick the
outer edge of each surface.
To split the trimmed surface:
1
Select the trimmed extruded surface.
2
From the Edit menu click Split.
3
For Select cutting objects, click Isocurve on the command line.
4
Drag you cursor along the surface to determine which isocurve direction is
selected. Click Toggle on the command line if it’s not the correct
direction.
5
For the Split point, snap to the intersection where all three surfaces
intersect.
Join
Next you will join the split surface and the polysurface for the Top and the Bottom of the handset. The left hand
(smaller) part of the split surface goes with the top of the phone handset, the larger part goes with the bottom
part of the phone handset.
To join the surfaces:
1
Select the left (smaller) part of the split surface and the top polysurface
2
From the Edit menu click Join.
3
Select the larger part of the split surface and the bottom polysurface
4
From the Edit menu click Join.
168
Robert McNeel & Associates
9
CREATING SURFACES
To round the edges of the polysurfaces:
1
From the Solid menu, Fillet Edge,
then Fillet Edge.
Use a radius of .2 to round the edges.
2
For the Select edges to fillet, select
the edges around the top of the top
polysurface and the two horizontal
edges at the front, press Enter.
3
For the Select fillet handle to edit,
click Preview.
4
Check to make sure the fillet is doing
what you expect, press Enter.
5
Repeat these steps for the Bottom
polysurface.
To create an extruded surface from a curve to a point:
1
Turn on the Extrude to a Point layer. Turn off the Extrude Straight and
Extrude Along Curve layers.
2
Select the U-shaped curve on the Extruded to a point layer.
3
From the Surface menu click Extrude Curve, and then
click To Point.
4
For the Point to extrude to, snap to the point object near the top
surface.
The curve is extruded to the point.
5
From the Solid menu, click
BooleanDifference command (Solid
menu > Difference) to remove the
surface from the top of the phone.
If the result is not correct, flip the
normals of the top polysurface or
the extruded surface with the Dir
command. The normals of the top
polysurface and the extruded
surface should point toward each
other.
Robert McNeel & Associates
169
9
CREATING SURFACES
6
Select the circle.
7
From the Surface menu click Extrude Curve, and then click To Point.
8
For the Point to extrude to, snap to the point object inside the bottom
surface.
The curve is extruded to the point.
9
Use the BooleanDifference
command (Solid menu > Difference)
to remove the surface from the top of
the phone.
The normals of the bottom
polysurface and the extruded
surface should point toward each
other.
10 Save your model as Phone.
To create the buttons:
1
Turn on the Curves for Buttons layer.
2
In the Front view, window select the first column of buttons.
Three curves are selected.
3
From the Solid menu click Extrude Planar Curve, and then click
Straight.
4
For the Extrusion Distance, type -.2 and press Enter.
5
Repeat these steps for the other
columns of buttons.
6
Use the FilletEdge command (Solid
menu > Fillet Edge > Fillet Edge) with
a radius of .05 to round the edges.
The button edges are rounded.
7
170
Save your model.
Robert McNeel & Associates
9
CREATING SURFACES
Lofted surfaces - Canoe
Exercise 59—Lofted surfaces
1
Open the model Loft.3dm.
2
Window select all of the curves.
3
From the Surface menu click Loft.
A surface is fitted over the curves.
4
In the Loft Options dialog box,
switch Style to Straight sections,
and then click Preview.
A surface is fitted through the
curves, but the sections are
straight between the curves.
5
In the Loft Options dialog box, switch Style to Loose, and then click
Preview.
A surface is created that uses the same control points as the curves. The
surface follows the curves more loosely.
Use this option when you want the surface to conform to the control
points of the input curves.
6
In the Loft Options dialog box, switch Style to Normal, and then click
OK.
7
the surface to create
Mirror
the other half.
8
Join
the two halves.
Robert McNeel & Associates
171
9
CREATING SURFACES
To make a seat:
1
Turn the Hull Curves layer off and
turn the Seat Curves, and Seats
layers on.
2
Make the Seat Curves layer current.
3
In the Front view, select the rounded
rectangles.
4
From the Curve menu click Curve
From Objects, and then click
Project.
Project uses the current construction plane to determine the direction of projection. Make sure you select the
curves and surface to project onto in the Front viewport.
5
For the Surface to project onto,
select the hull.
The curves will be projected to both
sides of the hull surface.
6
Select one pair of curves on the
surface.
7
From the Surface menu click Loft.
8
In the Loft Options dialog, click OK.
9
Repeat this for the other seat.
A surface is fitted over the curves that fit exactly with the shape of the hull.
To create section curves from the surfaces:
1
Select the hull.
2
Change to the Sections layer.
3
From the Curve menu click Curve
From Objects, and then click
Section.
4
For the Start of section, in the Top
viewport, pick a point to the left at
the center of the hull.
5
For the End of section, with Ortho on, drag a line to the right and pick.
A curve is generated on the surface. Repeat this at various locations.
6
172
Press Esc to deselect the section curves.
Robert McNeel & Associates
9
CREATING SURFACES
To create contour curves across the hull surfaces:
1
Select the hull.
2
Change to the Contours layer.
3
From the Curve menu click Curve
From Objects, and then click
Contour.
4
For the Contour base point, snap to
the left end of the canoe.
5
For the Direction perpendicular to contour planes, snap to the other
end of the canoe.
6
For the Distance between contours, type 12 and press Enter.
A curve is generated every foot along the hull.
7
Press Esc to deselect the contour curves.
To create an edge curve from the surfaces:
1
Change to the Top Rail layer.
2
From the Curve menu click Curve
From Objects, and then click
Duplicate Edge.
The
link ed
image
cannot
be
display ed
. The file
may hav e
been
mov ed,
ren amed,
or
deleted.
Verify
that the
link
points to
the
correct
file and
location.
3
Pick the top edge of the hull.
4
Pick the other top edge and press
Enter.
Two curves are generated at the
edges of the hull
5
With the curves still highlighted, from
the Edit menu click Join.
Robert McNeel & Associates
173
9
CREATING SURFACES
6
From the Curve menu click Offset,
then click Offset Curve and enter an
offset distance of 1. Also select the
Bothsides option.
7
Delete original curve, keeping inside
and outside offset curves.
Note: The model unit is inches.
8
From the Curve menu click Fillet
Curves. Set Fillet radius to 0 and
Join=Yes. Select the two outside
curves. Repeat for other end of
canoe.
To create surfaces from the curves:
1
Select the curves you just made.
2
From the Surface menu click Loft.
3
In the Loft Options dialog box, set Style to Normal, and then click OK.
4
Select the lofted surface.
5
From the Surface menu click Offset
Surface. Set the Distance to 1 and
set the Solid=Yes and press Enter.
A polysurface rim is created.
174
Robert McNeel & Associates
9
CREATING SURFACES
To make a solid canoe:
1
Make the Hull layer current and turn
off Top Rail layer.
2
From the Surface menu click Loft
3
Pick the top edge of the hull.
4
Pick the other top edge and press
Enter.
Lofted surface is created.
5
Join the new surface to the hull.
A closed polysurface is created. You
should see the Join command end
when the new surface is selected.
6
Use the What command to confirm that it is a valid closed polysurface.
To shell the canoe:
1
Type Shell command.
2
For the Faces to remove from
closed polysurface select the top
surface.
3
Click Thickness option in command
line, and type or .5 and press Enter.
The surface will shell to a thickness
of 1/2 inch.
4
Turn on the Top Rail layer.
5
Assign materials to the hull and rim.
6
Render the canoe.
Robert McNeel & Associates
175
9
CREATING SURFACES
Revolved surfaces – Vase
Exercise 60—Revolved surfaces
1
Open the model Revolve.3dm.
2
Select the free-form curve
3
From the Surface menu click Revolve.
4
Select one end of the curve for the
Start of revolve axis.
5
Select the other end of the curve for the End of revolve axis.
6
Press Enter to use the default Start Angle.
7
Press Enter to use the default Revolution Angle.
A surface is revolved around the axis line.
Rail Revolve – Heart, star
Rail Revolve lets you revolve around an axis and along a path curve.
Exercise 61—Using a rail revolve
To create a rail revolve:
1
Open the model Rail Revolve.3dm.
2
From the Surface menu click Rail Revolve.
3
For the Profile Curve, select the conic shaped curve (1).
4
For the Rail curve, select the heart shaped curve (2).
5
For the Start of revolve axis, select one end of the vertical
line.
6
For the End of revolve axis, select the other end of the
vertical line.
176
Robert McNeel & Associates
9
CREATING SURFACES
A surface is revolved around the axis while it follows along the curve. The
profile curve is scaled in one direction between the axis and the rail.
7
Turn the Bowl layer on and other layers off.
8
Repeat the previous steps to make a bowl.
Robert McNeel & Associates
177
9
CREATING SURFACES
Sweeps andcurve networks
Exercise 62—Using 1-rail sweeps to create surfaces
One cross-section:
1
Open the model 1 Rail Sweep.3dm.
2
Select the two curves on the left.
3
From the Surface menu click Sweep 1 Rail.
4
In the Sweep 1 Rail Options dialog, click OK.
Two cross-sections:
1
Select the three curves in middle.
2
From the Surface menu click Sweep 1 Rail.
3
In the Sweep 1 Rail Options dialog, check
Global shape blending.
4
In the Sweep 1 Rail Options dialog, click OK.
Multiple cross-sections:
1
Select the four curves on the right.
2
From the Surface menu click Sweep 1 Rail.
3
In the Sweep 1 Rail Options dialog, uncheck
Global shape blending.
4
In the Sweep 1 Rail Options dialog, click OK.
To create a 1-rail sweep to a point:
1
Make Surface 02 layer group current
and turn off Surface 01 layer group.
2
From the Surface menu click Sweep 1
Rail.
3
For the Rail, select the open free-form
curve.
4
For the Select cross section curves,
select the three closed curves, then
click Point on the command line.
5
For the Pick end point, snap to the End of the free-form curve.
6
In the Sweep 1 Rail Options dialog, click OK.
178
Robert McNeel & Associates
9
CREATING SURFACES
To create a roadlike 1-rail sweep:
1
Make Surface 03 layer group current
and turn off Surface 02 layer group.
2
Select the helix.
3
From the Surface menu click Sweep 1
Rail.
4
For the Select cross section curves,
select the closed curve and press
Enter.
5
For the Drag seam point to adjust,
press Enter.
6
Change the style to Roadlike Right,
click Preview.
7
Change the style to Roadlike Front,
click Preview.
8
Change the style to Roadlike Top, click
Preview. If the preview looks correct,
click OK.
Rear-view mirror
Exercise 63—Using two-rail sweeps to create surfaces
`
Open the model 2 Rail Sweep.3dm.
To create the base—Part 1:
In the first part of this exercise, we will explore one of the Sweep2
options. To illustrate the option we will use one cross-section. In the
second part we will use the same rail curves with two cross-sections.
Lastly, we will use two rails that converge to a single point.
1
Change to the Base Surface layer.
2
From the Surface menu click Sweep 2 Rails.
3
Select the two rail curves (1).
4
Select the cross-section curve (2).
5
Press Enter twice.
Since we only picked one cross-section, the surface doesn’t conform to the
circle at the top of the sweep.
Robert McNeel & Associates
179
9
6
CREATING SURFACES
In the Sweep 2 Rail Options dialog, check
Maintain height, click Preview.
Notice that the cross-section maintains the
same height throughout the sweep.
7
In the Sweep 2 Rail Options dialog, click
Cancel.
To create the base—Part 2:
1
Select the two rail curves (1).
2
From the Surface menu click Sweep 2 Rails.
3
Select both cross-section curves (2).
4
Press Enter twice.
5
In the Sweep 2 Rail Options dialog, click OK.
A surface is created whose edges match the rail curves and the crosssection curves.
To create the housing:
1
Turn the Housing Surface, Housing Curves, and
Mirror layers on.
2
Make the Housing Surface layer current.
3
From the Surface menu click Sweep 2 Rails.
4
Select the two rail curves (1).
5
For the cross-section, select the outer edge of
the cylinder, press Enter twice.
6
In the Sweep 2 Rail Options dialog, click OK.
A surface is created.
To join the two parts:
1
Select the base
and the housing
surfaces.
2
From the Solid
menu click
Union.
3
Use FilletEdge
with a radius of
.25 to round the
intersecting
edge.
180
Robert McNeel & Associates
9
CREATING SURFACES
Exercise 64—Using a network of curves to create surfaces
1
Open the model Networksurf.3dm.
2
From the Surface menu click Curve
Network.
3
For Select curves in network, pick
the two edge curves and the crosssection curves, and press Enter.
4
In the Surface From Curve
Network dialog box, change the
edge matching to Curvature, click
OK.
A surface is created that has
curvature continuity with the other
two surfaces.
Next let’s analyze the surface
continuity of the joined surface.
5
From the Analyze menu, click
Surface, then click Zebra.
View the stripes where they cross
the seams. Notice that they seem to
be seamless and smooth.
6
From the Analyze menu, click
Surface, then click Environment
map.
Try changing the image by clicking
the dropdown menu in the EMap
options dialog.
Robert McNeel & Associates
181
9
CREATING SURFACES
Exercise 65—Practice using one-rail sweeps
In this exercise you use one rail sweeps to make an end table with free-form tapered legs.
To create the legs:
1
Open the model Table.3dm.
2
From the Surface menu click Sweep 1 Rail.
3
Select the path curve for the leg.
4
Select the shape curve for both ends of the
leg.
5
Press Enter.
6
Press Enter.
7
In the Sweep 1 Rail Options dialog box, click OK.
The table leg is created. Note the nice transition from one cross-section curve to the other.
To create the brace:
1
Change to the Braces layer.
2
Repeat the previous process to create the
brace.
182
Robert McNeel & Associates
9
CREATING SURFACES
To create the top and finish the table:
1
Change to the Top layer.
2
From the Surface menu click Sweep 1 Rail.
3
For the Rail, select the ellipse.
4
For the Cross-section, select shape curve.
5
Press Enter.
6
In the Sweep 1 Rail Options dialog box,
click OK.
The surface for the rim of top is created.
7
Select all of the surfaces you created.
8
From the Solid menu click Cap Planar Holes.
Six caps were created.
9
Use Mirror to copy the brace and the leg to
finish the model.
Mirror them around 0,0 in the Top viewport.
Toy hammer
Exercise 66—Creating a toy hammer
In this exercise you will use most of the techniques that you’ve learned in the
previous sessions.
Some models require more attention to detail. This is an example of a model
that requires precise modeling techniques. This exercise also requires a
number of different surface creation techniques. The technical drawing is
included to help you create a very precise model.
1
Open the model Hammer.3dm.
In addition the following layers have been created: Construction Lines, Curves, Handle, Tang, Head, Hole,
Cutout, and Claw. Use the appropriate layer when constructing the model.
Robert McNeel & Associates
183
9
CREATING SURFACES
40
19
ALL FILLETS AND ROUNDS 2mm.
R4
60
R50
8
90
R80
40
13
20
Ø12
32
42
R21
16
42
2
21
40
110
25
Draw outlines for the hammer in the Top viewport.
Drawing outlines helps while drawing the curves. You can either draw lines, polylines, or rectangles to create
the outlines. Use the dimensions on the technical drawing to get accurate outlines.
Note: There is a layer named Construction Lines in this model that has the construction lines drawn. It also has
a sublayer with centerlines for the model. Turn on these layers to speed up the exercise, if necessary.
To create the claw:
When modeling the shape of the claw, you will use circles, arcs, and curves. You can trim the circles and arcs and
then join them together to create a closed curve. You can rebuild the curve and adjust the control points to get a
more sculptural shape.
1
Change to the Curves layer
2
Draw a curve defining the shape of the claw in the Top viewport.
You can use a free-form curve or use a combination of arcs and circles
that are trimmed and joined to create the curve. Following is a
systematic approach to creating the curve for the claw part of the
hammer using arcs and circles.
Start by drawing two circles.
3
Use the Circle command (Curve menu > Circle > Tangent to 3 curves) to
create a circle at the lower end of the claw.
Draw the circles tangent to the construction geometry
184
Robert McNeel & Associates
9
4
CREATING SURFACES
Use the Circle command (Curve menu > Circle > Tangent, Tangent, Radius) to
create a circle at the upper end of the claw that is tangent to the upper right
corner with a 4 mm radius.
Draw the circles tangent to the construction geometry.
5
Use the Arc command (Curve menu > Arc >
Tangent, Tangent, Radius) to create arcs that
are tangent to the two circles.
6
Use the Trim command (Edit menu > Trim) to trim the inside part of the
circles.
7
Use the Join command (Edit menu > Join) to join the arc segments.
8
Change to the Claw layer.
9
Select the joined segments.
10 Use the ExtrudeCrv command (Solid menu > Extrude Planar Curve >
Straight) to extrude the curve on both sides of the construction plane.
Robert McNeel & Associates
185
9
CREATING SURFACES
To create the head:
1
Change to the Curves layer.
2
Use the Curve command (Curve menu > Free-form > Control Points) to create
the curve for the cross-section of the head.
Make sure the curve intersects the claw part. This makes joining the two
pieces easier.
3
Change to the Head layer.
4
Use the Revolve command (Surface menu >
Revolve) to revolve the curve.
Use the midpoint of the construction line for
the revolve axis.
5
Save your model.
To add the head to the claw part:
1
Use the BooleanUnion command (Solid menu
> Union) to join the head with the claw.
If the result is not correct, flip the normal of
the head surface with the Dir command. The
normal of the head surface should be
towards out.
2
Use the FilletEdge command (Solid menu >
Fillet Edge > Fillet Edge) fillet the intersection
between the head and the claw.
3
Save your model.
To create slot for the claw part of the hammer:
1
Use the Curve command (Curve menu > Freeform > Control Points) to draw a curve for the
slotted part of the claw.
Make sure the curve is symmetrical.
2
Use the Line command (Curve menu > Line >
Single Line) to draw a line between the
endpoints.
3
Use the Join command (Edit menu > Join) to
join the curve and the line.
186
Robert McNeel & Associates
9
CREATING SURFACES
4
Drag the closed curve closer to the claw.
5
Use the Rotate command (Transform menu >
Rotate) or the Gumball modeling aid to rotate
the curve to align more closely with the curve
of the claw.
6
Change to the Claw layer.
7
Use the ExtrudeCrv command (Solid menu >
Extrude Planar Curve > Straight) to extrude
the curve through the claw.
8
Save your model.
9
Use the BooleanDifference command (Solid
menu > Difference) to subtract the slot from
the claw.
10 Use the FilletEdge command (Solid menu >
Fillet Edge) to make the fillets around the top
and bottom of the claw, and the slot.
To create the shape curve for the tang and the handle:
Create the shape curve for the tang in the Right viewport. This curve will also be used for the handle.
1
Change to the Curves layer and turn on Ortho.
2
Use the Curve command (Curve menu > Freeform > Control Points) to draw a curve for the
upper cross-section of the tang.
Make sure the curve is symmetrical.
3
Use the Mirror command (Transform menu > Mirror) to create the other
curve.
4
Use the Join command (Edit > Join) to join the curves.
5
Save your model.
Robert McNeel & Associates
187
9
CREATING SURFACES
To create the tang:
1
Use the InterpCrv command (Curve menu > Freeform > Iterpolate Points) to draw one of the curves
for the tang of the hammer.
Make sure that it intersects the claw.
2
Use the Mirror command (Transform menu > Mirror)
to create the other curve.
3
Change to the Tang layer.
4
Use the Sweep2 command (Surface menu > Sweep 2 Rails) to make the surface.
5
Use the Cap command (Solid menu > Cap Planar Holes) to make the tang a
closed polysurface.
6
Save your model.
To finish the hammer head:
1
Select the tang and the claw.
2
Use the BooleanUnion command (Solid menu
> Union) to join the tang with the claw and the
head.
3
Use the FilletEdge command (Solid menu >
Fillet Edge) to make the fillets at the
intersection between the tang and the claw.
The edge has a round on it.
4
Save your model.
To create the handle:
1
Change to the Curves layer.
2
Use the Curve command (Curve
menu > Free-form > Control Points)
to draw a curve for the top edge of
the handle.
Make it start at the endpoint of the
tang profile curve and end on the
centerline.
3
188
Use the Mirror command (Transform
menu > Mirror) to make the other
half.
Robert McNeel & Associates
9
CREATING SURFACES
4
Change to the Handle layer.
5
Use the Sweep2 command (Surface
menu > Sweep 2 Rails) to make the
surface using the tang curve as the
profile curve.
A surface is created.
6
Use the Cap command (Solid menu >
Cap Planar Holes) to cap the open
end.
7
Save your model.
To create the hole for the handle:
1
Use the Circle command (Curve menu >
Circle > Center, Radius) to make a circle
25mm from the end of the handle.
You may have to draw a construction
line to help you position the circle.
2
Use the ExtrudeCrv command (Solid
menu > Extrude Planar Curve >
Straight) to extrude the curve on both
sides of the construction plane.
Make sure the extrusion intersects both
sides of the handle.
3
Save your model.
4
Use the BooleanDifference command (Solid menu > Difference) to
subtract the hole from the handle.
5
Use the FilletEdge command (Solid menu > Fillet Edge) to make the fillets
at the edges of the hole.
The edges have rounds on them.
6
Save your model.
Robert McNeel & Associates
189
9
CREATING SURFACES
Squeeze bottle
Some models require more attention to detail. This is an example of a model that requires precise modeling
techniques. This exercise also requires a number of different surface creation techniques.
Exercise 67—Creating a squeeze bottle
The technical drawing is included to help you create a very precise model.
50
1
Open model Squeeze Bottle.3dm.
2
Use the pre-drawn rectangle to create a circle, an ellipse, and a profile curve.
These curves will be used to generate the surfaces of the bottle.
Note: A set of these curves is already included in the model on layers Rail Curves
and Profile Curves. These layers are sublayers of a layer named Bottle Curves.
190
Robert McNeel & Associates
9
CREATING SURFACES
3
Make another (smaller)ellipse that will be used for
the concave part at the bottom of the bottle.
4
Move this ellipse vertically .25 units.
To create the surfaces for the bottle:
1
Change to the Bottle Srf layer and turn off the Construction layer.
2
Select the small ellipse.
3
Use the PlanarSrf command (Surface > Planar Curves) to make a flat surface.
4
Select the large ellipse and the circle.
5
Start the Sweep2 command (Surface > Sweep 2
Rails).
The pre-selected ellipse and circle will be the rails
for the sweep.
6
For the Select cross section curves, choose the
profile curve, and then press Enter.
7
In the Sweep 2 Rail Options dialog box, click Do
not simplify and check Closed sweep, and then
click OK.
Robert McNeel & Associates
191
9
CREATING SURFACES
To create a blend surface for the bottom of the bottle:
1
Hide the rail and profile curves.
2
Start the BlendSrf command (Surface > Blend
Surface).
3
For the Segment for first edge, select the edge of
the ellipse surface, and then press Enter.
4
For the Segment for second edge, select the edge
of the bottle surface, and then press Enter.
5
For the Drag seam point to adjust, move the seam
points so that the align with each other, and then
press Enter.
6
In the Adjust Surface Blend dialog, make click
Preview. Make any adjustments that are necessary
and then click OK.
7
Join the three surfaces.
Cap the top
If you close the bottle, thereby creating a solid, Rhino can calculate the bottle’s volume. If you were creating this
bottle in real life, knowing the volume would be important. Normally, a bottle would have to be designed to hold a
specified volume.
If the edges of the remaining open surfaces are planar curves, you can use the Cap command to close them. The
open edges on the bottle are the top circular shape and the bottom elliptical shape, and they are planar.
To cap the top and bottom:
1
Select the surface.
2
Use the Cap command
192
(Solid menu > Cap Planar Holes) to close the holes.
Robert McNeel & Associates
9
CREATING SURFACES
Flatten the sides
In this part of the exercise you will create custom surfaces to trim an area on each side of the bottle for a label.
The new surface will have curvature in only one direction.
To create the trimming surface:
1
Change to the Default layer.
2
In the Front viewport, draw two lines. One line in the
middle and one on the side.
Make sure the lines extend a little below and above
the height of the bottle.
3
In the Right viewport, Move the lines so that they will
intersect the bottle, like the illustration on the right.
4
Mirror the line on the side to the other side of the bottle.
These lines will be used to create a cutting surface for the flat side of the bottle.
Note: A set of these curves is already included in the model on layer Cut Curves, a
sublayer of the Bottle Curves layer.
5
Change to the Cut Srf layer.
6
Select the three curves you just created.
7
Use the Loft command (Surface menu > Loft) to
make the cutting surface.
8
In the Loft Options dialog, uncheck Closed loft,
click OK.
A lofted surface intersects the bottle.
9
Mirror the surface to the other side of the bottle.
10 Save your model.
Robert McNeel & Associates
193
9
CREATING SURFACES
To remove the surface from the bottle:
1
Change to the Bottle Srf layer.
2
Use the Dir command (Analyze menu > Direction) to
check the surface normal direction. Flip the normals if
necessary.
The normals should be pointing toward the center of
the bottle.
3
Select the bottle.
4
Use the BooleanDifference
command (Solid
menu > Difference) to subtract the two lofted
surfaces from the bottle.
Note: It is possible to create a hollowed out shell from a solid polysurface, like this bottle. The command for
doing this is Shell.
Shell only operates on simple, solid, manifold polysurfaces. For more information on this command view
the Shell Help topic.
Create the bottle’s top
To create the bottle top, you are going to revolve a profile curve to create the surface.
To create the profile curve:
Change to the Default layer.
2
In the Front viewport, use the Lines command (Curve menu > Line > Line
Segments) and the Arc command (Curve menu > Arc > Center, Start,
Angle) to create a profile curve for the outside and the inside of the top.
3
Use the drawing to the right to draw the correct dimensions.
4
Begin the drawing anywhere in the viewport.
0.125 0.125
0.375
1
You will move it to a precise location after it is made.
5
When drawing line segments, you can use object snaps, the distance
constraint, and ortho to draw precisely.
0.141
Tip:
Use the Join command (Edit menu > Join) to join the segments together.
0.063
0.188
Note: A profile curve for the top is already included in the model on layer
Bottle Top Curve, a sublayer of the Bottle Curves layer.
194
Robert McNeel & Associates
9
CREATING SURFACES
6
Use the Move command (Transform menu > Move)
to move the profile from the midpoint of the bottom
edge to the midpoint of the top of the bottle.
7
Change to the Bottle Top layer.
To create the top surface:
1
Select the profile curve.
2
Use the Revolve command
Revolve) to make the surface.
3
Type 0 and press Enter for the first axis point
4
Turn Ortho on and pick another point up or down
from the first point for the other axis point.
5
For the Start Angle click FullCircle.
(Surface menu >
The top is created.
6
Use the BooleanUnion
polysurfaces together.
command (Solid menu > Union) to join the two
Note: Practice additional surface modeling techniques by creating threads on the bottle top model. Here are two
web links that include a video on techniques to make threads with Rhino:
Modeling Screw Threads, Part 1
Modeling Screw Threads, Part 2
Robert McNeel & Associates
195
10 Importing and exporting
Rhino supports many different import and export formats, making it possible to model in Rhino and then export
your model to downstream processes, or import models from other software applications into Rhino. For a
complete list of import and export file types refer to the Rhino Help > Contents > File I/O > File Formats.
Exporting Rhino File Information
When you export to a format like 3DS, STL or DWG, Rhino has to convert from smooth NURBS surfaces to a
polygon mesh representation made of triangles. To do a good approximation of the curved surfaces, Rhino can
sometimes use many polygons. The density of triangles can be adjusted when exporting. You can create a mesh
object and export it, or Rhino can create the mesh during the export process.
There are two methods to export models to other formats. You can use the Save As command to choose a
specific export format to export an entire model. Or, you can select some objects and use the Export Selected
command to choose a specific export format to export a portion of the model. In the following exercise you will
use the Save As method to export three of the most common file formats.
Importing other file formats into Rhino
We will not be importing any models in this class. Importing files from other applications is covered in our Level 2
Training course. If you have any specific questions about importing models into Rhino, consult your instructor.
Exercise 68—Exporting models
To export a model to a mesh format:
1
Open the model Export.3dm.
2
From the File menu click Save As.
3
In the Save dialog box, change the Save as type to Stereo lithography
(*.stl).
4
In the file name box type Export and click Save.
5
In the STL Mesh Export Options dialog box, set the Tolerance to 0.01,
and click Preview.
6
Set the Tolerance to 0.1, click Preview, and then click OK.
7
In the STL Export Options dialog box, select Binary, check Export
open objects, and click OK.
Detailed mesh controls are discussed in more depth in the Level 2
training class.
Robert McNeel & Associates
196
10
IMPORTING AND EXPORTING
To export a model to IGES:
1
From the File menu click Save As.
2
In the Save dialog box, change the Save as type to IGES (*.igs).
3
In the IGES Export Options dialog box, select Pro E Windows
solids as the IGES type, click Detailed Controls.
Detailed controls allow the user more input.
4
Click Cancel to terminate, or OK to create the IGES file.
To export a model to STEP:
1
From the File menu click Save As.
2
In the Save dialog box, change the Save as type to STEP (*.stp, *.step).
3
In the STEP Options dialog box, use the default setting.
Robert McNeel & Associates
197
11 Rendering
Rendering is available for showing your model as if it was photographed or sketched. If you render to look like a
photo, this is called photorealistic rendering. Flamingo nXt is an example of a photorealistic render plug-in for
Rhino. If you render to look hand sketched, this is called non-photorealistic. Penguin is an example of this type of
render.
Both types of renderers are available as plug-ins for Rhino. The built-in Rhino renderer may be good enough for
much of your work. If not, use another rendering program such as Flamingo nXt, V-Ray, Maxwell, Brazil or other
plug-ins for higher quality results. Plug-ins for Rhino are listed on the Resources page of the Rhino web site.
Apply materials
Rhino’s built-in renderer uses materials with color, gloss and transparency settings, spotlights, displays shadows,
and does antialiasing. It also allows the attachment of textures and bump maps. In this exercise we will focus on
the full rendering capability.
Exercise 69—Practice rendering a model
1
Open the model Render.3dm.
2
From the Render menu click Current Renderer, and then click Rhino
Render.
3
Right click on the Perspective title bar, and then click Rendered display.
The viewport mimics but does not exactly duplicate what you will get in
a Render.
To assign a material to the handle by object:
To render the handle in color, we will first assign a red glossy material to the handle object. This material assigned
to the object will override any material that might be assigned to the layer of the object.
1
Select the handle.
2
In the Properties panel, click on the
Material page.
Robert McNeel & Associates
199
11
RENDERING
3
On the Material page box, at Assigned
material by: choose Object.
4
From the Material page, in the name field
type Red_glossy.
5
Next click the Color
swatch.
6
In the Select Color dialog
box, select a color, like
Red, and click OK.
To give the handle a
highlight, change the
Gloss finish setting.
7
Change the Gloss finish setting slider to value between 80 and 90.
A gloss finish of 0 means that the object is not shiny at all and it will not
have a specular highlight. A low value of gloss finish makes the shiny spot
to be small, and the object will look glossier. As the gloss finish increases in
value, the shiny spot gets larger—this makes the object look more like it is
made out of a reflective material.
The shiny spot only appears when you are looking at an object at a certain
angle relative to the angle of the light.
200
Robert McNeel & Associates
11
8
RENDERING
From the Render menu click Render.
A display window appears with the current viewport rendered in colors,
but it will probably lack detail. You can close the Display Window without
disturbing your model. Placing lights will add depth and detail to the
rendered image.
To assign a material to the blade by layer:
To render the blade in color, we will next assign a yellow glossy material to the blade layer. All the objects on the
blade layer that do not have an object material override, are rendered in the material. That is an advantage of
rendering with material set to by layer. Changing the layer’s material will result in all the objects on that layer
updating.
1
Select the blade.
2
Right-click on the Properties panel.
3
From the right-click menu pick on Layers.
Robert McNeel & Associates
201
11
RENDERING
4
In the Layers panel, click on the Material icon.
5
In the Layer Material dialog, type the name
Yellow_glossy.
6
Under Basic Settings,
click the Color swatch.
7
In the Select Color dialog
box, select a color, like
Yellow, and click OK.
202
Robert McNeel & Associates
11
RENDERING
8
Change the Gloss finish setting slider to value between 80 and 90.
9
From the Render menu click Render.
To add a new material to a layer:
1
In the Layers panel, click on the Material
icon.
2
In the Layer Material dialog, click the down
arrow next to the Yellow_Glossy material.
3
When the list of materials appears, click
Default material.
It’s best to use the Default material when
making new materials.
Robert McNeel & Associates
203
11
RENDERING
4
In the Name box type White_glossy, and
change the Gloss finish setting slider to
value between 80 and 90.
5
Render the model.
6
The next time you click on the down arrow
for a material listed in the Layer Material
dialog, you will see a list of the Default
material and the three materials you just
created.
You can switch between the any of the
materials in the model or make a new one
at any time. This works whether you are
assigning the material by layer or object.
Add lights
Start with a standard lighting scheme. You can experiment to develop your own lighting schemes later.
To place a light:
1
Zoom out in the Top and the Front viewport.
2
Change to the Lights layer.
3
From the Render menu click Create Spotlight.
4
For the Base of cone, type 0 and press Enter.
5
For the Radius, pick a point so that the circle is
larger than the entire screwdriver in the Top
viewport.
6
For the End of cone, hold down the control
key, and pick a point below and to the right in
the Top viewport.
This starts elevator mode.
7
For the End of cone, pick above the object in
the Front viewport.
This will be your main light.
8
Click in the Perspective viewport.
9
From the Render menu click Render.
The image has some highlights and shadows.
204
Robert McNeel & Associates
11
RENDERING
To place a second light:
1
Zoom out in the Top and the Front viewport.
2
From the Render menu click Create Spotlight.
3
For the Base of cone, type 0 and press Enter.
4
For the Radius, pick a point so that the circle is
larger than the handle of the screwdriver in the
Top viewport.
5
For the End of cone, hold down the control
key, and pick a point below and to the left in the
Top viewport.
This starts elevator mode.
6
For the End of cone, pick above the object in
the Front viewport.
This will be your secondary (fill) light.
7
Click in the Perspective viewport.
8
From the Render menu click Render.
To assign properties to the light:
1
Select the new light.
2
In the Properties
panel, , click the
Light page.
3
On the Light page,
change the Shadow
intensity to 0 and
the Spotlight
hardness to 60.
Experiment with
these settings to
get the desired
effect.
4
Click in the
Perspective
viewport.
Robert McNeel & Associates
205
11
5
RENDERING
From the Render menu click Render.
Add textures
To add a bumpy surface to the handle:
1
Select the handle.
2
In the Properties panel , click on the Material
page.
3
In the Material Editor page, under Bump, click
(empty-click to assign).
4
In the Open dialog box, select cell2.bmp, and then
click Open.
Note: You can use any bitmap file for a bump. The bumps
come from the pattern of light and dark in the
bitmap image.
206
Robert McNeel & Associates
11
RENDERING
5
In the Material Editor dialog box, under Bump, click
cel2.bmp.
6
In the Mapping area, change the U Repeat to 2.0 and
the V Repeat to 2.0, click OK.
7
The Render display will update
to display the bump.
The surface of the handle has
a bumpy appearance, however
the color of the material and
gloss setting is still used.
8
From the Render menu click
Render.
8
From the File menu in the
Render dialog, click Save As.
9
Under Save as type, click PNG. enter your file name and
location.
10 Click Save button.
Robert McNeel & Associates
207
11
RENDERING
To add a texture to the handle:
1
Highlight the handle. In the Properties panel ,
click on the Material page.
2
In the Textures area, uncheck Bump.
3
In the Textures area, for Color click (empty
click to assign).
Uncheck Bump and click
to assign Color texture.
4
In the Open Bitmap dialog box,
select Wood.jpg, and then click
Open.
Wood color texture is mapped to
handle.
208
Robert McNeel & Associates
11
RENDERING
5
Click Wood to open the Editing Wood
dialog.
6
In Mapping area, set the U Repeat to 4
and the V Repeat to 6.
7
Click OK to close the Editing Wood
dialog.
8
From the Render menu click Render or use a Rendered viewport.
The surface of the handle has a wood texture appearance tiled at 4 times in
the U and 6 times in the V.
Robert McNeel & Associates
209
11
RENDERING
To make the wood handle transparent:
1
Highlight the handle. In the Properties
panel, click on the Material page.
2
In the Basic Settings area of the Material
Editor dialog box, change the
Transparency slider to 30.
3
Click back into the graphics area.
4
From the Render menu click Render.
The handle will look transparent with the Wood texture.
210
Robert McNeel & Associates
11
RENDERING
To make the red handle transparent:
1
Highlight the handle. In the Properties
panel, click on the Material page.
2
In the Basic Settings area of the Material
Editor dialog box, change the
Transparency slider to 30 and uncheck
the Color texture.
3
Click back into the graphics area.
4
From the Render menu click Render.
The handle will look transparent with the
red glossy material.
Robert McNeel & Associates
211
11
RENDERING
Use a groundplane
The Rhino Render has a ground plane option. The ground plane provides an infinite horizontal platform for the
image that stretches to the horizon in all directions positioned at a defined elevation. A ground plane renders
much faster than using a surface as a background. Any material can be assigned to the ground plane.
Adding a ground plane:
1
Right-click Properties panel tab.
2
Click the Ground Plane panel.
3
In Ground Plane panel pick On.
Viewport will now show a ground
plane. Let’s assign a material.
4
In the Material area assign the
existing yellow_glossy, a material
created earlier in this exercise.
Viewport will now show a yellow
glossy ground plane.
5
212
From the Render menu click Render.
Robert McNeel & Associates
11
RENDERING
6
In Ground Plane panel, click the down
arrow next to the Yellow_Glossy
material.
7
When the list of materials appears, click
Default material.
A new default material will be added.
8
In the Material editor dialog in the
Name area type Wood_table.
9
In the Textures area, check Color
texture.
10 In the Open Bitmap dialog box, select
Wood.jpg, and then click Open.
11 In the Texture mapping area, type X
size 100 and Y size 75.
12 From the Render menu click Render.
13 From the File menu in the Render dialog, click Save As.
14 Under Save as type, click PNG. enter your file name and
location.
15 Click Save button.
The viewport will now show and render a wood ground
plane.
Robert McNeel & Associates
213
12 Annotating your model
Rhino can also produce 2D drawings of your models. Rhino has these annotation objects:
•
•
•
•
•
Dimensions
Annotation Text
Leaders
Dots
Hatching
Dimensions
You can create dimensions on all viewports. They will be created parallel to the current viewport’s Cplane.
Dimension commands are combined with object snaps to give precise values. There are many different types of
dimensions that are used to annotate a model. We will look at linear, radial, diameter, and angular. 2-D
annotation text, Leaders, and Dots will also be covered.
The dimension style controls the way a dimension displays. For example the dimension text location can be above
the dimension line or in the dimension line. The end of a dimension line can display an arrow, a tick, or a dot. The
dimension text can show decimal, fractional, or feet and inches numbers. A new model will open with Default as
the dimension style.
You can make additional dimension styles, assign existing dimensions to a different style, or update a style to
make all the dimensions assigned to that style update. You can also import a dimension style from another model.
Or add the dimension style to a template so new models always have it.
Let’s look at the dimension types:
Dimension types
Dimension tools
Button
Command
Description
Dim
Linear Dimension creates a horizontal or a vertical dimension.
DimAligned
Creates an aligned dimension.
DimRotated
Creates a rotated dimension.
DimAngle
Creates an angular dimension.
DimRadius
Creates a radius dimension.
DimDiameter
Creates a diameter dimension.
Text
Creates 2-D annotation text.
Leader
Draw an arrow leader.
Robert McNeel & Associates
215
12
ANNOTATING YOUR MODEL
Button
Command
Description
Properties
Edit dimensions and text.
DimRecenterText
Returns text that has been moved away from its default position to its original
location.
Make2-D
Creates curves from the selected objects as silhouettes relative to the active
construction plane. The silhouette curves are projected flat and then placed on
the world x,y-plane.
Exercise 70—Dimensioning the model
To start this exercise we will create a new dimension style.
To make a new dimension style:
1
Open the model Dimension.3dm.
2
From the Tools menu click Options.
3
In the Rhino Options dialog, click the +
next to Annotations, click the + next to
Dimensions to expand the list.
4
Click Dimensions, and on the Current
Dimension Style page, click New.
5
Select (built-in) Millimeter Small as the
new dimension style template.
6
Click the Edit button
7
Change Model space scale to 1.0. Click
OK.
Dimensions created will be assigned to the
Millimeters Small dimension style.
216
Robert McNeel & Associates
12
ANNOTATING YOUR MODEL
Linear Dimensions
Linear dimension creates a horizontal or a vertical dimension.
To make linear dimensions:
1
From the Dimension menu click Linear Dimension.
2
Snap to the lower left end of the part in Top viewport.
3
Snap to the lower right end of the part in the Top viewport.
4
Pick a point below the part in the Top viewport.
5
From the Dimension menu, click Linear Dimension.
6
Snap to the lower left end of the part in Front viewport.
7
Snap to the upper left end of the part in Front viewport.
8
Pick a point to the left of the part in the Front Viewport.
9
Create two additional linear dimensions on the top and right sides of the
part in the Front viewport.
Note: Use object snaps to locate the extension line origins. To move
extension line or text locations for dimensions, turn on control points
for the dimension and move the control points.
Leaders
To draw an arrow leader and text:
.
1
From the Dimension menu click Leader
2
Click the top of the part in the Front viewport. This will be where the arrow
will be created
3
Turn Grid Snap on and click a point to the right and at an angle from the
first point.
4
Click to the right of the second point and press Enter.
5
In the Leader Text
dialog box, type Finish
Smooth and click OK.
6
To edit the text, doubleclick and make changes
in text box. Click in
graphics area when
editing is complete.
For long notes try
Wrap. Wrap activates
the word-wrap feature
on the leader object.
Robert McNeel & Associates
217
12
ANNOTATING YOUR MODEL
Radial and Diameter Dimensions
To make a radius or diameter dimension:
1
From the Dimension menu click
Radial Dimension.
2
Select the lower right quadrant of the
arc in the Top viewport.
3
Click to place the dimension text.
4
From the Dimension menu click
Diameter Dimension.
5
Select the upper right quadrant of the hole in the Top viewport.
6
Click to place the dimension text.
Continuous Linear Dimensions
The Dim command has a Continue option, that when activated adds chained dimensions along the same
dimension line. This option needs to be activated for each Dim command that you begin.
To make continuous (chained) dimensions:
1
From the Dimension menu click Linear Dimension.
2
In command line, click Continue=No. It will toggle to Continue=Yes.
3
Snap to the left end of the part in Top viewport (1).
4
Snap to the end of the vertical part in the Top viewport (2).
5
Pick a point above the part in the Top Viewport (3).
6
Continue to snap to the center of the hole (4), and the right end of the
object (5).
7
Press Enter to end continuous linear dimension.
8
Create one additional linear dimension on the right side of the part in the
Top viewport and the top of the part in Right Viewport.
9
Dimension the rest of the drawing using leaders, text blocks, horizontal,
vertical, radius, and diameter dimensions.
10 Save your model.
218
Robert McNeel & Associates
12
ANNOTATING YOUR MODEL
Making a 2-D drawing from a 3-D model
Rhino has the ability to generate a two-dimensional drawing from a three-dimensional model, by projecting the
geometry to the world coordinate plane, and aligning the views. Options for first angle projection or third angle
projection are available. In addition to the three orthographic views, a two-dimensional perspective drawing is
also generated. Hidden lines are removed and placed on a separate layer.
Options for creating four views (three parallel viewports and a perspective viewport), or single views of individual
viewports are supported.
Exercise 71—Practice making a 2-D drawing
1
Open the model Make2D.3dm.
2
Select the 3D model.
3
From the Dimension menu click Make
2-D Drawing.
4
In the 2-D Drawing Options dialog box,
click 4-view (USA) and check Show
hidden lines, and then click OK.
The 2-D drawings are created on the
Top CPlane near the origin on the world
xy plane. View them in the Top
viewport.
5
Dimension the 2-D drawing.
Robert McNeel & Associates
219
13 Printing and Layouts
Printing
The Rhino Print command will let you print one viewport at a time.
Exercise 72—Printing the model
1
Open the model Dimension.3dm.
2
Make the Top viewport active and from the File
menu click Print.
3
In the Print Setup Destination dialog, select
a printer, Letter Size paper, Landscape
orientation, Raster Output, and Display
Color.
4
In the View and Output Scale area, select
Scale of 2:1, On Paper 1.0 Millimeter, and
In Model 0.5 Millimeter.
Rhino will print .5 mm of the model in every 1
mm on the printed sheet.
Layouts
Rhino has a Layout feature that will print multiple details of the model on one sheet. The details can have different
scales, sizes, layer color, layer visibility, and object visibility. In addition, you can add multiple layouts to a model.
To add a layout:
1
From the View menu click Layout and New Layout. Or click the
Viewport Tabs bar, located below the Rhino graphics area.
2
The layout name is Page 1, by default. The sheet size is offered in the units
of the model.
on the
However, selecting another unit here like inches will let you specify the
sheet in a more familiar unit, without changing the layout unit.
Robert McNeel & Associates
221
13
PRINTING AND LAYOUTS
3
From the New Layout dialog, select Inches, set Width to 11 and Height
to 8.5. Set the Initial Detail Count to 4.
4
Double-click to activate Perspective
detail. From the View menu, pick the
Shaded display mode.
222
Robert McNeel & Associates
13
PRINTING AND LAYOUTS
To configure the perspective detail:
You can suppress the display of geometry in any detail by hiding the object in the detail or by turning off the layer
in the details. Objects are hidden in the details with the HideObjectInDetails command and made visible with the
ShowObjectsInDetail command
In addition, the Layers panel allows a layer to be turned off only in the detail, but remain visible in other details or
viewports.
1
Double-click to activate Perspective
detail. In the Layers panel, scroll to the
right or undock and stretch Layers panel.
2
Highlight the Dimension layer, and pick on
the lightbulb icon in the Detail On column.
All the objects on the layer that was turned
off in the Detail On column are not visible
in the Perspective view but remain visible
in all other details.
3
Double-click the Perspective detail to deactivate. Highlight the boundary edge of the
detail. In Object Properties set the Print
Width to No Print
The edge of the detail will not print unless
you assign a width.
Robert McNeel & Associates
223
13
PRINTING AND LAYOUTS
To assign a scale to details:
Details that are parallel can get a scale assigned to them. The scale will tell Rhino how many model units are in
each paper unit. By assigning the scale to the detail, the layout can be plotted 1=1. Also by assigning the scale to
the detail, details can have different scales.
1
Highlight the Top detail. Do not double-click to activate.
2
In the Properties panel, click the Detail page.
3
In the Scale area, set 1.0 mm on layout equal to 1 mm in model.
The scale is now set to 1=1.
If you set 1 mm in the layout equal to 2 mm in the model detail, it
is half size or 1=2.
If you set 1 mm in the layout equal to 10 mm in the model detail,
the scale is 1=10.
4
Make detail active by double clicking it and pan geometry to center
in viewport. Deactivate detail by double clicking.
5
Select detail and in the Properties panel, click the Detail page and
then click Locked.
Details that are locked prevent zooming or panning, making it
easy to keep them from changing scale.
6
Repeat this procedure for the Front and Right details.
To label details:
1
Make a new layer called Notes. Make it
Red and current.
2
Turn Ortho off and deactivate any details.
You should be on the layout and not in an
active detail.
3
From the Dimension menu click Text
Block.
4
Pick a Start point, below the Top view of
the part.
224
Robert McNeel & Associates
13
PRINTING AND LAYOUTS
5
In the Text dialog set the Height to 7mm and type Top View.
6
Repeat to add labels for Front View and Right
View.
To add a border:
1
From the Curve menu click
Rectangle, Corner to Corner.
Snap to the lower left corner of the
Front detail boundary and the
upper right corner of the
Perspective viewport boundary.
2
Select the border. In the
Properties panel, on the Object
page, click Print Width, and then
click 0.70mm.
Robert McNeel & Associates
225
13
3
PRINTING AND LAYOUTS
Right click on the Layout Title (Page 1), and then click Print
Preview.
The layout has a thick border around the detailed viewports.
You can also add a title block at this stage if you choose.
To print the layout:
1
From the File menu click Print.
2
Select a physical printer or a virtual printer like
PDF995. Select sheet size as letter or
11x81/2 landscape.
3
In the View and Output Scale area, set the
scale to 1=1.
4
Toggle Output color between Black & White and
Display Color.
5
Pick OK to print. Cancel if no printer is available.
6
Save the file.
226
Robert McNeel & Associates
13
PRINTING AND LAYOUTS
Exercise 73—Scaling and locking details on a layout.
1
Open the model
SimpleLayout_Print.3dm.
2
Click in the Top viewport.
3
From the View menu, click Layout,
click New Layout.
4
In the New Layout dialog, click
Landscape. Set the Initial Detail
Count to 4. Adjust any other options
appropriate for your printer or
plotter, click OK.
A layout page opens and a new viewport tab labeled Page 1 appears at the lower edge of the Rhino window.
The new layout has four detail views, showing the object from the same direction as the four default Rhino
viewports.
Details are windows into the 3-D model. They can be activated as modeling viewports by double-clicking in
the viewport.
5
Double-click in the Right detail.
Set scale and lock details:
1
If the Properties panel is not open, open it now
(Edit>Object Properties) and dock it to one side.
With nothing selected, the properties panel shows
the viewport properties.
With no detail active, the properties shown are for
the layout as a whole.
Robert McNeel & Associates
227
13
PRINTING AND LAYOUTS
2
Click the Edit button to edit the title, and size and printer properties.
3
On the command line, for the Distance on layout (mm), set it to 1 and press
Enter.
4
On the command line, for the 1.000 millimeter on layout = Distance in model
(m), set it to 1 and press Enter.
5
Change the title to Right Profile, and Lock the detail.
6
Repeat this in the Top and Front details to set all of these details to the same
scale.
7
Activate the Perspective detail.
8
From the View menu, click Shaded.
To draw borders and title blocks in the layout space:
1
Double-click in the Perspective detail to deactivate it and make
the layout space active.
2
Draw a Rectangle (Curve>Rectangle>Corner to corner) around
the viewports on the Layout.
3
From the File menu, click Insert.
4
On the Insert dialog box, check Prompt for Insertion point,
uncheck Prompt for Scale and Rotation.
5
On the Insert dialog box, click File…, select TitleBlock.3dm,
click Open, click OK, click OK to close the Insert dialog box and
insert the title block.
6
For the Insertion Point, snap to the lower right corner of the rectangle.
A title block is inserted on the layout.
7
You can add information to the title block with the text command.
To edit the text on the title block, explode it first.
228
Robert McNeel & Associates
13
PRINTING AND LAYOUTS
To add dimensions to the layout space:
1
On the layout use Linear dimensions to measure some features.
The dimensions are located on the layout. The will not display in the
model views.
2
Add more dimensions as needed to the other layout viewports.
To set linetypes and line weights for curves:
These are used in printing and can be displayed in the Rhino views using the PrintDisplay and LinetypeDisplay
commands.
1
From the Edit menu, click Layers, then click Edit Layers.
2
On the Layers panel, in the Print Width column, change the width of
some of the layers.
3
Select the Border rectangle and the Title Block.
4
On the Properties panel, change the Print Width to a thicker weight.
5
Right click on the Layout Title (Page 1), and then click Print Preview.
Note the difference in thickness of the curves.
Linetypes can be adjusted the same way.
Robert McNeel & Associates
229
PART FOUR
Extras
Robert McNeel & Associates
231
Robert McNeel & Associates
232
14 Transforming solids
It’s much easier to model things on a flat plane than it is on an organic surface or any other 3D shape. Rhino has
several tools that allow you to model something in a simple way and then transform it onto a surface or a curve in
3D space. In this chapter we will demonstrate two commands that make this easy to accomplish—Flow and
FlowAlongSrf.
Flow along surface
Morphs objects from a source surface to a target surface.
Options
Description
Copy=Yes/No
Specifies whether or not the objects that you are flowing are copied. A plus sign appears at
the cursor when copy mode is on.
Rigid=Yes/No
Note: This option does not apply to polysurfaces and will not be displayed if polysurfaces are
selected for editing.
Yes Individual objects are not deformed as they are transformed.
No
Individual selected objects are deformed
Plane
Allows you to draw a plane instead of using an existing surface as the base object.
Exercise 74—Flowing Solids to a Surface
Modeling on a curved surface is difficult and hard to achieve accurate results. FlowAlongSrf command simplifies
the process by allowing you to model on the flat construction plan first. Then FlowAlongSrf to morphs objects from
a source surface to follow target surface.
To Flow Solid Text
1
Open model FlowAlongSrf.3dm
2
From the Transform menu click Flow Along
Surface.
3
For the Select objects to flow along a
surface, select the solid text and press
Enter.
The text is a group and will select as one.
4
For the Base surface, select the lower left
corner of cyan surface.
5
For the Target surface, select the lower left
corner of the magenta target surface.
The text is flowed to the target surface.
6
Undo the FlowAlongSrf.
Robert McNeel & Associates
233
14
TRANSFORMING SOLIDS
Surface direction
The success of the FlowAlongSrf is dependent on the direction of the base and target surface. Each surface has a
normal direction, a U direction, and a V direction.
Ideally, the normal, U and V directions on the base surface should correspond to the normal, U and V directions
on the target surface.
The direction arrow colors are:
• U=Red
• V=Green
• Normal=White
To check the surface direction:
1
Select both the cyan and magenta colored surfaces.
2
From the Analyze menu click Direction.
3
At the Select object to flip direction, you can click on either
surface to change the normal direction, press Enter when done.
You can use the NextMode option to toggle through all of the
possible changes to U, V, and Normal directions.
4
If you only need to change one surface, select it and start the
Dir command again.
5
Make any necessary changes to the direction of the surface so
that the U, V, Normal directions match between the two
surfaces.
History and Gumball
Now let’s combine FlowAlongSrf with RecordHistory. RecordHistory keeps the objects to be flowed and the objects
that have been flowed linked. If the original objects are moved, scaled, or rotated, the flowed objects will update.
To Flow with History and Gumball:
1
In the Status bar turn on Gumball and RecordHistory.
2
From the Transform menu click Flow Along Surface.
3
For the Select objects to flow along a surface, select the solid text and
press Enter.
4
For the Base surface, select the lower left
corner of cyan surface.
5
For the Target surface, select the lower left
corner of the magenta target surface.
The text is flowed to the target surface.
234
Robert McNeel & Associates
14
TRANSFORMING SOLIDS
Note: The Record History pane is toggled off as soon as the flow command is complete. By default the Always
Record History option is not checked. If you want to record history on another command, you will need
to select it before you run the next command that supports history.
See the Help for a complete listing of History Enabled Commands.
6
Select the original text on the base surface.
7
Use the Gumball arrow to move the text to the
right.
Notice that after you release the text on the
base surface, the flowed text is updated on the
target surface.
Hint:
If the flowed text does not update, return to step 1 and make sure Record History is on before starting
FlowAlongSurface.
8
Select the original text on the base surface.
9
Use the Gumball arc to rotate the text to the
left. Release your mouse button and watch
the flowed text update.
10 Select the original text on the base surface.
11 Using the Gumball red scale handle, and the
Shift key held down, pull to the handle to the
left. Release your mouse and watch the
flowed text update.
Robert McNeel & Associates
235
14
TRANSFORMING SOLIDS
Exercise 75—Flowing a logo onto a freeform surface
To create the base surface:
1
Open the model PenguinBrand.3dm.
2
On the Layer panel, make the Curves layer current.
3
Select the magenta surface (front panel) on the
penguin.
4
From the Curve menu click Curve from Objects,
then Create UV Curves
and press Enter.
The UV curves are created at the origin of the World
XY plane.
5
From the Layer panel, make the Surface layer
current.
6
Highlight the closed curve and from the Surface
menu click Planar Curves.
To Flow the Logo:
1
Turn on RecordHistory in the Status bar.
2
On the Layer panel turn on the logo layer.
The logo appears.
236
Robert McNeel & Associates
14
TRANSFORMING SOLIDS
3
Select the logo.
4
From the Transform menu click Flow Along
Surface and press Enter.
5
For the Base surface, select the lower left corner of
green surface.
6
For the Target surface, select the lower left corner
of the magenta surface.
7
Turn on Gumball in the Status bar.
8
Use Gumball to move, scale and rotate the original
logo on the base surface.
The flowed logo updates.
9
From the Render menu, Render to render the model.
Robert McNeel & Associates
237
14
TRANSFORMING SOLIDS
Flow
The Flow command re-aligns an object or group of objects from a base curve to a target curve.
Steps
1
2
3
Select objects.
Select the base curve near one end.
Select the target curve near the matching end.
Options
Description
Copy=Yes/No
Specifies whether or not the objects that you are flowing are copied. A plus sign appears at the cursor when
copy mode is on.
Rigid=Yes/No
Yes
No
Line
Allows you to draw a line to be used as the base curve.
Stretch=Yes/No
No
Yes
Individual objects are not deformed as they are transformed.
Individual selected objects are deformed
The length of the objects along the curve directions are not changed.
Objects are stretched or compressed in the curve direction so that the relationship to the target curve
is the same as it is to the base curve.
Similar to Flow Along Surface, Flow allows you to flow solids along a curve. This makes designing in 3D easier and
lets Rhino do all the morphing work. The command is called Flow.
Exercise 76—Making a Ring with Flow
To flow the parts of a ring along the shank curve:
1
Open the model Flow_ring.3dm.
2
Select the green polysurface as the object to flow.
3
From the Transform menu click Flow along Curve.
4
Select the red linear curve towards
the left end for the Base curve.
5
Stop at this stage and confirm the
following option settings on the
command line (Copy=Yes
Rigid=No Stretch=No).
6
Select the circle curve slightly below
the point location as the Target
curve.
The polysurface is morphed or
flowed to the shape of the target
curve.
Notice that the polysurface doesn’t
flow completely around the circle.
238
Robert McNeel & Associates
14
7
TRANSFORMING SOLIDS
Undo.
We will flow this polysurface a few more times using different options.
First, we will change the direction of the Flow.
To flow the parts of a ring along the shank curve in a different direction:
1
Repeat Flow along curve with
identical steps, except pick the Base
Curve near opposite end.
2
Select the circle curve slightly below
the point location as the Target
curve.
Notice that the inside and outside of
the original polysurface has flipped.
3
Undo again.
Robert McNeel & Associates
239
14
TRANSFORMING SOLIDS
Second we will stretch the original polysurface so that it fits completely around the circle.
To flow the parts of a ring along the shank curve, stretching it to fit the whole curve:
1
Repeat Flow along curve the same
way you did it the first time, picking
the Base Curve towards the left end.
2
Stop at this stage and confirm the
following option settings on the
command line (Copy=Yes
Rigid=No Stretch=Yes).
3
Select the circle curve slightly below
the point location as the Target
curve.
The polysurface is morphed or
flowed completely around the
circular shape of the target curve.
4
Use the What command to confirm
that it is a closed solid polysurface.
To flow the gems and bezels:
1
Hide both the original polysurface and the flowed polysurface.
2
From the Transform menu click Flow along Curve.
3
For the Objects to flow, select the group of gems and bezels.
They are a group and will select as one.
240
Robert McNeel & Associates
14
TRANSFORMING SOLIDS
4
Select the Base Curve towards the left end.
5
Stop at this stage and confirm the following option settings on the
command line:
(Copy=Yes Rigid=No Stretch=Yes).
6
Select the circle curve slightly below the point location as the Target
curve.
The bezels and gems are morphed to fit around the circle.
7
Examine the results.
The sides of the bezels are not perpendicular, the top surface is not flat,
and gem is stretched.
8
Undo.
To Flow the gems and bezels with Rigid=Yes:
1
From the Transform menu click Flow along Curve.
2
For the Objects to flow, select the group of gems and bezels.
They are a group and will select as one.
3
Select the Base Curve towards the left end.
4
Stop at this stage and confirm the following option settings on the
command line:
(Copy=Yes Rigid=Yes Stretch=Yes).
5
Select the circle curve slightly below the point location as the Target
curve.
The bezels and gems are stretched to fit around the circle. But the
objects are not deformed.
Robert McNeel & Associates
241
14
6
TRANSFORMING SOLIDS
Examine the results.
The sides of the bezels are perpendicular, the top surface is flat, and
gem is not stretched.
7
Show the green polysurface again.
To view the ring in a rendered viewport:
1
From the View menu click Rendered.
A Ruby material was assigned to the Gem_ruby
layer. A Gold material was assigned to the Bezel
and Ring layers.
2
242
Render the ring.
Robert McNeel & Associates
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement