Autodesk Official Training Guide

Intermediate

AutoCAD
®

2010

Learning AutoCAD 3D ®

Using hands-on exercises, explore the fundamental concepts and

workflows for creating 3D models.

001B1-050000-CM20A
July 2009
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Contents
Introduction ....................................................................................................... ix

Chapter 1: Introduction to 3D Modeling ........................................................... 1

Lesson: Introduction to 3D .................................................................................. 2
Types of 3D Models .................................................................................. 3
Navigating and Displaying 3D Models ....................................................... 4
Changing the Model Display ..................................................................... 6
About the ViewCube ................................................................................. 9
Using the ViewCube ................................................................................ 11
Orbiting Your 3D Model .......................................................................... 15
Setting Viewport Display ......................................................................... 17
Exercise: Use ViewCube to Navigate a 3D Environment .......................... 21
Exercise: Interact with 3D Models .......................................................... 25
Lesson: Creating Solid Primitives ...................................................................... 27
About Solid Primitives ............................................................................. 28
Creating a Solid Box ................................................................................ 29
Creating a Solid Sphere ........................................................................... 31
Creating a Solid Cylinder ......................................................................... 32
Creating a Solid Cone .............................................................................. 34
Creating a Solid Wedge ........................................................................... 36
Creating a Solid Torus ............................................................................. 38
Creating a Solid Pyramid ......................................................................... 39
Exercise: Create Solid Primitives ............................................................. 42
Lesson: Mesh Primitives .................................................................................... 45
About Subdivision Meshes ...................................................................... 46
Creating Mesh Primitives ........................................................................ 47
Creating Mesh Surfaces .......................................................................... 54
Exercise: Create Mesh Primitives ............................................................ 57
Lesson: Working in 3D ...................................................................................... 63
About the Cartesian Coordinate System ................................................. 64
Changing the Coordinate System ............................................................ 66
Changing the UCS Icon Display ............................................................... 69
Changing the Coordinate System Dynamically ........................................ 72
Acquiring Points in 3D Space .................................................................. 74
Exercise: Work with the UCS ................................................................... 77
Exercise: Use a Dynamic UCS .................................................................. 80

Contents ■ iii
 Lesson: Introduction to Free-Form Design .................................................... 82
About Free-Form Design ..................................................................... 83
Using Free-Form Design ...................................................................... 85
Exercise: Use Free-Form Design .......................................................... 88

Chapter 2: Modeling Workflow .................................................................... 93

Lesson: Creating Models from 2D Profiles .................................................... 94
About Models from 2D Profiles .......................................................... 95
About the Right-Hand Rule of Rotation .............................................. 98
About Choosing a Model Creation Method ........................................ 99
Creating a Model Using the Extrude Command .................................. 99
Creating a Model Using the Loft Command ...................................... 102
Creating a Model Using the Planar Surface Command ..................... 105
Creating a Model Using the Polysolid Command .............................. 107
Creating a Model Using the Revolve Command ................................ 109
Creating a Model Using the Sweep Command ................................. 111
Creating a Model Using the Presspull Command .............................. 114
Creating a Helical Path ...................................................................... 117
Exercise: Create Solid Models from 2D Profiles ................................ 119
Exercise: Create Sweeps .................................................................... 122
Lesson: Using Booleans on Solid Models .................................................... 124
About Composite Solids .................................................................... 125
Creating Solids Using Union .............................................................. 128
Creating Solids Using Subtract .......................................................... 129
Creating Solids Using Intersect ......................................................... 131
Checking Interference ....................................................................... 132
Exercise: Create Composite Solids - Mechanical ............................... 136
Exercise: Create Composite Solids - Architectural ............................. 140
Lesson: Creating Composite Models ........................................................... 144
About Composite Models ................................................................. 145
Creating Composite Models .............................................................. 148
Using Boolean Operations in Composite Models .............................. 151
Exercise: Create a Composite Model ................................................ 156
Exercise: Use Booleans in an Architectural Model ............................ 159
Lesson: Extracting Geometry from Solid Models ........................................ 162
Copying Faces .................................................................................... 163
Copying Edges ................................................................................... 164
Extracting All Model Edges ............................................................... 165
Exploding 3D Models ........................................................................ 166
Exercise: Extract Geometry from Solid Models ................................. 167
Lesson: Getting Information from 3D Objects ............................................ 170
Checking Solid Model Integrity ......................................................... 171
Viewing Mass Properties .................................................................. 172
Exercise: Get Information from 3D Objects ...................................... 174

iv ■ Contents
Chapter 3: Editing Models ......................................................................... 177
Lesson: Adding Detail to Your Solid Models ................................................ 178
Filleting Solid Models ........................................................................ 179
Chamfering Solid Models .................................................................. 181
Slicing a Solid Model ......................................................................... 184
Exercise: Create 3D Fillets and Chamfers .......................................... 187
Exercise: Slice a Solid Along a Plane ................................................. 190
Lesson: Editing Solid Models ....................................................................... 192
Extruding Faces ................................................................................. 193
Moving Faces .................................................................................... 195
Offsetting Faces ................................................................................. 196
Deleting Faces ................................................................................... 198
Rotating Faces ................................................................................... 199
Tapering Faces ................................................................................... 201
Creating a Shell ................................................................................. 203
Imprinting Edges ............................................................................... 204
Separating Solids ............................................................................... 205
Changing Face Color ......................................................................... 207
Changing Edge Color ......................................................................... 208
Slicing Solids ...................................................................................... 210
Exercise: Edit Solid Models ............................................................... 212
Exercise: Edit Solids to Create Complex Shapes ................................ 216
Lesson: Manipulating the Model ................................................................ 218
About Solid History and Editing Methods ......................................... 219
About Grip Editing Solid Models ....................................................... 221
Editing Sub-Objects ........................................................................... 224
Manipulating Objects with the 3D Gizmo ......................................... 226
Aligning in 3D .................................................................................... 235
Exercise: Edit Solids Using Grips and Sub-Object Selection ............... 237
Exercise: Manipulate the Models - Mechanical ................................ 239
Exercise: Manipulate the Models - Architectural .............................. 242
Lesson: Duplicating the Model .................................................................... 245
Mirroring in 3D ................................................................................. 246
Arraying in 3D ................................................................................... 248
Exercise: Mirror Objects in 3D .......................................................... 252
Exercise: Array Objects in 3D ............................................................ 254
Lesson: Converting 2D Objects ................................................................... 256
About Converting 2D Objects to Solids or Surfaces .......................... 257
Converting to Solids .......................................................................... 258
Converting to Surfaces ...................................................................... 260
About Thickening Surfaces into Solids .............................................. 261
Thickening Surfaces to Solids ............................................................ 262
Exercise: Convert Objects ................................................................. 264

Contents ■ v
 Lesson: Basic Mesh Modeling ..................................................................... 267
Editing Meshes .................................................................................. 268
Smoothing Meshes ........................................................................... 273
Creasing Meshes ............................................................................... 277
Subobject Edits ................................................................................. 279
Exercise: Edit Mesh Surfaces ............................................................. 286

Chapter 4: Sectioning a Model and Creating Drawings .............................. 291

Lesson: Section a Solid Model and Generate 2D Geometry ........................ 292
About Flattened Views ...................................................................... 293
Displaying 2D Geometry from a Model View .................................... 294
Creating Simple Sections ................................................................... 297
Creating Section Planes .................................................................... 299
Manipulating Section Planes ............................................................. 301
Generating 2D/3D Sections ............................................................... 304
Exercise: Create Cross Sections and Slice Geometry ......................... 309
Exercise: Flatten a View .................................................................... 312
Exercise: Define Section Planes ........................................................ 315
Exercise: Draw a Section Plane ......................................................... 318
Lesson: Creating Drawings from 3D Models ............................................... 321
Types of Views from 3D Models ....................................................... 322
Shaded and Hidden Views ................................................................ 325
Creating Views from Flatshots and Sectionplanes ............................ 326
Exercise: Create Layouts of 3D Models - Mechanical ........................ 328
Exercise: Create a Section Plane Layout View ................................... 331
Exercise: Create Layouts of 3D Models - Architectural ...................... 334

Chapter 5: Visualization ............................................................................. 339

Lesson: Using Visual Styles ......................................................................... 340
About Visual Styles ........................................................................... 341
Using the Visual Styles Manager ....................................................... 343
Using the Visual Styles Panel ............................................................ 345
Exporting Visual Styles ...................................................................... 348
Exercise: Use and Create Visual Styles .............................................. 352
Exercise: Apply Visual Styles to Layout Views ................................... 356
Lesson: Using Lights .................................................................................... 358
About Lighting ................................................................................... 359
Adding Lights to a Scene ................................................................... 361
Editing Lights in a Scene ................................................................... 364
Exercise: Work with Lights in a Scene - Architectural ........................ 373
Exercise: Work with Lights in a Scene - Mechanical .......................... 376
Lesson: Using Materials .............................................................................. 380
About Materials ................................................................................ 381
Working with Predefined Materials .................................................. 383
Creating and Editing Materials .......................................................... 386
Exercise: Add Materials to Your Scene - Architectural ...................... 395
Exercise: Add Materials to Your Scene - Mechanical ......................... 398

vi ■ Contents
 Lesson: Using the Sun ................................................................................. 401
About the Sun ................................................................................... 402
About the Render tab ....................................................................... 403
Specifying Your Scene's Geographic Location ................................... 405
About the Sun Properties Palette ..................................................... 410
Exercise: Use the Sun ........................................................................ 416
Lesson: Rendering ....................................................................................... 419
About the Rendering Environment and Render Presets .................... 420
Rendering Views, Cropped Regions, and Selected Objects ............... 421
About the Render Window and Image Information .......................... 423
Render Output Size and Format ....................................................... 426
Advanced Rendering ......................................................................... 429
Exercise: Render an Architectural Scene ........................................... 432
Exercise: Render a Mechanical Scene ............................................... 434
Lesson: Navigating the Model ..................................................................... 437
Walking and Flying Through a Model ............................................... 438
Recording an Animation .................................................................... 443
Using Animation Paths ...................................................................... 445
Exercise: Walk Through a Model and Create a Path Animation ......... 448
Lesson: Leveraging Cameras and Views ...................................................... 451
About Cameras .................................................................................. 452
Creating Cameras and Views ............................................................ 453
Activating and Managing Camera Views ........................................... 458
Viewing ShowMotion Presentations ................................................. 464
Creating Views for Presentation with Show Motion ......................... 466
Exercise: Create Camera Views ......................................................... 469
Exercise: Use ShowMotion ................................................................ 473

Chapter 6: Downstream Uses for Your Digital Prototype ........................... 477

Lesson: 3D Printing ..................................................................................... 478
About 3D Printing ............................................................................. 479
3D Printing ........................................................................................ 481
Exercise: Create a 3D Print ............................................................... 484

Appendix .................................................................................................... 487

Contents ■ vii
 Acknowledgements

The Autodesk Learning team wishes to thank everyone who participated in the
development of this project, with special acknowledgement to the authoring
contributions and subject matter expertise of Ron Myers and CrWare, LP.
CrWare, LP began publishing courseware for Autodesk® Inventor® in 2001. Since
that time, the company has grown to include full-time curriculum developers,
subject matter experts, technical writers, and graphics specialists, each with a
unique set of industry experiences and talents that enables CrWare to create
content that is both accurate and relevant to meeting the learning needs of its
readers and customers.
The company's Founder and General Partner, Ron Myers, has been using
Autodesk® products since 1989. During that time, Ron Myers worked in all
disciplines of drafting and design, until 1996 when he began a career as an
Applications Engineer, Instructor, and Author. Ron Myers has been creating
courseware and other training material for Autodesk since 1996 and has written
and created training material for AutoCAD®, Autodesk Inventor, AutoCAD®
Mechanical, Mechanical Desktop®, and Autodesk® Impression.

viii ■ Acknowledgements
Introduction
Welcome to the AutoCAD 2010: Learning AutoCAD 3D training guide for use in Authorized Training
Centers (ATC®) locations, corporate training settings, and other classroom settings.

Although this guide is designed for instructor-led courses, you can also use it for self-paced learning.
The guide encourages self-learning through the use of the AutoCAD® Help system.

This introduction covers the following topics:

■ Course objectives
■ Prerequisites
■ Using this guide
■ CD contents
■ Completing the exercises
■ Installing the exercise data files from the CD
■ Imperial and metric datasets
■ Notes, tips, and warnings
■ Feedback
This guide is complementary to the software documentation. For detailed explanations of features and
functionality, refer to the Help in the software.

Course Objectives
After completing this guide, you will be able to:
■ Work within the 3D environment and represent a design by creating solid or mesh primitives.
Begin working with free-form organic meshes.
■ Create advanced solid, surface or mesh models from 2D profiles. Create composite models using
booleans, and extract information from those models.
■ Complete a solid model design by adding the necessary features to detail, duplicate, and position
3D models. Also to convert 2D objects to 3D objects. Use subdivision mesh editing to manipulate
and mold free-form meshes.
■ Document a 3D design by creating 2D drawings for production and visualization.
■ Communicate your design ideas using visual styles, lights, model walk-through tools, and
renderings.
■ Output your 3D model to a 3D printer.

ix
 Prerequisites
This guide is designed for the AutoCAD user who possesses an introductory-level knowledge of
AutoCAD or has been using AutoCAD for some time and understands the basics of working with
AutoCAD. Terminology and instructions assume this level of experience when concepts, procedures,
and exercises are discussed.
It is recommended that you have a working knowledge of:
■ Microsoft Windows® or Microsoft® Windows® Vista.
■ The current or a previous release of AutoCAD.
■ How to create and edit basic AutoCAD objects.
■ How to create and work with layouts.

Using This Courseware

The lessons are independent of each other. However, it is recommended that you complete
these lessons in the order that they are presented unless you are familiar with the concepts and
functionality described in those lessons.
Each chapter contains:
■ Lessons
Usually two or more lessons in each chapter.
■ Exercises
Practical, real-world examples for you to practice using the functionality you have just learned.
Each exercise contains step-by-step procedures and graphics to help you complete the exercise
successfully.

CD Contents
The CD attached to the back cover of this book contains all the data and drawings you need to
complete the exercises in this guide.

Completing the Exercises

You can complete the exercises by using the book or working on screen.
■ Use the book
Follow the step-by-step exercises in the book.
■ On screen
Click the Learning AutoCAD 3D icon installed on your desktop from the CD, and follow the step-by-
step exercises on screen. The onscreen exercises are the same as those in the book. The onscreen
version has the advantage that you can concentrate on the screen without having to glance down
at your book. The onscreen content also has several supplemental exercises available for use that
are not included in the book.

x ■ Introduction
After launching the onscreen exercises, you might need to alter the size of your application
window to align both windows.

Supplemental Exercises
The exercises which are installed to your desktop also contain a section entitled Supplemental
Exercises. These additional exercises at the end are designed to enhance your 3D skills in working with
3D objects and designs.

Installing the Exercise Data Files from the CD

To install the data files for the exercises:
1. Insert the courseware CD.
2. When the setup wizard begins, follow the instructions on screen to install the data.
3. If the wizard does not start automatically, browse to the root directory of the CD and double-click
setup.exe.
Unless you specify a different folder, the exercise files are installed in the following folder:

C:\Autodesk Learning\AutoCAD 2010\Learning AutoCAD 3D

After you install the data from the CD, this folder contains all the files necessary to complete each
exercise in this guide. You can also use the Autodesk Learning shortcut on your desktop to quickly
access the datasets for each ATC guide on your computer.

Introduction ■ xi
 Imperial and Metric Datasets
In exercises that specify units of measurement, alternative files are provided as shown in the following
example:
■ Open i_stair_settings.dwg (imperial) or m_stair_settings.dwg (metric).
In the exercise steps, the imperial value is followed by the metric value in parentheses as shown in the
following example:
■ For Length, enter 13'2" (4038 mm).
For exercises with no specific units of measurement, files are provided as shown in the following
example:
■ Open c_stair_settings.dwg (common).
In the exercise steps, the unitless value is specified as shown in the following example:
■ For Length, enter 400.
Some exercise may be provided with only a metric or imperial version. In those instances, you will be
asked to enter the appropriate value, as described previously.

Notes, Tips, and Warnings

Throughout this guide, notes, tips, and warnings are called out for special attention.
Notes contain guidelines, constraints, and other explanatory information.

Tips provide information to enhance your productivity.

Warnings provide information about actions that might result in the loss of data, system
failures, or other serious consequences.

Feedback
We always welcome feedback on Autodesk Official Training Guides. After completing this course, if
you have suggestions for improvements or if you want to report an error in the book or on the CD,
please send your comments to [email protected].

xii ■ Introduction
 Chapter

Introduction to 3D Modeling
The lessons covered in this chapter familiarize you with 3D modeling and how you view your designs
as you create them. You also learn the coordinate system and how you can use it to help you create 3D
designs.

Creating 3D models of your designs helps you to refine your ideas because you can visualize the
relationship of design components. This same visualization of 3D models also helps you communicate
the design idea to others. Because of the need to communicate ideas to others, every design discipline
can use 3D modeling at some point in the design process.

The lessons in this chapter teach you the methods, commands, and options for creating 3D models.
Methods covered include creating your designs with predefined shapes of different types, both solid
and mesh.

Objectives
After completing this chapter, you will be able to:
■ Explain the differences in 3D model types and how you view and display the models.
■ Create solid models from primitive shapes.
■ Create mesh models from primitive shapes.
■ Describe the 3D coordinate system, and how to define a custom coordinate system, control the
display of the coordinate system icon, and how to acquire a point in 3D space.
■ Define and describe the design process.

1
Lesson: Introduction to 3D

This lesson introduces you to 3D modeling. It starts with an explanation of the types of 3D models you
can create and how you can change your viewing direction in 3D space to look at your designs from
different directions. It then explains a few of the commands that you can use to change your viewing
direction, change the representation display of your models, and change the number of viewports and
associated displays within the drawing area.
The reason you create a design is to validate a concept and to communicate it to others. By creating
your design as a 3D model, you are able to do both of these with a lot more clarity.
In the following illustration, the drawing window is split into four equal viewports so the building and
site can be viewed in different directions. Each of the views is also set up to display the geometry
slightly differently based on the designer's needs.

Objectives
After completing this lesson, you will be able to:
■ Describe the types of 3D models and their benefits.
■ Explain the different ways you can view 3D models.
■ Change the display of the models by changing the active visual style.
■ Describe the ViewCube and its options.
■ Activate and use the ViewCube to navigate in a 3D environment.
■ View your model using Constrained Orbit.
■ Set and adjust model space viewports.

2 ■ Chapter 1: Introduction to 3D Modeling

Types of 3D Models
In this section of the lesson, you learn about the different types of 3D models you can create to
represent your designs. While learning the differences between the types of models you can create,
you will also learn the benefits of 3D modeling. With the ability to identify the types of models and
their benefits, you will be able to select the proper model type to create based on your criteria and
design requirements.
In the following illustration, the same floor plan is shown as a wireframe, a surface, and a solid model.

Definition of 3D Model Types

A primary benefit of 3D is the ability to visualize the design. By creating a 3D model, you can actually
see how the different aspects come together. You can then use the 3D model to do a more effective
job of communicating your design to others, not just those with the ability to read 2D blueprints. As
well as seeing the design better, you can extract measurements from your design. Depending on the
model type, those measurements can include distance, area, volume, and other mass properties.
With solid models you can also check to see if other solid models, or components, interfere with each
other. Once you have the model created, you can also generate 2D drawing views for documentation
purposes.
The extent of the benefits of a 3D model depends on which of the four model types you created.
Those four modeling types are as follows:
■ Wireframe Model - The most basic form for 3D model representation. You draw lines, arcs, and
circles in 3D space to represent the edges of your design. Though this model type can be useful, it
is often difficult to work with when creating a complex model with numerous edges. When viewing
a wireframe model, you see all of the edges of the model regardless of which side of the model
you are viewing from.
■ Mesh Model - Mesh models approximate a smooth surface using a mesh of faces called
subdivisions. The more subdivisions there are, the smoother the surface appears. Tessellation lines
represent the visual boundaries of each subdivision. Each subdivision has one face, no less than
three and no more than four edges, and a corresponding number of vertices. Each subdivision
face, edge, or vertex can be edited independently by moving, rotating, or scaling it with the
3D-Gizmo. The black lines on the model are called tessellation lines and visually represent the
boundaries of each subdivision.
■ Surface Model - A higher level of model representation, because it not only defines the edges of
the design as in a wireframe model, but it also defines the outer skin or surface for the model.
Surface models can add clarity to the display of a design by hiding all geometry that resides behind
a surface. While a surface model can return values for its surface area, it cannot return mass
property information because a surface has no true thickness, just a length and a width.
■ Solid Model - This model type defines the inner volume, outer surface, and edges of your design
all within a single object. Solid models represent all aspects of a design, and thus are the most
complete representational type of 3D model. You can create solid models from predefined shapes
or from complex outlines. You can combine solid models together to create even more complex
models.

Lesson: Introduction to 3D ■ 3
 Example of 3D Model Types
While you can create your designs as wireframe models, you will find solids, and sometimes surface
models, more useful to design with. If you need to model how the contour of land changes in an area,
creating a surface model from contour lines at the various elevations is the most productive model
creation method. You may also find creating surface models more practical if you are creating very
thin-walled products like plastic bottles or the clear plastic packaging formed to hold merchandise. For
all other designs such as buildings, bridges, desks, and mechanical parts, solid models offer you the
most versatility in creating, editing, and displaying your design.
In the following image, a 3D model of a new idea for material handling equipment was created to
better discuss the design's merits and issues.

Navigating and Displaying 3D Models

As you create 3D models, it is important to view the model from different directions. Your ability to
effectively change the display of your model and the direction from which you view it has a direct
impact on your ability to efficiently create and complete your design. In this next section, you learn
about the different ways you can change the direction from which you view your model, and other
ways you can have it displayed.
In the following illustration, the same design is being viewed from three different directions. With
each view, you are able to get a better understanding of the design.

4 ■ Chapter 1: Introduction to 3D Modeling

Navigation and Display Defined
When working in 3D, you typically need to look at different sides of your design. To view the different
sides, you do not reorient the model in 3D space. Instead, you change your viewing position in 3D
space by selecting one of the predefined viewing directions on the ViewCube or by orbiting the model
using other navigation tools, such as Constrained Orbit, Free Orbit, or the Steering Wheel.

Preset Viewing Directions

The preset viewing directions include top, bottom, front, back, left, right, and four additional isometric
views. These preset viewing directions are based on the default alignment of the X, Y, and Z coordinate
system. For example, the top view looks straight down the Z axis at the X, Y plane, while the front
view looks in the direction of the Y axis at the X, Z plane. Use the ViewCube to quickly change from
one viewing direction to another or to establish a start point from which you can orbit to the exact
required viewing direction.

Orbiting Your View

When orbiting your view, the pivot point is the center of a bounding box around the geometry. This
bounding box is a mathematical box that is just large enough to encompass either all of the geometry
in your drawing or just the geometry you select. You can use the ViewCube or Orbit command to
reorient your display by orbiting around the 3D model.

Display Types
As you add more detail to your modeled design, your ability to understand what you are looking at,
with respect to your model, depends more on how you display the model. There are three main ways
of displaying a surface, mesh, or solid model. You can have it display as a wireframe, where only the
edges are displayed, but you can see all the edges as if it were a wireframe model. You can have it
display in hidden mode, where all edges are displayed except the ones that cannot be seen based on
the current viewing direction. Or, you can display it in a shaded form, thereby only showing the visible
faces and edges of the model based on its current viewing direction. Each of these display modes have
slight variations that change the quality or characteristics of the model that is displayed. By selecting a
visual style, you activate one of these uniquely saved display modes to have your model display in that
fashion.

Lesson: Introduction to 3D ■ 5
 Example of Navigating and Displaying 3D Models
In the following illustration, the model showing a newly proposed material handling equipment cart
has been orbited in a way to help communicate the design. It is also being displayed in a conceptual
mode to give it the appearance of a hand-sketched design that has been colored in. This type of
display can then be used within a presentation to give it a different type of look and feel.

Changing the Model Display

When selecting a display mode for your 3D surface or solid model, you have five preset display modes
that you can select from. These preset display modes are referred to as visual styles. The five preset
display modes are:

Icon Option

2D Wireframe

3D Wireframe

3D Hidden

Conceptual

Realistic

6 ■ Chapter 1: Introduction to 3D Modeling

In the following illustration, the same model is being displayed in four different visual styles:
Wireframe, Hidden, Realistic, and Conceptual. The top left, Wireframe, is useful when you want
to view geometry through the model and the lower right, Conceptual, is useful when you want to
present an idea as one in progress.

Lesson: Introduction to 3D ■ 7
 Command Access
Visual Styles

Command Line: VSCURRENT, VS

Ribbon: Home Tab > View panel > 2D Wireframe, 3D Wireframe, 3D Hidden, Realistic, or
Conceptual

The following icons are associated with the menu and toolbars for the different visual styles.

Icon Option

2D Wireframe

3D Wireframe

3D Hidden

Conceptual

8 ■ Chapter 1: Introduction to 3D Modeling

 Icon Option

Realistic

Accessing Visual Styles on the Ribbon

To access the visual styles on the Visual Styles panel, click the down arrow to the right of the active
style name. The list of visual styles appears as preview images with text as shown in the following
illustration.

Switching to a Wireframe display can make the selection process quicker if you are
trying to select edges and corners that are on different sides of a model.

About the ViewCube

The ViewCube is an interactive navigation tool, an easy way to change your view orientation of a 3D
model. You can quickly change between standard or isometric views. The ViewCube is available when
your drawing is set to any 3D visual style, such as 3D Hidden, Conceptual, and Realistic visual styles.
The ViewCube will not appear when a 2D visual style is active, such as 2D Wireframe.
The benefit of using the ViewCube is that it helps you keep track of your orientation in the drawing
by displaying the current view orientation on the ViewCube tool. Understanding how the ViewCube
provides feedback to you and how to adjust the display options will help you to proficiently navigate
around views of a 3D model.

Description of ViewCube
The ViewCube is an interactive way to change the view in a 3D model. You can intuitively view any of
the standard or isometric views of your model from the ViewCube.
The ViewCube is displayed in one of two states: inactive and active. When you first select a 3D visual
style, the ViewCube is displayed as inactive in the top right corner of the drawing area by default.
When you move your cursor over the ViewCube, it becomes active with hot spots that highlight as you
pass your cursor over different parts of the cube. To switch views, you click on a hotspot to restore the
associated view. The ViewCube then aligns itself to show the new orientation.
You can also switch between views in your drawing using the compass ring at the base of the

Lesson: Introduction to 3D ■ 9
 ViewCube. The compass ring displays North based upon what has been defined for the drawing WCS.
Hence, when you click the N on the compass, the model view will switch to what has been defined as
the North view of the model.

Inactive ViewCube in top view Inactive ViewCube in an isometric view

In addition to the predefined viewpoints, you can click and drag the cursor on the cube to orbit the
model freely.

ViewCube Options
When the Viewcube is active, the following options are available:

Active ViewCube in top view Active ViewCube in an isometric view

Home: Activates the view that is set as the Home view. You can set the current view to the Home
view from the ViewCube shortcut menu.
Hotspot: Highlights when you move your cursor over edges, corners or sides. Click on the hotspot
to activate the corresponding view in the drawing.
Coordinate System: Specify the coordinate system (UCS or WCS). You can also create a new UCS
from this pull-down menu.
Compass: Displays the North, East, South, and West directions as defined in the drawing. You
can click and drag along the compass to rotate the view. You can turn the compass off in the
ViewCube settings.
Rotate: Rotates the current view 90° in the selected direction: counterclockwise or clockwise.
This option is not available in isometric views.
Current View: Displays in a darker gray color to indicate this is the current view in the drawing.

10 ■ Chapter 1: Introduction to 3D Modeling

 Example of ViewCube
The following images of a 3D house model show the changes as you select specific hot spots on the
ViewCube.

Using the ViewCube

The ViewCube must first be enabled, and the view must be in a 3D visual style for the ViewCube to
display in the drawing. You can then control the display and behavior of the ViewCube using the View
Cube Settings dialog box, which you access by right-clicking the ViewCube. You can also specify the
default location, size, and opacity of the cube.

Command Access
ViewCube Display

Command Line: CUBE; NAVVCUBE

Ribbon: View tab > Views panel > ViewCube

Lesson: Introduction to 3D ■ 11
 ViewCube Display

ViewCube Shortcut Menu

You can right-click anywhere on the ViewCube to use the following options:

Option Description

Home Activates the view that is set as the home view.

Parallel Displays the current view using parallel projection. This type of view shows
a 3D view as if a hypothetical camera point and target point are in the same
position. This will usually show a flat view.

Perspective Displays the current view using perspective projection. This type of view
shows a 3D view as if a hypothetical camera point and a target point have a
distance between them. This creates a more realistic view.

Perspective with Automatically displays the current view using perspective or parallel projection
Ortho Faces depending on the view. When the current view is an isometric view, the view
is displayed using perspective projection. When the current view is a face view,
such as top, left, or front, the view is displayed using parallel projection.

12 ■ Chapter 1: Introduction to 3D Modeling

 Option Description

Set Current View Sets the current view as the Home view.
as Home

ViewCube Activates the ViewCube settings dialog box where you can control the visibility
Settings and display properties of the ViewCube.

Help Activates AutoCAD® Help for ViewCube.

ViewCube Settings
In the ViewCube Settings dialog box, the preview thumbnail displays a real-time preview of the
ViewCube as you specify the following settings.

Lesson: Introduction to 3D ■ 13
 Option Description

On-screen Specifies which corner of the viewport the ViewCube should be displayed in.
Position The ViewCube can be positioned in any of the four corners of the drawing.

ViewCube Size Controls the display size of the ViewCube.

Inactive Opacity Determines the opacity level of the ViewCube when it is inactive.

Show UCS Menu Controls the display of the UCS drop-down menu below the ViewCube.

Snap to Closest Specifies if the current view is adjusted to the closest preset view when
View changing the view by dragging the ViewCube.

Zoom to Extents Specifies if the model is forced to fit the current viewport after a view change.
After View
Change

Use View Controls the use of smooth view transitions when switching between views.
Transitions When
Switching Views

Orient ViewCube Orients the ViewCube based on the current UCS or WCS of the model.
to Current UCS

Keep Scene Specifies whether the viewpoint of the model can be turned upside down or
Upright not.

Show Compass Controls whether the compass is displayed below the ViewCube. The
Below the North direction indicated on the compass is the value defined by the
ViewCube NORTHDIRECTION system variable.

Restore Defaults Applies the default settings for the ViewCube.

Procedure: Activating the ViewCube

The following steps give an overview of how to activate the ViewCube.
1. Activate the 3D Modeling workspace.
2. Select a 3D visual style.
3. On the ribbon, click View tab > View panel > ViewCube to turn it on.

Procedure: Using the ViewCube to Change Views

The following steps give an overview of how to navigate a 3D workspace using the ViewCube.
1. To change to a specific view, on the ViewCube, select the desired hotspot.
2. To rotate the view, on the ViewCube, click and drag in the desired direction.
3. To activate the home view, click the Home icon above the ViewCube.

14 ■ Chapter 1: Introduction to 3D Modeling

 Procedure: Changing ViewCube Settings
The following steps give an overview of how to change ViewCube settings.
1. Right-click on the ViewCube. Click ViewCube Settings.
2. Specify the desired settings.
3. Click OK.
4. To set the current view as the home view, navigate to the desired view.
5. Right-click and click Set Current View as Home.

Orbiting Your 3D Model

Orbiting your viewing point around your model allows you to see different aspects and details of your
design. With the Constrained Orbit command, you can freely rotate your view around your model.
If no geometry is selected at the start of the command, then the command pivots the view about
the center point of a bounding box of all the geometry. If you select geometry before executing the
command, then the view orbits around the center of the selected geometry.
Not only can you use constrained orbit to view your model, you can also use it while you are in
another command. This means you can start creating or modifying geometry looking at the model in
one direction, orbit to another relevant side, and complete the command.
In the following illustration, the creation of another model was initiated while looking at the design
from one direction. The view was then orbited while still in the process of creating the new model
so another point could be snapped to. The design after the creation of this additional model is then
shown on the far right.

Lesson: Introduction to 3D ■ 15
 Command Access
Constrained Orbit

Command Line: 3DORBIT

Ribbon: View tab > Navigate panel > Constrained Orbit

Menu Bar: View > Orbit > Constrained Orbit

Toolbar: 3D Navigation
Toolbar: Orbit
Keyboard: Hold down SHIFT + Mouse scroll button to orbit current object

For Constrained Orbit to orbit around a selected object, the option Enable Orbit Auto
Target must be selected. So if you selected a model prior to starting the constrained
orbit, and your orbit does not orbit around the center of the model, then right-click
and select Enable Orbit Auto Target from the shortcut menu.

Procedure: Viewing Models in a Constrained Orbit

The following steps give an overview of viewing 3D models in a constrained orbit.
1. Start the Constrained Orbit command.

2. Change the view orientation by left-clicking in the drawing area and dragging. Release the cursor
to set the view direction.
3. Continue to rotate the view until you achieve the required orientation.
4. Exit the Constrained Orbit command by pressing ESC or right-clicking and selecting exit.

16 ■ Chapter 1: Introduction to 3D Modeling

 Procedure: Using a Constrained Orbit About a Specific Object
The following steps give an overview of viewing 3D models in a constrained orbit based on the
selection of specific objects.
1. Select one or more objects.

2. Start the Constrained Orbit command.

3. Change the view orientation by left-clicking in the drawing area and dragging. Release the cursor
to set the view direction.
4. Continue to rotate the view until you achieve the required orientation.
5. If the orbit does not center on the bounding box of the objects selected, right-click and select
Enable Orbit Auto Target.
6. Exit the Constrained Orbit command by pressing ESC or right-clicking and selecting exit.

Setting Viewport Display

In this section of the lesson, you learn how to access the Viewports dialog box, the options for creating
and configuring multiple viewports, and the overall procedure to change viewport display. When
working in 3D, you can increase your productivity by changing the number of viewports displayed
within the drawing area. By creating the appropriate number of viewports in the right viewing
directions for the task at hand, you can view the model from multiple directions at the same time.
You can also start a command in one viewport, then click into another viewport and complete the
command.

Multiple Viewport Display

In the following illustration, the same drawing window is shown as a single viewport and then split
into three viewports. In the multiple viewport display on the right, notice how each viewport is set to
display a different direction of view. Also notice how the model is displayed in different visual styles in
each of the viewports. In this case, two of the viewports display the models using the Realistic visual
style and the other one uses 2D Wireframe.

Lesson: Introduction to 3D ■ 17
 Command Access
Viewports

Command Line: VIEWPORTS, VPORTS

Ribbon: View tab > Viewports panel > Named

Menu Bar: View > Viewports > New Viewports

Viewports Dialog Box

Following the typical workflow, you first display the Viewports dialog box, and then configure the
number of viewports to display, the view orientation, and the display style. You start the configuration
process by selecting an existing viewport configuration from the list. You then activate one of the
viewports and change its view direction and visual style.

If you make a number of changes, enter a name so that when you click OK, this viewport configuration
is added to the list of named viewports. To apply a saved viewport configuration, click the Named
Viewports tab, double-click a configuration name, and click OK.

18 ■ Chapter 1: Introduction to 3D Modeling

A list of viewport configurations you select from.
Use to preview the viewport configuration that will be applied after you click OK. Also use to
activate a viewport for further configuration by clicking within the rectangular area of that
viewport. The active viewport is shown with a square drawn just inside its borders.
Use to have the viewport configuration applied to the active viewport instead of the default
option of Display, which changes the entire drawing window.
Use to have the view direction in the viewports change to common viewing directions.
Use to select a different preset view for the active preview viewport.
Use to set the visual style for the active preview viewport.
Use if you have changed settings from the standard configuration. Entering a unique name and
clicking OK saves the viewport configuration as a named viewport.

Lesson: Introduction to 3D ■ 19
 Procedure: Changing Viewport Display
The following steps give an overview of setting the viewports display.
1. Start the Viewports command.

2. Configure the number of viewports to display.

3. Individually activate each viewport and change the view direction and visual style.
4. Name the viewport configuration.
5. Save the viewport configuration.

20 ■ Chapter 1: Introduction to 3D Modeling

Exercise: Use ViewCube to Navigate a 3D Environment
In this exercise you open a drawing that contains a 3. On the ribbon, click the Home tab > View panel,
3D model. You activate the 3D Modeling workspace, and select 3D Hidden from the Visual Styles list.
switch to a 3D visual style, and use the ViewCube
to view the 3D model from different angles in the
drawing.

4. On the ribbon, click View tab > Views panel and

make sure the Viewcube is on.

The inactive ViewCube appears in the upper-

right corner of the drawing.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Use ViewCube to Navigate a
3D Environment.

Use the ViewCube

1. Open c_viewcube.dwg.
2. On the status bar, click Workspace Switching.
Click 3D Modeling.

Lesson: Introduction to 3D ■ 21
5. Move the cursor over the ViewCube. 7. Right-click the ViewCube, and click Set Current
View as Home.

8. On the ViewCube, click Top.

6. On the ViewCube, click the southeast corner as

shown.

9. On the ViewCube, click the arrow as shown.

The model and ViewCube are rotated to the

southeast isometric view.
The view is rotated 90° in the counterclockwise
direction.

22 ■ Chapter 1: Introduction to 3D Modeling

10. On the ViewCube, click the W.

The left view is activated.

12. On the ViewCube, click the hot spot as shown.

The view displays directly in the cubicle.

11. On the ViewCube, click the arrow on the right

side of the cube as shown.

The front view is activated.

Lesson: Introduction to 3D ■ 23
13. Click the home icon.

The home view displays.

3. Clear Show Compass Below the ViewCube. Click

OK.
The larger, inactive ViewCube is displayed in the
top-left corner of the drawing screen without
the compass.

14. On the ViewCube, click and drag the S around 4. Close all files. Do not save.
the cube. Notice the rotation of the view.
15. On the ViewCube, click and drag the cube.
Move around the cube and notice the view is
orbited.

Change ViewCube Settings

1. Right-click on the ViewCube. Click ViewCube
Settings.
2. In the ViewCube Settings dialog box, under
Display, do the following:
■ Select Top Left from the On-screen Position
list.
■ Uncheck the Automatic box.
■ Move the ViewCube size slider to the Large
position.

24 ■ Chapter 1: Introduction to 3D Modeling

Exercise: Interact with 3D Models
In this exercise, you interact with different types of 2. View the models from different orientations, as
existing 3D models by changing their display and follows:
viewing the results of these display changes. ■ On the View tab, click Navigate panel >
Orbit.

The completed exercise

3. Left-click and hold, as follows:
■ Drag the cursor left and right.
Completing the Exercise ■ Drag the cursor up and down.
To complete the exercise, follow the 4. Orbit until the back of the pump housings are
visible.
steps in this book or onscreen in
the exercise. In the onscreen list of
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Interact with 3D Models.

1. Open M_Introduction-to-3D.dwg.

5. Press ESC to exit Constrained Orbit.

6. Change the visual style of the drawing, as
follows:
■ On the Home tab, View panel, select 3D
Hidden from the Visual Styles list.

Wireframe model
Surface model
Solid model

Lesson: Introduction to 3D ■ 25
7. On the Home tab, View panel, select 3D 12. Rotate the view until the front of the housings
Wireframe from the Visual Styles list. are displayed. Press ESC to exit the constrained
orbit.

8. On the Home tab, View panel, select 13. Close all files. Do not save.
Conceptual from the Visual Styles list.

9. On the Home tab, View panel, select Realistic

from the Visual Styles list.

10. Use the Constrained Orbit command to rotate

the view with regards to specific objects, as
follows:
■ Window-select the solid and surface
models.
11. On the View tab, click Navigate panel > Orbit.

Notice that the wireframe model is not

displayed during the orbit.

26 ■ Chapter 1: Introduction to 3D Modeling

Lesson: Creating Solid Primitives

This lesson describes how to create 3D designs by creating solid model primitives.
3D solid modeling is used across multiple design disciplines. Using solid model primitives is a key to
creating your designs. You can use solid model primitives individually or in conjunction with other
solid models to create complex designs. 3D solid models help improve visualization, which improves
communication and development of the design. Additionally, 3D solid modeling helps to reduce errors
and decrease the time required to complete a project.
In the following image, solid primitives are used to define space in a floor plan. A combination of
cylinders, boxes, pyramids, and a torus were used to quickly create the solids.

Objectives
After completing this lesson, you will be able to:
■ Define and identify solid primitives and their importance in creating 3D designs.
■ Use and create solid box primitives.
■ Use and create solid sphere primitives.
■ Use and create solid cylinder primitives.
■ Use and create solid cone primitives.
■ Use and create solid wedge primitives.
■ Use and create solid torus primitives.
■ Use and create solid pyramid primitives.

Lesson: Creating Solid Primitives ■ 27

 About Solid Primitives
Using solid primitives provides you with a method for creating a range of designs from quick and
basic, to complex and detailed. Utilizing solid primitives can help you finish designs quicker by
enabling you to easily define and layout your design.
In the following image, the solid models help you quickly visualize the conceptual layout for a project
to design tooling to create stamped parts.

Definition of Solid Model Primitives

Primitive solid models are predefined geometric shapes provided to you. You have seven basic
primitive solids you can design with: a box, sphere, cylinder, cone, wedge, torus, and pyramid.

To create these shapes, you only need to supply a creation location and actual size. Once you have
created a solid primitive, its information, such as volume and mass properties, is available to you.
When you have created more than one solid primitive, you can create a more complex model by
combining primitives into a single model. You can also subtract the volume of one model from
another.

For many design needs, you can create and position solid primitives together much as you may have
done with wooden building blocks when you were a child.

28 ■ Chapter 1: Introduction to 3D Modeling

 Example: Solid Primitives Used for Fixtures and Furniture
You can use solid primitives to represent all types of objects including mechanical parts, machines,
buildings, fixtures, and furniture. In the following image, a basic floor lamp has been created using
only primitive solids. This model can now be used in a room space or layout plan to help visualize
placement and remaining available space.

Creating a Solid Box

You use the Box command to create rectangular or cube-shaped solid primitives. Since a box is a basic
building block object, it is an important shape to work with. To create boxes efficiently, you can access
the Box command and use the appropriate creation options based on your design criteria.
The following image displays two solid primitives, which are partially transparent, in order to see initial
creation through a starting plane, or creation point.

Lesson: Creating Solid Primitives ■ 29

 Command Access
Box

Command Line: BOX

Ribbon: Home tab > Modeling panel > Box

Menu Bar: Draw > Modeling > Box

Toolbar: Modeling

Options for Creating a Solid Box

Following the command prompts and a typical workflow, you begin defining the base rectangular
shape by specifying two opposite corners, just like drawing a 2D rectangle. With the base shape
defined, you then specify the height.

Instead of creating a box based on its default prompts and options, you can select different
suboptions to create the box based on other design criteria.

Option Description

Center Use to define the location of the solid primitive's geometric center prior to
specifying its size.

Cube Use to create a box with all of its edges equal to a single specified value
instead of specifying three separate values for length, width, and height. You
can also place the cube with its edges not parallel to the X and Y axes of the
current UCS.

Length Use this option to create the base rectangular shape so its edges are not
parallel to the X and Y axes of the current UCS.

2Point Use this option to define the height of the box by selecting 2 points.

30 ■ Chapter 1: Introduction to 3D Modeling

 Procedure: Creating a 3D Box
The following steps give an overview of creating a solid box.
1. Start the Box command.

2. Specify the base rectangular shape's start position, orientation, and size. Do this by specifying
one corner and then the other corner, or the center point and corner.
3. Specify the height.

Creating a Solid Sphere

You use the Sphere command to create a solid circular primitive. A ball bearing is an example of a
sphere.
In the following image, the solid primitive is being displayed partially transparent so you can see its
initial creation starting plane.

Command Access
Sphere

Command Line: SPHERE

Ribbon: Home tab > Modeling panel > Sphere

Menu Bar: Draw > Modeling > Sphere

Toolbar: Modeling

Lesson: Creating Solid Primitives ■ 31

 Options for Creating a Solid Sphere
When creating a solid sphere, you define the position and size of the circular cross section through
its center. Creating this circular cross section is very similar to creating a 2D circle. When you start the
command, you are prompted to specify the center of the sphere, then size it with a radius or diameter
value.

Instead of creating a sphere based on its default prompts and options, you can select different
suboptions to create the sphere based on other design criteria.

Option Description

3P Use to define the size of the circular cross section by specifying three points
that reside in the same coordinate system plane or are located anywhere in
space.

2P Use to define the size of the circular cross section by specifying two points in
space. When you specify these points, you supply the location and diameter of
the sphere, even without knowing the location of its center point.

Ttr Use when you need the circular cross section to be tangent to two different
objects and a specific radius.

Procedure: Creating a 3D Sphere

The following steps give an overview of creating a spherical solid.
1. Start the Sphere command.
2. Specify the center point of the sphere.
3. Specify the radius or diameter.

Creating a Solid Cylinder

You use the Cylinder command to create a cylindrical solid primitive with a circular or elliptical cross
section.
The following image shows a cylindrical solid primitive which is partially transparent in order to see its
initial creation starting plane.

32 ■ Chapter 1: Introduction to 3D Modeling

Command Access
Cylinder

Command Line: CYLINDER

Ribbon: Home tab > Modeling panel > Cylinder

Menu Bar: Draw > Modeling > Cylinder

Toolbar: Modeling

Options for Creating Solid Cylinder Primitives

Through following the command prompts and a typical workflow, you begin defining the base circular
shape by specifying the center point and radius or diameter, just like drawing a 2D circle. With the base
shape defined, you then specify the height. The default direction of height is perpendicular to the base
circular shape.

Instead of creating a cylinder based on its default prompts and options, you can select different
suboptions to create the cylinder based on other design criteria.

Option Description

3P Use to define the base circular shape by having its circular edge pass through
three points in space. Especially useful when positioning and sizing a cylinder
based on existing 3D geometry.

2P Use to define the diameter of the circular base using two opposite points on
its outer edge. Especially useful when you do not know the location of the
center point or you are positioning and sizing a cylinder based on existing 3D
geometry.

Ttr Use when you need the circular base to be tangent to two different edges and
a specific radius.

Lesson: Creating Solid Primitives ■ 33

 Option Description

Elliptical Use when you want the base shape of the cylinder to be an ellipse instead of a
circle.

Axis Endpoint Use to specify the top center point of the cylinder. This sets the cylinder height
and reorients the cylinder so its center axis extends from its base center
point to the selected axis endpoint, in effect, rotating the cylinder to this new
alignment.

Procedure: Creating a 3D Cylinder

The following steps give an overview of creating a cylindrical solid.
1. Start the Cylinder command.
2. Specify the base circular shape's start position, orientation, and size. Do this by specifying the
center point and then the radius or diameter. Or select one of the suboptions and respond to its
requirements.
3. Specify the height or change its orientation using Axis Endpoint.

Creating a Solid Cone

You use the Cone command to create a triangular shaped primitive with curved sides that transitions
the shape from the base to the top. The default base shape is circular but you can also create an
elliptical base. The cone then transitions from its base size to a point at the top, or to a size smaller or
larger than its base.
The following image shows cone shaped solid primitives.

Command Access
Cone

Command Line: CONE

Ribbon: Home tab > Modeling panel > Cone

34 ■ Chapter 1: Introduction to 3D Modeling

 Cone

Menu Bar: Draw > Modeling > Cone

Toolbar: Modeling

Options for Creating Solid Cones

Through following the command prompts and a typical workflow, you begin defining the base circular
shape by specifying the center point and radius or diameter, just like drawing a 2D circle. With the base
shape defined, you then specify the height. The default direction of height is perpendicular to the base
circular shape.

Instead of creating a cone based on its default prompts and options, you can select different
suboptions to create the cone, based on other design criteria. Except for the Top Radius option, the
suboptions are identical to the options for creating the cylinder primitive.

Option Description

3P Use to define the base circular shape by having its circular edge pass through
three points in space. Especially useful when positioning and sizing a cone
based on existing 3D geometry.

2P Use to define the diameter of the circular base using two opposite points on its
outer edge. Especially useful when you do not know the location of the center
point or you are positioning and sizing a cone based on existing 3D geometry.

Ttr Use when you need the circular base to be tangent to two different edges and
a specific radius.

Elliptical Use when you want the base shape of the cone to be an ellipse instead of a
circle.

2Point Use this option to define the height of the cone between two specified points.

Lesson: Creating Solid Primitives ■ 35

 Option Description

Axis Endpoint Use to specify the top center point of the cone. This sets the cone height and
reorients the cone so its center axis extends from its base center point to the
selected axis endpoint, in effect, rotating the cone to this new alignment.

Top Radius Use when you want a cone shape with a flat top instead of one that comes to
a point. With a smaller radius value than the base, your cone will taper in as it
transitions from the base to the top. With a larger value, you create a cone that
tapers out from the base to the top.

Procedure: Creating a 3D Cone

The following steps give an overview of creating a conical solid.
1. Start the Cone command.
2. Specify the base circular shape's start position, orientation, and size. Do this by specifying the
center point and then the radius or diameter. Or select one of the suboptions and respond to its
requirements.
3. Specify the height to create a 3D cone with a point, or select the Top Radius option.
4. If you selected the Top Radius option, specify the value for the top radius.
5. Specify the height to the flat top of the cone.

Creating a Solid Wedge

You use the Wedge command to create a solid triangular primitive with three rectangular faces. When
you create a wedge, you end up with a shape that appears to be half of a box primitive that is split
diagonally from one edge to another. The high side of the wedge is the side opposite the second point
specified when creating the base rectangular shape.
In the following image, the solid primitive is being displayed partially transparent so you can see its
initial creation starting plane. The base rectangular shape was created from point 1 to point 2.

36 ■ Chapter 1: Introduction to 3D Modeling

Command Access
Wedge

Command Line: WEDGE

Ribbon: Home tab > Modeling panel > Wedge

<
Menu Bar: Draw > Modeling > Wedge
Toolbar: Modeling

Options for Creating Solid Wedge

The workflow and options for creating a wedge are the same as for creating a box primitive. Following
the command prompts and a typical workflow, you begin defining the base rectangular shape by
specifying two opposite corners, just like drawing a 2D rectangle. With the base shape defined, you
then specify the height.

Instead of creating a wedge based on its default prompts and options, you can select different
suboptions to create the box based on other design criteria.

Option Description

Center Use this option to define the location of the solid primitive's geometric center
prior to specifying its size.

Cube Use this option to create a wedge with all of its edges equal to a single
specified value instead of specifying three separate values for length, width,
and height. You can also place the cube with its edges not parallel to the X and
Y axes of the current UCS.

Length Use this option to create the base rectangular shape so its edges are not
parallel to the X and Y axes of the current UCS.

2Point Use this option to set the height of the wedge by picking two points.

Procedure: Creating a 3D Wedge

The following steps give an overview of creating a solid wedge.
1. Start the Wedge command.

Lesson: Creating Solid Primitives ■ 37

 2. Specify the start position (1), orientation, and size (2) of the rectangular base. Specify one corner
and then the other corner, or specify the center point and a corner.
3. Specify the height.

Creating a Solid Torus

You use the Torus command to create a circular tube primitive with its final shape resembling a
doughnut or bicycle inner tube. You create a torus by defining the size and position of two circular
shapes.
In the following image, the solid primitive on the left is shown partially transparent so you can see a
representation of the defining sizes and planes for this primitive. The actual torus will appear like the
image on the right.

Command Access
Torus

Command Line: TORUS

Ribbon: Home tab > Modeling panel > Torus

Menu Bar: Draw > Modeling > Torus

Toolbar: Modeling

Options for Creating Solid Torus Primitives

It is a two-step process to create a solid torus. First, define the radial size by specifying its center point,
then its radius or diameter. Second, define the size of the solid tube material by specifying its radius
or diameter. The radial size of the torus is measured from the center point of the torus to the center
point of the solid tube.

38 ■ Chapter 1: Introduction to 3D Modeling

 Instead of defining the size of a torus by its center point and radius or diameter, you can also define
its size and location in 3D space by using other options: Three Points, Two Points, or Tangent to Two
Objects and a Radius.

Option Description

3P Use to define the center of the torus by having its circular center pass through
three points in space. Especially useful when positioning and sizing a torus
based on existing 3D geometry.

2P Use to define the diameter of the torus using two opposite points on its
circular center. Especially useful when you do not know the location of the
center point or you are positioning and sizing a torus based on existing 3D
geometry.

Ttr Use when you need the tubular shape to be tangent to two different edges
and a specific radius.

radius Use to define the tubular radius by picking a point in space or entering a
specified value.

2Point Use to define the tubular shape by picking two points to define the tubular
diameter.

Diameter Use to define the tubular diamter by picking two points in space or entering a
specified value.

Procedure: Creating a 3D Torus Primitive

The following steps give an overview of creating a solid torus primitive.
1. Start the Torus command.
2. Specify the start position, orientation, and size of the torus. Do this by specifying the center
point and then the radius or diameter. Or select one of the suboptions and respond to its
requirements.
3. Specify the radius or diameter for the solid part of the torus.

Creating a Solid Pyramid

You use the Pyramid command to create a primitive that has a polygonal base with flat sides that
transition in shape from the base to the top. The pyramid can transition from its base shape to a single
point or to a shape smaller or larger than its base. By default, the polygonal base has four sides, but
you can change that number based on your requirements.
In the following image, the two solid primitives on the left are being displayed partially transparent so
you can see their initial creation starting plane. The two solid primitives on the right are examples of
pyramids with more sides than the default value and different top conditions.

Lesson: Creating Solid Primitives ■ 39

 Command Access
Pyramid

Command Line: PYRAMID

Ribbon: Home tab > Modeling panel > Pyramid

Menu Bar: Draw > Modeling > Pyramid

Toolbar: Modeling

Options for Creating Solid Pyramid Primitives

The workflow and options for creating a pyramid is done by first specifying the center point and then
a point on the polygon, much like drawing a 2D polygon. With the base shape defined, you then
specify the height. The default direction of height is perpendicular to the base circular shape.

Instead of creating a pyramid based on its default prompts and options, you can select different
suboptions to create the pyramid based on other design criteria.

Option Description

Edge Use this option to specify the length of a flat segment on the polygon base.
When clicking the points to define the size of a segment, you also set the
position and orientation of the base polygonal shape.

Sides Use this option to change the shape of the pyramid by changing the number of
sides from the default of 4 to any value greater than 2 and less than 33.

40 ■ Chapter 1: Introduction to 3D Modeling

 Option Description

Circumscribed / Use this option to change which outer point you define when specifying
Inscribed the size of the base polygonal shape. Use Circumscribed to size the polygon
from the center point to the midpoint of a flat segment on the polygon.
Use Inscribed to size the polygon from the center point to the endpoint of a
polygon segment.

Axis Endpoint Use this option to specify the top center point of the pyramid. This sets the
pyramid height and reorients the pyramid so its center axis extends from its
base center point to the selected axis endpoint, in effect, rotating the pyramid
to the new alignment.

Top Radius Use this option when you want a pyramid shape with a flat top instead of one
that comes to a point. With a smaller size value than the base, you create a
pyramid that tapers in as it transitions from the base to the top. With a larger
value, you create a pyramid that tapers out from the base to the top.

To change the number of sides or specify the edge length of a pyramid, select the
corresponding option prior to specifying the center point.

You can use the Pyramid command to create objects like hexagon bar stock by
specifying the top radius size to be the same as the base size.

Procedure: Creating a 3D Pyramid

The following steps give an overview of creating a solid polygonal pyramid.
1. Start the Pyramid command.
2. Change the number of sides for the polygon base if the default value is different than your
current requirements.
3. Specify the base polygonal shape's start position, orientation, and size. Do this by specifying
the center point and then the radius to a point on the polygon shape that is circumscribed or
inscribed. Or select the Edge suboption and specify the endpoints of one edge.
4. Specify the height to create a 3D pyramid where the sides converge to a point, or select the
option Top Radius.
5. If you selected the option Top Radius, specify the radius value for the top.
6. Specify the height to the flat top of the pyramid.

Lesson: Creating Solid Primitives ■ 41

Exercise: Create Solid Primitives
In this exercise, you create 3D solid primitives to 5. To create the bed:
visualize the layout of a room. ■ When prompted to specify the first corner,
click the left corner of the bed (1).
■ When prompted to specify the other
corner, click the opposite corner of
the bed (2).
■ Enter 24 for the height.

The completed exercise

Completing the Exercise 6. Make the Lamp layer current.

To complete the exercise, follow the For ease of selection in subsequent steps, on
7.
steps in this book or in the onscreen the ribbon, click the Home tab > View panel >
exercise. In the onscreen list of 3D Wireframe.
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Create Solid Primitives.

1. Open C_Primitive-Solids.dwg.

8. On the Home tab, click Modeling panel >

2. Make sure the 3D Modeling workspace is Cylinder.
selected.
3. Make the Bed layer current.
4. On the ribbon, click Home tab > Modeling
panel > Box.

42 ■ Chapter 1: Introduction to 3D Modeling

9. To create a cylinder: 12. On the Home tab, click View panel > Realistic.
■ When prompted to specify the center point
of the base, use the Center object snap and
select the center of the circle (1).
■ When prompted to specify a base radius,
use the Quadrant object snap and select a
quadrant of the large circle (2).
■ Enter 3 for height.

13. On the Home tab, click Modeling panel >

Pyramid.
14. To create the lamp shade:
■ When prompted to specify the center point
of the base, enter S for sides.
■ When prompted for the number of sides,
10. Start the Cylinder command. enter 12.
11. To create the lamp pole: ■ When prompted to specify the center point
■ When prompted to specify the center point of the base, use the Center object snap and
of the base, use the Center object snap and select the center of the cylinder.
select the center of the circle (1). ■ Enter 12 when prompted to specify a base
■ When prompted to specify a base radius, radius.
use the Quadrant object snap and select a ■ Enter T, for top radius, when prompted to
quadrant of the small circle (2). specify height.
■ Enter 60 for height. ■ Enter 8 for the top radius.
■ Enter 12 for height.

15. Make the Light layer current.

16. On the Home tab, click Modeling panel > Torus.
The torus represents an overhead light.

Lesson: Creating Solid Primitives ■ 43

17. To define the torus:
■ When prompted to specify a center point,
enter 106,96,90.
■ Enter 9 when prompted for a radius.
■ Enter 1.5 when prompted for the tube
radius.

18. On your own, complete the room by adding

solids for the hutch, desk, and other lamp on
the appropriate layers.

19. Close all files. Do not save.

44 ■ Chapter 1: Introduction to 3D Modeling

Lesson: Mesh Primitives

Mesh modeling is a powerful digital prototyping process that enables you to create free flowing
organic shapes in AutoCAD. You can create a free-form mesh model and convert it to a solid model
without the restriction of solid modeling primitives.
Mesh modeling is far more versatile than solid modeling when creating organic free flowing shapes.
The ability to seamlessy transition between mesh modeling, surface modeling, and solid modeling
provides you with many design and manufacturing options. Mesh modeling can be very productive
and has a shorter learning curve than other 3D modeling types.

This camera body model was made using mesh modeling

Objectives
After completing this lesson, you will be able to:
■ Describe subdivision meshes and how they can be used in 3D design and visualization.
■ Create primitive mesh shapes including Box, Cone, Cylinder, Pyramid, Sphere, Wedge, and Torus
shapes.
■ Create mesh surfaces including revolved, ruled, tabbed, and edged features.

Lesson: Mesh Primitives ■ 45

 About Subdivision Meshes
Mesh modeling enables you to approximate a smooth surface using a mesh of faces called
subdivisions. The more subdivisions there are, the smoother the surface appears. Tessellation lines
represent the visual boundaries of each subdivision. Each subdivision has one face, no less than three
and no more than four edges, and a corresponding number of vertices. Each subdivision face, edge, or
vertex can be edited independently by moving, rotating, or scaling it with the 3D-Gizmo.
The black lines on the model are called tessellation lines and visually represent the boundaries of each
subdivision.

Definition of Mesh Modeling

Mesh modeling is like sculpting with a net that approximates almost any shape. Think of each hole in
the net as a subdivision. The subdivisions can be set to small or large and provide a smooth or coarse
approximation of the object you are designing.

46 ■ Chapter 1: Introduction to 3D Modeling

 Example of Subdivision Meshes
This camera body started as a basic box and was sculpted into this shape within a few minutes. It is
not possible to create this shape using solid modeling alone. Using legacy surface modeling technology
would take considerably more time and skill to achieve these results.

Creating Mesh Primitives

You can quickly create basic shapes using mesh primitives. These basic shapes can be modified
extensively to create the organic models within your designs. You can set several mesh primitive
options when you create them and change many of the options at any time during the design process.
The seven mesh primitive shape are box, cylinder, cone, sphere, pyramid, wedge, and torus. Use mesh
primitives to increase your modeling productivity. Using predefined shapes enables you to move
through the design process in fewer steps.

The seven mesh primitives

Lesson: Mesh Primitives ■ 47

 Command Access

Command Line: MESH

Ribbon: Mesh Modeling tab > Primitives panel > Mesh Box/Mesh Cylinder/Mesh Cone/
Mesh Pyramid/Mesh Sphere/Mesh Wedge/Mesh Torus

Menu Bar: Draw > Modeling > Mesh > Primitives

Command Access
Mesh Primitive Options

Command Line: MESHPRIMITIVEOPTIONS

Ribbon: Mesh Modeling tab > Primitives panel > Options arrow

Menu Bar: Draw > Modeling > Meshes > Primitives

48 ■ Chapter 1: Introduction to 3D Modeling

Mesh Primitive Options Dialog Box
Use the Mesh Primitive Options dialog box to set the default values when creating new mesh
primitives.

This menu shows the available mesh primitives.

Set values for the number of tessellation (white) lines for a new primitive.
Use this window to preview a new primitive. Right-click in the preview window to select
display options.
Use this option to pan, zoom, and orbit in the preview window.
Select the smoothness value for the preview. Level 4 is the smoothest. This enables you to see
what your primitive will look like when a specific smoothing level is applied.
Place a check mark in the box next to the Auto-update option to automatically update the
preview window whenever a value is changed.

Setting the Default Smoothness for New Primitives

By default all new primitives are created with a smoothness level of 0. When you click
a Mesh Primitive option on the ribbon, the first line of the command line indicates the
Current Smoothness Level ash shown below.

Current smoothness level is set to : 0

Enter an option [Box/Cone/CYlinder/Pyramid/Sphere/Wedge/Torus/Settings] <Box>

If you start the Mesh command on the command line, you can use the Settings option
to change the default smoothing level. Note: This option is not available in the Mesh
Primitives Options dialog box.

Lesson: Mesh Primitives ■ 49

 Process: Creating a Mesh Box Primitive
The following steps provide an overview of creating a mesh box primitive.
1. On the ribbon, click Mesh Modeling tab >
Primitives panel > Mesh Box.

2. On the ribbon, click Render tab > Edge

Effects panel > Isolines. This makes the
tessellation lines visible on the model.

3. In the drawing area, specify the location of

opposite corners for the box base.

4. In the drawing area, click and drag to define

the height of the box or enter the height of
the box.

5. The mesh box in the wireframe visual style is

completed.

50 ■ Chapter 1: Introduction to 3D Modeling

6. On the ribbon, click Render panel > Visual
Styles panel > Conceptual.

7. The mesh box in the conceptual visual style

is completed.

8. Select the box. In the Quick Properties panel,

set the Smoothness to Level 2.

9. Close the Quick Properties panel.

10. The smoothed mesh box is completed.

Lesson: Mesh Primitives ■ 51

 Process: Creating a Mesh Cylinder Primitive
The following steps provide an overview of creating a mesh cylinder primitive.
1. On the ribbon, click Mesh Modeling tab >
Primitives panel > Mesh Cylinder.

2. In the drawing area, specify the location of

the center of the cylinder base.

3. In the drawing area, specify the radius of the

cylinder.

4. In the drawing area, specify the height of the

cylinder.

5. The mesh cylinder in the wireframe visual

style is completed.

52 ■ Chapter 1: Introduction to 3D Modeling

6. On the Render tab, click Visual Styles panel >
Conceptual.

7. The mesh cylinder in the conceptual visual

style is completed.

8. Select the cylinder. In the Quick Properties

panel, set the Smoothness to Level 2.

9. Close the Quick Properties panel.

10. The smoothed mesh cylinder is completed.

Guidelines for Creating Mesh Primitives

Consider the following guidelines when creating mesh primitives:
■ Create new primitives with a smoothness level of 0.
■ Increase smoothness to level 1 or 2 when practical. Use level 3 and 4 only if the design requires it.

Lesson: Mesh Primitives ■ 53

 Creating Mesh Surfaces
Mesh surfaces are like sheets of net that you can shape to your needs. They are similar in look and
name to legacy surface technologies, but are much more powerful. Mesh surfaces can be edited using
the same commands as mesh primitives. Like legacy surfaces, mesh surfaces require other objects
like lines, arcs, or polylines to be drawn first. These objects serve as the boundaries when creating the
surface.

Command Access
Modeling Meshes

Command Line: RULESURF, TABSURF, REVSURF, EDGESURF

Ribbon: Mesh Modeling tab > Primitives panel > Revolved Surface/Edge Surface/Ruled
Surface/Tabulated Surface

Menu Bar: Draw > Modeling > Meshes

54 ■ Chapter 1: Introduction to 3D Modeling

Process: Creating a Ruled Surface Mesh
1. Create two bounding objects in different Z
planes using lines, polylines, arcs, or splines.

2. On the ribbon, click Mesh Modeling tab >

Primitives panel > Modeling, Meshes, Ruled
Surface.

3. Select the first bounding object.

4. Select the second bounding object. The

ruled surface is created.

5. On the Render tab, click Visual Styles panel >

Conceptual.

Lesson: Mesh Primitives ■ 55

 6. Select the object. In the Quick Properties
panel. Set the Smoothness to Level 2.

7. The ruled mesh surface is complete.

Guidelines for Creating Mesh Surfaces

Consider the following guidelines when creating mesh surfaces:
■ Before the creation of new mesh surfaces, other objects must be created to serve as their
boundaries.
■ Legacy surfaces can be converted into mesh surfaces.
■ Use the Thicken command with surfaces. Do not confuse it with the Thickness command.
■ Use SURFTAB1 and SURFTAB2 system variables to control the initial mesh density prior to creating
the mesh surfaces.

56 ■ Chapter 1: Introduction to 3D Modeling

Exercise: Create Mesh Primitives
In this exercise, you create mesh primitives and adjust
mesh primitive options to change the tesselation
divisions for primitives. You also create mesh surfaces
from existing objects.

3. To specify the height of the box, click a point

approximately 200 units in the Z direction.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter 4. Examine the tesselation lines on the box
1: Introduction to 3D Modeling. Click primitive. The number of faces on each side
Exercise: Create Mesh Primitives. of the box is controlled by the current settings
in the Mesh Primitives Options dialog box. To
review these settings:
■ On the Primitives panel, click Mesh
Create Mesh Primitives Primitives Options. Note this is the small
arrow that appears in the lower left corner
1. Open M_Mesh-Primitives.dwg. of the Primitives panel.
2. To create some basic mesh primitives: ■ In the Mesh Primitives Options dialog box,
■ Click the Mesh Modeling tab, Primitives select the Box Primitive.
panel > Mesh Box. ■ Note the values under Tessellation Divisions
■ To specify the first corner of the box, click a for Length, Width, and Height.
point in a blank area of the drawing. ■ They will be equal to the number of faces
■ To specify the second corner of the box, on each side of the box you have drawn.
click a point that is approximately 200 units
in the X and Y directions.

Lesson: Mesh Primitives ■ 57

5. In the Mesh Primitives Options dialog box, click
and drag in the Preview Window to view the
box.
■ Set the Preview's Smoothness Level to
Level 3.
■ Right-click the preview window, click Visual
Styles > Conceptual.
■ Experiment with other Visual Styles settings
and Preview Smoothness settings.

7. To check the default smoothness level for the

primitives:
■ On the Status Bar, turn on Quick Properties.
■ Select the box primitive to reveal the Quick
Properties palette.
■ The Smoothness value should be set to
None by default.

6. In the Mesh Primitives Options dialog box, with

the Box primitive selected, enter 6 in the Width
field and enter 10 in the Height field.
■ Click OK.
■ On the Primitives panel, click Mesh Box.
■ Create another box approximately 200 x
200 x 200.
■ Note the differences in tesselation lines.

8. Press ESC to clear the selection.

58 ■ Chapter 1: Introduction to 3D Modeling

9. To change the default smoothness level for 13. Using the other mesh primitives tools, create
primitives: one of each of the other types of primitives.
■ On the command line, enter Mesh. Note: The process for creating mesh primitives
■ Use the Dynamic Input menu to select the are identical to the steps to create solid
Settings option, or enter SE for the Settings primitives.
option.
■ To specify the Level of Smoothness, enter 4.
■ Enter B for the Box option.
■ Create another box approximately 200 x
200 x 200 units.

14. Delete all the primitives. Make certain not to

delete the geometry shown in the following
illustration.

10. Select the new box primitive. The Quick

Properties palette reveals the default
smoothness value of Level 4.
11. To set the default smoothness level to None:
■ On the command line, enter Mesh.
■ Use the Dynamic Input menu to select the
Settings option, or enter SE for the Settings
option.
■ To specify the Level of Smoothness, enter 0.
■ Enter B for the Box option.
Exercise: Create Mesh Surfaces
■ Create another box primitive.
Note: When changing the smoothness level In this exercise, you create mesh surfaces from
setting, you must create a primitive after existing geometry.
changing the setting, otherwise the settings
change will not be saved. 1. Continue where you left off from the previous
12. Erase all but one of the box primitives. exercise, or open M_Mesh-Primitives.dwg if
you did not complete the previous exercise
table.
2. Zoom in on the profile as shown.
■ On the Primitives panel, click Revsurf.
■ Select the profile (1) to revolve.
■ Select the axis of revolution (2).

Lesson: Mesh Primitives ■ 59

 4. The resulting surface is not as round as it
should be. You can control this result by adjust
the SURFTAB1 or SURFTAB2 system variables.
In this example the SURFTAB1 system variable
needs to be changed.
■ Delete the revolved surface.
■ Enter SURFTAB1 and press ENTER.
■ Enter 16 and press ENTER.
■ Repeat the REVSURF command on the
profile.
■ The resulting surface, while still faceted is,
better reflects the design intent.

3. To complete the revolve surface:

■ Press ENTER to use the default start angle
of 0.
■ Press ENTER to use the default included
angle of 360.

5. To create a mesh surface between edges:

■ Zoom into the profile shown.
■ Set SURFTAB2 to 16 so that the tesselation
values are the same in both directions.
■ On the Primitives panel, click EDGESURF.
■ Note the command line, indicates the
current wireframe density as SURFTAB1=16
and SURFTAB2=16.
■ Select the edges for the surface in the order
shown.

60 ■ Chapter 1: Introduction to 3D Modeling

6. The surface mesh appears as shown. 8. The ruled surface mesh appears as shown.

7. To create a ruled surface:

■ Zoom into the two circles as shown.
■ On the Primitives panel, click RULESURF.
■ Select the two circles.

9. To create a tabulated surface:

■ Zoom into the profile as shown.
■ On the Primitives panel, click TABSURF.
■ Select the profile (1).
■ Select the line (2) as the direction vector.

Lesson: Mesh Primitives ■ 61

10. The tabulated surface mesh appears as shown.

11. Close all files, do not save changes.

62 ■ Chapter 1: Introduction to 3D Modeling

Lesson: Working in 3D

This lesson describes the 3D coordinate system and how to define a custom coordinate system, control
the display of the coordinate system icon, and acquire points in 3D space.
Being able to adjust the current coordinate system for geometry creation and to acquire the proper
point in 3D space is an important part of being able to create your design as quickly and as efficiently
as possible.
In the following image, the same model is shown with different active coordinate systems and tracking
a point in 3D space.

Objectives
After completing this lesson, you will be able to:
■ Describe the relationship of the Cartesian coordinate system and 3D design.
■ Change the orientation and location of the coordinate system.
■ Change the display of the UCS icon.
■ Describe how to change the coordinate systems dynamically while in a geometry creation or
modification command.
■ Acquire a point in 3D space by tracking or filtering from other points.

Lesson: Working in 3D ■ 63
 About the Cartesian Coordinate System
When you create 2D drawings, you create geometry on the XY plane. In many cases, the only time
you give the coordinate system any thought is when you are entering an absolute or relative point. As
you create geometry in 3D, you will need to reorient the coordinate system to create and modify the
geometry. In this section of the lesson, you learn about the Cartesian coordinate system and how it
can help you create 3D designs.
In the following image, the icons show the direction of the X, Y, and Z axes of the Cartesian coordinate
system based on the current viewing direction. The left icon is shown in its shaded mode and the right
one in its wireframe form.

Definition of the Cartesian Coordinate System

Computer-aided drafting and design (CADD) systems base their positioning of points in 3D space on
the Cartesian coordinate system. The Cartesian coordinate system is composed of three axes (X, Y,
and Z) at 90° to each other. These intersecting axes define the origin point for the coordinate system
and three flat planes. The origin point is the location where each axis value is 0 (zero). The three
planes are defined by pairs of axes which create the XY, XZ, and YZ planes.
There is one preset coordinate system and you cannot change it. This coordinate system is referred
to as the world coordinate system (WCS). When you begin to create 3D models, you will find working
only from the WCS to be challenging at times. To make it easier to create and modify geometry,
you can define a user coordinate system (UCS). You can define a UCS at any place or orientation in
space and you can define as many as you need. When you define a new UCS, you define a new origin
location and direction for the X, Y, and Z axes. The way you define a new coordinate system depends
on the geometry you have created and the geometry you are trying to create or modify. In some
cases, you will have the coordinate system automatically change based on a flat face you hover your
cursor over. In other cases, you will manually reorient and reposition the coordinate system. This
manual adjustment can be as simple as moving the origin to a new location, reorienting it by picking
three points in space, or rotating its alignment around one axis.
By default, the drawing displays an icon to help you visualize the orientation of the current coordinate
system and its origin location. This default icon labels the X, Y, and Z axes and also color codes them:
Red for the X axis, green for the Y axis, and blue for the Z axis.

64 ■ Chapter 1: Introduction to 3D Modeling

The following image illustrates the planes defined by the different axes of the Cartesian coordinate
system. Plane 1 is the XY plane defined by the X and Y axes. Plane 2 is the YZ plane defined by the Y
and Z axes. Plane 3 is XZ plane defined by the X and Z axes.

Example of the Need to Change the Coordinate System

When creating a 3D design, you sometimes need to create solid or 2D geometry starting on a face
that is not in line with the world coordinate system (WCS). In those cases, you need to define your
own coordinate system to achieve the needed results. In the following image, the icon shows the axis
orientation for the WCS. The different geometry was drawn on the different faces of the models by
changing to a user coordinate system. For example, the circle was drawn on the angled face using
standard 2D drawing procedures after the coordinate system's X and Y axes were set in alignment with
the edges of the face.

Lesson: Working in 3D ■ 65
 Changing the Coordinate System
In this section, you learn about the UCS command. This includes learning how to access the
command, the procedure, and the workflow for using the command, and the most often used options
of the command.
When you place objects into your 3D model, your working planes tend to be different than the objects
you need to place, thus making object placement more difficult to do. Therefore, you need to be
able to define your own coordinate system(s) in order to make object placement easier. The UCS you
define then enables you to create the geometry you need in the appropriate location and orientation.
In the end, the process of creating a 3D model can be made much simpler when you break down your
model into smaller flat sections within the WCS.

In the following illustrations, different coordinate system orientations and alignments are shown
simultaneously on two models. One shows UCS placement on a house and the other shows UCS
placement on a mechanical part. Though only one coordinate system can be active at any one time,
these images illustrate how different the orientation and origins of user coordinate systems can be
from the WCS.

Command Access
UCS

Command Line: UCS

Ribbon: View tab > Coordinates panel > UCS

Menu Bar: Tools > New UCS

Toolbar: UCS
Toolbar: UCS II

66 ■ Chapter 1: Introduction to 3D Modeling

Options for Defining a UCS
Following the typical workflow and command options, you either reposition the origin of the
coordinate system while keeping its current X, Y, Z axis alignment, or you completely reorient and
reposition the coordinate system based on three points in space. To reposition the origin, you start
the UCS command, click the new origin point, and then press ENTER. To reorient and reposition, click
a point on the X axis after clicking the new origin point, and then click a third point to define the XY
plane.

Instead of defining a new UCS based on the default prompts and options, you can define the UCS
based on other criteria. The following options are some of the most frequently used for defining
a new UCS.

Icon Option Description

World Use to set the coordinate system back to the world coordinate system.

Named Use to display the UCS dialog box, save a UCS, and activate a saved UCS.
UCS

Previous Use to step the coordinate system back to the alignment and position it
was previously.

Face Use to align the coordinate system to a selected flat surface or solid
face.

Object Use to align the coordinate system to a selected object.

View Use to align the coordinate system to the XY plane perpendicular to

your viewing direction.

Origin Use to move the coordinate system origin to a selected point.

Z Axis Use to align the coordinate system to a point and specified Z axis.

3 Point Use to align the coordinate system to point and specified X and Y axes.

Lesson: Working in 3D ■ 67
 Icon Option Description

X Use to rotate the coordinate system around the X axis.

Y Use to rotate the coordinate system around the Y axis.

Z Use to rotate the coordinate system around the Z axis.

Apply Use to apply the current UCS setting to all viewports or a specified
viewport.

Procedure: Creating a User Coordinate System

The following steps give an overview of creating a user coordinate system.
1. Determine the orientation needed for the UCS.

2. Start the UCS command option based on how you will orient the UCS.

68 ■ Chapter 1: Introduction to 3D Modeling

 3. Create the needed geometry.

Changing the UCS Icon Display

While creating a 3D model, you may encounter times when you want the coordinate system icon to
display a certain way, in a specific location, or not at all. To change the display of the coordinate system
icon, you need to access the Ucsicon command and apply the options available for changing its display.
This section of the lesson covers how to access the command, its options, and the standard procedure
for its use.
In the following images, the UCS icon is shown in two different locations. Where it is set to display at
the 0,0,0 point for the three axes, the display of the icon is visually disruptive to the model view. In
the image on the right, it is forced to display in the lower-left corner of the viewport where it does not
disrupt the model view.

Command Access
UCSICON

Command Line: UCSICON

Menu Bar: View > Display > UCS Icon

Lesson: Working in 3D ■ 69
 Options for Changing the UCS Icon Display
You can use the following options with the command.

Option Description

On Use to turn on the display of the UCS icon.

Off Use to turn off the display of the UCS icon.

All Use when you have your drawing window split into multiple viewports. Select
this option before one of the other options to have that option apply to all
viewports.

Noorigin Use to have the UCS icon always display in the lower-left corner of the
viewport.

Origin Use to have the UCS icon display at the origin location of the current
coordinate system. If the origin is too close to the edge of the viewport or
outside of the area being displayed, the UCS icon then is displayed in the
lower-left corner.

Properties Use to display the UCS Icon dialog box and set the style, size, and color of the
UCS icon.

The options described above only appear when the UCSICON command is accessed
from the command line. Other UCS related buttons apply to specific functionality of
the UCS command.

Different coordinate system icons are displayed in paper space and model space. In
both cases, a plus sign (+) appears at the base of the icon when it is positioned at
the origin of the current UCS. The letter W appears in the Y portion of the icon if the
current UCS is the same as the world coordinate system.

70 ■ Chapter 1: Introduction to 3D Modeling

Procedure: Setting the UCS Icon Display
The following steps give an overview of setting the display of the UCS icon.
1. Start the Ucsicon command from the command line or click the UCS Icon Properties button on
the ribbon.
2. Select the properties options to change the style, size, or color of the UCS icon.

3. Specify the display of the UCS icon at the origin or no origin.

4. Toggle the display of the UCS icon on or off.

Lesson: Working in 3D ■ 71
 Changing the Coordinate System Dynamically
Whether you are initially creating 3D models or 2D geometry in 3D space, the alignment of the
coordinate system plays a crucial role in achieving the required results. While in a command to create
new geometry, you have the option to dynamically change the coordinate system. For this option to
be available, you need to have Dynamic UCS turned on. You can view and change the Dynamic UCS
setting through the status bar's DUCS button.
With Dynamic UCS turned on, hovering your cursor over an existing flat face of a solid model while in
a command that creates new geometry causes that face to highlight and the crosshairs to orient on
that face.
If you click to define the starting point for that command while the face is highlighted, then a new
UCS is temporarily defined for the duration of creating that new geometry. When you complete
the command, the coordinate system that was active prior to creating that new geometry is
activated again. This temporary dynamic coordinate system defines its XY plane to be coplanar to the
highlighted face.
In the following image, a circle is shown being created on a face that was not in alignment with the
coordinate system when the command was initially executed. The UCS was dynamically defined based
on the highlighted face.

Command Access
Dynamic UCS Icon

Command Line: UCSDETECT

Status Bar: or

72 ■ Chapter 1: Introduction to 3D Modeling

Procedure: Dynamically Changing the UCS
The following steps give an overview for dynamically changing the UCS.
1. Execute a command to create
new 2D or 3D geometry.
2. Ensure Dynamic UCS is on by
viewing the Allow/Disallow
Dynamic UCS button on the
status bar. Turn it on if it is
currently off.
3. Hover your cursor over the
flat face that you want to
begin drawing on. The edges
of an acquired face display as
dashed lines.

4. Click to specify the start point

of the new geometry. While
the face is highlighted, you
can object snap to or track
from points and still have the
UCS align to that face.

5. Enter the remaining values

and input required to create
the new geometry and finish
the command.

Lesson: Working in 3D ■ 73
 Acquiring Points in 3D Space
You specify points in 3D space in much the same manner as in 2D space, except you supply a third
value for the Z axis. If you want to type in an absolute or relative coordinate value, you include a Z
value by entering the coordinate as X,Y,Z. You can also track in 3D space by combining the settings for
running object snap, object snap tracking, and polar tracking or ortho. When tracking through a point
not on the current coordinate system's XY plane, you track parallel to one of the current coordinate
system axes. Another useful method of acquiring an exact location in 3D space is to use coordinate
filters. Through the use of filters, you specify a point by combining the X, Y, and Z values from other
specified point locations.
You will find the process of creating your design in 3D easier and quicker if you can quickly establish
the correct location in 3D space for your design geometry.
In the following image, the start point for a new line is being tracked in the positive Z direction.

About Coordinate Filters

You use coordinate filters to specify a point relative to a collection of other points or a set distance
from a specific point. Coordinate filters are also referred to as point filters. You access point filters
from the Object Snap shortcut menu (SHIFT+right-click) or by entering one of the options when the
active command prompts you to specify a point.
When you activate a filter and snap to a point or enter a value, you are specifying what the value
should be for that filter coordinate. For example, if you use the .Z (the "." denotes a filter) filter and
snap to the corner of a 3D model, you return the Z value from that corner. You would then need to
specify the X and Y values. You could specify those values by snapping to another location, entering
their values, or using their respective filters and snapping to two other locations. The combination of
the filtered Z value and the X and Y values would constitute the location of the new point.
In the following image, a set of solid models is displayed in four viewports showing the top, front,
right side, and isometric directional views. The center of the sphere was based on the point filters and
object snaps as identified in the isometric view. The top view also shows the X and Y filter locations
and the right side view also shows the Z filter location.

74 ■ Chapter 1: Introduction to 3D Modeling

Coordinate Filter Options
Use the following options to filter coordinate values.

Option Description

.X Use to snap to a point and only return its X value and then specify or filter for the
Y and Z values.

.Y Use to snap to a point and only return its Y value and then specify or filter for the
X and Z values.

.Z Use to snap to a point and only return its Z value and then specify or filter for the
X and Y values.

.XY Use to return the X and Y values of an existing point. You then specify or filter for
the Z value.

.XZ Use to return the X and Z values of an existing point. You then specify or filter for
the Y value.

.YZ Use to return the Y and Z values of an existing point. You then specify or filter for
the X value.

If you are using point filters for the X or Y value but specifying the remaining
coordinate values, you need to enter a value as a placeholder for the X or Y. So if you
are using the .X filter and you want to enter an absolute Y and Z value, you need to
enter a value for X. For example, the Y and Z values both need to be 5 and the X filter
for the required corner returns 11.65. When prompted for the YZ, you enter 1,5,5.
The 1 in this case acts as a placeholder and is automatically substituted with 11.65.
In this case, 1 was used as the placeholder, but any number could be used.

Lesson: Working in 3D ■ 75
 Procedure: Tracking in 3D Space
The following steps give an overview for using 3D tracking to acquire points.
1. To track from an existing
point, you must first be
prompted by a command to
specify a point.
2. Turn on object snaps and
object snap tracking as well
as polar tracking or ortho and
set them with your required
values and options.
3. Acquire the tracking point by
passing your cursor over an
object snap location on the
geometry you want to track.

4. Track in any 3D direction

from the acquired point and
either click to specify the
location or enter a distance
value.

Procedure: Filtering Coordinate Points

1. To use point filters, you must first be prompted by a command to specify a point.
2. Decide what you already know, or have available to you, as it relates to the geometry of the
drawing. Then decide what you are trying to find regarding the new point being specified.
3. Execute the proper point filter based on what you decided in the previous step.
4. Specify an absolute value or snap to another point to return its corresponding coordinate value.

Guidelines
■ If you experience problems with displaying objects, snapping to objects, or using object tracking
while a 3D visual style is active, switch to the 2D Wireframe visual style and then switch back to a
3D visual style.
■ When working in a 3D view, reducing the number of active object snaps will also reduce the
number of inadvertent point acquisitions.

76 ■ Chapter 1: Introduction to 3D Modeling

Exercise: Work with the UCS
In this exercise, you use the options of the UCS 4. To create a circle, do the following:
command to create 2D and 3D geometry on different ■ Draw a circle near the UCS icon as shown.
planes of a solid model. The planes created provide
the base for adding additional features or solids in Notice the orientation of the circle relative to
different orientations. the solid model.

The completed exercise 5. To create a new UCS, do the following:

■ On the View tab, click Coordinates panel >
3-Point.
Completing the Exercise ■ Using the endpoint or intersection object
To complete the exercise, follow the snap, select the points indicated in the
steps in this book or in the onscreen order shown.
exercise. In the onscreen list of
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Work with the UCS.

1. Open M_Working-with-the-UCS.dwg.

6. Start the Circle command.

2. To turn off the Dynamic UCS, do the following:

■ On the status bar, if the Allow/Disallow
Dynamic UCS button is selected, click to
turn off Dynamic UCS.
■ If the button is not selected, Dynamic UCS is
already turned off.
3. On the ribbon, click Home tab > Draw panel >
Circle.

Lesson: Working in 3D ■ 77
7. To create a profile on the angled face, do the
following:
■ When prompted for a centerpoint, select
the approximate center of the angled face,
or you can use the Mid Between 2 Points
object snap to obtain the centerpoint of the
face.
■ When prompted for the radius, click the
face to create the circle.

11. Draw and presspull the rectangular slot as

shown.

8. On the Home tab, click Modeling panel > Press/

Pull.
9. To presspull the circle, do the following:
■ Select a point inside the circle and
enter -5.
■ Press ENTER.

12. If necessary, adjust your isometric view to see

the three cylindrical features on the right side.
13. To orient the UCS, do the following:
■ On the View toolbar, click Coordinates panel
> 3 Point.
■ When prompted for a new origin point,
using the Center object snap, select the
base of the left cylinder.
■ When prompted for a positive location on
the X axis, using the Center object snap,
select the base of the right cylinder.
■ When prompted for a positive location on
10. To align the UCS to a face, do the following: the Y axis, using the Center object snap,
select the top of the left cylinder.
■ On the View tab, click Coordinates panel >
Face.
■ Select a point on the face of the part as
shown.
■ Press ENTER to accept the orientation.

78 ■ Chapter 1: Introduction to 3D Modeling

 16. To create 2D profile geometry for the rib, do the
following:
■ When prompted for the first corner, enter
0,0.
■ When prompted for the other corner, enter
@26,10.

17. On the Home tab, click Modeling panel > Press/

Pull.
14. To save the UCS for future use, do the
following: 18. To extrude the profile, do the following:
■ On the View tab, click Coordinates > Named ■ Select a point inside the profile.
to display the UCS dialog box. ■ Move the cursor in the positive Z axis
■ Right-click the Unnamed UCS and click direction.
Rename. ■ Enter 2. Press ENTER.
■ Enter Ribs for the new name.
■ Click OK.

15. Start the Rectangle command.

19. Close all files. Do not save.

Lesson: Working in 3D ■ 79
Exercise: Use a Dynamic UCS
In this exercise, you use a Dynamic UCS to draw 3D 2. To turn on Dynamic UCS:
primitives and 2D geometry. ■ On the status bar, select Allow/Disallow
Dynamic UCS to turn Dynamic UCS on.
■ If Allow/Disallow Dynamic UCS is
highlighted, Dynamic UCS is on.
3. On the Home tab, click Modeling panel > Box.
4. To draw a box on the angled face:
■ When you position your cursor over the
angled face, the UCS icon reorients to the
new face.
■ Click two points as indicated to create the
rectangle.
■ Enter 20 in the dynamic input field for the
height.
■ Press ENTER.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Use a Dynamic UCS.
5. Start the Circle command.
6. To draw a circle on the main solid:
1. Open C_Use-Dynamic-UCS.dwg. ■ As you position the cursor for the center
point, as shown, the cursor flips to indicate
the new UCS.
■ Select a point near the point indicated.
■ Enter 5.
■ Press ENTER.

80 ■ Chapter 1: Introduction to 3D Modeling

7. Click Render tab > Visual Styles panel > X-Ray.

8. On the Home tab, click Modeling panel >

Extrude.
9. To extrude the circle:
■ Select the circle.
■ Press ENTER.
■ Select the corner endpoint as shown.

10. Close all files. Do not save.

Lesson: Working in 3D ■ 81
Lesson: Introduction to Free-Form Design

This lesson provides a brief overview to the free-form design process and some of the principles on
which it is based.
If you look around at the products and structures that surround you, you will see more prevalent
uses of organic free-from shapes. They are being used in all design disciplines and industries from
automotive to architectural.

Objectives
After completing this lesson, you will be able to:
■ Describe free-form design.
■ State the overall process and methods involved in creating free-form designs.
■ Create a simple free-form design.

82 ■ Chapter 1: Introduction to 3D Modeling

About Free-Form Design
All designs, from the simple to the complex, begin with an idea. Whether an automobile, building or
structure, or consumer product, most products are translated into reality using a design process. This
process usually involves instructions, rules, or guidelines that aid in the creation of a product design.
In some design systems, examples of these rules or guidelines can be seen in profile-based 3D shapes
that are extruded or revolved and combined with other profile based features to create complex
parametric 3D designs.
While these approaches have their place in the design world and are still widely used, free-form design
methods are intended to simplify some of the traditional procedures required to create these designs.
By simplifying the process, you free the designers to focus on their vision of the shape that they are
seeking rather than the rules or guidelines that they must follow to achieve the result.
In the following illustration, an office chair is shown in both a rendered and a wireframe format. These
illustrations show examples of free-form design that result in sculpted surfaces.

Definition of Free-Form Modeling

When you use free-form design techniques in AutoCAD, you are in effect using your computer's mouse
and monitor to digitally sculpt your model. You scale, adjust proportion, and position objects on
screen as if they were in front of you. Mesh modeling tools and techniques in AutoCAD enable digital
sculpting through unique features and tools, so you can make traditionally simple primitives into more
complex free-form shapes.

Lesson: Introduction to Free-Form Design ■ 83

 In the following illustrations, free-form modeling is used to create an organic looking structure from a
simple box primitive.

Initial mesh primitive Mesh primitive after free-form sculpting

Examples of Free-Form Design

An example of free-form design that is used in a real-world design process could involve an
architectural firm that is competing to design and build a public park and new central structure.
Rather then utilizing the more traditional approaches to design, the architect or designer would use
the free-form modeling process to create organic, free-flowing shapes that would not only capture the
public's imagination and attention, but also serve as a challenge to the status-quo of traditional design
methods potentially influencing future designs for surrounding structures.
In the following illustration, free-from design techniques are used to show a concept of a scooter.

84 ■ Chapter 1: Introduction to 3D Modeling

Using Free-Form Design
Creating free-form designs is a process that involves different methods and approaches. The methods
that you choose depend largely on what you are trying to accomplish. In general, you begin by creating
3D mesh primitives or solid primitives, and depending on what you are trying to accomplish, possibly
converting some solids or surfaces to mesh objects.
Once you have created the geometry, you use free-form design tools to digitally sculpt the object into
the desired shape. In much the same way that you would manually sculpt clay by pulling and stretching
various portions or by applying creases along certain edges, the free-form modeling tools that are
available enable you to digitally sculpt your geometry into the required shape.
After you have arrived at the desired shape, additional tools are available that enable you to convert
the objects to solids or surfaces using different settings that create smooth or faceted objects. Once
converted, the objects can then be used in additional downstream processes such as 3D printing.
In the following illustration, a free-form design is exported to Revit® for additional design refinements.

Process: Using Free-Form Design

The following steps give an overview for using free-form design methods.
1. Begin by creating mesh objects or solids.
You can create them by using the available
primitives or by converting existing solids or
surfaces.

Lesson: Introduction to Free-Form Design ■ 85

 2. Use Mesh, Mesh Edit, and Subobject tools
to edit the meshes or solids as required to
define the shape.

3. Continue to sculpt and refine the design.

4. Convert the mesh objects to solids or

surfaces to use the additional solid editing
tools or applications as required. Use the
free-form design as the basis for the final
manufacturing design.

86 ■ Chapter 1: Introduction to 3D Modeling

Guidelines
Consider the following guidelines when using the free-form design tools in AutoCAD.
■ Some of the same free-form design methods and tools can be used on both mesh objects and solid
objects.
■ Free-form design in AutoCAD is intended to enable you to focus on the conceptual aspect of your
designs. Additional tools, applications, and processes may be required downstream to create the
required construction or manufacturing documentation.
■ Experiment with various methods, object types, and processes to achieve the desired shapes. By
definition, free-form design should minimize restrictions and enable you to experiment outside of
the constraints of mainstream design processes.

Lesson: Introduction to Free-Form Design ■ 87

Exercise: Use Free-Form Design
In this exercise, you create a conceptual design of a
barstool using simple free-form design techniques.

2. To reveal the object type and some properties:

■ Position your cursor over the model, but do
not select it.
The completed exercise ■ A tooltip appears that indicates the object
is a Mesh, has a Smoothing Level of 0, and
contains 144 faces.
Completing the Exercise
To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
1: Introduction to 3D Modeling. Click
Exercise: Use Free-Form Design.

1. Open C_Use-Free-Form-Design.dwg. Before

continuing with this exercise, activate the
3D Modeling workspace. Additionally, in
the Options dialog box > 3D Modeling tab >
Deletion Control While Creating 3D Objects
should be set to Delete Profile Curves.

88 ■ Chapter 1: Introduction to 3D Modeling

3. To change the mesh objects Smoothness level:
■ On the status bar, click Quick Properties if it
is not already active.
■ Select the mesh object.
■ On the Quick Properties palette,
Smoothness list, select Level 2.

5. To reposition the edges:

■ Position your cursor over the Z axis of
the 3D-Gizmo. The Z axis turns yellow
to indicate that it is selected and that
4. Next, you use some standard free-form design movement is being limited to that
techniques to sculpt the barstool. direction.
■ On the ViewCube, click Right. ■ Click and drag in a downward direction to
■ Right-click the ViewCube. Click Parallel. position the edges as shown.
■ On the Mesh Modeling tab, click Subobject ■ Press ESC to clear the selection.
panel > Edge.
■ CTRL+select the edges as shown.
Hint: Hold the CTRL key down while drawing an
implied window left to right.

Lesson: Introduction to Free-Form Design ■ 89

6. Use the same technique to reposition the 8. To sculpt the back support area of the barstool:
edges as shown in the following illustration. ■ Rotate your view to show the tessellation
Press ESC to clear the selection. lines of the seat surface.
■ CTRL+select the tessellation lines as shown.
■ Position your cursor over the Z axis of the
3D-Gizmo.

7. On the ViewCube, click Home to return to the

home view.

9. Click and drag the edges in the positive Z

direction to sculpt the back support area of the
stool as shown.

10. Press ESC to clear the selection.

90 ■ Chapter 1: Introduction to 3D Modeling

11. Select the barstool and use the Quick 13. To slice the solid object:
Properties palette to set the smoothing to level ■ Open the Layer Properties Manager and
4. thaw the SliceObjects layer.
12. Next, you convert the object into a solid. ■ On the Home tab, click Solid Editing panel >
However, before doing so, it's a good idea Slice.
to make a copy of your mesh. If you need ■ Select the solid barstool. Press ENTER.
to convert back form a solid to a mesh, the
resulting mesh is not always identical in how it ■ Right-click anywhere in the graphics
is tessellated. By making a copy of the mesh, window. Click Planar Object.
you preserve it in its original state before you ■ Select the red circle.
convert it. ■ Press ENTER again to accept the default
■ Create a new layer to place the mesh copy option to keep both sides.
on, and freeze the layer.
■ Using the standard Copy method, make a
copy of the barstool mesh object in place,
and place the new copy on the frozen layer.
■ On the Mesh Modeling tab, Convert Mesh
panel, make sure Smooth, optimized is the
active conversion setting.
■ On the Mesh Modeling tab, click Convert
Mesh panel > Convert to solid.
■ Select the original mesh barstool object.
Press ENTER.

14. Freeze the SliceObjects layer.

15. On the View tab, click 3D Palettes panel >
Materials if the Materials palette is not already
turned on.

Lesson: Introduction to Free-Form Design ■ 91

16. To apply materials to the elements of the
barstool:
■ Using the Materials palette, drag
and drop the Doors - Windows.Door
Hardware.Chrome.Satin material on to the
barstool base.
■ Drag and drop the
Furnishings.Fabrics.Leather.Black material
on the barstool seating surface.

17. Close all files. Do not save.

92 ■ Chapter 1: Introduction to 3D Modeling

 Chapter

Modeling Workflow
The lessons covered in this chapter describe various modeling workflows you use in the course of
creating and editing 3D models.
Most 3D designs consist of several different features. The creation of these features are dependent on
different modeling workflows. Some features originate from 2D profiles, while other features are the
result of one or more Boolean operations being performed on the model. Your ability to successfully
present your design intent requires you to use the various workflows and modeling techniques.

Objectives
After completing this chapter, you will be able to:
■ Create surface and solid models from 2D profile geometry.
■ Create a composite solid by joining, subtracting, and intersecting solid models.
■ Create composite modeling techniques that consist of meshes, surfaces, and solids.
■ Create new face and edge geometry from 3D models.
■ Check the integrity of a solid model, display its mass property data, and change the color of a solid
model's edge or face.

Chapter Overview ■ 93
Lesson: Creating Models from 2D Profiles

This lesson describes how to create surface and solid models by using familiar techniques and
geometry to define the size and shape of a model. It also explains how to leverage geometry such as
lines, circles, arcs, splines, polylines, and helixes.
Using common drawing geometry as the input for creating surface or solid models, you can create
some designs quicker than if you created composite models from solid primitives. Common geometry
also provides you with a method of creating some 3D designs that would otherwise be impossible to
create solely from primitives. You can also combine the solid models you create with these methods
with other solids using the various Boolean operations.
The following image shows a complex solid model created from different cross sections of geometry.

Objectives
After completing this lesson, you will be able to:
■ Describe types and characteristics of models created from 2D profiles.
■ Explain the right-hand rule as it pertains to revolving a profile around an axis.
■ State why you would create solid models from 2D profiles instead of using solid primitives.
■ Use the Extrude command to create 3D models.
■ Use the Loft command to create 3D models.
■ Create planar surfaces.
■ Use the Polysolid command to create 3D solids.
■ Use the Revolve command to create 3D models.
■ Use the Sweep command to create 3D models.
■ Use the Presspull command to create 3D models.
■ Use the Helix command to create a helical path.

94 ■ Chapter 2: Modeling Workflow

About Models from 2D Profiles
In this section of the lesson, you learn about creating 3D models from 2D profiles you draw with lines,
circles, arcs, polylines, and splines. When you understand the types of models you can create from
2D profiles and the characteristics of these models, you will be able to identify when and where it is
appropriate to use these methods in your designs.
In the following image, multiple models are shown that were created from 2D profile geometry using
various methods.

Definition of Models Created from 2D Profiles

The phrase "models from 2D profiles" refers to the solid and surface models you create from selected
2D profiles. These profiles consist of geometry that you draw to represent a contour or slice of the
shape you want to create. In some cases, you have to create profile geometry in a flat plane anywhere
in space; in other cases, you can create geometry that traverses in all directions through space. The
profile is also defined as being either an open loop or closed loop profile. Open loops are profiles
where a single object does not return to its starting point and close itself. Closed loop profiles are
defined by a single object that does return to its starting point.
The reason open and closed looped profiles are not defined as creating one type of model or the other
is because the resulting model depends upon the selected profile geometry and the model creation
method. The results of model creation from profiles include:
■ A planar surface.
■ A multiple segmented solid of straight and arc segments.
■ An extruded surface or solid.
■ A revolved surface or solid.
■ A swept surface or solid.
■ A lofted surface or solid.

2D Profiles to 3D Models Methods

The following images show the 2D profile geometry used to create the surface and solid models
using different creation methods. When the surface or solid is created, you can have the original

Lesson: Creating Models from 2D Profiles ■ 95

 profile geometry automatically deleted or maintained, or you can be prompted to keep or delete the
geometry based on the DELOBJ system variable setting.

Creation Method Initial 2D Profile Surface and Solid Models

Created from 2D Profiles

Planar Surface

Multiple Segmented Solids

Extruded

Revolved

Swept

96 ■ Chapter 2: Modeling Workflow

 Creation Method Initial 2D Profile Surface and Solid Models
Created from 2D Profiles

Lofted

Surface or Solid
The following chart summarizes the characteristics of the profile geometry and the model type you
create when extruding, revolving, sweeping, or lofting that profile.

Characteristics of 2D Profile Surface Solid

A single object creating a closed loop. X

A single object creating an open loop. X

An open or closed loop composed of multiple objects. X

Example of Models Created from 2D Profiles

Every object around you can be modeled from geometry drawn as a profile: objects such as the desk
you sit at, the building you sit in, and the roads and sidewalks you travel on.

A specific example would be to use the geometry in a site plan and create a 3D representation of that
site. You can use the outline of the building's foundation to create a solid model showing the building's
location, shape, and size. Then illustrate the grade of the site by generating a surface that is a loft
between the different contour lines.

Lesson: Creating Models from 2D Profiles ■ 97

 About the Right-Hand Rule of Rotation
During the process of revolving a profile around an axis, you have the option to revolve either a full
360 degrees or a specified angle. If you specify an angle, that value can be positive or negative. When
you understand the right-hand rule, you can determine if you should specify a positive or negative
value to achieve the needed results.

Definition of the Right-Hand Rule of Rotation

You can apply the right-hand rule of rotation when repositioning an object in 3D space by rotating it.
Or you can use it to assist you in determining the positive and negative direction of revolution when
creating a surface or solid model.

To determine the positive direction of revolution, start by pointing your thumb in the positive
direction of the axis to revolve around. Then curl your fingers toward your palm. The direction your
fingers curve indicates the positive direction of revolution.

Example of Applying the Right-Hand Rule of Rotation

In the following example, the 2D geometry on the left was copied so it could be used as the 2D profile
for the two revolved solids. During the Revolve command, the axis of revolution was defined as going
along the edge of the solid box. Based on the right-hand rule and with a representation shown in the
image, to create the first solid revolve (1), you specify a positive value. To create the second revolved
solid (2), you specify a negative value.

98 ■ Chapter 2: Modeling Workflow

About Choosing a Model Creation Method
As you learn more model creation methods, you have more methods to choose from when creating
your designs. In some cases, the same model design can be created using very different modeling
methods. In those cases, the right modeling method to use is the quickest one. To help you determine
which method to use, there are a few questions you should consider prior to starting your design.
Once you know the questions to ask yourself, you will be able to identify when to create the model
from profile geometry instead of solid primitives.

How to Decide Which Model Creation Method to Use

Each time you begin the process of creating a model, you follow a decision-making process similar to
the one shown here.

Creating a Model Using the Extrude Command

You use the Extrude command to create 3D models from geometry representing a 2D profile of that
model. When you extrude a profile, a model is created a specified distance and direction between the
original planar profile and a projection of that profile. You create a solid model if you select a single
closed loop object. If you select open loop geometry or a closed loop composed of separate objects,
you create a surface model.
Extruding geometry representing a profile of a desired model is an easy way to create a multisided
model. This method of solid model creation can be quite a bit faster than creating and combining
primitive solids. You will be more productive and successful in extruding profiles if you know how to
use the Extrude command and its options to control the model's creation.

Lesson: Creating Models from 2D Profiles ■ 99

 In the following image, different models were created from variations of the same profile shape and
command options.

Command Access
Extrude

Command Line: EXTRUDE

Ribbon: Home tab > Modeling panel > Extrude

Menu Bar: Draw > Modeling > Extrude

Toolbar: Modeling

Extrude Options
Following the command prompts and a typical workflow, you create a 3D model by selecting the
planar profile geometry and then specifying a positive or negative height. You specify the height
by typing in a value or by clicking a point in the drawing. After you specify the height, the model is
created in a direction perpendicular to the plane where the profile geometry resides. You can use the
Extrude command's suboptions to create a 3D model that meets your design criteria.

Option Description

Direction Use to specify a linear extrusion direction and distance other than
perpendicular to the plane of the cross-sectional geometry. The face at
the end of the extrusion is parallel to the plane where the cross-sectional
geometry resides.

100 ■ Chapter 2: Modeling Workflow

 Option Description

Path Use to extrude the cross-sectional geometry along other geometry. You can
create the path anywhere in space and the extrude will follow a parallel path
starting at the cross-sectional geometry. Throughout the path and on the
end, the cross section will be perpendicular to the path and not parallel to its
original plane.
Note: This option is very much like the Sweep command except the model is
created based on the position of the cross-sectional geometry and not the
path location.

Taper Angle Use to have the model get narrower or wider as it extrudes away from the
cross-sectional geometry. Specify a positive angle value to have the model get
smaller and a negative angle value to have it get larger as it extrudes.

Surface model was created because the closed loop was not a single object, unlike the other four
examples, where the closed loop was a single object.
Solid model created after specifying a height and following the default workflow.
The results of using the Direction suboption and specifying a direction between two points.
The results of using the Path suboption and selecting the 3D spline shown.
The results of specifying a positive Taper Angle and a height.

Procedure: Creating a Model Using Extrude

The following steps give an overview of creating a model by extruding a 2D profile.
1. Draw the 2D profile.
2. Start the Extrude command.
3. Select the objects to be extruded.
4. If the model needs to get larger or smaller as the profile is extruded, select and specify a taper
angle.
5. Specify the height, or select the creation method Direction or Path.

Lesson: Creating Models from 2D Profiles ■ 101

 6. If you selected the Direction or Path suboptions, specify the distance and direction of the
extrusion by clicking the two points or selecting the geometry.
7. Select Yes or No to delete or keep the defining objects if the DELOBJ system variable is set to
prompt before deleting or keeping the defining objects.

Creating a Model Using the Loft Command

You use the Loft command to create models of free form shapes. These can be models that change
from one shape to another or ones in which you change the size and orientation in 3D space. When
you create a lofted model, you select multiple cross sections and the model transitions in size,
shape, and form from one cross section to another. The shape and size of a lofted model can also be
influenced by other cross sections that act as guide rails as it transitions its shape and size between
the cross sections. You create a solid model if you select a closed loop object for the cross sections. If
you select open loop geometry or a closed loop composed of separate objects for the cross sections,
then you will create a surface model.
In the following image, the Loft command was used to create different models from the same set of
geometry. The differences between them arise from the cross sections, guides, paths, or options that
were used in their creation.

Input geometry for the different models. Consists of two closed loop cross sections, one a circle
and the other a polyline; and three open loop cross sections, two lines and a spline.
Surface model created by selecting the open loop geometry as the cross sections and the closed
loop geometry as guides.
Solid model created by selecting the closed loop geometry as the cross sections and the open
loop geometry as guides.
Solid model created by selecting the closed loop geometry as the cross sections and the spline on
the right as a path.

102 ■ Chapter 2: Modeling Workflow

 Solid model created by only selecting the closed loop geometry and selecting the Ruled loft
setting.
Solid model created by only selecting the closed loop geometry and selecting the Smooth Fit loft
setting.
Solid model created by only selecting the closed loop geometry and selecting the Draft Angles
loft setting with a 90 degree start angle and end angle for 50% of the distance.

Command Access
Loft

Command Line: LOFT

Ribbon: Home tab > Modeling panel > Loft

Menu Bar: Draw > Modeling > Loft

Toolbar: Modeling

Loft Options
Following the command prompts and a typical workflow, you create a 3D model by selecting a
minimum of two cross-section profiles in the order in which they are to transition from one to the
other. You then control the way the loft transitions from one profile to the other by selecting a
transition method in the Loft Settings dialog box.

Instead of defining the lofted model with just the cross-section profiles, you can also use guiding
geometry or a path. Once you understand the impact and use of the Loft command's options, you will
be able to use them to create your 3D designs more quickly and easily.

Option Description

Guides Use to control the shape and way the model transitions from one profile to
another. You can select either multiple open or multiple closed loops as guides
but they must intersect each profile. Ensure the LOFTNORMALS system variable
is set to 1 prior to starting the Loft command and using the Guides option.

Path Use to select a single object that defines the route to create the model
between the profile. It can be an open or closed loop but it must intersect each
profile.

Cross-Sections The default option. Use to create a model that transitions only between the
Only selected profiles. You control the transition method from one profile to the
other with the options in the Loft Settings dialog box.

Lesson: Creating Models from 2D Profiles ■ 103

 Cross Section Transition Options
Select from one of the four options to control the loft transition when using the Cross-Sections Only
option.

Ruled: Use to create a loft that transitions from one cross section to another in a linear fashion.
When more than two cross sections are selected, you will have an edge at any cross section
between the first and last cross section.
Smooth Fit: Use when you select more than two cross sections and you want a smooth aesthetic
transition between all of the cross sections.
Normal To: Use to have the model transition so its sides are perpendicular to the plane for all
cross sections, for the start and end cross sections only, for the start cross section only, or for the
end cross section only.
Draft Angles: Use to set the transition angle and the percentage of the distance between the
cross sections of the model sides for the start and end cross sections.

Procedure: Creating a Model Using Loft

The following steps give an overview of creating a model by lofting cross-section profiles.
1. Draw the cross-section profiles.
2. Draw the guiding geometry or path the cross sections will transition through if you want to
control the loft's creation in this manner.
3. Start the Loft command.
4. Select the cross sections in the order in which they are to loft from one to the other.
5. Specify what will control the transitioning from one cross section to another by selecting guiding
geometry, geometry as a path, or just the cross sections themselves.

104 ■ Chapter 2: Modeling Workflow

 6. If the transition is controlled by the cross section, in the Loft Settings dialog box, specify the
control method.
7. Select Yes or No to delete or keep the defining objects if the DELOBJ system variable is set to
prompt before deleting or keeping the defining objects.

When drawing geometry in 3D space for a loft's profiles, guiding geometry, or path,
start by creating solid primitives as bounding boxes to your design. You can then
use the dynamic UCS functionality and object snaps to quickly and easily draw the
geometry in 3D space.

Creating a Model Using the Planar Surface Command

You use the Planar Surface command to create surfaces in a flat plane. You either draw a rectangular
surface in a flat plane or convert a closed loop planar object into a planar surface. Closed loop planar
objects you can convert include circles, ellipses, polylines, and splines. If you convert a closed loop
object, the DELOBJ system variable determines whether the original object is automatically deleted.
Planar Surface can be used to provide a backdrop for viewing or rendering.
In the following image, the rectangular planar surface was newly created within the command and the
other surfaces were created from existing closed loop planar objects.

Lesson: Creating Models from 2D Profiles ■ 105

 Command Access
Planar Surface

Command Line: PLANESURF

Ribbon: Home tab > Modeling panel > Planesurf

Menu Bar: Draw > Modeling > Planesurf

Toolbar: Modeling

Procedure: Creating a Planar Surface

The following steps give an overview of creating a planar surface.
1. Start the Planar Surface (Planesurf) command.
2. If creating a new rectangular planar surface, specify the first corner. If converting a closed loop
planar object, select the Object suboption.
3. Specify the other corner of the rectangular planar surface or select the objects to convert to
planar surfaces.
4. Select Yes or No to delete or keep the defining objects if you are converting an object and the
DELOBJ system variable is set to prompt before deleting or keeping the defining objects.

106 ■ Chapter 2: Modeling Workflow

Creating a Model Using the Polysolid Command
You create multiple segmented solids using the Polysolid command. Multiple segmented solids are 3D
solids that consist of a rectangular profile and a single line path the rectangular profile follows. When
creating a solid using Polysolid, you first set the width and height values for the rectangle profile. Then
you draw the path of lines and arcs, like drawing a polyline, or select existing geometry to define the
path. Being able to set the size and create the path of the solid is vital to achieving the proper final
results.
In the following image, the solid model on the left was created by drawing lines and an arc segment
and the solid model on the right was created by selecting an existing circle. Converting circles in this
manner can be an efficient way of creating tubular solid models.

Command Access
Polysolid

Command Line: POLYSOLID

Ribbon: Home tab > Modeling panel > Polysolid

Menu Bar: Draw > Modeling > Polysolid

Toolbar: Modeling

Lesson: Creating Models from 2D Profiles ■ 107

 Options for Creating Solid Models Using Polysolid
Following the command prompts and a typical workflow, you create a 3D solid by drawing straight line
segments in the same plane that will be located in the center at the bottom of the solid model. Before
clicking the beginning point of the first straight line segment, you should set the height and width of
the rectangular profile.

In the following image, a solid model was created following the center path from left to right. The
defining characteristics of the rectangular profile are also notated.

Polysolid Options
You can select a variety of suboptions within the Polysolid command to create a model that meets
your design criteria.

Option Description

Use to set the distance from the plane the path is being drawn on to the top of
the rectangular profile.
Height

Use to set the width of the rectangular profile.

Width

Use to align the rectangular profile relative to the path being drawn. Options
are Left, Center (the default), and Right justification.
Justify

Arc Use to create an arc instead of a straight path segment. Select the Arc
suboption Direction to change the direction the arc is tangent to the last point,
so you can draw the arc in a direction other than its default direction.

Line Use to switch back to creating straight path segments after selecting the Arc
suboption.

108 ■ Chapter 2: Modeling Workflow

 Option Description

Close Use to have the last segment automatically connect to the start point of the
first segment.

Object Use to make use of existing planar geometry as a path for the rectangular
profile.

Procedure: Creating a Solid Model Using Polysolid

The following steps give an overview of creating a solid model using the Polysolid command by
drawing the path within the command.
1. Start the Polysolid command.
2. Ensure the Height, Width, and Justify suboptions are set according to your design requirements.
3. Specify the starting point.
4. Switch back and forth between the Arc and Line suboptions and specify the next point for the
needed straight and arc segments.
5. Press ENTER to complete the command.

Procedure: Creating a Solid Model from Existing Objects Using Polysolid

The following steps give an overview of creating a solid model based on existing planar objects using
the Polysolid command.
1. Start the Polysolid command.
2. Ensure the Height, Width, and Justify suboptions are set according to your design requirements.
3. Select the Object suboption.
4. Select the objects to use as paths.
5. Select Yes or No to delete or keep the defining objects if the DELOBJ system variable is set to
prompt before deleting or keeping the defining objects.

Creating a Model Using the Revolve Command

You use the Revolve command to create an arcing or circular 3D model from geometry representing
a profile of that model. When you revolve a profile, you spin the profile around a defined axis. The
amount of revolution can be a full 360 degrees or any start and stop angle within 360 degrees. You
create a solid model if you select a single closed loop object as the profile. If you select open loop
geometry or a closed loop composed of separate objects, then you create a surface model.
For some models that show material that is bent, rolled, or cast in an arc or circular shape, revolving a
profile is the only way to achieve the needed results. In other cases, it is a lot faster to draw a profile
and revolve it than to create and combine solid primitives. You will be more productive and successful
in revolving profiles if you know how to use the Revolve command and its options to control the
model's creation.

Lesson: Creating Models from 2D Profiles ■ 109

 In the following image, different models were created from variations of the same profile shape and
command options.

Surface model was created because the profile geometry was modified to be individual objects,
unlike the other three examples where the profiles were closed loops.
Solid model created after defining the axis and revolving 360 degrees.
The results of specifying 180 degrees instead of 360 degrees.
The results of specifying a starting angle other than 0 and not revolving a full 360 degrees.

Command Access
Revolve

Command Line: REVOLVE

Ribbon:
Home tab > Modeling panel > Revolve

Menu Bar: Draw > Modeling > Revolve

Toolbar: Modeling

Revolve Options
Following the command prompts and a typical workflow, you create a 3D model by selecting the
planar profile geometry, specifying the start and end points for the axis of revolution, and specifying
the total number of degrees the profile revolves. The positive and negative angle of revolution is
determined by the axis of revolution and the right-hand rule of rotation. The positive direction for
the axis of revolution extends from the first axis point you click toward the second axis point. You can
select different suboptions of the Revolve command to create a 3D model that meets your design
criteria.

110 ■ Chapter 2: Modeling Workflow

 Option Description

Object Use to revolve the selected profile geometry around a line segment. For
purposes of applying the right-hand rule, the positive direction of the axis
extends from the closest endpoint of the selected line toward the other end.

X/Y/Z Use to revolve the selected profile geometry around its corresponding axis in
the current coordinate system alignment.

Start Angle Use to have the profile start revolving and creating a model at a position other
than the plane on which it resides. The angle you specify follows the right-
hand rule of rotation around the defined axis of revolution.

Procedure: Creating a Model Using Revolve

The following steps give an overview of creating a model by revolving a 2D profile.
1. Draw the 2D profile. Also draw the axis to revolve around if you want to use the Object suboption
to define the axis of revolution.
2. Start the Revolve command.
3. Select the objects to be revolved.
4. Define the axis to revolve around.
5. Specify the angle of revolution.
6. Select Yes or No to delete or keep the defining objects if the DELOBJ system variable is set to
prompt before deleting or keeping the defining objects.

Creating a Model Using the Sweep Command

You use the Sweep command to create a model that has a more free form or compound shape; that
is, a shape that is not solely linear and does not have a single axis it can revolve around. You create a
swept model by having planar profile geometry follow the path defined by another piece of geometry.
You create a solid model if you select a single closed loop object as the profile. If you select open loop
geometry or a closed loop composed of separate objects as the profile, then you create a surface
model. When selecting the sweep path, you can only select one object but that object can be an open
or closed loop.
By sweeping a profile along a path to create a model, you can create a complex model quickly and
easily without having to create and combine multiple models to achieve the required results. You
will be more productive and successful in sweeping profiles along a path if you know how to use the
Sweep command and its options to control the model's creation.

Lesson: Creating Models from 2D Profiles ■ 111

 In the following image, the Sweep command was used to create the models. The differences between
them arise from the profiles or paths that were selected or the suboption that was used in their
creation.

Solid model created by sweeping the square along the helical path shown to the right of the
model.
Two solid models of the same square profile swept along the same straight line. The difference
occurred when the right model had an angle value set for the Twist suboption.
Solid model created after sweeping the closed loop profile along the spline path.
Surface model was created because the profile was modified to be individual objects, unlike the
other three examples where the profile was a closed loop.

Command Access
Sweep

Command Line: Sweep

Ribbon: Home tab > Modeling panel > Sweep

Menu Bar: Draw > Modeling > Sweep

Toolbar: Modeling

112 ■ Chapter 2: Modeling Workflow

Sweep Options
Following the command prompts and a typical workflow, you create a 3D model by selecting the
planar profile geometry and then the path that the geometry follows. When the model is created, the
mathematical center point of the cross section aligns with the starting point of the path. The planar
profile geometry also rotates in 3D space so it is perpendicular to the path's starting point. You can
control and change the way the profile is swept along the path by selecting and changing the values of
the different command suboptions.

Once you understand the impact and use of the Sweep command's options, you can identify how to
use them to create your 3D designs more quickly and easily.

Option Description

Alignment Use to have the profile geometry maintain its current angle at the start point
of the path instead of it being rotated so it is perpendicular to the start point of
the path. Also set to No if, during the automatic alignment, the profile is getting
flipped or rotated in the wrong direction.

Base Point Use to select a point on the profile geometry, other than its center, that you
want to have match up with the path.

Scale Use to have the profile be a specific factor larger or smaller than the original
profile geometry. Use to create a complex model just by drawing one profile
and one path.

Twist Use to rotate the profile geometry a specified number of degrees as it travels
from the start to the end of the path. Use to create a complex model just by
drawing one profile and one path.

Additional Object Types

In addition to the standard objects that can be swept or used as a path, such as lines, arcs, and circles,
the following objects can also be used within the Sweep command.

Object Type Sweep Uses

Planar faces of a solid Press CTRL+select to use as the swept profile.

Edges of a solid or surface Press CTRL+select an edge to use as the path for the sweep.

Lesson: Creating Models from 2D Profiles ■ 113

 Procedure: Creating a Model Using Sweep
The following steps give an overview of creating a model by sweeping a 2D profile.
1. Draw the 2D profile.
2. Draw the path for the sweep unless you will be using existing edges of a solid or surface.
3. Start the Sweep command.
4. Select the profile objects to sweep.
5. Select the suboption Alignment, Base Point, Scale, or Twist to change the model's creation
behavior or values from the defaults.
6. Select the path.
Note: To select an edge from a solid or surface, hold the CTRL key while selecting the edge.
7. Select Yes or No to delete or keep the defining objects if the DELOBJ system variable is set to
prompt before deleting or keeping the defining objects.

When drawing a planar profile in a different alignment in 3D space and a path that
traverses through 3D space, start by creating solid primitives as bounding boxes to
your design. You can then use the dynamic UCS functionality and object snaps to
quickly and easily draw the planar profile and paths in 3D space.

Creating a Model Using the Presspull Command

Using the Presspull command, you create a solid model by pressing or pulling a planar bounded area.
You can create multisided models from profile areas very quickly using this method. You create them
quickly since these areas are often the result of different operations or the intersection of different
objects. Since this command only requires a closed boundary, you do not have to modify the existing
geometry or create a new single object outlining the area for the purpose of creating a solid model.
In the following image, several planar objects are shown intersecting each other and thereby creating
multiple bounded areas. The solid models were then created using the Presspull command and by
selecting within two of those bounded areas.

114 ■ Chapter 2: Modeling Workflow

Command Access
Presspull

Command Line: PRESSPULL, or press and hold CTRL+ALT

Ribbon: Home tab > Modeling panel > Presspull

Toolbar: Modeling

Bounded Areas for Pressing or Pulling

When pressing or pulling a bounded area, you create a solid model in a positive or negative
perpendicular direction relative to the plane of the bounded area. The resulting solid model has the
characteristics of an extruded solid model.
The bounded areas you can press or pull include:
■ Areas defined as a closed loop but created with multiple individual planar objects.
■ Areas defined by the intersection of multiple planar objects.
■ Areas defined by planar faces.
■ Areas defined by the intersection of planar objects and the edges of a planar face.

When you press or pull a bounded area of a face on a 3D model, that solid model
becomes a composite solid if it was not previously defined as one. The pressed or
pulled area then becomes a new consumed solid.

Lesson: Creating Models from 2D Profiles ■ 115

 Procedure: Creating Solids with Presspull
The following steps describe how to create solids with the Presspull command.
1. Create boundaries that
represent massing objects
by drawing objects such
as circles, polylines, and
rectangles.
Note: In this example,
each circle intersection
represents a potential
presspull boundary.

2. Click Presspull or press and

hold CTRL+ALT to start the
command. Click and drag
inside each boundary to
adjust the height.

116 ■ Chapter 2: Modeling Workflow

Creating a Helical Path
Unlike lines, circles, and arcs that can be used to represent all types of design items, the main
purpose of the helix is to function as a path for a swept or lofted model. Being able to access the Helix
command and create a helical path as required for your design can save you time in completing your
3D model.
In the following image, different helical paths illustrate the results of some of the available creation
and command options.

Command Access
Helix

Command Line: Helix

Ribbon: Home tab > Draw drop-down menu > Helix

Menu Bar: Draw > Helix

Toolbar: Modeling

Helix Options
Following the command prompts and a typical workflow, you create a 3D helix by specifying the center
point of the base, the radius or diameter of the base, the radius or diameter of the top, and the height
of the helix. To create a planar spiral using the Helix command, you specify the center point of the
spiral, the outside or inside radius or diameter, the radius or diameter of the opposite of what was just
specified, and a height of zero (0).

Lesson: Creating Models from 2D Profiles ■ 117

 Once you understand the impact and use of the Helix command's options, you can identify how
they can assist you in creating your 3D designs more quickly and easily. After setting the options
and creating the helix, you can access and manipulate the values of these suboptions through the
Properties tool palette.

Option Description

Axis Endpoint Use to specify the top center point of the helix. This value sets the helix height.
It also reorients the helix so its center axis extends from its base center point to
the selected axis endpoint, in effect rotating the helix to this new alignment.

Turns Use to set the number of revolutions for the helix. You can specify a whole or
decimal value.

Turn Height Use to set a positive distance between each turn. You can also think of this
value as the pitch between revolutions of the helix.

Twist Use to set the rotation of the helix to clockwise or counterclockwise.

Procedure: Creating a Helix

The following steps give an overview of creating a helix.
1. Start the Helix command.
2. Specify the center point of the base.
3. Specify the radius or diameter of the base.
4. Specify the radius or diameter at the top for a 3D helix. Or, specify the inner- or outermost radius
or diameter for a planar spiral.
5. Select a suboption to modify the creation of the helix or specify the height.

118 ■ Chapter 2: Modeling Workflow

Exercise: Create Solid Models from 2D Profiles
In this exercise, you create an arched doorway by
creating solid models from 2D profiles.

The completed exercise 2. On the ribbon, click the Home tab > Modeling
panel > Extrude.
3. To extrude the two cyan objects:
Completing the Exercise ■ Select the two cyan objects.
To complete the exercise, follow the ■ Press ENTER.
steps in this book or in the onscreen ■ When prompted for the extrusion height,
exercise. In the onscreen list of enter a value of 6'-8" [2100].
chapters and exercises, click Chapter
2: Modeling Workflow. Click Exercise:
Create Solid Models from 2D Profiles.

1. Open the I_Creating-Solids-from-2D-

Profiles.dwg or M_Creating-Solids-from-2D-
Profiles.dwg drawing.

Lesson: Creating Models from 2D Profiles ■ 119

4. Make the Archway-Sweep layer current and ■ When prompted for the axis start point,
freeze the Post-Extrude layer. select point (1) as shown.
■ When prompted for the axis end point,
select point (2).

5. On the Home tab, click Modeling panel >

Sweep. 11. When prompted for the angle of revolution,
6. To sweep the orange profile: enter 360.
■ Select the orange profile.
■ Press ENTER.
■ When prompted to select the sweep path,
enter A for alignment.
■ When prompted to align the sweep object
perpendicular to the path, enter N for no.
■ When prompted to select a sweep path,
select the green path.

12. Thaw all layers and zoom to the drawing

7. To prepare to create the ornamental button: extents.
■ Thaw the Button layer and make it current.
■ Freeze the Archway-Sweep layer.
8. To restore the ornament view, on the View tab,
click Views panel > View list > Ornament.

9. On the Home tab, click Modeling panel >

Revolve.
10. To create the ornamental button:
■ Select the magenta profile.
■ Press ENTER.

120 ■ Chapter 2: Modeling Workflow

13. To rotate the UCS in preparation for using the 15. Click OK.
Array command:
■ On the View tab, click Coordinates
panel > X.
■ When prompted for a rotation angle,
enter 90.

16. On the View tab, click Coordinates panel >

World.
17. Zoom to the drawing extents.

14. On the Home tab, click Modify panel > Array.

■ In the Array dialog box, click the Select
Objects button and select the solid you
revolved previously located near the lower
right part of the extrusion. Press ENTER.
■ For rows, enter 7.
■ For Columns, enter 2.
■ For Row Offset enter 1' [300].
■ For Column Offset, enter -2'-9" [-850].

18. Close all files. Do not save.

Lesson: Creating Models from 2D Profiles ■ 121

Exercise: Create Sweeps
In this exercise, you use the Sweep command 1. Open C_Coil-Over-Shock.dwg.
to create a spring completing a coil over a shock
assembly.

2. Freeze the Retainer layer.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
2: Modeling Workflow. Click Exercise:
Create Sweeps.

122 ■ Chapter 2: Modeling Workflow

3. On the Home tab, click Draw panel > Circle.
4. To create the cross-section for the spring:
■ When prompted to specify a center point,
select the bottom of the helix path.
■ When prompted to specify a radius, enter
4.
■ Press ENTER.

6. Thaw the Retainer layer.

5. To create the spring:

■ On the Home tab, click Modeling panel >
Sweep.
■ When prompted to select objects, select
the circle.
■ Press ENTER.
■ When prompted to select the path, select
the helix path.

7. Close all files. Do not save.

Lesson: Creating Models from 2D Profiles ■ 123

Lesson: Using Booleans on Solid Models

This lesson describes how to join, subtract, and intersect solid objects to create composite solid
models. With the ability to create composite solids, you can create accurate, detailed, and realistic
solid models from more basic solid shapes.
After completing this lesson, you will be able to create a composite solid by joining, subtracting, and
intersecting solid models.
In the following image, different solid primitives were brought together and joined, subtracted, and
intersected to create the initial shape of the hydraulic pump body.

Objectives
After completing this lesson, you will be able to:
■ Describe the characteristics and benefits of composite solids.
■ Union solids to create a composite solid.
■ Subtract solids to create a composite solid.
■ Intersect solids to create a composite solid.
■ Check solid models for interference.

124 ■ Chapter 2: Modeling Workflow

About Composite Solids
You create composite solid models by combining multiple solid objects into a new single model. With
an understanding of the characteristics of composite solids and how they are created, you can create
your designs more quickly using more basic building block shapes. In many cases, you will be able to
create complex models from basic solid primitive shapes.
In the following image, a composite solid was created from basic solid primitives to show detail in the
base of a fluted column.

Definition of Composite Solid Models

To create a composite solid, you combine two or more solids into a single model using a Boolean
operation. Boolean operations for creating composite solids include:
■ Union - Joins multiple solid models into a single solid model.
■ Subtract - Removes the intersecting material of one or more solid models from another solid
model.
■ Intersect - Creates a new model based on the volume of intersecting material of multiple solid
models.

Lesson: Using Booleans on Solid Models ■ 125

 In the following image, the same set of three solids were used with different Boolean commands to
create the resulting composite solids as shown.

The original set of three independent solids. The rectangle's grips are active to illustrate that the
solid models are all separate.
Shows the results of unioning the three separate models. The composite model's grips are active
to illustrate the model volume is now defined within this single composite solid.
Shows the results of subtracting the cylinder and cone from the rectangle.
Shows the resulting solid when calculating the intersection between the rectangle and cylinder.

Composite Solid Properties

When you create a composite solid, its properties are directly impacted by the layer and color
property settings of the solid models selected for its creation. When you do a Boolean operation, the
resulting composite solid resides on the layer of the first selected solid and maintains any property
overrides that the solid has. If the other selected solids have their color set to ByLayer, then the faces
from those solids display with the same color as the layer of the first selected solid. If any of the solid
models you select after the first solid model have specific colors defined, that is, something other than
ByLayer, then the faces on the composite solid created from those solid models continue to display
their original color.

Since the solid that results from a Boolean operation resides on the layer of the first selected solid
and maintains any overrides of that solid, make sure the first solid you select has the properties you
want and that it resides on the appropriate layer. Then you won't have to change the properties of the
composite solid model after creating it.

In the following image, three separate solids were unioned together. The first result (1) shows the
composite solid when the color property for the cylinder is set to something other than ByLayer.
The second result (2) shows the composite solid when all of its component solids have their color
properties set to ByLayer.

126 ■ Chapter 2: Modeling Workflow

Example: More Detailed Designs with Composite Solids
The level of detail you create in your designs is usually based on your design needs and available
design time. The following image is an example of a floor lamp composed of composite solids. These
composite solids add a slightly higher level of detail and realism to the overall design and therefore
add more realism to a room design when the lamp is added.

Lesson: Using Booleans on Solid Models ■ 127

 Creating Solids Using Union
You use the Union command to combine two or more solid objects into a single composite model.
During the operation of the command, you select all the solids you want to join into a single
composite solid. Upon completion of the command, all of the selected solid objects are consumed
into a new composite solid.
In the following image, a set of objects have been joined together in the process of creating a model
of a new building design. The top two images are displayed in wireframe for better visualization of the
changes that had occurred before and after the union.

128 ■ Chapter 2: Modeling Workflow

 Command Access
Union

Command Line: UNION

Ribbon: Home tab > Solid Editing panel > Union

Menu Bar: Modify > Solid Editing > Union

Toolbar: Modeling
Toolbar: Solid Editing

Procedure: Creating a Composite Solid Using Union

The following steps give an overview of creating a composite solid by unioning multiple solid models
together.
1. Start the Union command.
2. Select the solid models you want to union, remembering that the properties of the resultant
solid are impacted by those of the first solid selected.
3. Press ENTER.

Creating Solids Using Subtract

You use the Subtract command to remove material from a solid based on the volume of other
intersecting solids. During the operation of the command, you define two separate selection sets of
solid models. The first set of selected solid models are the ones you want to keep. The second set of
solids are the ones you want to subtract from the first set.
Upon completion of the command, the first set of selected solids are unioned together and then the
second set of solids are subtracted from the first set. All of the selected solid models are consumed
into that new composite solid. The solids that were subtracted from the first set are no longer
available for future Boolean operations.

Lesson: Using Booleans on Solid Models ■ 129

 In the following image, the concept of a new building design is further refined with the subtraction of
another set of solids.

Command Access
Subtract

Command Line: SUBTRACT

Ribbon: Home tab > Solid Editing panel > Subtract

Menu Bar: Modify > Solid Editing > Subtract

Toolbar: Modeling
Toolbar: Solid Editing

Procedure: Creating a Composite Solid Using Subtract

The following steps give an overview of creating a composite solid by subtracting one set of solids
from another set.
1. Start the Subtract command.
2. Select the solids you want to keep and have the volume of other solids subtracted from.

130 ■ Chapter 2: Modeling Workflow

 3. Press ENTER.
4. Select the solids to subtract from the first selected solids.

5. Press ENTER. The second set of solids is now subtracted from the first selection set.

Creating Solids Using Intersect

You use the Intersect command to create a single solid model from common space shared by two or
more solids. When prompted to select objects, you can window select all of the solid models, or select
them individually. Upon completion of the command, all of the selected solid models are consumed
into that new composite solid.
In the following image, a more complex looking model was created from the area of intersection of
two basic solid primitives.

Lesson: Using Booleans on Solid Models ■ 131

 Command Access
Intersect

Command Line: INTERSECT

Ribbon: Home tab > Solid Editing panel > Intersect

Menu Bar: Modify > Solid Editing > Intersect

Toolbar: Modeling
Toolbar: Solid Editing

Procedure: Creating a Composite Solid Using Intersect

The following steps give an overview of creating a composite solid based on the intersection of
multiple solid models.
1. Start the Intersect command.
2. Select the solid models, remembering that the properties of the resultant solid are impacted by
the first solid selected.
3. Press ENTER.

Checking Interference
You use the Interfere command to determine if two or more solids occupy the same space. This is
useful for locating interferences when you do not want solid models to overlap. It can also help you
to ensure you have the proper amount of overlap for those conditions when you do want them to
interfere, like mechanical assembly press fits.
In the following image, the bushing appeared to be too large for the housing so they were checked for
interference. During the process of checking for interference, a solid model of the interference was
created and is shown on the far right.

132 ■ Chapter 2: Modeling Workflow

Command Access
Interfere

Command Line: INTERFERE

Ribbon: Home tab > Solid Editing panel > Interfere

Menu Bar: Modify > 3D Operations > Interference Checking

Options for Interference Checking

Following the command prompts and a typical workflow, you will select the models you want to check
for interference in two different selection sets. The first set of solid models you select will be checked
for interference against the second set of selected solid models. When you select two sets of solids,
the solid models within the same selection set are not checked against each other for interference.
Checking for interference in this manner will be quicker than checking all the solid models against each
other for interference.

If you do need to check a set of solid models to see if they interfere with each other, you will then
want to follow a slightly different workflow. Select all of the solids in the first selection set and do not
select any solids in the second set. By selecting them all in only one selection set, then all of the solid
models will be checked for interference against each other.

After selecting the solid models for the selection set or sets, the Interference Checking dialog box will
display if an interference is detected. You will also see a red solid model indicating the amount and
location of the detected interference. You can select to keep this separate solid model for future use
like measuring it or using it in a Boolean operation. If no interference is detected, you will be informed
as such on the command line.

The Interfere command has two suboptions to help you select solid models within a block and to view
interference results in the manner you prefer.

Lesson: Using Booleans on Solid Models ■ 133

 Option Description

Nested Selection Use when you need to select a solid model that is within a block definition.

Settings Use to display the Interference Settings dialog box so you can change the
reporting visual styles and model color when an interference is detected.

Interference Settings Dialog Box

In the Interference Objects area, set the visual style, the color of the interference solid, and whether
or not to highlight the interfering pair or the interference. In the Viewport area, set the visual style for
all other solids in the drawing.

Interference Checking Dialog Box

Within the Interference Checking dialog box, you can view how many solids were in the first and
second selection sets and how many pairs of solids interfered. You can also view the interference by
manually zooming, panning, and rotating the display, or click Previous or Next to have the display
automatically zoom to the pairs of model interferences. Deselecting the Delete Interference Objects
Created On Close option keeps the interference solid model in the drawing after closing the dialog
box.

134 ■ Chapter 2: Modeling Workflow

 Use Interference Checking to create a new solid model from overlapping solid objects
when you want to keep the selected solid objects as individual objects (unlike using the
Intersect command where the selected solid objects would be consumed into the new
composite solid).

Procedure: Checking for Interference

The following steps give an overview of checking for interference between multiple solid models.
1. Start the Interfere command.
2. Select the first set of solid objects.
3. Press ENTER.
4. Select the second set of solid objects.
5. Press ENTER.
6. If interference is detected, view and interpret the displayed results.
7. If you want the solid objects of the intersecting area to remain after you close the dialog box,
clear the option to delete the interference objects prior to closing the Interference Checking
dialog box.

Lesson: Using Booleans on Solid Models ■ 135

Exercise: Create Composite Solids - Mechanical
In this exercise, you use Boolean commands to 1. Open C_MECH-Composite-Solids.dwg.
complete a hydraulic pump cover and assembly. The drawing displays the solid objects in a
Youalso inspect the assembly by checking for fashion similar to the following image.
interference.

This image identifies and names the parts for

clearer reference in subsequent exercise steps.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
2: Modeling Workflow. Click Exercise:
Create Composite Solids - Mechanical.

Hose
Bushing
Clearance
Socket Head Cap Screw
Emboss
Cap
Housing

136 ■ Chapter 2: Modeling Workflow

2. Union the cap and the emboss: 4. To subtract the clearance objects from the cap:
■ Zoom in and orbit to the area where the ■ On the Home tab, click Solid Editing panel >
cap and the emboss meet. Subtract.
■ On the ribbon, click the Home tab > Solid ■ When prompted to select objects, select
Editing panel > Union. the cap.
■ When prompted to select objects, select ■ Press ENTER.
the cap, then the emboss. ■ When prompted to select objects, select
■ Press ENTER. the four clearance objects.
■ Press ENTER.

Take note of the color property of the resulting

solid compared to the original colors of the Note: When working with the subtraction
selected solids. Resulting properties are command, one should keep extra objects on
determined by the order in which the solids are hand. Several copies of the clearance objects
selected. were made because the objects are consumed
3. Expose the clearance objects: when the subtraction is complete. The original
■ Thaw the Clearance layer. solid should be placed elsewhere or could be
stored in a library for use in other projects.
■ Use Constrained Orbit to verify the
locations for both sides. 5. Position the cap and the screws:
■ Use the Move command to position the cap
on the housing. Use object snaps to make
sure it is placed correctly onto the housing.

■ Thaw the Screw layer.

■ On the Home tab, click Modify panel >
Move.
■ Position the screw into one of the holes on
the cap as shown.

Lesson: Using Booleans on Solid Models ■ 137

 8. To check for interference:
■ On the Home tab, click Solid Editing panel >
Interfere.
■ When prompted to select the first set of
objects, select the housing and cap.
■ Press ENTER.
■ When prompted to select the second set of
objects, select the four screws.
■ Press ENTER.
■ Because an interference was detected, the
Interference Checking dialog box displays
with information on the interference and
display options.
9. To add a solid object from the interference:
■ A solid model also appears to visually
represent the interference (1) as identified
6. Install additional socket head cap screws: in the following image.
■ On the Home tab, click Modify panel > ■ Clear the Delete Interference Objects
Copy. Created on Close check box.
■ Make three additional copies of the socket ■ Click Close in the Interference Checking
head cap screw. dialog box. The preview of the interference
■ Position the screws into each of the is created as a solid object in the model.
remaining holes on the cap.

10. To subtract the interference object:

■ Start the Subtract command.
■ Select the Housing and press ENTER.
7. On the Home tab, click View panel > 3D ■ Select the created interference object and
Wireframe. press ENTER.
Note: Running the interference checking
command multiple times will create multiple
solids in the same place.
11. Use the Interference Checking command to
validate that there is no longer an interference
between the housing, cap, and screws.
Next, a new bushing is required to complete
the assembly. The hose and bushing have
already been moved into place, but you have a
few remaining steps to complete it.

138 ■ Chapter 2: Modeling Workflow

12. To intersect the bushing with the hose:
■ On the Home tab, click View panel >
Realistic.
■ Thaw the Hose and Bushing layers.
■ On the Home tab, click Solid Editing panel >
Intersect.
■ When prompted to select objects, select
the bushing and then the hose.

■ Press ENTER.

13. Move the bushing to the housing.

14. Close all files. Do not save.

Lesson: Using Booleans on Solid Models ■ 139

Exercise: Create Composite Solids - Architectural
In this exercise, you use Boolean commands to 1. Open C_ARCH-Composite-Solids.dwg.
complete a decorative lamp.Youalso inspect the The drawing displays the solid objects in a
assembly by checking for interference. fashion similar to the following image.

This image identifies and names the parts for

clearer reference in subsequent exercise steps.

The completed exercise

Completing the Exercise

To complete the exercise, follow
the steps in this book or in the
onscreen exercise. In the onscreen
list of chapters and exercises, click
Chapter 2: Modeling Workflow. Click
Exercise: Create Composite Solids -
Architectural.

Core
Pole

140 ■ Chapter 2: Modeling Workflow

 4. Move the pole to the base:
Base
■ Click Home tab > View panel > Realistic.
Shade ■ Thaw the Base layer.
Ornament ■ Use the Move command with the Center
object snap to position the pole to the
2. Zoom in to the base of the pole. On the Home center of the base.
tab, click View panel > 3D Wireframe.

5. Union the base and pole:

■ On the Home tab, click Solid Editing panel >
Union.
■ When prompted to select objects, select
the base and the pole.
■ Press ENTER.

3. Subtract the core from the pole:

■ On the Home tab, click Solid Editing panel >
Subtract.
■ When prompted to select objects, select
the pole.
■ Press ENTER.
■ When prompted to select objects, select
the core.

Take note of the color property of the resulting

solid compared to the original colors of the
selected solids. Resulting properties are
determined by the order in which the solids are
selected.

Lesson: Using Booleans on Solid Models ■ 141

6. Position the lamp shade to the top of the pole:
■ Thaw the Shade layer.
■ Zoom to the top of the model as shown.
■ Start the Move command.
■ Using the Center object snap, select the
bottom of the hole in the shade (1).
■ Using the Center object snap, select the
small step near the top of the pole (2).

9. Subtract the interference object from the lamp

shade:
■ Start the Subtract command.
■ Select the lamp shade and press ENTER.
■ Select the created interference object and
press ENTER.
■ Set the Visual Style to Realistic.
■ Use the Interference Checking command
to validate that there is no longer an
interference between the lamp shade and
■ For ease of selection in subsequent steps, pole.
set the Visual Style to 3D Wireframe. 10. Set the Visual Style to Realistic.
7. Check for interference: 11. Use the Interference Checking command to
■ On the Home tab, click Solid Editing panel > validate that there is no longer an interference
Interfere. between the lamp shade and pole.
■ Select the lamp shade for the first set of 12. Position the ornament box pieces together:
objects. Press ENTER. ■ Thaw the Ornament and Alignment layers.
■ Select the pole for the second set of ■ Zoom to the Ornament box pieces.
objects. Press ENTER.
■ Using the Move command with object
■ Use the Pan and Zoom buttons on the snaps, position the two pieces together as
Interference Checking dialog box to view shown.
the interference.
■ Use the Move command with Endpoint
■ Because an interference was detected, object snap to position top and bottom
the Interference Checking dialog box halves of the box and enclose the
displays with information concerning the ornament.
interference and display options.
8. Adding a solid object from the interference:
■ A solid model appears to visually represent
the interference (1) as identified in the
following image.
■ Clear the Delete Interference Objects on
Close check box.
■ Click Close in the Interference Checking
dialog box. The preview of the interference
is created as a solid object in the model.

142 ■ Chapter 2: Modeling Workflow

13. Intersect the ornament boxes: 16. Union the lamp and the ornaments:
■ On the Home tab, click Solid Editing panel > ■ On the Home tab, click Solid Editing panel >
Intersect. Union.
■ Select both ornament boxes. ■ When prompted to select objects, select
■ Press ENTER. the lamp and then the six ornament
objects.
■ Press ENTER.

14. Move the ornament to the top of the base as

shown.

17. Right-click the ViewCube. Click Home.

15. Array the ornament:

■ On the Home tab, click Modify panel >
Array.
■ In the Array dialog box, click the Polar Array
option.
■ Select the ornament for the array.
■ Use the center of the base or center of the
alignment circle as the center point of the
array. 18. Close all files. Do not save.
■ For the total number of items, enter 6.
■ For the Angle to fill, enter 360.
■ Verify that the option to rotate items as
copied is checked.
■ Preview and accept the array.

Lesson: Using Booleans on Solid Models ■ 143

Lesson: Creating Composite Models

In this lesson, you learn to use the composite modeling features in AutoCAD®. You learn to convert
models from one modeling techhnology to another and to add features to models using different
technologies. You also learn which technology is best to use for each design requirement.
Composite modeling enables you to use the best technology available to meet your design
requirements. Mesh modeling is good for sculpting organic shapes, but is less capable when you are
creating precision features. Solid modeling is very useful when making precision features that are
controlled by dimensions. Surface modeling is common when outputting models for manufacturing.

Objectives
After completing this lesson, you will be able to:
■ Describe the characteristics and benefits of composite models.
■ Use the Convert to Solid and Convert to Surface commands to create composite models.
■ Use Boolean operations on different types of 3D models and describe which operations can be
used with each model type.

144 ■ Chapter 2: Modeling Workflow

About Composite Models
Composite modeling is the process of using AutoCAD's three different 3D modeling types, solids,
surfaces, and meshes, in the same model. You may convert 3D models from one type to another,
but the results will vary. You may perform the Boolean operations of union, subtract, and intersect
between surface and solid modeling types. In some cases, the model will be converted to another
model type by a Boolean operation.
For example, a model may start as a solid model and be converted to a mesh model during the design
process. When the design is complete, it may be converted to a surface model for manufacturing
processes.

Hand grip with mesh handle and solid thread

Definition of Composite Models

AutoCAD has three different modeling technologies avalable to use in every 3D model. You can easily
convert an object to one of these three model types. You may also have several objects in the same
drawing, each using a different modeling type.
Mesh modeling enables you to sculpt objects into free-form organic shapes that require less
dimensional control. Mesh modeling does not support Boolean operations.
Solid modeling enables you to create precision features and more easily control dimensional features.
Solid modeling supports Boolean operations.
Surface modeling, or NURBS, surfaces are most commonly used as output for manufacturing
processes. Surface modeling enables you to control the individual features of the object, but requires
more time and skill to do so.

Lesson: Creating Composite Models ■ 145

 Camera body after solid modeling features were added

Example of Composite Modeling

Most modern consumer products require organic shapes with precision features. Consider a handheld
electronic device. The exterior shape must be pleasing to the eye and touch, but the internal
components must be very precise. Also, the inner components must interface precisely with the
sculpted exterior.
When the design is complete, digital information must be delivered in a common format so that
manufacturing systems can interpret it and generate production tooling.
With composite modeling, you can achieve all of these requirements within one AutoCAD drawing.

146 ■ Chapter 2: Modeling Workflow

Example of Composite Modeling
In real-world applications, it is often necessary to use objects in multiple ways. An example is when
you design an object and the shape must be used to create production tooling or packaging. By
copying and converting the object, you can maintain dimensional fidelity between the original design
and the various processes used to produce it.
1. Create the basic shape using mesh modeling.

2. Convert the mesh model into a solid model.

Lesson: Creating Composite Models ■ 147

 3. Use solid editing to modify the object.
Use surface modeling to create packaging.

Creating Composite Models

When creating composite models you will find yourself using all of AutoCAD's 3D modeling types. It is
best to familiarize yourself with these before beginning composite modeling.
In this model, the dish-shaped object is made with a revolved surface, the handle rod is a solid model,
and the hand grip is a sculpted mesh object.

148 ■ Chapter 2: Modeling Workflow

Creating Composite Models Described
Composite models use mesh objects, solid objects, and surface objects in the same drawing.
■ A mesh object should be used for sculpted shapes.
■ A solid object should be used for more primitive shapes and features that require dimensional
accuracy.
■ A surface model combined with the Thicken command should be used to model formed sheet
metal or shell type molded plastic parts.

Process: Creating Composite Models

1. On the ribbon, click Mesh Modeling tab
> Primitives panel. Use surface modeling
commands to create a surface.

2. Surface modeling is useful for creating

formed sheet metal parts.

3. On the ribbon, click Home tab > Modeling

panel. Use solid modeling commands to
create a solid object.

4. Solid modeling is useful for creating precise

components.

Lesson: Creating Composite Models ■ 149

 5. On the Mesh Modeling tab, click Modeling
panel. Use mesh commands to create mesh
objects.

6. Mesh modeling is useful for creating

sculpted shapes. Here you see the mesh
modeling Gizmo.

7. On the ribbon, click Mesh Modeling tab >

Convert Mesh panel to select a conversion
setting.

8. On the ribbon, click Mesh Modeling tab >

Convert Mesh panel to convert a mesh to a
surface.

9. The appearance of the object will change.

You should complete mesh modeling before
converting to a surface.

150 ■ Chapter 2: Modeling Workflow

 10. View the completed composite model.

Guidelines for Composite Modeling

Consider the following guidelines when composite modeling:
■ Converting from solid to mesh objects should be done with caution. Smoothing is applied during
the conversion that will decrease the accuracy of precision features.
■ Plan your workflow before creating a composite model. Start with mesh modeling to create
organic shapes. Convert the mesh model to a solid when you are ready to add features requiring
dimensional accuracy.
■ As you learn composite modeling, make frequent copies of your model at critical and successful
steps. This will enable you to step back and try another approach as you move forward.
■ Use a surface model to sculpt shapes for formed sheet metal or shell type molded plastic parts.
■ Use the Thicken command to convert surfaces into 3D solids.

Using Boolean Operations in Composite Models

You can use the Boolean operations of union, subtract, and intersect with solid and surface objects to
create a complex model.
This sculpted camera body started as a mesh model and was converted into a solid. The lens mounting
rings were added using solid editing Boolean operations.

Lesson: Creating Composite Models ■ 151

 Description of Boolean Operations in Composite Models
Boolean operations are not supported between mesh objects. You may convert mesh objects into
solids or surfaces. If the mesh is watertight, meaning no gaps between faces, it can be converted to a
solid. If the mesh has gaps between faces it can only be converted to a surface. Gaps may occur when
extreme modifications have been made to the mesh.
Composite modeling using the Boolean operations of union, subtract, and intersect is supported
between two or more solid objects or two or more surface objects. Mixed Booleans between solid
and surface models can be performed, but adhere to specific rules.

Solid Editing Panel

Use the commands on the Solid Editing panel to edit your solid models.

Command Description
UNION Combines two or more solids or surfaces into one object. You cannot union
solids to surfaces. You cannot union meshes.
SUBTRACT Removes from one object the volume of one or more overlapping objects.
You can subtract a solid from a surface, but not a surface from a solid. You
cannot subtract meshes.
INTERSECT Creates an object representing the common volume between overlapping
sollid or surface objects. You cannot intersect meshes.
CONVTOSOLID Converts watertight mesh or surface objects into a solid object.
CONVTOSURFACE Converts a solid or mesh object into a surface object.
THICKEN Converts a surface into a 3D solid of a specified thickness.
SLICE Divides a solid or surface object into two objects along a cutting plane
defined by points or by one of several other object types. Meshes cannot be
sliced or used as cutting planes.
INTERFERE Identifies the common volume where two or more solid objects overlap.

152 ■ Chapter 2: Modeling Workflow

Process: Using Booleans in Composite Models
1. On the ribbon, click Mesh Modeling tab >
Convert Mesh panel > Convert to Solid.

2. Select the object to be converted.

3. Select the converted object. In the Quick

Properties panel, verify that the object is a
solid.

4. Create a new solid feature to modify the

object.

5. Modify the object using a Boolean

operation.

Lesson: Creating Composite Models ■ 153

 6. Select the modified object to verify that it is
now one solid object.

Process: Using Boolean Operations in Composite Models

1. On the ribbon, click Mesh Modeling tab
> Primitives panel. Use surface modeling
commands to create a surface.

2. On the ribbon, click Home tab > Modeling

panel, use solid modeling commands to
create solid objects.

3. On the ribbon, click Home tab > Solid Editing

panel, use Boolean commands to subtract
the solids from the surface. The resulting
object is a surface.

4. On the ribbon, click Home tab > Solid Editing

panel. Use the Thicken command to add
thickness to the surface. The resulting object
is a solid.

154 ■ Chapter 2: Modeling Workflow

5. On the ribbon, click Mesh Modeling tab >
Convert Mesh panel, convert the surface or
mesh object, in this case the blue grip, into a
solid.

6. On the ribbon, click Home tab Solid Editing

panel, use Boolean operations to subtract
one solid from the other.

7. View the completed composite model

further defined by the use of Boolean
operations.

Guidelines for Using Boolean Operations in Composite Models

Consider the following combinations when using Boolean operations in composite models:
■ You can perform Boolean operations between objects of the same type, solid to solid, and surface
to surface.
■ You can subtract solid objects from a surface. The resulting object will be a surface.
■ You can intersect solid and surface objects. The resulting object will be a surface.
■ You cannot perform Boolean operations on mesh objects.
■ You cannot subtract a surface from a solid.
■ You cannot include regions in a composite model.
■ If you select an object that is ineligible for composite modeling, it will be ignored.

Lesson: Creating Composite Models ■ 155

Exercise: Create a Composite Model
In this exercise, you smooth a mesh object and 2. The camera body has been created using mesh
convertthe mesh object into a solid object. You use primitives. Now it needs to be smoothed.
composite modeling to perform a union and modify ■ Click Mesh Modeling tab > Mesh panel,
the solid model. You shell the solid model to create a click Smooth More.
thin-walled partand thensplit it into two pieces.
■ Select the camera body. Press ENTER.

The completed exercise

3. Now, you convert the camera body to a
solid, so that you may later perform Boolean
operations.
Completing the Exercise ■ Click Mesh Modeling tab > Convert Mesh
To complete the exercise, follow the panel, click Smooth Optimized.
steps in this book or in the onscreen ■ Click Mesh Modeling tab > Convert Mesh
exercise. In the onscreen list of panel, click Convert to Solid.
chapters and exercises, click Chapter ■ Select the camera body. Press ENTER.
2: Modeling Workflow. Click Exercise: ■ Restore the UCS named LENS as shown.
Create a Composite Model.

1. Open C_Camera_Body.dwg.
Note: The 3D Modeling workspace must be
active for this exercise.

156 ■ Chapter 2: Modeling Workflow

4. Next, you add a lens mount boss to the camera 6. Next, you add a fillet between the lens mount
body. boss and the camera body.
■ Click Home tab > Modeling panel > ■ Click Home tab > Modify panel > Fillet.
Cylinder. ■ Select the camera body.
■ For the center point of the base enter 0,0,0. ■ Select the edge at the base of the lense
Press ENTER. mount boss.
■ For the base radius of the cylinder enter 12. ■ For fillet radius, enter 2. Press ENTER.
Press ENTER. ■ Press ENTER again to finish the fillet.
■ For the height of the cylinder enter 8. Press
ENTER.

7. Now, you shell the finished solid model.

■ Click Home tab > Solid Editing panel > Shell.
5. To join the camerea object and lens object: ■ Select the camera body.
■ Click Home tab > Solid Editing panel > ■ Select the face of the cylinder as a face to
Union. be excluded. Press ENTER.
■ Select the camera body and the cylinder as ■ For the shell offset distance, enter 0.5.
the objects to be unioned. Press ENTER. Press ENTER.

Lesson: Creating Composite Models ■ 157

8. Finally, you split the camera body shell into two 11. Move one part to verify that the split was
halves. successful.
■ Restore the UCS named SPLITPLANE.

9. To slice the camera body: 12. Close all files. Do not save.
■ Click Home tab > Solid Editing panel > Slice.
■ Select the camera model. Press ENTER.
■ Specify the start point of the slicing plane
as ZX. Press ENTER.
■ To specify the point on the ZX Plane enter
0,0,0. Press ENTER.
■ Press ENTER to accept the default value of
Both.

10. The camera body is split into two pieces along

the ZX plane as is evidenced by the black line.

158 ■ Chapter 2: Modeling Workflow

Exercise: Use Booleans in an Architectural Model
1. Open C_Towers.dwg.
In this exercise, you create an opening in a sculpted
roof. You use Boolean operations to perform a
subtraction between two different object types, with
the result being a surface.

In this exercise, you:

■ Extrude an ellipse to create a 3D solid.
■ Convert a mesh to a surface.
■ Subtract the solid from the surface.

Note: The 3D Modeling workspace must be

active for this exercise.
2. To extrude an elliptical shape that will be cut
from the surface:
■ Click Home tab > Modeling panel > Extrude.
■ Select the ellipse. Press ENTER.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
2: Modeling Workflows. Click Exercise:
Use Booleans in an Architectural
Model.

Lesson: Creating Composite Models ■ 159

3. Enter 30 for the height of the extrusion. Press 5. Click Mesh Modeling tab > Convert Mesh panel
ENTER. The extrusion is a solid object. > Convert to Surface.
■ Select the roof. Press ENTER.
The roof is converted to a surface object.

4. Click Mesh Modeling tab > Convert Mesh panel

> Faceted Not Optimized.

6. Click Home tab > Solid Editing panel > Subtract.

Select the roof surface object as the object to
subtract from. Press ENTER.

160 ■ Chapter 2: Modeling Workflow

7. Select the elliptical solid object as the object to 9. Restore the SW Isometric view to see the
subtract. Press ENTER. opening.

8. The resulting object is a surface with an 10. Close all files. Do not save.
elliptical opening.

Lesson: Creating Composite Models ■ 161

Lesson: Extracting Geometry from Solid Models

This lesson describes how to create new face and edge geometry from 3D models. From the newly
created geometry, you can represent the model in a different way or create new surface or solid
models.
In the following image, faces and edges from the solid model created lines, arcs, regions, and faces.

Objectives
After completing this lesson, you will be able to:
■ Create copies of faces of a solid model using the Copy Faces command.
■ Copy individual edges of a solid model using the Copy Edges command.
■ Copy all edges of a solid model using the Extract Edges command.
■ Explode 3D models to convert geometry from solids to surfaces and regions, or to convert surfaces
and regions to lines, arcs, and splines.
■ Create new models based on extracted edge and face geometry from an existing solid model.

162 ■ Chapter 2: Modeling Workflow

Copying Faces
You use the Copy Faces command to copy selected faces of a solid model. The copied objects you
create are either regions or surfaces, depending on the contour of the solid face you select. A planar
solid face creates a region and all other faces create surfaces.
Copying faces is especially useful when you want to create a new solid model that matches some
aspect of a current solid model. Since the copied face is an exact copy of the selected face, its size
perfectly matches the current size of the selected solid model. Any model you create from the copy
will be a perfect match without you having to create a lot of geometry to achieve that result.
In the following image, a new region object was created after copying the face of the solid model.

Command Access
Copy Faces

Command Line: SOLIDEDIT > FACE > COPY

Ribbon: Home tab > Solid Editing panel > Copy Faces

Menu Bar: Modify > Solid Editing > Copy Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Copying Faces

The following steps give an overview of creating regions and surfaces by copying faces from solid
models.
1. Start the Copy Faces command.
2. Select the faces on the solid model you want to copy.

Lesson: Extracting Geometry from Solid Models ■ 163

 3. Specify the base point.
4. Specify the point where you want to position the copied faces.

Copying Edges
You use the Copy Edges command to copy selected edges of a solid model. The copied objects you
create are either lines, arcs, circles, or splines, depending on the contour of the solid edge you select.
Copying edges of a solid model can save you time in the creation of profiles, paths, or guides to use in
the creation of additional models.
In the following image, part of the top edge of the building was copied and then used as the path to
create a swept model that represents the canopy to be attached to the building.

Command Access
Copy Edges

Command Line: SOLIDEDIT > EDGE > COPY

Ribbon: Home tab > Solid Editing panel > Copy Edges

Menu Bar: Modify > Solid Editing > Copy Edges

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Copying Edges

The following steps give an overview of creating lines, arcs, and splines by copying edges from solid
models.
1. Start the Copy Edges command.
2. Select the edges on the solid model you want to copy.

164 ■ Chapter 2: Modeling Workflow

 3. Specify the base point.
4. Specify the point where you want to position the copied edges.

Extracting All Model Edges

You use the Extract Edges command to copy all of the edges of a solid model directly on top of the
model. This command is similar to the Copy Edges command in that the copied objects you create are
either lines, arcs, circles, or splines, depending on the contour of the solid edge you select. The layer
property for these new objects is the layer that is current when the command is run.
Extracting all of the edges of a solid model is a quick way to represent a model in wireframe form. You
can use this wireframe model as a subtle representation of something indirectly related to your design
or you can use it as a design envelope for the creation of other models.
In the following image, the buildings surrounding the one of interest were changed to de-emphasize
any focus that may be placed on them. The footprint of the building was created by copying the
bottom faces of the models. The wireframe outlines were created by extracting all the edges of the
model.

Command Access
Extract Edges

Command Line: XEDGES

Ribbon: Home tab > Solid Editing panel > Extract Edges

Menu Bar: Modify > 3D Operations > Extract Edges

Lesson: Extracting Geometry from Solid Models ■ 165

 Procedure: Extracting All Model Edges
The following steps give an overview of creating lines, arcs, and splines from all the edges of selected
solid models.
1. Start the Extract Edges command.
2. Select the regions, surface models, or solid models.
3. The extracted edges remain positioned in their original location but can be moved if required.

Exploding 3D Models
You use the Explode command to convert a model from one type of object into other types of objects.
When you explode a solid model, it becomes a surface model. The solid model is replaced with
regions and surfaces to represent its faces. When you explode a region or surface, you create a
wireframe model. The region or surface is replaced with lines, arcs, and splines representing its edges.
When you explode a mesh model, it is converted to a series of faces. Each faceted surface on the
mesh model is converted to a 3D Face object.
When you want to extract the majority of faces from a solid model, exploding the model or a copy of
it can be quicker than copying each individual face, especially if the model has a large number of small
face segments.
In the following image, the solid model was exploded and then some of the faces that were not
needed were deleted.

Procedure: Exploding 3D Models

The following steps give an overview of converting geometry from solids to surfaces, and regions or
surfaces and regions to lines, arcs, and splines.
1. Start the Explode command.
2. Select the regions, surface models, mesh models, or solid models.

166 ■ Chapter 2: Modeling Workflow

Exercise: Extract Geometry from Solid Models
In this exercise, you create new models based on
extracted edge and face geometry from an existing
solid model.

The completed exercise

Completing the Exercise 5. On the Home tab, click Modeling panel >
To complete the exercise, follow the Extrude.
steps in this book or in the onscreen 6. To create a new solid by extruding the copied
exercise. In the onscreen list of face:
chapters and exercises, click Chapter ■ Select the face you just created.
Press ENTER.
2: Modeling Workflow. Click Exercise:
■ Set the distance by object snapping to the
Extract Geometry from Solid Models. bottom corner of the initial solid model.

1. Open M_Extract-Geometry.dwg.
2. On the command line:
■ Enter DELOBJ and press ENTER.
■ Enter 1 and press ENTER. This is the default
setting for the DELOBJ system variable.
3. On the Home tab, click Solid Editing panel >
Copy Faces.
4. To copy the top face of the solid model:
■ Select the top face of the solid model. Press
ENTER.
■ Specify the base point by object snapping to
one of the endpoints of the selected face.
■ With PolarSnap on, move the cursor in the
positive Z direction approximately 50 units
and click. 7. On the Home tab, click Solid Editing panel >
■ Press ESC to end the command. Shell.
8. To shell the new solid to make it an enclosure:
■ Select the extruded solid.
■ Select the top face to remove it from the
shell operation.
■ Press ENTER.

Lesson: Extracting Geometry from Solid Models ■ 167

 ■ When prompted for the shell offset 13. Use the Pedit command and join the individual
distance, enter -8. lines and arcs into a single polyline.
■ Press ESC to end the command. 14. On the Home tab, click Modeling panel >
Sweep.
15. To sweep the half circle geometry along the
polyline:
■ When prompted for the objects to sweep,
select the half circle geometry.
■ Press ENTER.
■ When prompted for the sweep path, select
the polyline.
16. On the Home tab, click View panel > Realistic.
Your model should appear as shown.

9. To change the layer settings:

■ Thaw the Cross Sectional Geometry layer
and make it current.
■ Freeze the Copied Surface layer.
10. On the Home tab, click View panel > 2D
Wireframe.
11. On the Home tab, click Solid Editing panel >
Copy Edges.
12. To copy five edges at the top of the solid model 17. Use the List command to verify the object type
to their originating location: of the swept model you just created. The first
■ Select the five edges as indicated. line of the properties should appear as follows:
Press ENTER. 3DSOLID Layer: Cross Sectional Geometry
■ When prompted for the base point,
enter 0,0. 18. Use the Explode command to explode the same
swept object.
■ When prompted for the second point,
enter 0,0. 19. Use the List command and select the face as
shown in the following image. The first line of
■ Press ESC to end the command. the properties should appear as follows:
SURFACE Layer: Cross Sectional Geometry

20. To change the layer settings:

■ Make the Extract All Edges layer current.
■ Freeze the Cross Sectional Geometry layer.

168 ■ Chapter 2: Modeling Workflow

21. To extract all of the edges from the solid model:
■ On the Home tab, click Solid Editing panel >
Extract Edges.
■ Select the solid model.
■ Press ENTER.
22. Freeze the Initial Solid Model layer. The drawing
should now look like the following image.

23. Save and close all files.

Lesson: Extracting Geometry from Solid Models ■ 169

Lesson: Getting Information from 3D Objects

This lesson describes how to check the validity of a solid model, display mass property data for a solid
model, and change the color display of faces and edges.
By using the information that is available in a valid solid model, you can save yourself time
doing calculations. By changing the color of different aspects of your design, you can focus the
communication more easily and quickly.
The following image shows a cast beam with a sphere at the center of its mass. The color of the two
end faces have been changed to call attention to them.

Objectives
After completing this lesson, you will be able to:
■ Check to see if a solid model is a valid ShapeManager solid model.
■ View the mass property data of solid models.
■ Validate a solid model, display mass property information, and change the color of solid model
faces.

170 ■ Chapter 2: Modeling Workflow

Checking Solid Model Integrity
In this section of the lesson, you learn about checking the validity of a solid model. You check your
3D solid models to ensure they are valid ShapeManager solids. ShapeManager is the 3D geometric
modeling engine from Autodesk® that creates and manipulates 3D models.
There are two ways you can check the validity of a solid model. One way is to perform a manual check
using the Check command. The other way is to have the SOLIDCHECK system variable set to 1 prior to
modifying a solid model so it is checked automatically.
When you check a solid model manually, the text window displays either This object is a valid
ShapeManager solid or This object is not a valid ShapeManager solid. Invalid shapes occur
inadvertently in some cases during model creation or editing.

Command Access
Check

Command Line: SOLIDEDIT > BODY > CHECK

Ribbon:
Home tab > Solid Editing panel > Check

Menu Bar: Modify > Solids Editing > Check

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Validating a Solid Model

The following steps give an overview of checking a solid model to ensure it is a valid ShapeManager
solid model.
1. Start the Check command.
2. Select the solid model you want to check.
3. In the text window, review the returned information for the selected model.

Lesson: Getting Information from 3D Objects ■ 171

 Viewing Mass Properties
You can view the mass property data of solid models which includes Mass, Volume, Bounding Box,
Centroid. Other mass property data is calculated using these values. Since the calculation for mass
uses a material density of 1.0, the mass and volume report the same value.
Retrieving the mass properties of a solid model can save you a lot of time when you need to complete
tasks like volume analysis, determining the centroid position to safely lift larger pieces, or determining
the proper size shipping container for the model.
In the following image, the solid model is shown transparent so you can see a sphere that was
manually added after the mass properties calculated the current centroid. A wireframe box was also
created showing the bounding box for this model.

Command Access
Region/Mass Properties

Command Line: MASSPROP

Menu Bar: Tools > Inquiry > Region/Mass Properties
Toolbar: Inquiry

Procedure: Viewing Mass Properties

The following steps give an overview of calculating and viewing the mass properties of a solid model.
1. Start the Mass Properties command.
2. Select one or more solid models for which you want to view the mass properties.
3. Review the property data being displayed in the text window.
4. Select the Yes option if you want to write these current values to a new ASCII text file with an
MPR extension.
5. If you selected Yes, specify a name and location for the MPR file.

172 ■ Chapter 2: Modeling Workflow

The following image shows the mass property data for a solid model.

If you need to know the surface area of all the faces of a solid model, use the Area
option of the MEASUREGEOM command and its Object selection option.

Lesson: Getting Information from 3D Objects ■ 173

Exercise: Get Information from 3D Objects
In this exercise, you verify the validity of a solid 1. Open C_3D-Information.dwg.
model, display mass property information from solids
and regions, and change the color of solid model
faces.

The completed exercise

2. On the ribbon, click the Home tab > Solid
Editing panel > Check.
Completing the Exercise 3. To verify that the lamp is a valid solid:
To complete the exercise, follow the ■ Select the lamp.
steps in this book or in the onscreen ■ Press F2 to display the text window.
exercise. In the onscreen list of ■ Make sure that the solid selected is a valid
chapters and exercises, click Chapter 2: ShapeManager solid.
Modeling Workflow. Click Exercise:Get ■ Press ENTER twice.
Information from 3D Objects.

4. On the command line, enter massprop.

174 ■ Chapter 2: Modeling Workflow

5. To review the solid's properties: 9. To change the color of the outer face of the
■ Select the lamp. base:
■ Press ENTER. ■ Select the outer face of the base.
■ Review the properties that appear in the ■ Press ENTER.
text window. ■ In the Select Color dialog box, click Red.
■ Press ENTER to view the remaining ■ Click OK.
properties. ■ Press ENTER twice.
■ Press ENTER to complete the command
without writing property information to a
text file.

10. Zoom the drawing to extents.

11. Save and close all files.
6. On the command line, enter massprop.
7. To review the region's properties:
■ When prompted to select objects, select
the region.
■ Press ENTER.
■ Review the properties that appear in the
text window.
■ Press ENTER to complete the command
without writing property information to a
text file.

8. On the Home tab, click Solid Editing panel >

Color Faces.

Lesson: Getting Information from 3D Objects ■ 175

176 ■ Chapter 2: Modeling Workflow
 Chapter

Editing Models
In the life cycle of a product, a design is rarely a static entity. It is more likely that change is the
norm. Therefore, the ability to edit your design at every level from the most basic component to the
complete design is critical to the success of the project.
The lessons in this chapter teach you the methods, commands, and options for editing 3D models. This
includes adding detail to individual models; converting 2D objects to models; moving, rotating and
aligning models; duplicating models; and performing basic edits on mesh models.

Objectives
After completing this chapter, you will be able to:
■ Add detail to your 3D model by slicing part of it off in the form of rounded or flattened edges.
■ Access and control solid model history, edit models using grips, and modify the size and shape of
solid models.
■ Locate, orient, and align 3D models.
■ Mirror and array 3D models.
■ Convert 2D objects to surfaces or solids and thicken surfaces into a solid.
■ Create and edit mesh objects to generate complex shapes.

Chapter Overview ■ 177

Lesson: Adding Detail to Your Solid Models

This lesson describes how to round and bevel the edges of your solid model, how to slice some
material away, and how to split a model into two separate models.
Completing a 3D model that accurately represents the intended final design often requires you to
add greater detail to the model. Creating this detail, such as the beveled and rounded edges of the
model shown in the following image, is time-consuming at best, and very challenging. You can greatly
simplify the creation of such detail by using the Fillet, Chamfer, and Slice commands.

Objectives
After completing this lesson, you will be able to:
■ Add fillets to solid models.
■ Add chamfers to solid models.
■ Slice material from a solid model or split it into two pieces.

178 ■ Chapter 3: Editing Models

Filleting Solid Models
This section of the lesson describes how to fillet a 3D model. Fillets are often an integral part of
finalizing a design. You execute the same Fillet command in 3D design as you doin 2D design, but the
options and procedures for creating a fillet on a solid model vary from those used in 2D.
In the following image, models (2) and (3) show different filleting results for the original model (1).
These filleted models illustrate the complex detail that can be created and the differences that can
occur based on how you create fillets. In some cases, the results are dependent on the order in which
you create the fillets. If you create them separately in different executions of the command, the results
can be different than if you select the same edges within one execution of the Fillet command.

Command Access
Fillet

Command Line: FILLET, F

Ribbon: Home tab > Modify panel > Fillet

Menu Bar: Modify > Fillet

Toolbar: Modify

Lesson: Adding Detail to Your Solid Models ■ 179

 Options for Filleting a Solid Model
Following the command prompts and a typical workflow, you first select an edge on the model that
you want to fillet and then specify the radius value for that edge. If you want to fillet edges using that
same value, you then click those edges. Once you have selected all of the edges you intend to fillet,
finish the command to have the fillets created on the solid model.

Instead of creating fillets based on the default prompts and options, you can select different options
to create the fillets based on other design criteria.

Option Description

Radius Use to specify a different radius value than the current value. When using this
within the command, you can apply different fillet values for different edges.
This is especially useful when you have different edges with different radii
coming together and you want a smooth transition at their intersection.

Chain Use to minimize the number of edge segments you have to select by having
all the segments of an edge that are tangent to each other automatically
selected.

Edge Use to switch back to selecting only one edge segment after having previously
selected the Chain option.

In the following image, a selection preview for a single Fillet command shows the edges selected using
different options with the shaded results also shown. The edge identified as (2) shows the results
of selecting an edge with Chain active, while edge (1) shows a similar selection with Edge active. To
achieve the final results, edge (1) was later selected again with Chain active to return the entire edge
instead of just that one segment. The corner identified with (3) shows the selection of three edges,
each with their own radius values.

180 ■ Chapter 3: Editing Models

 Procedure: Filleting Solid Models
The following steps give an overview of filleting the edges of a solid model.
1. Start the Fillet command.
2. Select an edge on the solid model you want to fillet.
3. Specify the radius value for the fillet.
4. Decide if you want to fillet multiple edges at the same time. If you do, and the edge segments are
tangent to each other, select the Chain option to select an entire edge by picking one segment
along that edge.
5. If you selected the Chain option and the first segment is tangent to another edge segment, select
the first edge segment again to have all the tangent edges selected.
6. Continue selecting all the edges you want to fillet with this radius value.
7. Decide if you want to fillet other edges at the same time using a different fillet radius. If so, select
the Radius option and specify a new radius value.
8. Select the edges that are to be filleted with the new radius value.
9. Finish the command to have the fillets created on the selected edges.

Chamfering Solid Models

This section of the lesson describes how to chamfer a 3D model. When you chamfer a model, you
create a beveled face along a selected edge. You may bevel an edge as part of the process of shaping
the primary solid model design or to refine a design by adding additional detail to it. You execute the
same Chamfer command in 3D design as you do in 2D design, but the options and procedures for
creating a chamfer on a solid model vary from those used in 2D.
In the following image, a simple rectangular box had three of its edges chamfered to create a very
different model. This model might be the beginning of a conceptual design for a new entryway into a
commercial building, or a locking wedge for a mechanical assembly.

Lesson: Adding Detail to Your Solid Models ■ 181

 Command Access
Chamfer

Command Line: CHAMFER, CHA

Ribbon: Home tab > Modify panel > Chamfer

Menu Bar: Modify > Chamfer

Toolbar: Modify

Options for Chamfering a Solid Model

Following the command prompts and a typical workflow, you select an edge on the model that you
want to chamfer, set the base surface, set the distances from the selected edge that the chamfer will
go back, and then select the edges along the base surface you want to chamfer.

When you have multiple edges to chamfer along the same face, make sure you set that face as the
base surface so you can select the edges you want to chamfer. You cannot select edges for chamfering
that are not associated with the base surface. When selecting an edge section that is tangent to other
segments, you need to also select those other segments to have the chamfer applied.

Instead of creating chamfers based on the default prompts and options, you can select different
options to create the chamfers based on other design criteria.

Option Description

Next Use to toggle between the surfaces adjacent to the selected edge.

Loop Use to select all edges connected to the base surface.

182 ■ Chapter 3: Editing Models

In the following image, the wireframe display shows the original model shape, and two shaded models
show different chamfer results.

Indicates the initial selected edge. The other edges highlighted like this one show the base
surface.
Shows what is being requested when you are prompted to specify the base surface chamfer
distance. It is the distance back from the edge going along the base surface.
Shows what is being requested when you are prompted to specify the other surface chamfer
distance.
This model shows the results of using the Loop option and selecting one edge on the base
surface.
This model shows the results of selecting individual edges along the base surface.

Procedure: Chamfering Solid Models

The following steps give an overview of chamfering the edges of a solid model.
1. Start the Chamfer command.
2. Select an edge to chamfer.
3. Decide if the highlighted face is the desired base surface. If it is not, select the Next option.
Accept the highlighted face as the base surface.

4. Specify a distance from the selected edge to the edge of the chamfer on the base surface.
5. Specify a distance from the selected edge to the edge of the chamfer on the adjoining face.

Lesson: Adding Detail to Your Solid Models ■ 183

 6. Select any additional edges on the base surface you want to chamfer.

7. Finish the command to have the chamfers created on the selected edges.

Slicing a Solid Model

In this section of the lesson, you learn about the Slice command and how to slice material away from
solid models or to split models into two separate pieces. This capability is especially useful when
you want to bevel a model and the tangencies of the model edges prevent the Chamfer command
from achieving the required results. When you slice a solid model, the resulting face is flat in all cases
unless you use the Surface option. When you use this option, the resulting face matches the surface
used to slice the solid model.
In the following image, the model was sliced to create the beveled face since the Chamfer command
would not have returned the desired result.

184 ■ Chapter 3: Editing Models

Command Access
Slice

Command Line: SLICE

Ribbon: Home tab > Solid Editing panel > Slice

Menu Bar: Modify > 3D Operations > Slice

Options for Slicing Solid Models

Following the command prompts and a typical workflow, you slice solid models with a plane extending
in the direction of the Z axis that passes through two points you specify. Since the default slicing
plane already extends in the Z direction, the two points you specify must have unique X,Y values.
More specifically, they cannot have the exact same X and Y values. The current UCS determines the
alignment of the default slicing plane.

If the solid models you are slicing have an associated history stored with them, you see the following
warning when you try to apply the slice: You are about to erase this solid's history. Do you want to
continue? To create the slice, you must click OK. When you do that, the multiple grip edit locations for
this model are replaced with a single grip and the capability to do dynamic size editing is removed.

Instead of slicing solid models based on the default prompts and options, you can select different
options to slice solid models based on other design criteria.

Option Description

Planar Object Use to slice solid models based on the location and alignment of a circle, ellipse,
arc, 2D spline, or 2D polyline.

Surface Use to slice solid models based on a surface model extending to or past all the
faces of the solid model.

Zaxis Use to define a slicing plane perpendicular to two points you select. The two points
indicate the Z direction for the slicing plane and the first point is the origin to the
plane.

View Use to slice through solid models parallel to the current viewing plane and through
a specified point.

XY Use to slice parallel to the current XY plane and through a specified point.

YZ Use to slice parallel to the current YZ plane and through a specified point.

Lesson: Adding Detail to Your Solid Models ■ 185

 Option Description

ZX Use to slice parallel to the current ZX plane and through a specified point.

3points Use to define a slicing plane through three selected points.

Both Use to split the model into two separate models instead of removing part of it.

The following images show different examples of sliced solid models using different slice options.

Slice through multiple solid models Slice through multiple models using the
using the default workflow and options. XY option after repositioning the UCS.

Slice using the 3points option. Slice using the Surface option.

Procedure: Slicing a Solid Model

The following steps give an overview of slicing a solid model.
1. Decide if you want to slice the solid model based on a UCS alignment. If so, make sure the UCS is
positioned and aligned as required.
2. Start the Slice command.
3. Select the solid model to slice.
4. Specify two unique X,Y points where you want to slice through the model, or define the slicing
plane using one of the other command options.
5. Pick the side of the model you want to keep, or select the option Both to split the model into
two separate models.

186 ■ Chapter 3: Editing Models

Exercise: Create 3D Fillets and Chamfers
In this exercise, you complete a 3D solid hydraulic 2. On the ribbon, click the Home tab > Modify
pump housing by adding fillets and chamfers. panel > Fillet.
3. To add a fillet:
■ Select the outer edge of the inlet (1).
■ When prompted for a fillet radius, enter .5.
■ When prompted to select an edge, select
the edge between the inlet and the main
body (2).
■ Press ENTER.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter 3:
Editing Models. Click Exercise: Create
3D Fillets and Chamfers. 4. Repeat the Fillet command.
5. To add another fillet:
■ Select the outer edge of the main body (1).
1. Open C_3D-Fillets-and-Chamfers.dwg. ■ When prompted for a fillet radius, enter 2.
■ When prompted to select an edge, enter C.
■ When prompted to select an edge, select
the same edge.
■ Press ENTER.

Lesson: Adding Detail to Your Solid Models ■ 187

 8. Repeat the Chamfer command.
■ Select an edge of the large opening in the
main body (1).
■ On the command line, you see Base surface
selection, confirming that you selected a
solid.

6. On the Home tab, click Modify panel > Chamfer. 9. To complete the chamfer:
■ Select the inner radius of the inlet (1). ■ When prompted for a surface selection
■ On the command line, you see Base surface option, press ENTER.
selection, confirming that you selected a ■ When prompted for the base surface
solid. chamfer distance, enter 1.
■ When prompted for the other surface
chamfer distance, enter .5.
■ When prompted for an edge, enter L.
■ When prompted for an edge loop, select
an edge of the large opening in the main
body (1).
■ Press ENTER.
10. Repeat the Chamfer command.
■ Select an edge of a screw hole (1).
■ On the command line, you see Base surface
selection, confirming that you selected a
solid.

7. To complete the chamfer:

■ When prompted for a surface selection
option, press ENTER.
■ When prompted for the base surface
chamfer distance, enter 1.
■ When prompted for the other surface
chamfer distance, press ENTER.
■ When prompted for an edge, select the
same edge.
■ Press ENTER.

188 ■ Chapter 3: Editing Models

11. To complete the chamfer:
■ When prompted for a surface selection
option, press ENTER.
■ When prompted for the base surface
chamfer distance, enter .5.
■ When prompted for the other surface
chamfer distance, enter .5.
■ When prompted for an edge, select the four
screw holes.
■ Press ENTER.
12. On your own:
■ Add fillets to the other inlet boss.
■ Add a chamfer to the other inlet boss.

13. Save and close all files.

Lesson: Adding Detail to Your Solid Models ■ 189

Exercise: Slice a Solid Along a Plane
In this exercise, you use the Slice command to split 3. To define a solid to be sliced:
a solid model along a plane and view the interior ■ Select the pump housing.
position of other solid models.
■ Press ENTER.

The completed exercise

4. To create the slicing plane:
■ When prompted to specify the first point
Completing the Exercise on the slicing plane, enter 3, for 3 points.
To complete the exercise, follow the ■ Using the Center object snap, select the left
steps in this book or in the onscreen bolt hole (1).
exercise. In the onscreen list of ■ When prompted to specify the second
chapters and exercises, click Chapter 3: point, use the Center object snap and
select the top of the right bolt hole (2).
Editing Models. Click Exercise: Slice a
■ When prompted to specify the third point,
Solid Along a Plane. use the Center object snap and select the
bottom of the right bolt hole (3).
1. Open C_Solid-Slice.dwg.

2. On the Home tab, click Solid Editing > Slice.

190 ■ Chapter 3: Editing Models

5. When prompted to specify a point on the
desired side, select any point on the model
above the defined plane (1).

6. On the View tab, click Navigate > Orbit. Rotate

the view to inspect the assembly.
7. Save and close all files.

Lesson: Adding Detail to Your Solid Models ■ 191

Lesson: Editing Solid Models

In this lesson you learn about how the solid model can record and store the history of edits, and
how to edit the size and shape of the solid model by using its grips, or by using solid model editing
commands.
Since the majority of work is revising a model, being able to identify the methods and commands
available to you for editing the solid model enables you to improve your proficiency and productivity.
In the following image, a model of a lamp is taking shape after being edited from its initial rectangular
shape.

Objectives
After completing this lesson, you will be able to:
■ Extrude individual faces of a solid model.
■ Move individual faces of a solid model.
■ Offset individual faces of a solid model.
■ Delete faces of a solid model.
■ Rotate individual faces of a solid model.
■ Taper individual faces of a solid model.
■ Shell a solid model.
■ Imprint geometry onto a solid model face.
■ Separate a solid model with disjointed volumes into independent solid models.
■ Change the color of faces on a solid model.
■ Change the color of edges on a solid model.
■ Slice solid objects with planes, planar objects, and surfaces.

192 ■ Chapter 3: Editing Models

Extruding Faces
When you extrude a face on a solid model, you either add or remove material based on the selected
planar face. Using this editing method, you can easily adjust the size of a solid model based on faces
that are the results of combining multiple solids. This section of the lesson covers the command
access, options, and procedures for extruding faces on a solid model.
The following image shows three iterations of the same model: the base model, the base solid
with material added and removed by extruding faces, and the base model with material added and
removed and taper applied.

Command Access
Extrude Faces

Command Line: SOLIDEDIT > FACE > EXTRUDE

Ribbon: Home tab > Solid Editing panel > Extrude Faces

Menu Bar: Solid Editing > Extrude Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Lesson: Editing Solid Models ■ 193

 Options for Extruding Faces
Following a typical workflow and command options, you select faces on the solid model you want
to extrude; then specify a distance to extrude, followed by setting a taper angle. When you specify
the extrusion distance, you can enter a positive or negative value, or you can pick two points in
the drawing for the distance. When picking points in the drawing window, the picked points always
extrude a positive value based on the distance between the points. If a taper angle is entered,
the faces on the side of the extruded face will angle in or out, depending on whether a positive or
negative value was supplied. A positive taper angle tapers the sides in, thereby causing the new
extruded face to be smaller than its originally selected face. The final extruded face is the specified
distance away, and parallel, to its original alignment.

Instead of extruding a face based on its default prompts and options, you can use the Path option to
define the extrusion.

Option Description

Path Use to extrude a face in the direction and distance of a selected object. This
option sweeps the selected face along the selected path. You do not have the
option to enter a taper angle when selecting a path.

Examples
In the following image, four different results are shown for extruding the same solid model face. The
first extrusion shows the default model. The second shows the results following some face extrusion.
The other two show the results after using a linear and a curved path, respectively.

Procedure: Extruding Faces on a Solid Model

The following steps give an overview of extruding the faces of a solid model.
1. Start the Extrude Faces command.
2. Select the faces on the solid model to extrude.
3. Specify the extrusion height, or select an object that will allow the face to sweep in the direction
and distance of the specified path.
4. If an extrusion height was specified, specify a taper angle.

194 ■ Chapter 3: Editing Models

 After this command is executed, all history for the selected solid model is lost.

Moving Faces
When you move faces on a solid model, you either relocate the selected faces to a new location on the
model, add material to the model, or remove material from it. If you select all the faces that represent
a distinct aspect of your solid model, you relocate those faces. Examples of distinct aspects are holes,
openings, and protrusions. By selecting only a few of the faces, you add or remove material similar to
extruding the face. This section of the lesson covers accessing the command and the procedures for
moving faces on a solid model.
In the following image, a pocket and a boss on the mechanical part were moved from one location to
another.

Command Access
Move Faces

Command Line: SOLIDEDIT > FACE > MOVE

Ribbon: Home tab > Solid Editing panel > Move Faces

Menu Bar: Modify > Solid Editing > Move Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Lesson: Editing Solid Models ■ 195

 Procedure: Moving Faces on a Solid Model
The following steps give an overview of moving the faces of a solid model.
1. Start the Move Faces command.
2. Select the faces on the solid model to move.
3. Specify the base point for the move.
4. Specify the second point to set the direction and distance of the move.

After this command is executed, all history for the selected solid model is lost.

Offsetting Faces
When you offset faces on a solid model, you either add material to or remove it from the solid model
while being parallel to the selected faces. This is especially useful when you want to increase or
decrease the diameter of a cylindrical face. This section of the lesson covers accessing the command
and the procedures for offsetting faces on a solid model.
In the following image, the results from offsetting various faces are shown. The next iteration of a
part in a series of similar parts was completed by editing the inside and outside diameters on one
cylindrical end. The height was also changed using offset faces.

196 ■ Chapter 3: Editing Models

Command Access
Offset Faces

Command Line: SOLIDEDIT > FACE > OFFSET

Ribbon: Home tab > Solid Editing panel > Offset Faces

Menu Bar: Modify > Solids Editing > Offset Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Offsetting Faces on a Solid Model

The following steps give an overview of offsetting the faces of a solid model.
1. Start the Offset Faces command.
2. Select the faces on the solid model to offset.
3. Specify the offset distance as either a positive or negative value.

After this command is executed, all history for the selected solid model is lost.

Lesson: Editing Solid Models ■ 197

 Deleting Faces
As you create and refine your solid model, you may decide that you no longer want various aspects of
the design. For example, you may have rounded an edge or added material and you no longer want
it. You can use Delete Faces to remove those faces from the solid model. For you to delete faces,
the faces on the remaining solid model must be able to create a closed object. If the removal of a
face would cause the model to no longer be defined as a solid model, the deletion of the selected
faces will not occur. This section of the lesson covers accessing the command and the procedures for
deleting faces on a solid model.
In the following image, a revised model is shown after having some of its faces deleted.

Command Access
Delete Faces

Command Line: SOLIDEDIT > FACE > DELETE

Ribbon: Home tab > Solid Editing panel > Delete Faces

Menu Bar: Modify > Solid Editing > Delete Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

198 ■ Chapter 3: Editing Models

 Procedure: Deleting Faces from a Solid Model
The following steps give an overview of deleting faces from a solid model.
1. Start the Delete Faces command.
2. Select the faces on the solid model you wish to delete.
3. If prompted to erase this solid's history, click OK to continue and delete the faces. Click Cancel to
maintain the solid's history and modify the solid model using a different method.

After this command is executed, all history for the selected solid model is lost.

If you want to delete an aspect of your solid model that is the result of a Boolean
operation and your solid model still has its history defined, then delete that historical
solid instead of the face. You do this by holding the CTRL key and selecting the face
created from the combined solid model. With the grips for that original solid model
now showing active, press DELETE.

Rotating Faces
When you rotate faces on a solid model, you either reorient the selected faces to a new location on
the model by spinning them around an axis, or add material to or remove it from the solid model. If
you select all the faces that represent a distinct aspect of your solid model, you relocate and reorient
those faces. Examples of distinct aspects are holes, openings, and protrusions. By selecting only a few
of the faces, you add or remove material as you revolve the face. This section of the lesson covers
accessing the command and the procedures for revolving faces on a solid model.
In the following image, you see three iterations of a desktop speaker design, edited by rotating faces.
The first image is the basic design. In the second image, the upper section was rotated to enhance the
design. In the last image, the side faces of the base were rotated to provide a more stable stance.

Lesson: Editing Solid Models ■ 199

 Command Access
Rotate Faces

Command Line: SOLIDEDIT > FACE > ROTATE

Ribbon: Home tab > Solid Editing panel > Rotate Faces

Menu Bar: Modify > Solid Editing > Rotate Faces

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Rotating Faces on a Solid Model

The following steps give an overview of rotating faces on a solid model.
1. Start the Rotate Faces command.
2. Select the faces on the solid model you wish to rotate.
3. Specify the first point on the axis you want to revolve around, or select one of the options and
specify the axis of revolution per the option's requirements.
4. Specify the second point on the axis to revolve around while also establishing the positive
direction for the axis.
5. Enter a value for the rotation angle.

After this command is executed, all history for the selected solid model is lost.

200 ■ Chapter 3: Editing Models

Tapering Faces
When you taper faces on a solid model, you slant the faces at an angle relative to the position of a
base point and direction you specify. Adding taper to a design is especially beneficial when designing a
part that will be cast and then require being removed from a form or mold. You can also use tapering
to quickly add greater complexity to your design. This section of the lesson covers accessing the
command and the procedures for tapering faces on a solid model.
The following image displays the early design phase of a reflector for a light fixture. On the left, a
primitive box was created to initiate the design. On the right, the same primitive with distinct taper
applied to opposing faces.

Command Access
Taper Faces

Command Line: SOLIDEDIT > FACE > TAPER

Ribbon: Home tab > Solid Editing panel > Taper Faces

Toolbar: Solid Editing

Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Options for Tapering Faces

Following the typical workflow and command options, you select the faces on the solid model you
want to taper, define a vector by specifying a base point and a point on the vector, and set a taper
angle. Whether material is added or removed is dependent on the faces you select, the location of the
base point, the direction of the vector, and whether you supplied a positive or negative taper angle.

Lesson: Editing Solid Models ■ 201

 Anticipating the Taper Results
In the following images, a different base point for the taper was specified to help you visualize what
occurs when you taper faces. In these images, the dot represents the base point and the arrow shows
the vector direction. The dashed line indicates the original edges to the tapered faces.

In this example, the base point is In this example, the base point is defined at the corner of
defined partially along a face. Take the rectangular box. Take note of the difference between
note of how the faces changed in size faces above the base point versus below the base point.
relative to their original position shown Also note the results for the right outside face compared
by the dashed lines. Faces below to the faces that define inside aspects of the model.
the base point added material and
faces above the base point removed
material. Also notice how the position
of the taper start is controlled by the
base point and not the initial edge
position for the face.

Procedure: Tapering Faces on a Solid Model

The following steps give an overview of tapering faces on a solid model.
1. Start the Taper Faces command.
2. Select the faces on the solid model you wish to taper.
3. Specify the base point from which the taper will begin to add or remove material.
4. Specify a second point to define a vector from which the taper angle is measured.
5. Enter a positive or negative taper angle.

After this command is executed, all history for the selected solid model is lost.

202 ■ Chapter 3: Editing Models

Creating a Shell
When you shell a solid model, you create a new solid model with a constant wall thickness. This
constant wall thickness is defined by the parallel offset of all existing faces on the solid model prior to
executing the shell. If you specify a positive offset value, the new faces are offset toward the inside
of the model. Specifying a negative value offsets the faces toward the outside, thereby increasing
the overall size of the model. Shelling toward the outside of the initial model is useful when you have
massed up the inside volume of something and want to create an enclosure around it. This section of
the lesson covers accessing the command and the procedures for shelling a solid model.
In the following image, a solid model was shelled to refine the design.

Command Access
Shell

Command Line: SOLIDEDIT > BODY > SHELL

Ribbon: Home tab > Solid Editing panel > Shell

Menu Bar: Modify > Solid Editing > Shell

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Lesson: Editing Solid Models ■ 203

 Procedure: Shelling a Solid Model
The following steps give an overview of shelling a solid model.
1. Start the Shell command.
2. Select the solid model to shell. If prompted to erase this solid's history, click OK to continue.
3. Select faces on the solid you do not want to shell. In effect, this removes the face(s) from the
model when the shell is created.
4. Enter the shell thickness.

After this command is executed, all history for the selected solid model is lost.

If your design requires it, you can select and shell a solid model that has already
been shelled or a composite model that has consumed a solid created with a shell.

Imprinting Edges
When you imprint a solid model, you are either scoring the face with the geometry or splitting the
face on the solid model into multiple faces.
For the geometry to imprint onto the face, it must be coplanar with the solid model face. As you
model designs, you will have cases where you have a single model surface that you would like to edit
in different areas. By splitting the face, you can perform other edits on the smaller face area, such
as tapering, rotating, or moving a section of the face. This section of the lesson covers accessing the
command and procedures for imprinting the faces of a solid model.
In the following image, the faces were imprinted with other geometry. The new face sections were
then edited using other modification commands.

204 ■ Chapter 3: Editing Models

 Command Access
Imprint

Command Line: SOLIDEDIT > BODY > IMPRINT

Ribbon: Home tab > Solid Editing panel > Imprint

Menu Bar: Modify > Solid Editing > Imprint Edges

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Imprinting Edges into a Solid Model

The following steps give an overview of imprinting geometry into the faces of a solid model.
1. Start the Imprint command.
2. Select the solid model you want to imprint.
3. Select an object to imprint on a face. If prompted to erase this solid's history, click OK to
continue.
4. When prompted to delete the source object, select Yes to delete the object you are imprinting on
the solid. Click No to keep it.
5. Continue to select objects to imprint onto faces of the solid and reply to the delete source object
prompt.
6. Press ENTER to complete the command and imprint the faces on the solid model.

After this command is executed, all history for the selected solid model is lost.

Separating Solids
You use the Separate command to create two or more solid models from a single defined model
composed of two or more disjointed volumes. A disjointed volume means the single solid model
has solid masses of material that are not connected. This can occur after doing a Boolean union or
subtract. For example, you may be creating a stamping die and you subtract the part from a box. If
the part goes all the way through the box, then the box will have two separate solid volumes after the
subtraction. By separating the two volumes, you can quickly create the two parts to the stamp and die
set or delete the part you no longer need. This section of the lesson covers accessing the command
and the procedures for separating a solid model with two disjointed volumes.

Lesson: Editing Solid Models ■ 205

 In the following image, two separate models were created from a single model after they became
disjointed volumes.

Command Access
Separate

Command Line: SOLIDEDIT > BODY > SEPARATE

Ribbon: Home tab > Solid Editing panel > Separate

Menu Bar: Modify > Solid Editing > Separate

Toolbar: Solid Editing
Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Procedure: Separating a Solid Model

The following steps give an overview of separating a solid model with disjointed volumes into multiple
solid models.
1. Start the Separate command.
2. Select the solid model you want to separate. If prompted to erase this solid's history, click OK to
continue.

After this command is executed, all history for the selected solid model is lost.

206 ■ Chapter 3: Editing Models

Changing Face Color
In this section of the lesson, you learn to change the color of faces on a solid model. You typically
change the face color on a model to enhance the display, emphasize a specific area or aspect of the
model, or return it to displaying the color of the layer on which the solid resides. Returning the color to
ByLayer is especially useful when you have created a composite solid and one of the consumed models
had its color set to a specific color, thereby causing the composite model to display that color on the
resulting faces.
In the following image, the colors of the buildings' roofs were changed for a better presentation
without having to create additional models. The front face of the long building was imprinted with
rectangles so those new face areas could have their colors changed to represent the location of doors
and windows.

Command Access
Color Faces

Command Line: Solidedit > Face > Color

Ribbon:
Home tab > Solid Editing panel > Color Faces

Toolbar: Solid Editing

Note: When accessing the command from the command line, each > symbol indicates pressing ENTER.

Lesson: Editing Solid Models ■ 207

 Procedure: Changing Face Color
The following steps give an overview of changing the color of faces on a solid model.
1. Start the Color Faces command.
2. Select the faces you want to assign a new color to.
3. In the Select Color dialog box, select the color or select ByLayer to have the faces inherit the
color of the layer on which the solid model resides.

Changing Edge Color

In this section of the lesson, you learn to change the color of edges on a solid model. You typically
change the edge color on a model to emphasize a specific area or aspect of the model or return it to
displaying the color of the layer on which the solid resides.
When you are working on a design that has internal faces and edges and you want to see all aspects
of the model, you may find it beneficial to display it in 3D wireframe. That way you can see all edges
of the model unobstructed. By changing the color of different edges, you can make it easy to view and
interpret a wireframe display while also emphasizing the internal edges you are interested in.
In the following image, some of the model edges have had their color changed to help visualize and
communicate what edges are being discussed.

208 ■ Chapter 3: Editing Models

Command Access
Color Edges

Command Line: SOLIDEDIT > EDGE > COLOR

Ribbon:
Home tab > Solid Editing panel > Color Edges

Menu Bar: Modify > Solid Editing > Color Edges

Toolbar: Solid Editing

Procedure: Changing Edge Color

The following steps give an overview of changing the color of edges on a solid model.
1. Start the Color Edges command and select a solid model.
2. Select the edges you want to assign a new color to.
3. In the Select Color dialog box, select the color or select ByLayer to have the edges inherit the
color of the layer on which the solid model resides.

Lesson: Editing Solid Models ■ 209

 Slicing Solids
The Slice command slices a 3D solid, or group of solids, by an imaginary slicing plane or by a surface.
In this section of the lesson, you learn about slicing your 3D objects.
The following image illustrates how the Slice command can be applied to an object.

Slicing Solid Objects

■ Using an imaginary slicing plane creates a flat cut through a 3D solid. The imaginary slicing plane
can be defined by using one of the following options: Planar Object, Surface, Zaxis, View, XY, YZ,
XZ, and 3points.
■ The sliced solids retain the layer and color properties of the original solids. However, the resulting
solids do not retain a history of the original forms that created them.
■ You can retain both halves of the sliced solids or just the half you specify.
■ Besides the surface option, all other options are dedicated to dividing an object by an imaginary
slicing plane.

Selecting Meshes Created with Commands

For surface cutting, you cannot select meshes created with the EDGESURF, REVSURF,
RULESURF, and TABSURF commands.

Slicing Objects with Regions

If you include regions in the selection set of objects to slice, they are ignored.

210 ■ Chapter 3: Editing Models

Procedure: Slicing Solid Objects
The following steps give an overview of slicing a solid model.
1. Start the Slice command.

2. Select the solid object you

want to modify.

3. Define the slicing plane by

using the available options. In
this example, the View option
is being used.

4. Choose the desired side to

keep, or keep both sides.
Once the desired side is
selected, you are left with the
results shown here.

Lesson: Editing Solid Models ■ 211

Exercise: Edit Solid Models
In this exercise, you modify and refine the solid Edit Solid Models
models within a dining room.
1. Open I_Editing-Solid-Models.dwg or M_Editing-
Solid-Models.dwg.

The completed exercise

Completing the Exercise 2. Zoom in on the rounded corner.

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
3: Editing Models. Click Exercise: Edit
Solid Models.

3. To remove the remaining rounded corner of

the table top:
■ On the ribbon, click the Home tab > Solid
Editing panel > Delete Faces.
■ When prompted to select faces, select the
rounded faces of the table top. Note: Make
sure to select the face one time only.
■ Press ENTER.
■ Exit the Solidedit command.

212 ■ Chapter 3: Editing Models

 6. On the Home tab, click Solid Editing panel >
Move Faces.
When prompted to select faces, select the near
face of the table top.

4. On the Home tab, click Solid Editing panel > 7. To increase the length of the table top:
Extrude Faces. ■ Press ENTER.
When prompted to select faces, select the long ■ When prompted to specify a base point,
face on the left side of the table top. click anywhere in the drawing area.
■ When prompted for a second point, move
the cursor in the positive X direction and
enter 2" [50].
■ Exit the Solidedit command.
■ Repeat the process on the far end of the
table.

5. To increase the width of the table top on the

left side:
■ Press ENTER.
8. Use Constrained Orbit to view the opposite
■ Enter 4" [100] for the height. side of the table. Freeze the Closed Wall layer.
■ Enter 0 for the taper angle.
■ Exit the Solidedit command.

Lesson: Editing Solid Models ■ 213

9. On the Home tab, click Solid Editing panel > 12. To rotate the face to flare the light fixture:
Offset Faces. ■ On the Home tab, click Solid Editing panel >
When prompted to select faces, select the long Rotate Faces.
face on the right side of the table top. ■ When prompted to select faces, select
the face on the light fixture below the
imprinted line. Press ENTER.
■ When prompted to specify an axis point,
use Endpoint object snaps to select the
imprinted line from right to left.
■ When prompted for a rotation angle,
enter 30.
■ Exit the Solidedit command.
■ Repeat the process on the other side of the
10. To increase the width of the table top on the fixture.
right side:
■ Press ENTER.
■ When prompted to specify the offset
distance, enter 4" [100].
■ Press ENTER.
■ Exit the Solidedit command.

13. To taper the ends of the light fixture:

11. To update the light fixture: ■ On the Home tab, click Solid Editing panel >
■ On the Home tab, click Solid Editing panel > Taper Faces.
Imprint. ■ Select both end faces of the light fixture.
■ Select the yellow light fixture. Press ENTER.
■ When prompted to select an object to ■ When prompted to specify a base point,
imprint, select the magenta line. use the Midpoint object snap and select
■ When prompted to delete the source the midpoint of one of the uppermost
object, enter Yes. selected faces.
■ Press ENTER. ■ When prompted for the second point,
■ Repeat the process on the other side of the move the cursor in the positive Z direction
fixture. and click.
■ Exit the Imprint command. ■ When prompted for the taper angle,
enter 30.
■ Exit the Solidedit command.

214 ■ Chapter 3: Editing Models

14. Use Constrained Orbit to view the underside of 16. View the revised dining room:
the light fixture. ■ Select Southeast Isometric on the
ViewCube.
■ Thaw all layers.
■ Save and close all files.

15. To complete the light fixture using the Shell

option of the Solidedit command:
■ On the Home tab, click Solid Editing panel >
Shell.
■ When prompted to select a solid, select the
light fixture.
■ When prompted to remove faces, select
the bottom faces.
■ Press ENTER.
■ When prompted for the shell offset,
enter 1/8" [3].

Lesson: Editing Solid Models ■ 215

Exercise: Edit Solids to Create Complex Shapes
In this exercise, you create a complex solid using the
Slice command to edit solid objects.

3. To extrude the polyline:

■ On the Home tab, click Modeling panel >
Extrude.
■ Select the polyline just drawn.
■ Press ENTER.
■ Enter 100 for the extrusion height.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the online
exercise. In the online list of chapters
and exercises, click Chapter 3: Editing
Models. Click Exercise: Edit Solids to
Create Complex Shapes.
4. To view the new surface against the solid
model, on the View tab, click View panel >
Southeast Isometric.
Slice Solid Objects to Create Complex Shapes
1. Open M_Bolted-ModuleBox.dwg.
2. To draw the linework to slice the object:
■ On the ViewCube, click Top.
■ With ORTHO ON and Object Snaps OFF,
create a polyline that cuts through the solid
object as shown in the following image
(approximate coordinates are 85,0; 85,60;
and 260,60).

216 ■ Chapter 3: Editing Models

5. To slice the solid model: 7. To view the solid model:
■ On the Home tab, click Solid Editing panel > ■ On the ViewCube, click Home.
Slice. ■ Use the 3DOrbit command to view the
■ Select the Module Box Solid. newly sliced model.
■ Press ENTER.
■ Choose the Surface option to slice the
object by.
■ Select the extruded surface just drawn.
■ Press ENTER to keep both sides of the
sliced object.
6. To move a portion of the solid model:
■ Make the Module_Box layer current.
■ Freeze the Slice layer.
■ On the Home tab, click Modify panel >
Move. 8. Save and close all files.
■ Select the lower-right portion of the
Module Box.

■ Press ENTER.
■ Pick a basepoint and enter an approximate
movement distance of 90 units at an angle
of 270 degrees to move the smaller portion
from the larger model.

Lesson: Editing Solid Models ■ 217

Lesson: Manipulating the Model

This lesson describes how to manipulate the model by editing sub-objects and changing their position
and orientation.
Solid models are created in a variety of ways. At times they are created in the exact position where
they are needed, but often they are created outside of the current project or obtained from libraries
or vendors. Additionally sometimes the sizes of these components must change as the design is
refined. Each component of a design must be properly located and sized in relation to other geometry.
The ability to efficiently manipulate your models is vital for success.
In the following image, window and door frames are being installed using techniques to change the
model position.

Objectives
After completing this lesson, you will be able to:
■ Describe the methods for editing solid models and explain solid history.
■ Identify the available grips for solid models.
■ Use sub-object grips to edit solid models.
■ Align objects based on other models using the 3D Align command.

218 ■ Chapter 3: Editing Models

About Solid History and Editing Methods
In this section of the lesson, you learn about the methods available for editing solid models. You also
learn about the history that a solid can contain, how to display the history of consumed solids in a
composite solid, and how you can use this history when editing a composite solid model. Since a
design is rarely final after the first iteration, it is important to understand the options and methods
available to you for modifying solid models so you can efficiently achieve the required design results.
In the following image, you see a composite model in three stages of development. On the left is the
basic composite model that consumed three unique primitives. In the center is the composite model
with the SHOWHIST system variable turned on. Each primitive model is available for edit in its primitive
form. On the right is the completed model after edits, with additional features added.

Definition of Solid History

After you create a composite solid, your ability to access and edit the consumed solid is dependent
on the composite solid's recorded history. Each solid model you create can contain a history. You can
record the history for each individual solid model or override the individual models and record history
for the entire drawing. The history of individual solid models is controlled in the Properties palette,
and the entire drawing's history is controlled by the SOLIDHIST system variable.
When you turn off the history for a model, any history within the composite model is removed. If you
turn the history back on, the history for that solid model is only recorded from that point forward.
A composite model with history can also display an outline of the consumed solids. You display or
hide the consumed solids by changing the history display at the individual solid model level or globally
throughout the drawing. To change the history display on a model-by-model basis, you select the solid
models and change the Show History value in the Properties palette. To override the history display
setting for all the solid models, you change the SHOWHIST system variable. The default setting of 1
sets the history to Record for all solids. A setting of 0 sets the history to None for all solids. A setting of
2 displays the history of all solids and overrides the individual Show History settings.

Lesson: Manipulating the Model ■ 219

 In the following image, the model on the left displays the entire history. The model on the right
displays history only for the large hole. The hole was created at a point after the initial model had lost
its history.

Solid Editing Methods

When editing solid models, you either modify the size or change the shape of the solid model. There
are multiple ways you can make these edits. The method you use is dependent on the initial creation
method of the solid, the available history, and the type of change required. The modification methods
can be grouped into three categories:

Category Definition

Properties of You can change various property values in the Geometry and History sections
primitives of the Properties palette. The geometry properties you can modify include
height, taper angle, radius, length, and width.

Grips This is the most diverse method for modifying solid models. You can edit a
solid model using the grips associated with the initial geometry; including
consumed primitives when model history is available in the composite model.
Additionally, you can also modify solid models with grips, without history,
through the selection and modification of individual model faces.

Solids editing Solid editing commands execute tools for extruding, moving, offsetting,
commands deleting, rotating, and tapering faces. You can use commands for shelling a
solid, imprinting edges onto a face, and separating disjointed volumes into
independent solid models.

220 ■ Chapter 3: Editing Models

 In the following image, a primitive cylinder used to make the composite model is being edited using
the Properties palette. Grips are also displayed for editing.

Examples of Editing Solid Models

In a specific architectural scenario, you may be creating solid primitives to represent existing buildings
in a renovation area and the initial height that was given to you for a building was incorrect. Instead
of deleting the existing model that represents the building, you can change its height in the Properties
palette or grip edit it to the proper height.
When creating designs of mechanical parts, you have situations where you need to edit specific faces
of the part. Designing a part that will be cast or molded requires the faces to have draft so the parts
can easily separate from the molds. You can add this draft by rotating or tapering the appropriate
faces.

About Grip Editing Solid Models

The grips that display on selected solid models and the types of edits you can make depend upon
the solid model you select and how you select it. You now learn about the grips that are available for
various solid models and how to access those grips. Using grips, you can quickly modify solid models in
very diverse ways.
The following image illustrates the variety of grips that can occur in solid models.

Lesson: Manipulating the Model ■ 221

 Editing with Grips
Each type of model that you create has different grips that you can select and use when editing a
model.
■ Solid primitives display their sizing grips as triangles for quicker identification. Depending on the
solid primitive, clicking on a square grip enables you to reposition the primitive or resize it in
multiple directions.
■ Solid models created from 2D profiles display the grips for their defining shapes. Using grips,
you can change the size and shape of the solid model. An extrude has grips for its shape and a
triangle grip for its height. A revolve has grips for its shape and center point to adjust its radius
of revolution. A sweep has grips for both its profile shape and its path geometry. Lofts created
directly from one cross section to another or along a path have grips for all input geometry. For
lofts you create using guides, you can change only their position or orientation in the drawing
using their grips.
■ For composite models that contain history, you can access consumed solids and their
corresponding grips by pressing CTRL and clicking the face created by the consumed solid model.
Once the grips display, you can click and adjust the model just like you would a separate solid
model.
■ Solid models that have had their history removed have only one grip that is used to change the
model's position or orientation.
■ You can display a single circular grip for any face, edge, or vertex on a solid model. To display
this grip, press CTRL and click on the face, edge, or vertex. After clicking on this grip, press the
SPACEBAR to cycle through different options for how this grip edit can change the solid model.
After you cycle to a new option, the preview dynamically changes to show what occurs using that
grip modification option. This edit technique is especially useful for dynamically editing a solid
model that has no history.

Examples of Solid Models with Activated Grips

The following images show examples of grip activation and editing for the major types of grip editing
you can do with solid models.

Single solid primitive Solid models from 2D profiles

222 ■ Chapter 3: Editing Models

Composite solid model Editing solid model with its face grip

Solid model with no history

Subobject Selection and Editing

You can grip edit subobjects such as edges and faces of solids. To do this, you can first select the
subobject by pressing CTRL while selecting the face or edge. Once you have selected the subobject,
you use the grip tool to move the edges or faces to new positions.

The following images show the result of grip editing a sub-object.

Sub-object (edge) selected Grip editing sub-object (edge)

Lesson: Manipulating the Model ■ 223

 Editing Sub-Objects
Sub-objects are elements that make up 3D solids or mesh objects. These elements include edges,
faces, and vertices. In many cases, the only time you give sub-objects any thought is when you need
to modify an existing component or a portion of your design. Typically, it is best to edit these sub-
objects, components, and parts when we are in conceptual design, but this editing can happen
throughout the entire design phase.

In contrast, when you create a 3D model, it is made up of many 3D objects. Often these objects are
also called sub-objects because they typically make up part of a larger, more complex design.
In this section of the lesson, you learn about modifying the sub-objects for your 3D designs.
The following image illustrates the variety of grips that can occur in sub-object editing.

Sub-Object Editing with Grips

■ You can display a single circular grip for any face, edge, or vertex on a solid model. To display
this grip, first access the Home tab, Subobject panel, and set the filter for the object you wish to
select, or use no filter. Then hold the CTRL key down as you click on the face, edge, or vertex. After
clicking on this grip to make it hot, press the SPACEBAR to cycle through different options for how
this grip edit will change the solid model. After you cycle to a new option, the preview dynamically
changes to show what will occur using that grip modification option. This edit technique is
especially useful for dynamically editing a solid model that has no history.
■ Sub-objects display their sizing grips as rectangles for edges or circles for faces or vertices for
quicker identification. Clicking on a square grip allows you to reposition the primitive or resize it in
multiple directions.
■ You can select multiple sub-objects from different 3D solids, using any selection method used in
general object selection such as windows and crossing-windows.
■ After selecting the sub-object, you can either select the grip to relocate it, or invoke standard
modify commands (Move, Rotate, Scale) to deform or change the 3D solid object.

224 ■ Chapter 3: Editing Models

Procedure: Sub-Object Editing on a Solid Model
The following steps give an overview of sub-object editing on a solid model
1. On the Home tab, Subobject panel, adjust the sub-object filter to filter for the sub-object type
you wish to select.
2. Hold the CTRL key and highlight the sub-object feature (edge, face, or vertex) you want to modify.

3. Select the grips on the sub-object you want to modify.

4. Use the grip-editing options or invoke an editing command to modify the sub-object.

Lesson: Manipulating the Model ■ 225

 Manipulating Objects with the 3D Gizmo
The 3D Gizmo is a multi-purpose tool that enables you to manipulate objects at both the object
and sub-object level. When used on objects, it can perform the same tasks as the 3D Move, 3D
Rotate, and 3D Scale commands. When you use the 3D Gizmo to manipulate objects, you can switch
between the 3D Move Gizmo, 3D Rotate Gizmo, and 3D Scale Gizmo without having to start different
commands for each task.

In the following illustrations, each of the 3D Gizmos are displayed.

3D Move Gizmo 3D Rotate Gizmo 3D Scale Gizmo

Command Access
3D Gizmo

Command Line: DEFAULTGIZMO

Ribbon: Home tab > Subobject panel

226 ■ Chapter 3: Editing Models

Note: The DEFAULTGIZMO command executed on the command line, sets the default gizmo type that
appears when an object is selected without a command being active. This command does not cause
the gizmo to appear. The available options for the DEFAULTGIZMO command are as follows:
■ 0 = 3D Move Gizmo
■ 1 = 3D Rotate Gizmo
■ 2 = 3D Scale Gizmo
■ 3 = No Gizmo
When No Gizmo is selected on the ribbon, or entered as an option to the DEFAULTGIZMO command,
when you select an object, no gizmo will appear.

3D Gizmo Options
When any of the 3D Gizmos are active, right-click the gizmo to display the context menu and its
options. Using this menu you can select other gizmo types, set constraints, relocate or align the gizmo,
or set a custom gizmo position.

Note: When a gizmo is active and selected, you can cycle through each gizmo type by pressing
SPACEBAR.

Lesson: Manipulating the Model ■ 227

 3D Move Gizmo
The 3D Move Gizmo consists of bars and planes that aid in visualization and moving objects. It is
displayed when you select an object to activate its grips, and when you use the 3D Move command.
The bars represent the X, Y, and Z axes. The planes represent the XY, YZ, and XZ planes. You can select
any of the bars or planes to define the direction in which the selected objects will move.

X axis - Move the objects linearly along this axis.

Y axis - Move the objects linearly along this axis.
Z axis - Move the objects linearly along this axis.
XZ plane - Move the objects linearly along this plane.
XY plane - Move the objects linearly along this plane.
YZ plane - Move the objects linearly along this plane.

3D Rotate Gizmo
The 3D Rotate Gizmo consists of circular ribbons and an origin grip. It is displayed when you select an
object to activate its grips if the 3D Rotate Gizmo is set as the default gizmo, and when you use the 3D
Rotate command. The circular ribbons represent the X, Y, and Z axes of rotation. To rotate the object
around a specific axis, click the desired axis ribbon and rotate the object or sub-object around that
axis.

X axis - Rotate objects around this axis.

Y axis - Rotate objects around this axis.
Z axis - Rotate objects around this axis.

228 ■ Chapter 3: Editing Models

3D Scale Gizmo
The 3D Scale Gizmo consists of bars and planes that aid in visualization and scaling objects. It is
displayed when you select an object to activate its grips if DEFAULTGIZMO is set to 3D Scale. It also
appears when you use the 3D Scale command. The bars represent the X, Y, and Z axes. The planes
represent the XY, YZ, and XZ planes. You can select any of the bars or planes to define the direction in
which the selected objects will move. To scale objects uniformly, select the planes in the center of the
gizmo.

Scale Uniformly Scales the object uniformly in all planes.

X axis - Scales the objects along this axis.
Y axis - Scales the objects along this axis.
Z axis - Scales the objects along this axis.
YZ plane - Scales the objects across this plane only.
XZ plane - Scales the objects across this plane only.
XY plane - Scales the objects across this plane only.

Lesson: Manipulating the Model ■ 229

 Procedure: Using the 3D Move Gizmo
The following steps give an overview for manipulating objects with the 3D Move Gizmo.
1. Select the object to be
moved.

2. If necessary, click the center

grip of the gizmo and
relocate.

230 ■ Chapter 3: Editing Models

3. Select an axis or plane on
the 3D Gizmo to constrain
movement.

4. Click and drag the object to

its new location. Continue to
select different axes or planes
to move the object.

Lesson: Manipulating the Model ■ 231

 Procedure: Using the 3D Rotate Gizmo
The following steps give an overview for manipulating objects with the 3D Rotate Gizmo.
1. Select the objects you would
like to rotate.

2. If the Rotate Gizmo is not

the default gizmo, right-click
the current gizmo and click
Rotate.

3. Select an axis of rotation

ribbon to rotate the object
around.

4. Click and drag the new

rotation angle.

232 ■ Chapter 3: Editing Models

Procedure: Using the 3D Scale Gizmo
The following steps give an overview of manipulating objects with the 3D Scale Gizmo.
1. Select the objects you would
like to scale.

2. If the Scale Gizmo is not the

default gizmo, right-click the
current gizmo and click Scale.

3. If necessary, relocate the

gizmo to establish a new base
point for the scale.

Lesson: Manipulating the Model ■ 233

 4. Select a plane or axis to scale
the objects along.
Note: Not all objects can
be scaled in a single axis or
plane. Some objects can only
be scaled uniformly. In this
example, the objecs being
scaled in the Z-axis only are
mesh objects.

5. Click and drag to define the

scale factor.

234 ■ Chapter 3: Editing Models

Aligning in 3D
You use the 3D Align command to align an object based on the location and orientation of another
object. This is especially useful in situations where the exact angle of either object is difficult to obtain,
or where multiple rotations of an object would be required to properly orient the object.
In the following image, solid model window frames obtained from a vendor are being installed. When
imported into the design, the frames were not aligned to the standard orientation of the building.

Command Access
3D Align

Command Line: 3DALIGN, 3AL

Ribbon: Home tab > Modify panel > 3D Align

Menu Bar: Modify > 3D Operations > 3D Align

Toolbar: Modeling

Lesson: Manipulating the Model ■ 235

 Procedure: Aligning Objects in 3D
When using the 3D Align command, the order in which you select the base points and the destination
points is critical for proper alignment.The three base points you select form a plane that matches
thealignment ofthe plane defined by the three destination points you select.In addition to the planes
matching, the points match: the first base point aligns with the first destination point, and so on for
the second and third points.

The following steps give an overview of aligning objects in 3D space.

1. Start the 3D Align command.
2. Select the object to be aligned.
3. Specify the base point on the object to be aligned.
4. Specify the second point on the object to be aligned.
5. Specify the third point on the object to be aligned.
6. Specify the first destination point.
7. Specify the second destination point.
8. Specify the third destination point.

236 ■ Chapter 3: Editing Models

Exercise: Edit Solids Using Grips and Sub-Object Selection
In this exercise, you use sub-object methods to edit a ■ Press ESC to clear any current face
solid object. selections.

3. To move the cylindrical face:

The completed exercise
■ While holding the CTRL key, select the
cylindrical face of the solid object.
■ Move your cursor to the X-Axis of the 3D
Move Gizmo. When the axis turns yellow,
Completing the Exercise click to restict movement to the X direction.
To complete the exercise, follow the ■ Drag your cursor in the +X direction.
steps in this book or in the onscreen ■ Enter 2 for the stretch length and press
exercise. In the onscreen list of ENTER.
chapters and exercises, click Chapter
3: Editing Models. Click Exercise: Edit
Solids Using Grips and Sub-Object
Selection.

Edit Solids Using Grips and Sub-Object

Selection
In this exercise, you use sub-object methods to edit a
solid object.
1. Open C_Sub-Object_Edit.dwg.
2. To increase the width of the object: 4. To scale the cylindrical face:
■ While holding the CTRL key, select the right ■ While cylindrical face is still selected, click
face of the solid object. the face grip.
■ Move your cursor to the X-Axis of the 3D ■ Right-click the 3D Gizmo, and click Scale.
Move Gizmo. When the axis turns yellow, ■ Click near the center of the gizmo to
click to restict movement to the X direction. activate all planes for a uniform scale.
■ Drag your cursor in the +X direction. ■ Enter 2 for the scale size and press ENTER.
■ Enter 4 for the stretch length and press
ENTER.

Lesson: Manipulating the Model ■ 237

 6. To taper the left end of the object:
■ Press ESC to clear all grips.
■ While holding the CTRL key, select the top-
left edge of the solid object.
■ Move your cursor to the X-axis of the gizmo
to highlight it.
■ Click the X-axis of the gizmo and drag it in
the X direction.
■ Enter 2 for the stretch distance.

5. To taper the right end of the object:

■ Press ESC to clear all selections.
■ On the Home tab, click Subobject panel >
Edge. This will set the subobject filter to
select only edges.
■ While holding the CTRL key, select the top-
right edge of the solid object.
■ Right-click the gizmo, and click Move.
■ Move your cursor to the X-axis of the gizmo
to highlight it.
■ Click the X-axis of the gizmo and drag it in 7. View the revised solid object:
the -X direction. ■ Press ESC to clear all grips.
■ Enter 2 for the stretch distance. ■ Use the ViewCube to review different
aspects of the solid object.

8. Close all files. Do not save changes.

238 ■ Chapter 3: Editing Models

Exercise: Manipulate the Models - Mechanical
In this exercise, you use the 3D Rotate Gizmo, 3D 2. On the Status Bar, turn off Dynamic UCS.
Move Gizmo, and 3D Align to locate a shaft to hold it 3. On the Home tab, click Subobject panel > Move
down in a shipping container. Gizmo > Rotate Gizmo. This sets the default
gizmo to 3D Rotate.
4. To edit the position of the shaft:
■ Select the shaft.
■ Move your cursor to the center point of the
end of the shaft but do not select it. The 3D
Rotate Gizmo will position itself on the grip
you are touching.
■ Select the ring for the Z rotation axis.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
3: Editing Models. Click Exercise: 5. To complete the rotation, enter 90.
Manipulate the Models - Mechanical.

1. Open M_Change-Model-Position.dwg.

Lesson: Manipulating the Model ■ 239

6. Right-click the gizmo, and click Move. The
gizmo switches to 3D Move mode.

7. To move the shaft:

9. To align the cap:
■ Move your cursor to the grip that is
positioned on the last step of the shaft as ■ On the Home tab, click Modify panel > 3D
shown. Do not click the grip. Touch the grip Align.
and the gizmo will relocate. ■ Select the cap.
■ Select the grip at the center of the gizmo. ■ Press ENTER.
■ Use the Center object snaps to define
the plane by selecting the three points
illustrated below in order.

10. When prompted for the destination plane

and orientation, use the Center object snap to
define the plane by selecting the three points
8. When prompted for the stretch point, use the illustrated below in order.
Center object snap and select the center of
the left-most lower bearing rest. Make sure to
select the center of the front face as there is a
small chamfer on that face. Zoom into the face
if necessary.

240 ■ Chapter 3: Editing Models

11. Notice how the 3D Align command positions
the cap.

12. Use the COPY command to copy the shaft and

caps as shown.

13. Close all files. Do not save changes.

Lesson: Manipulating the Model ■ 241

Exercise: Manipulate the Models - Architectural
In this exercise, you use 3D Rotate Gizmo, 3D Move 3. To activate and relocate the 3D Move Gizmo:
Gizmo, and 3D Align to locate a door, shelf, and ■ Select the bookshelf.
picture in a building.
■ To relocate the 3D Gizmo, right-click the
gizmo and click Relocate Gizmo.
■ Using the endpoint object snap, select the
lower left corner of the bookshelf.

The completed exercise

Completing the Exercise

To complete the exercise, follow the 4. To restrict movement to the XY plane and move
steps in this book or in the onscreen the bookshelf:
exercise. In the onscreen list of ■ Right-click the center of the gizmo, and click
chapters and exercises, click Chapter Set Constraint > XY.
3: Editing Models. Click Exercise: ■ Click a location using the Nearest osnap of
Manipulate the Models - Architectural. the base of the wall.

1. Open C_Chng_Model_Pos.dwg.
2. Adjust the view of the model for editing:
■ On the View tab, click Views panel >
Northeast Isometric.
■ Zoom into the bookshelf.
■ Rotate the view for a better view of the
wall and the back of the bookshelf.

242 ■ Chapter 3: Editing Models

5. To rotate the bookshelf:
■ Right-click the 3D Gizmo, and click Rotate.
■ Click the Z axis as the rotation axis.
■ Make sure the cursor is to the left of the
bookcase.

■ Enter 60 for the rotation angle.

■ Enter 90 for the rotation angle.

■ Press ESC to clear all selections.

7. To copy a picture:
■ On the View tab, click Views panel >
6. To adjust the entry door: Northeast Isometric.
■ Using the ViewCube, rotate the view in ■ Zoom to the back bedroom, near the
order to manipulate the front entrance picture on the wall.
door. ■ On the Home tab, click View panel > 2D
Wireframe.

■ Select the door and door handles. ■ On the Home tab, click Modify panel > 3D
■ Move your cursor to the lower-left grip of Align.
the door. Do not click. The 3D Rotate Gizmo ■ Select the picture. Press ENTER.
will move to the grip when you touch it. ■ Enter C to copy the picture. Press ENTER.
■ Click the Z axis as the rotation axis. ■ For the first base point, using the midpoint
osnap, click the upper mid-back point of
the picture (1).
■ For the second base point, using the
midpoint osnap, click the lower mid-back
point of the picture (2).

Lesson: Manipulating the Model ■ 243

 ■ For the third base point, using the endpoint
osnap, click the lower right-back point of
the picture (3).

8. To copy the picture to the destination:

■ For the first destination point, using the
midpoint osnap, click the midpoint of the
construction line (1).
■ For the second base point, using the
perpendicular osnap, click the base of the
wall (2).
■ For the third base point, using the endpoint
osnap, click the right-endpoint of the
construction line (3).

■ Erase the construction line.

■ Change the visual style to Conceptual.

9. Close all files. Do not save changes.

244 ■ Chapter 3: Editing Models

Lesson: Duplicating the Model

In this lesson, you learn to duplicate solid models by creating copies of models in patterns or by
creating symmetrical objects.
Most products requiremultiple components, and often they require more than one instance of an
object. The ability to simultaneouslycreateand position multiple copies of an object considerably
reduces design time. Some designs require parts or assembliesthat are dimensionally identical but
symmetrically opposite.For example, a new housing development is being designed in 3D. To control
cost, only three different house styles are used.However, to maintain uniqueness, the development
is designed with symmetrically opposed floor plans, giving prospective buyers the impression of
sixdifferentfloor plans.
In the following image, half of a complex symmetrical object was made and then mirrored and
unioned with the original half to complete the design in about half the time it would have taken to
create the entire object from scratch.

Objectives
After completing this lesson, you will be able to:
■ Create symmetrical objects in 3D using the Mirror command.
■ Create component patterns in 3D using the 3D Array command.

Lesson: Duplicating the Model ■ 245

 Mirroring in 3D
You can use the 3D Mirror command to duplicate solid models in various ways. This capability is
especially useful when your design contains identical but mirrored symmetrical objects such as the
left and right fender of a car. Using the 3D Mirror command, that part can be completed in a fraction
of the time required to complete the initial design. In the case of a symmetrical object, one half or
one quarter of an object can be designed, and then mirrored to complete the design.
In the following image, the assembly on the right was created using standard 3D modeling techniques.
The assembly on the left was created using the 3D Mirror command.

Command Access
Mirror3D

Command Line: MIRROR3D

Ribbon:
Home > Modify > 3D Mirror

246 ■ Chapter 3: Editing Models

Options for Mirroring in 3D
Following are the options for the 3D Mirror command.

Option Description

Object Use to mirror objects based on the location of a circle, arc, or 2D polyline. The
object selected serves as the midplane between the new and existing objects.

Last Use to define the mirror plane based on the preceding mirror plane.

Zaxis Use to define the mirror plane from a point on the plane and a point normal to
the plane.

View Use to define the mirror plane based on the current view through a specified
point.

XY Use to define the mirror plane at a specified point on the current XY plane.

YZ Use to define the mirror plane at a specified point on the current YZ plane.

ZX Use to define the mirror plane at a specified point on the current ZX plane.

3 points Use to define the mirror plane based on three user-defined points.

Delete Source Use Yes to remove the selected object from the drawing and add a mirrored
Objects object.
Use No to add a mirrored object.

Procedure: Mirroring Objects in 3D

The following steps give an overview of mirroring objects in 3D space.
1. Determine the plane required to define the mirror plane.
2. Start the 3D Mirror command.
3. Select the objects to mirror.
4. Define the mirror plane.
5. Decide whether or not to keep the source objects.

Lesson: Duplicating the Model ■ 247

 Arraying in 3D
You create patterns of objects in 3D space using the 3DArray command.
In the following image of a building structure, the initial column was located and arrayed using the
standard Array command. Then, two of the horizontal beams, shown in orange, were located. The
remainder of the horizontal beams were located using the 3D Array command.

Command Access
3DArray

Command Line: 3DARRAY

Ribbon:
Home tab > Modify panel > 3D Array

248 ■ Chapter 3: Editing Models

Options for Creating a Rectangular Array in 3D
Following the command prompts and a typical workflow, you create a rectangular 3D array by
specifying numerical values to define the rectangular pattern. The pattern is created based on your
input values for the number of rows, columns, and levels as well as the distance between them.

Rows Use to specify the quantity of rows and the distance between rows in the Y
direction.
Columns Use to specify the quantity of columns and the distance between columns in the
X direction.
Levels Use to specify the quantity of levels and the distance between levels in the Z
direction.

Lesson: Duplicating the Model ■ 249

 Options for Creating a Polar Array in 3D
Following the command prompts and a typical workflow, you create a polar 3D array by specifying
numerical values to define the array. You determine which objects are required to define the pattern
and then start the 3D Array command. The polar pattern is based on your input values for the number
of items, degrees of rotation, whether the objects are rotated as they are patterned, and an axis of
rotation.

The following image shows two polar arrays with identical values for the number of items and the
angle of rotation. They also use the centerline of the cylinder as their axis of rotation. The only
difference is the specification of the Rotate Arrayed Items option. The objects in the array on the left
have the objects rotated within the array, while the objects on the right do not.

Number of Items Use to specify the number of objects to be included in the pattern.

Specify Angle to Use to specify the number of degrees of rotation the pattern will fill.
Fill

Rotate Arrayed Use to rotate the objects as they are arrayed about the axis.
Objects

Specify Center Use to define the initial point on the axis of rotation.
Point of Array

Specify Second Use to define the final point on the axis of rotation.
Point on Axis of
Rotation

250 ■ Chapter 3: Editing Models

 The order in which the points are selected to define the axis of rotation affects the
direction of the array. When the axis is defined, the right-hand rule is applied.

Procedure: Arraying Objects in a 3D Rectangular Pattern

The following steps give an overview of creating a rectangular array of objects in 3D space.
1. Start the 3D Array command.
2. Select the objects to be arrayed.
3. Enter R to specify a rectangular array.
4. Enter the number of rows, columns, and levels required.
5. Specify the distance between the rows, columns, and levels.

Procedure: Arraying Objects in a 3D Polar Pattern

The following steps give an overview of creating a polar array of objects in 3D space.
1. Start the 3D Array command.
2. Select the objects to be arrayed.
3. Enter P to specify a polar array.
4. Specify the angle.
5. Determine whether the objects are to be rotated when arrayed.
6. Specify the center point of the array.
7. Specify a second point of rotation.

Lesson: Duplicating the Model ■ 251

Exercise: Mirror Objects in 3D
In this exercise, you use the 3D Mirror command to 2. On the ViewCube:
create symmetrical door hinge assemblies. ■ For the current coordinate system, click
User Coordinate System > WCS.
This changes the ViewCube from Top to
Front.

The completed exercise

Completing the Exercise

To complete the exercise, follow the ■ Change the view to show the Southeast
steps in this book or in the onscreen Isometric view of the model.
exercise. In the onscreen list of
chapters and exercises, click Chapter 3:
Editing Models. Click Exercise: Mirror
Objects in 3D.

1. Open C_Mirroring-Objects-in-3D.dwg.

252 ■ Chapter 3: Editing Models

3. Freeze the Doors layer.

4. On the ribbon, click Home tab > Modify panel >

3D Mirror. 6. To complete the mirror operation, when
■ When prompted to select objects, use a prompted to delete source objects, enter No.
window to select both sets of hinges. 7. Thaw the Doors layer.
■ Press ENTER. 8. On the ViewCube, click Front. The front view,
5. To mirror the hinge assembly to the other side including mirrored objects, should look as
of the frame: shown below.
■ When prompted to specify the first point of
the mirror plane, enter 3, for 3 points.
■ When prompted to specify the first point of
the mirror plane, use the Midpoint object
snap and select the lower midpoint of the
frame (1).
■ When prompted to specify the second
point, use the Midpoint object snap and
select the lower midpoint of the frame (2).
■ When prompted to specify the third point,
use the Midpoint object snap and select
the upper midpoint of the frame. Three
points define a plane, therefore it is not
critical which midpoint on the upper frame 9. Save and close all files.
is selected.

Lesson: Duplicating the Model ■ 253

Exercise: Array Objects in 3D
In this exercise, you use the 3D Array command 4. On the Home tab, click Modify panel > 3D
to create rectangular and polar arrays in three Array.
dimensions. ■ When prompted to select objects, press L
for the last object created.
■ Press ENTER.
■ Press ENTER.
5. To create the 3D pattern:
■ When prompted to enter the type of array,
enter R, for rectangular.
■ When prompted to enter the number of
rows, enter 3.
■ When prompted to enter the number of
columns, enter 4.
The completed exercise ■ When prompted to enter the number of
levels, enter 2.
■ When prompted for the distance between
Completing the Exercise rows, enter 10.
To complete the exercise, follow the ■ When prompted for the distance between
columns, enter 20.
steps in this book or in the onscreen
■ When prompted for the distance between
exercise. In the onscreen list of levels, enter 5.
chapters and exercises, click Chapter
3: Editing Models. Click Exercise: Array
Objects in 3D.

1. Create a new drawing based on the default

template, acad3D.dwt.
2. On the Home tab, click Modeling panel > Box.
3. To create a primitive 3D box to array:
■ When prompted to specify the first corner,
enter 5,5.
■ When prompted to specify the other 6. On the command line, enter Measuregeom.
corner, enter @10,5. Select the Distance option by pressing ENTER
■ When prompted for a height, enter 2. or selecting it on the Dynamic Input menu.

254 ■ Chapter 3: Editing Models

7. To specify the distances: ■ When prompted to specify the center point
■ When prompted to specify the first point, of the array, select either endpoint of the
select point (1), as shown in the illustration. line.
■ When prompted to specify the second ■ When prompted to specify a second point,
point, select point (2). select the other endpoint.
■ Repeat for points (3) and (4) and (5) and
(6).
■ Review the distance values with the values
entered in step 3.
Note: The values entered when creating the
array are center-to-center distances and do not
include the object.

11. Save and close all files.

8. To draw a line:
■ On the Home tab, click Draw panel > Line.
■ When prompted to specify the first point,
enter 0,0.
■ When prompted to specify the next point,
enter 0,-5.
■ Press ESC to end the Line command.
9. On the Home tab, click Modify panel > 3D
Array.
■ When prompted to select objects, select
the first box created.
■ Press ENTER.
10. To create a polar array of the first box created:
■ When prompted to enter the type of array,
enter P, for polar.
■ When prompted to enter the number of
items in the array, enter 3.
■ When prompted for the angle to fill, enter
360.
■ When prompted to rotate arrayed objects,
enter Y, for yes.

Lesson: Duplicating the Model ■ 255

Lesson: Converting 2D Objects

This lesson describes how to create surfaces or solids by converting 2D geometry or surfaces.
By converting 2D geometry to 3D surfaces or solids, you can leverage existing drawings for the
creation of models, or to use a workflow of creating qualified 2D geometry that you then convert into
a surface or solid.
In the following image, a 3D model of a floor plan was created by converting 2D geometry.

Objectives
After completing this lesson, you will be able to:
■ Describe the reasons why an object would be converted to a surface or solid and the property that
must be edited to prepare the object for conversion.
■ Access the Convert to Solid command and convert qualifying 2D objects to solid models.
■ Access the Convert to Surface command and convert qualifying 2D objects to surfaces.
■ Describe the characteristics of a thickened surface.
■ Access the Thicken Surface command to create a solid.

256 ■ Chapter 3: Editing Models

About Converting 2D Objects to Solids or Surfaces
Before converting 2D objects to surfaces or solids, you need to understand the requirements to
successfully convert those objects. You should also understand why you would use this method to
create surface or solid models.

Converting 2D Objects
Before a 2D object can be converted to a surface or a solid, it must have a thickness property with
a value not equal to zero. Such objects would have had their thickness value set in one of two
ways: either the value was changed in the Properties palette after the objects were created, or the
THICKNESS system variable was set prior to their creation. This thickness value is assigned in the Z
direction. Therefore the object has an appearance of having height.
If you are trying to design and display geometry with constant heights, you might find presetting the
Thickness variable to that desired value and initially drawing the objects in 2D an efficient way of
starting your 3D surface or solid model. That way you can use familiar commands and editing tools to
create the initial shape. Once the objects are drawn with the desired thickness property, you will be
able to convert them to surfaces or solids for further 3D design and representation.
The following image shows two different views of the same objects. One set of objects, shown with
active grips, has a thickness of zero. The other set of objects is a copy of the first set and has had its
thickness values changed. The set of objects with thickness can be converted to surface models. Of the
objects with thickness, only the rectangle can be converted directly to a solid since it is a closed loop
polyline.

Example: Converting Objects to Surfaces or Solids

There could be many reasons why you would convert an object to a surface or solid model. One reason
might be your need to pass your design data to someone else and, in doing so, the data must be
translated to a different format that does not recognize the thickness property on the objects you
created. For example, your design may be used as the basis for a CNC and therefore you need to
convert to surfaces. Or it may be used as part of an overall rendering or animation, and they require
solid or surface models.
Another reason would be to allow for further modification once the object is a surface or solid. For

Lesson: Converting 2D Objects ■ 257

 example, when you want to model tubing, you can draw a circle, square, or rectangle and have its
thickness property set to the desired length of tubing. You can then convert that circle or polyline.
If you convert them into a surface, you can then thicken that surface to create a solid model. When
converting polylines, you can directly create the tubing by specifying a width property for the polyline
prior to converting it.
The following image shows the conversion of 2D geometry into 3D surface or solid models. This
sample set of geometry consists of two circles, two closed polyline squares, and a rectangle with
width. The top-left image shows 2D geometry with a thickness property of zero. In the top-right
image, the objects are shown with a thickness value applied. In the lower-left image, the front three
objects were converted to solids while the back two were converted to surfaces. In the lower-right
image, the back two surfaces were further manipulated by being thickened to create solid models.

Converting to Solids
Using the Convert to Solid command, you can create a solid model from qualified 2D objects. Objects
that qualify for conversion to solids include:
■ Circles with a thickness other than zero.
■ Closed loop polylines with a thickness other than zero.
■ An open loop polyline that has a constant width value and a thickness other than zero.

258 ■ Chapter 3: Editing Models

In the following image, a polyline with a positive Thickness property was converted to a solid model.

Command Access
Convert to Solid

Command Line: CONVTOSOLID

Ribbon: Home tab > Solid Editing panel > Convert to Solid

Menu Bar: Modify > 3D Operations > Convert to Solid

Procedure: Converting 2D Objects to Solids

The following steps give an overview of converting qualified objects into solids.
1. On the Home tab, expand the Solid Editing Panel.
2. Click Convert to Solid.
3. Select the objects to convert.
4. If the DELOBJ system variable is set to -2, then at the dynamic prompt, click Yes to delete the
selected objects after the solid is created. Click No to keep them.

Change the DELOBJ system variable to -2 to have the Convert to Solid command
prompt you with the option to keep the selected objects or to erase them. By not
erasing the original objects, you can isolate them on their own layer and refer back to
them at a later point if needed.

Lesson: Converting 2D Objects ■ 259

 Converting to Surfaces
Using the Convert to Surface command, you can create surface models from qualified 2D objects.
Qualifying objects you can convert to surfaces include regions and lines, polylines, arcs, or circles that
have a thickness property set to anything other than zero.
In the following image, a polyline with a positive Thickness property was converted to a surface
model.

Command Access
Convert to Surface

Command Line: CONVTOSURFACE

Ribbon: Home tab > Solid Editing panel > Convert to Surface

Menu Bar: Modify > 3D Operations > Convert to Surface

Procedure: Converting 2D Objects to a Surface

The following steps give an overview of converting qualified objects into surfaces.
1. On the Home tab, expand the Solid Editing panel, and click Convert to Surface.
2. Select the objects to convert.
3. If the DELOBJ system variable is set to -2, then at the dynamic prompt, click Yes to delete the
selected objects after the surface is created. Click No to keep them.

260 ■ Chapter 3: Editing Models

 Change the DELOBJ system variable to -2 to have the Convert to Surface command
prompt you with the option to keep the selected objects or to erase them. By not
erasing the original objects, you can isolate them on their own layer and refer back to
them at a later point if needed.

About Thickening Surfaces into Solids

Creating solid models by thickening surfaces can be one step in the process of leveraging your 2D data,
or it can be a technique for creating complex solid models.

Thickening Surfaces
A surface model by definition means the object has no thickness. It is defined by two dimensions
traversing through space but it does not have a third dimension defining thickness. Therefore, a
surface model does not define a solid volume. One way to make a solid model from the surface is to
give that surface a specific thickness value.
When giving a surface thickness, you specify a distance for the surface to be thickened. This distance
establishes the parallel offset of the surface. A solid model is then created composed of the volume
of area between the surface and the parallel offset. Though a surface does not have thickness, the
surface does have a positive and negative side. So when thickening a surface, a positive thickness value
creates the solid model on the positive side of the surface while a negative thickness value creates a
solid on the negative side of the model.
In the following set of images you can see a surface that was thickened to create a solid model of a
contemporary chair seat design. The initial surface shown on the left was created by lofting two open
cross sections along two open guide rails on each side. The solid created from the thickened surface is
shown on the right.

You could think of thickening surfaces as using a special offset command. Except in this case, instead
of creating a new object a set distance away from the original, the volume of area between the surface
and the offset creates a solid model.

Example: Thicken Surfaces

For some models, it is easier to create a surface from open profiles and then thicken the surface. This
approach can be easier and quicker than trying to define all the input geometry to initially create a
solid. Another way you can look at it is that the thickening process is just one step in converting an
object into a solid model.
For example, when creating a landscaping drawing, you can draw the edging material with an open
polyline curve with a defined thickness. After converting the polyline to a surface, you can give that
surface thickness so it better illustrates and represents the edging material in your 3D design. Also
in the landscaping drawing, you could create a lofted surface from the contour of a walkway. After

Lesson: Converting 2D Objects ■ 261

 thickening the surface, you can inquire on the solid model's mass properties to return the total volume
of material required for the walkway.
The following set of images shows a clay roof tile. The images on the left show how the tile looks in
surface form. The images on the right show the surface thickened into a solid.

Thickening Surfaces to Solids

Surfaces that you can select to thicken include:
■ Surfaces created using the Convert to Surface command. 3D Meshes must be converted to
surfaces before they can be thickened.
■ Surfaces created after exploding a solid model.
■ Surfaces created using the Extrude, Revolve, Sweep, Loft, or Planar Surface commands.
In the following image, the surface model was converted to a solid model after it was thickened.

262 ■ Chapter 3: Editing Models

Command Access
Thicken Surface

Command Line: THICKEN

Ribbon: Home tab > Solid Editing panel > Thicken

Menu Bar: Modify > 3D Operations > Thicken

Thickening Side
As part of the process of thickening a surface, you are prompted to enter a thickness value. Supplying a
positive value creates the solid model on the positive side of the surface. A negative value creates it on
the negative side of the surface.

Procedure: Thickening a Surface to Create a Solid

The following steps give an overview of thickening surfaces into solids.
1. On the Home tab, expand the Solid Editing panel.
2. Click Thicken.
3. Select the surfaces to thicken.
4. Enter the desired thickness value as a positive or negative number.
5. If the DELOBJ system variable is set to -2, then at the dynamic prompt, click Yes to delete the
selected surfaces. Click No to keep them.

Change the DELOBJ system variable to -2 to have the Thicken command prompt you
with the option to keep or erase the selected surface. By keeping the original objects,
you can isolate them on their own layer and refer back to them later.

Lesson: Converting 2D Objects ■ 263

Exercise: Convert Objects
In this exercise, you leverage an existing 2D floorplan 4. To create the interior walls:
to create that floorplan in 3D and better convey the ■ Window select all objects on the screen.
design.
■ Right-click in the drawing area.
■ Click Properties.
■ In the Properties palette, under General,
enter 96 for Thickness.
■ Press ESC to clear grips.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
5. On the ribbon Home tab, expand the Solid
steps in this book or in the onscreen Editing panel and click Convert to Surface.
exercise. In the onscreen list of
6. To convert the polylines with thickness to
chapters and exercises, click Chapter 3: surfaces:
Editing Models. Click Exercise:Convert ■ When prompted to select objects, select
Objects. the polylines with thickness.
■ Press ENTER.
1. Open C_Converting-Objects.dwg.

Note: The grid is turned off for clarity. Thaw the Outer Walls layer and make it
7.
2. Make the Inner Walls layer current. current.
3. Freeze all other layers.

264 ■ Chapter 3: Editing Models

8. Freeze the Inner Walls layer. 13. To create the canopy:
9. To create exterior walls: ■ Select the green arc above the doorway.
■ Window select all objects on the screen. ■ In the Properties palette, under General,
■ In the Properties palette, under General, enter 120 for Thickness.
enter 120 for Thickness. ■ Press ESC to clear grips.
■ Press ESC to clear grips.

10. On the ribbon Home tab, expand the Solid

Editing panel and click Convert to Solid.
11. To convert the polylines with thickness to
solids:
■ When prompted to select objects, select
the polylines with thickness.
■ Press ENTER.
14. On the ribbon Home tab, expand the Solid
Editing panel and click Convert to Surface.
15. To convert the canopy to a surface:
■ When prompted to select objects, select
the canopy.
■ Press ENTER.

12. To prepare to create a canopy for the entrance:

■ Thaw the Canopy and Supports layers and
make the Canopy layer current.
■ Freeze the Outer Walls layer.
■ Zoom in on the green arc.

16. On the ribbon Home tab, expand the Solid

Editing panel and click Thicken.

Lesson: Converting 2D Objects ■ 265

17. To thicken the canopy surface:
■ When prompted to select objects, select
the canopy.
■ Press ENTER.
■ When prompted for thickness, enter 4 and
press ENTER.

18. Thaw all layers and zoom to the drawing

extents.

19. Save and close all files.

266 ■ Chapter 3: Editing Models

Lesson: Basic Mesh Modeling

This lesson describes how to perform basic mesh modeling by editing meshes, adjusting smoothing
values, creasing meshes, and performing subobject editing.
After you have created your basic mesh models with primitives and other mesh surfaces, the models
really start to take shape when you begin to apply editing techniques such as smoothing and creasing
mesh faces.
In the following illustration, a new mouse design is being created with mesh modeling techniques.

Objectives
After completing this lesson, you will be able to:
■ Split and extrude mesh faces.
■ Describe how to convert 3D objects to mesh objects and use smoothing and refining options to
edit the mesh object.
■ Use creases to control mesh smoothing on specific faces and edges.
■ Use the 3D-Gizmo to perform subobject edits on faces, edges, and vertices.

Lesson: Basic Mesh Modeling ■ 267

 Editing Meshes
The ability to edit meshes is the most compelling reason to use mesh modeling. You can split and
sculpt a basic mesh model into organic shapes almost unrecognizable from the original. You can edit
mesh faces, edges, and vertices.
In the following illustration, the camera body started as a single mesh primitive box. Afterward, faces
and edges were selected, and the 3D-Gizmo was used to move and scale them. Last, smoothing was
applied to achieve the result you see here. This model was created in a few minutes using ten basic
mesh modeling commands.

Command Access
Extrude Face

Command Line: EXTRUDE

Ribbon: Mesh Modeling tab > Mesh Edit panel > Extrude Face

Menu Bar: Modify > Mesh Editing > Extrude Face

268 ■ Chapter 3: Editing Models

Command Access
Split Mesh Face

Command Line: MESHSPLIT

Ribbon: Mesh Modeling tab > Mesh Edit panel > Split Mesh Face

Menu Bar: Modify > Mesh Editing > Split Face.

Process: Extruding a Mesh Face

The following steps provide an overview of extruding a mesh face.
1. Create a mesh box.

2. On the ribbon, click Mesh Modeling tab >

Mesh Edit panel. > Extrude Face

3. On the mesh box, press CTRL+select to

select the face to extrude. Press ENTER to
complete the selection.

Lesson: Basic Mesh Modeling ■ 269

 4. To specify the extrusion height, enter a value
and right-click or move the cursor and left-
click.

5. The extruded face is completed.

6. Repeat steps 2 and 3 and select three faces.

7. Repeat step 4 to extrude multiple faces.

8. The extruded faces are completed.

270 ■ Chapter 3: Editing Models

Process: Splitting and Extruding a Mesh Face
The following steps provide an overview of splitting and extruding a mesh face.
1. Create a mesh box primitive.

2. On the ribbon, click Mesh Modeling tab >

Mesh Edit panel > Mesh Split Face.

3. On the mesh box, select a face to split.

4. Click on an endpoint to specify the first split

point.

5. Select another endpoint to specify the

second split point.

Lesson: Basic Mesh Modeling ■ 271

 6. The rectangular face has now been split into
two triangular faces.

7. On the Mesh Modeling tab, click Mesh Edit

panel > Extrude Face.

8. CTRL+select to select a triangular face as the

face to extrude.

9. To specify the extrusion height, enter a value

and right click , or move the cursor and click.

10. The extruded face is completed.

272 ■ Chapter 3: Editing Models

 Guideline for Editing Meshes
Consider the following guideline when editing meshes:
■ Set the smoothness to none when splitting and extruding faces. Change the smoothness back to
the desired level when splitting and extruding are complete. This will give you more control over
the shape of the model during development.

Smoothing Meshes
Imagine a smooth round bowl. Now imagine lining the inside of the bowl with small flat pieces of
stiff paper. Each piece has three or four sides and mates neatly at the edges. The pieces may vary in
size and shape, but every edge accurately matches the piece next to it. Every corner of every piece
touches the surface of the bowl, but each piece remains flat and does not flex to conform to the bowl.
Together, the small flat pieces of paper simulate the shape of the bowl. The larger the pieces are, the
less smooth the simulation appears. The smaller the pieces are, the smoother the simulation appears.
Mesh modeling simulates surfaces by mathematically performing the same process. The pieces of
paper are called facets. You control the size of the facets by setting the level of smoothness in the
Properties palette for that mesh object. Facets are limited to being three or four sided triangles or
quads. You can influence the shape of the facets to be mostly triangles or mostly quads in the Mesh
Tessellation Options dialog box.
Mesh faces are larger divisions of the surface. Mesh faces are bounded by tessellation lines. You set
the number of faces by setting tessellation divisions in the Mesh Primitive Options dialog box. You
control the visibility of tessellation lines using edge effects on the Render tab.
Within each mesh face there can exist multiple facets. The number of facets within each face increases
with higher levels of smoothness. All faces have the same number of facets. When you choose a
smoothness of level 1, all faces are divided into a matrix of 2 x 2 facets for four facets per face. A level
of 2 creates a 4 x 4 matrix of facets for 16 facets per face. A level of none sets each face to only one
facet.
Solid and surface legacy objects must be converted to mesh objects before smoothing can be
performed. This is done with the Smooth Objects command.

Lesson: Basic Mesh Modeling ■ 273

 In the following illustration, the camera body is shown at smoothness levels of None and Level 1.

Command Access
Smooth Object

Command Line: MESHSMOOTH

Ribbon: Mesh Modeling tab > Mesh panel > Smooth Object

Menu Bar: Draw > Modeling> Meshes > Smooth Mesh

Shortcut Menu: Select the object, right click anywhere in the drawing window, and click
Smooth More

274 ■ Chapter 3: Editing Models

Process: Converting a Solid to Mesh and Smoothing the Mesh Objects
1. Start with a known solid model or create a
solid primitive.

2. To convert the solid into a mesh, on the

ribbon, click Mesh Modeling tab > Mesh
panel > Smooth Object.

3. Select the solid as the object to smooth

and press ENTER. A converted mesh object
should appear rounded.

4. To make the black tessellation lines visible,

on the Render tab, click Edge Effects panel >
Isolines.

5. Mesh faces are bounded by the black

tessellation lines.

Lesson: Basic Mesh Modeling ■ 275

 6. To increase the level of smoothness, on the
ribbon, click Mesh Modeling tab > Mesh
panel > Smooth More. Select the object and
press ENTER.

7. To remove smoothness, in the Quick

Properties panel, set the Smoothness to
Level None.

8. The mesh object should appear with sharp

edges. The None level sets each face to have
one facet.

Guidelines for Smoothing Mesh Objects

Consider the following guidelines when smoothing mesh objects:
■ You may freely change the level of smoothness as you work.
■ Legacy objects must be converted to mesh objects before smoothing can be applied.

276 ■ Chapter 3: Editing Models

Creasing Meshes
You can apply a crease to a mesh face, edge, or vertex. The mesh must be set to a smoothness level of
1 or higher to see the crease. You can apply a crease value to soften the crease to varying levels or to
make it stay sharp at all times. You can remove a crease and the affected subobjects can be smoothed.

Command Access
Add Crease

Command Line: MESHCREASE

Ribbon: Mesh Modeling tab > Mesh panel > Add Crease

Menu Bar: Modify > Mesh Editing > Add Crease

Lesson: Basic Mesh Modeling ■ 277

 Process: Adding a Crease to a Mesh
The following steps provide an overview of adding a crease to a mesh.
1. Create a mesh object.

2. On the ribbon, click Mesh Modeling tab >

Mesh panel > Add Crease.

3. On the mesh object, select the faces to apply

the crease to.

4. For a sharp crease, press ENTER to accept

the default value of Always.

5. Sharp creases are applied to the selected

faces.

278 ■ Chapter 3: Editing Models

 6. To remove creases: on the ribbon, click Mesh
Modeling tab > Mesh Edit panel > Remove
Crease. Select the creased faces and press
ENTER.

7. You can also vary the crease sharpness.

When creating creases, override the default
value of Always by entering a value between
0.1 and 2.0.

8. Crease sharpness may be varied from face to

face.

Guidelines for Adding Creases to Meshes

Consider the following guidelines when adding creases to meshes:
■ The mesh object must be set to a smoothness level of 1 or higher to see the effect of a crease.
■ When adding a crease, a value of 0.1 to 2.0 produces a softer edge.
■ If you need to establish a higher level of control over your model, try setting all faces to a level of
Always, then remove creases as the model develops.

Subobject Edits
The whole of the model you create is called the object. Within the object there are subobjects called
mesh faces. Mesh faces are bound visually by tessellation lines.
You can modify one or more faces using the 3D-Gizmo and move, rotate, or scale selected faces, edges,
or vertices.
If you need to model at a higher level of detail, you can create faces within faces using the mesh
refining process.

Lesson: Basic Mesh Modeling ■ 279

 Description of Subobject Editing
One or several mesh faces may be edited at the same time. You can choose to edit the face, edge, or
vertex of the selected faces. Using the "Gizmo" you can move, rotate, or scale the selected faces in the
X, Y, or Z axes. Adjacent facets are adjusted according to the current level of smoothness.

Process: Moving Mesh Subobjects by Faces

The following steps give an overview for moving mesh faces.
1. Create a mesh object.

2. On the ribbon, Mesh Modeling tab >

Subobject panel, select Face from the filter
list.

280 ■ Chapter 3: Editing Models

3. On the ribbon, Mesh Modeling tab >
Subobject panel, select the Move Gizmo.

4. On the mesh cylinder, press CTRL+select

to select the faces. The Move Gizmo will
appear.

5. Hover the mouse over the axis you wish to

move along until it is highlighted.

6. Enter a value for the distance to move

the faces, or click and drag along the axis,
making sure the highlighting is on when you
click.

7. Release the mouse button and press ENTER.

Lesson: Basic Mesh Modeling ■ 281

 Process: Moving Mesh Subobjects by Edges
The following steps give an overview for moving mesh faces by editing their edges.
1. On the Ribbon Mesh Modeling tab >
Subobject panel, select Edge from the object
filter. The Gizmo should remain on Move.

2. On the object, select the edges to move. The

Move Gizmo will appear.

3. Repeat steps 5, 6, and 7 to move the edges.

Process: Rotate Mesh Subobjects

The following steps give an overview for rotating mesh faces.
1. On the ribbon Mesh Modeling tab >
Subobject panel, set Face as the object filter,
and Rotate as the Gizmo filter.

282 ■ Chapter 3: Editing Models

2. On the object, select the faces you wish
to rotate. As in previous steps, the Rotate
Gizmo will appear.

3. Hover the cursor over the axis you wish to

rotate about until it is highlighted.

4. Enter an angular value to rotate and press

ENTER, or Click + Drag the cursor.
Note: Moving the cursor away from the
object will permit more angular control.

5. Press ENTER to complete the rotation.

6. Apply a smoothness level to see the effects

of these operations on the finished object.

Lesson: Basic Mesh Modeling ■ 283

 Process: Refining Mesh Subobjects
The following steps provide an overview of refining mesh surfaces.
1. Create a mesh object with a smoothness
level of 1 or higher. This is required to refine
a mesh.

2. On the ribbon, click Mesh Modeling tab >

Subobject panel > Face. On the ribbon, click
Mesh Modeling tab > Subobject panel > No
Gizmo.

3. On the box, CTRL+click to select a mesh face.

4. On the ribbon, click Mesh Modeling tab >

Mesh panel > Refine Mesh.

5. The selected mesh face is divided into four

smaller mesh faces.

284 ■ Chapter 3: Editing Models

6. These are new mesh faces and behave like
normal mesh faces. They can be edited
normally.

Guidelines for Editing Mesh Subobjects

Consider the following guidelines when editing mesh subobjects:
■ Do not confuse faces with facets. Facets exist within faces. All faces have the same number of
facets.
■ The number of facets is controlled by setting the level of smoothness.
■ Use the Refine Mesh command only when necessary. The more faces you generate, the more
processing power is required.
■ You can turn the Gizmo off by selecting the No Gizmo option on the Mesh Modeling tab, Subobject
panel.
■ Use the Subobject Selection filter on the Subobject panel to assist in selection.

Lesson: Basic Mesh Modeling ■ 285

Exercise: Edit Mesh Surfaces
In this exercise, you take a simple mesh box primitive 2. As you will be working with mesh edges, you
and manipulate it into an ergonomic design for a must first set the subobject filter to Edge:
computer mouse. You edit subobject edges using the ■ On the Mesh Modeling tab, click Subobject
3D-Gizmo, add a crease, and convert the object to a panel > Edge.
solid so that additional operations such as booleans
and shelling can be performed. ■ This enables the edges to be selected when
you perform the subobject selection steps.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of 3. To select the subobject edges which will define
chapters and exercises, click Chapter the raised area for the mouse buttons:
3: Editing Models. Click Exercise: Edit ■ Press and hold CTRL.
Mesh Surfaces. ■ Click each of the four subobject edges.

1. Open C_Box-to-Mouse.dwg.
Note: The 3D modeling workspace must be
active for this exercise.

286 ■ Chapter 3: Editing Models

4. To move the selected edges using the 3D- 6. Next, you raise the center ridge for the mouse
Gizmo: wheel opening:
■ Click the Z axis on the 3D-Gizmo. ■ Press ESC to clear any existing selections.
■ Position the edges approximately as shown. ■ Press and hold CTRL.
■ Click to complete the move. ■ Select the two subobject edges.

7. Move the selected edges using the 3D-Gizmo:

■ Click the Z axis.
■ Position the edges approximately as shown.
■ Click to complete the move.
5. To smooth the basic shape of the mouse
object:
■ On the Mesh Modeling tab, click Mesh
panel > Smooth More.
■ Repeat the Smooth More command twice.

8. Now, you use the 3D-Gizmo to widen the

mouse uniformly on each side towards the
front:
■ Press ESC.
■ Press and hold CTRL.
■ Select the subobject edges as shown in the
first of the following illustrations.
■ Rotate the view 90 degrees.
■ Select the corresponding subobject edges
on the other side as shown in the bottom
illustration.

Lesson: Basic Mesh Modeling ■ 287

 10. Next, relocate the 3D-Gizmo midway between
the edges:
■ Place your cursor at the origin of the 3D-
Gizmo.
■ Right-click and click Relocate Gizmo.
■ SHIFT+right-click. Click Mid Between 2
Points.

11. Finish locating the 3D-Gizmo:

■ Click point 1.
■ Click point 2.
9. Switch the 3D-Gizmo to scale mode: ■ The 3D-Gizmo is located at the center of
■ Place your cursor at the origin of the 3D- the object for a uniform scale.
Gizmo.
■ Right-click. Click Scale.

288 ■ Chapter 3: Editing Models

12. Next, you scale the selected edges equally: 15. Rotate the object and view the flat underside.
■ On the 3D-Gizmo, click the X axis.
■ Drag to widen the object at the selected
edges.
■ Click to place the new width.
■ Press ESC.

16. Now that the shape is defined for the mouse,

convert the object to a solid so that additional
features can be added:
■ On the Mesh Modeling tab, click Convert
Mesh panel > Smooth, Optimized.
13. View your model from different viewpoints. ■ On the Mesh Modeling tab, click Convert
The object in the following illustration is shown Mesh panel > Convert to Solid.
in the NW Isometric view. ■ Select the object and press ENTER.

17. Now that it is a solid, you can continue to

14. Next, to define a flat bottom for the mouse and add features such as fillets, holes, or shelling
add a crease to the bottom faces: features. In addition, you can export the
■ Using the ViewCube, display the Left view. object to other Autodesk® products such as
■ On the Mesh Modeling tab, click Subobject Autodesk® Inventor® to complete your design.
panel > Face. 18. Close all files. Do not save.
■ On the Mesh panel, click Mesh Edit panel >
Add Crease.
■ Window select the bottom faces. Press
ENTER.
■ Press ENTER again to accept the Always
option.

Lesson: Basic Mesh Modeling ■ 289

290 ■ Chapter 3: Editing Models
 Chapter

Sectioning a Model and Creating

Drawings
Two-dimensional drawings are still needed to communicate ideas in industry. While designing in 3D
offers significant advantages, designs may still have to be displayed in a 2D format for manufacturing.
The lessons in this chapter teach you the methods, commands, and options for creating views of your
3D models. These methods include defining views based on orientation of 3D models, planes, and 2D
geometry extracted from the 3D models. You also learn to create, edit, and manage layouts, and to
combine defining views to create layouts that document your 3D designs.

Objectives
After completing this chapter, you will be able to:
■ Graphically remove part of a 3D model and generate 2D geometry from solid models.
■ Create 2D and 3D drawings from 3D models.

Chapter Overview ■ 291

Lesson: Section a Solid Model and Generate
Lesson: 2D Geometry

This lesson describes how to graphically remove part of a 3D model and generate 2D geometry from
the solid model.
As you create more detailed models, there will be times when you need to view an aspect of a model
that is visually obstructed by other parts or features of the model. By using section planes, you can
view the information you want in 3D or 2D form. You can also generate 2D cross sections based on
the planes you define that can be used to generate mass property information or create 2D drawing
views.
In the following illustration, a front view of the assembly was created for a 2D drawing to be provided
to manufacturing. The other view is a cross section of the valve body to be used in strength and
material analysis.

Objectives
After completing this lesson, you will be able to:
■ Describe a flattened view.
■ Create 2D geometry based on the view of a model.
■ Create simple sections of 3D models.
■ Create section planes through a solid model.
■ Use a section plane to change the display of a model or create new geometry.
■ Create 2D sections or elevations and 3D sections from existing section planes.

292 ■ Chapter 4: Sectioning a Model and Creating Drawings

About Flattened Views
Flattened views are generally required when you need to create dimensioned drawings of 3D models.
While the 3D model is the closest representation of the finished product, it does not work well for
placing dimensions and other annotations for production drawings or construction documentation.
Regardless of the design discipline, 2D geometry is still relied upon heavily when it comes to final
documentation and annotation. To make the most use out of your 3D models, you need to create
flattened views from those models.
In the following illustration, while the 3D perspective image does a better job of conveying the overall
design, the 2D elevation view is better suited for construction documentation.

Definition of Flattened Views

A flattened view is a view created from a 3D model in which objects are projected in their current
position, relative to the view, onto a plane that is parallel to the current view. Flattened views can be
from any angle and are not limited to standard orthographic projections. In most cases, it is equally
beneficial to include a flattened view of an isometric projection.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 293

 The following illustration shows how a 3D model is projected onto a viewing plane, resulting in a 2D
elevation.

3D model
Plane representing 2D view
Resulting flattened view for the elevation

Example of Using Flattened Views

In an architectural environment, flattened views are used to represent plan and elevation views
during client review. You can create all of the job pertinent elevation views, including as many
isometric projections as required, without having to include the entire drawing file.

Displaying 2D Geometry from a Model View

In this section of the lesson, you learn how to gain access to the Flatshot dialog box and use the
options within it to create 2D geometry based on your 3D models. The ability to create accurate 2D
data efficiently is significant since most of today's industry still relies on 2D data as the primary means
of communication between designers and manufacturers.
In a Architectural environment, Flatshot views and drawings are used to create plan and elevation
views for clients to review, without having to send the entire drawing. DWF™ of the Flatshot views can
be generated for Web-based applications.
In the following illustration, the Flatshot command was used to create different 2D views of the 3D
model. The display of the 2D geometry is controlled by settings in the Flatshot dialog box.

294 ■ Chapter 4: Sectioning a Model and Creating Drawings

Flatshot Command Access
Flatshot

Command Line: FLATSHOT, FSHOT

Ribbon: Home tab > expanded Section Plane panel > Flatshot

Options for Creating 2D Geometry Using Flatshot

Following a typical workflow, you first need to set the viewing orientation of the 3D model so you are
viewing it as a flat view in the direction you want. You then start the Flatshot command and specify a
destination and display characteristics for the new geometry. When using the default Insert As New
Block option, you insert the new geometry into a drawing using the same procedure and options for
inserting any block into a drawing.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 295

 Use the following options with the Flatshot command.

Option Description

Basepoint Use to specify the insertion point of the geometry.

Scale Use to scale the geometry uniformly in all axes.

X Use to scale the geometry in the X direction independently of the Y and Z axes.

Y Use to scale the geometry in the Y direction independently of the X and Z axes.

Z Use to scale the geometry in the Z direction independently of the X and Y axes.

Rotate Use to rotate the geometry on the current XY plane.

Flatshot Dialog Box

296 ■ Chapter 4: Sectioning a Model and Creating Drawings

 Insert as New Use to create 2D geometry of the 3D model as a block.
Block
Replace Existing Use to update an existing view to reflect changes in the solid model.
Block
Export to a File Export the 2D geometry to be available for use in other drawings.
Foreground Use to set the color and linetype of the visible lines.
Lines
Obscured Lines Use to set the color and linetype of hidden lines.
Show Use to toggle the display of hidden lines.
Include Use to toggle the creation of silhouette edges for curved surfaces.
Tangential
Edges

Procedure: Creating 2D Geometry from a Model View

The following steps give an overview of creating 2D geometry from 3D models.
1. Display the model in the orientation of the view to be created.
2. Display the model as a parallel projection.
3. Start the Flatshot command.
4. If the view being created is new, decide whether the geometry created will reside in the current
drawing file or be written out to a new drawing file.
5. Set the color and linetype for the visible foreground lines.
6. Set the color and linetype for the hidden obscured lines.
7. Create the Flatshot view.

Creating Simple Sections

Although 3D models are suitable for presenting your design, there may still be a need to produce
flat 2D drawings with different drawing views, dimensions, and section views. One way of displaying
2D geometry from a 3D model is to create simple sections. A simple section is a nonassociative 2D
representation of your 3D model at a given plane that you define. In this section of the lesson, you
learn about the methods available for creating section objects from 3D solid models using the Section
command. This command creates a section plane that slices through an object. AutoCAD® generates
the correct section view with varying linetypes and hatching. You can use these section objects to
perform multiple tasks from the 3D model such as view the interior geometry of the 3D model itself.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 297

 In the following illustration, two different section results are shown for the same solid model. The
model is shown in wireframe to see how the sections sre placed in the model. The first section shows
the section cut at the lower end of the model. The second section shows the results when placing a
section at the midpoint of the model.

Command Access
Section

Command Line: SECTION

Procedure: Sectioning a Solid Model

The following steps give an overview of sectioning a 3D solid model.
1. Start the Section command.
Select the object model that
you want to section.

298 ■ Chapter 4: Sectioning a Model and Creating Drawings

 2. Select the points on the
object to create the section.

3. The section object is created.

You can select the object to
validate where it is placed.

4. You can turn the 3D object

layer off to better visualize
the section. You can also
change visual style settings to
see the section better as well.

Creating Section Planes

In this section of the lesson, you learn to define section planes based on 3D models. You can use these
section planes to view internal sections of 3D models, create 2D cross sections of models, create 3D
cross-sectional models, and generate 2D geometry containing mass property information. You can use
mass property information in strength and area calculations, which are essential in determining items
such as safety factors or material costs.
In a architectural environment, you can use section planes to create views of a structure. For example,
you could place a section plane just above floor level to see the floor plan or use a section plane to
show clients the contents of a room.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 299

 In the following illustration, an orthographic section was created on a model of a pressure relief valve
assembly.

Command Access
Sectionplane

Command Line: SECTIONPLANE

Ribbon: Home tab > Section panel > Section Plane

Options for Creating Section Planes

Following the command prompts and a typical workflow, you determine the views required of your
3D model. You start the Sectionplane command and choose whether to create an orthographic or
segmented plane. An orthographic plane is aligned to a standard orthographic view. A segmented
plane is based on a series of points that you define.
When you start the Sectionplane command, you are prompted to select a face or any point to locate
the section line. You have the option of drawing segments or aligning in an orthographic direction.
You can use the Draw Section option to create offset sections and the Orthographic option to create a
plane based on standard orthographic views.

Use the following options with the Sectionplane command.

Option Description

Draw Section Use to define the plane by selecting a series of points.

Orthographic Use to create a plane based on one of six standard orthographic views: Front,
Back, Top, Bottom, Left, and Right.

300 ■ Chapter 4: Sectioning a Model and Creating Drawings

 Procedure: Creating a Section Plane
The following steps give an overview of creating section planes.
1. Start the Sectionplane command.
2. Decide to draw a segmented or orthographic section plane.
3. If using the Draw section option, define the points to create the plane, then specify a point to
determine the direction of the section view.
4. If using the Orthographic option, determine the orthographic direction.

Manipulating Section Planes

In this section, you learn to manipulate section planes, activate live sectioning, generate 2D and 3D
section models, and add a jog line to an existing model. These commands and methods provide you
the ability to look inside assemblies or complex parts and are beneficial to the design process because
associations between parts can be reviewed while they are in their assembled state.
For example, moving a section plane by specific intervals, through a 3D model, can reveal things not
shown in a typical section view. Additionally, you can control the visual display of these section planes
by placing them on specific layers from the model itself.

The original 3D model with live sectioning enabled.

A 3D model of the assembly based on the section plane.

A 2D cross section based on the section plane.

Command Access

Grips shortcut menu: Activate Live Sectioning, Show Cut Away Geometry, Generate 2D/3D
Section, Add Jog to Section

Lesson: Section a Solid Model and Generate 2D Geometry ■ 301

 To access the commands to manipulate section planes, you must first select the section plane. Once
selected, grips appear immediately. To access additional commands, right-click while the section plane
is selected.

Options for Manipulating Section Planes

Following the command prompts and a typical workflow, you select the section plane and activate
live sectioning to view the internal areas of the model. Depending on your design needs, you can then
generate independent 2D or 3D models based on the current location of the section plane, or move
the section plane to a new location. You can also flip the view of the section plane to view objects on
the other side.

Use the following options with the Sectionplane command.

Option Description

Activate Live Use to view internal features of the 3D model.

Sectioning

Show Cut Away Use to generate the cut away portion of the 3D model.
Geometry

Live Section Use to display the Section Settings dialog box.

Settings

Generate 2D/3D Use to generate a 2D cross section or 3D model of the cut away geometry that
Section is independent of the original model.

Add Jog to Use to add segments to section planes created using the Draw Section option.
Section

Grips Use Grips to flip or relocate the section plane.

Standard grips for editing the endpoint location of the section plane.
Click to display shortcut menu.

302 ■ Chapter 4: Sectioning a Model and Creating Drawings

 Midpoint grip for changing the location of the section plane.
Flip the view direction of the section plane.

When live sectioning is activated, it affects all solids in the drawing. Objects may
disappear, depending on which side of the section plane they are located.

Section Planes States

When you create a section plane, the state it is in by default depends on how the plane was originally
created. You can modify the section plane state at any time by selecting a different state from the grip
menu.
There are three different section plane states:
■ Section Plane: The section plane extends infinitely.
■ Section Boundary: The section plane object contains side planes and a back plane extending
infinitely, and can section a model from all four sides.
■ Section Volume: The section plane contains side planes, a back plane, and top and bottom planes.
The model can be sectioned on six sides.

The following images illustrate the effect of changing the section plane state.

Section Plane Section Boundary Section Volume

Plane grips: Drag to adjust the length of the section plane.

Boundary grips: Drag to adjust the effective boundary area of the section.
Volume grips: Drag to adjust the effective volume of the section.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 303

 Procedure: Manipulating Section Planes
The following steps give an overview of manipulating section planes.
1. Select the section plane.
2. Use the grips to reposition the section plane or flip the view direction.
3. With the section plane selected, right-click.
4. Display the internal areas of the model by activating live sectioning.
5. Generate 2D and 3D models based on the section plane location.

Generating 2D/3D Sections

Once you have created a section plane, you can generate 2D or 3D sections and elevations of your
model. This option is available on the shortcut menu when you right-click on an existing section plane.
In the following image, a 2D section has been updated to reflect the new section plane shape and
settings.

Command Access

Grips shortcut menu: Generate 2D/3D Section

Ribbon: Home tab > Expanded Section panel > Create Block

304 ■ Chapter 4: Sectioning a Model and Creating Drawings

Generate 2D/3D Section/Elevation
When the Generate Section/Elevation dialog box is in a collapsed state, as shown, select whether to
create a 2D Section / Elevation or a 3D Section.

When the dialog box is in an expanded state as shown here, you can specify whether or not to use all
objects in the drawing or select only the objects you want to include in the section.

Under Destination, you specify how the resulting section should be handled. You can insert it as a new
block, which is typically what you do the first time to create the section. Use the Replace Existing Block
option to update a block of the section that already exists. You need to click Select Block and select
the existing block. You can also choose to export the section to a separate drawing file by clicking the
Export to a File option.

Click Section Settings to modify properties of your section such as hatch and fill pattern, line types, and
colors.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 305

306 ■ Chapter 4: Sectioning a Model and Creating Drawings
Section Settings
Use the options in the Section Settings dialog box to control the appearance of objects within your
section view. You must first select the appropriate option depending on your current section type.
The properties available in the main area of the dialog box depend on the type of section settings you
choose.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 307

 Procedure: Creating Section or Elevation Views
The following steps give an overview of creating section or elevation views after a section plane has
been created.
1. Select the section plane.
2. Right-click anywhere in the drawing. Click Generate 2D/3D Section.
3. Select the type of section, 2D or 3D.
4. Expand the dialog box to adjust additional options. Click Create.

Procedure: Updating Section or Elevation Views

The following steps give an overview of updating an existing section or elevation view.
1. Select the section plane.
2. Right-click anywhere in the drawing. Click Generate 2D/3D Section.
3. Expand the Generate 2D/3D Section/Elevation dialog box.
4. Under Destination, select Replace Existing Block. Click Select Block and select the block of the
section or elevation.
5. Click Create. The existing block is updated with the current section geometry, parameters, and
settings.

308 ■ Chapter 4: Sectioning a Model and Creating Drawings

Exercise: Create Cross Sections and Slice Geometry
In this exercise, you create cross-sectional views of a 3. To create a cross section of the valve body:
solid assembly and slice a solid model to see internal ■ When prompted to select objects, select
components. the cyan valve body.
■ Press ENTER.
■ When prompted for a first point on the
section plane, enter XY.
■ When prompted for a point on the XY
plane, use the Center object snap and
select the opening at the end.

The completed exercise

4. On the Home tab > Modify panel, click Move.

Completing the Exercise 5. To move the geometry:
To complete the exercise, follow the ■ When prompted to select objects, enter L
steps in this book or in the onscreen for last.
exercise. In the onscreen list of ■ Press ENTER.
chapters and exercises, click Chapter ■ Press ENTER again to complete the
4: Sectioning a Model and Creating selection.
Drawings. Click Exercise: Create Cross ■ When prompted for the base point, click
Sections and Slice Geometry. any point in the drawing area.
■ On the status bar, verify ORTHO is on.
■ Move the cursor in the positive Y direction.
1. Open C_Create-Cross-Sections-and-Slice.dwg. ■ Enter 75.

2. On the command line, enter SECTION.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 309

 8. On the ViewCube, right-click and click Parallel
to set the view to a parallel projection.

6. On the Home tab > Solid Editing panel, expand

the panel and click Slice.
■ When prompted to select objects, select 9. On the Home tab > View panel, select Front in
the valve body. the View list.
■ Press ENTER. Note: Using this method orients the view and
7. To slice the valve body to see the internal the current UCS.
components:
■ When prompted to specify a start point,
enter ZX.
■ Use the Center object snap and select the
opening at the end.
■ Click on the positive Y side of the valve body
to specify a point on the side to keep.

10. On the Home tab > Section panel:

■ Click Flatshot.
■ Set the values as shown in the following
illustration.
■ Select the Show check box to display hidden
lines.
■ Under Obscured Lines, select cyan from the
list.
■ Under Obscured Lines, select Hidden from
the list.

310 ■ Chapter 4: Sectioning a Model and Creating Drawings

 12. Use the Constrained Orbit command, to rotate
your view as shown.

11. To create the view:

■ Click Create.
■ When prompted to specify an insertion 13. Close all files without saving.
point, select a point below the solid model.
■ When prompted for the X scale factor,
enter 1.
■ When prompted for the Y scale factor,
enter 1.
■ When prompted for the rotation angle,
enter 0.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 311

Exercise: Flatten a View
In this exercise, you use the Flatshot command to 3. To set the values as shown:
flatten a 3D object according to the current view. ■ Under Obscured Lines, click Show to display
hidden lines.
■ Under Obscured Lines, select Cyan in the
Color list.
■ Select Hidden in the Linetype list.
■ Click Create.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
4: Sectioning a Model and Creating
Drawings. Click Exercise: Flatten a
View.
4. When prompted to specify an insertion point,
select a point to the right of the solid model.
1. Open C_Flatshot.dwg. ■ Enter 1 for the X scale factor.
■ Enter 1 for the Y scale factor.
■ Enter 0 for the rotation angle.

2. On the Home tab > Section panel, click

Flatshot.

312 ■ Chapter 4: Sectioning a Model and Creating Drawings

5. On the ViewCube, select Top. Right-click the 7. On the Home tab > View panel, select Front in
ViewCube, click Parallel. the View list.
Note: Using this method changes both the view
orientation and current UCS.

6. On the Home tab > Section panel:

■ Click Flatshot.
■ Leave the settings as they were from the
last time Flatshot was run.
■ Click Create. 8. On the Home tab > Section panel, click
■ When prompted to specify an insertion Flatshot.
point, select a point to position the block ■ Leave the settings as they were from the
above the model. last time Flatshot was run.
■ Enter 1 for the X scale factor. ■ Click Create.
■ Enter 1 for the Y scale factor. ■ When prompted to specify an insertion
■ Enter 0 for the rotation angle. point, select a point to position the block
below the model.
■ Enter 1 for the X scale factor.
■ Enter 1 for the Y scale factor.
■ Enter 0 for the rotation angle.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 313

9. Select the newly created block, then right-click.
Click Cut.
■ On the Home tab > View panel, select Top
in the Views list.
■ Right-click anywhere in the graphics
window. Click Paste.
■ Select a point to position the block below
the model.

10. Repeat steps 7-9 for the right side view.

Position the views as shown.

11. Close all files without saving.

314 ■ Chapter 4: Sectioning a Model and Creating Drawings

Exercise: Define Section Planes
In this exercise, you create a 2D and 3D orthographic 3. To define a section plane:
selection of an assembly. ■ When prompted to select a face, enter O
for orthographic.
■ When prompted to align the section, enter
L for left.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
4: Sectioning a Model and Creating 4. To flip the section plane:
Drawings. Click Exercise: Define ■ Select the section plane. The grips and
Section Planes. directional arrows display.
■ Click the arrow to switch the section to a
Open C_Section-Planes.dwg. right section plane (1).
1.

5. To create a 2D section:
2. On the Home tab > Section panel, click Section ■ Right-click the section plane.
Plane. ■ Click Generate 2D/3D section.
■ In the Generate Section/Elevation dialog
box, verify that 2D Section/Elevation is
selected.
■ Click Create.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 315

6. To position the section:
■ When prompted to specify an insertion
point, select a point to position the section
as shown in the following image.
Note: You may need to move the section view
after placing it.
■ When prompted for the X scale factor,
enter 1.
■ When prompted for the Y scale factor,
enter 1.
■ When prompted for the rotation angle,
enter 0.
9. To position the section:
■ When prompted for an insertion point,
click behind the active section plane in the
negative X direction (1).
■ When prompted for an X scale factor,
enter 1.
■ When prompted for a Y scale factor, press
ENTER.
■ When prompted for a rotation angle,
enter 0.

7. To create a 3D section:
■ Select the section plane to activate grips.
■ Right-click the section plane.
■ Click Generate 2D/3D Section.
■ In the Generate Section/Elevation dialog
box, click 3D Section.
■ Click the Expand button to expand the
dialog box.
8. To select the objects to include in the 3D
section:
■ Under Source Geometry, click Select
Objects to Include.(1)
■ Click the Select Objects button.(2)
■ Select the main housing body (green
component)(3).
■ Press ENTER.
■ Click Create.

316 ■ Chapter 4: Sectioning a Model and Creating Drawings

10. To add a jog to the section plane: 12. Position the section plane grips (1) and (2) as
■ Select the section plane to display its grips shown in the following image.
and controls.
■ Right-click the section plane, and click Add
Jog to Section.
■ Select the right-side grip as shown.

11. Click and drag on the section plane grips (1) and 13. On the View tab > Viewport panel, select Two:
(2) in the following image. Vertical from the Viewport Configuration pull-
down menu.
■ Click inside the left viewport to activate it.
■ On the ViewCube, click Top.
14. In the top view, click and drag the section plane
lines to see the real-time effect on the section
in the isometric view.

15. In the isometric viewport, right-click the section

plane. Click Activate Live Sectioning to turn it
off.
16. Close all files without saving.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 317

Exercise: Draw a Section Plane
In this exercise, you use the Draw option of the 5. On the Home tab > Section panel, click Section
Sectionplane command to draw a jogged section Plane.
plane. You generate a 2D section and insert it. You 6. To draw a section plane:
change the model and section settings and update
the section block automatically. ■ Right-click anywhere in the drawing. Click
Draw Section.
■ Click points 1 through 4 as shown in the
following image. Press ENTER.
■ When prompted to specify a point in the
direction of the section view, click a point
above the drawing.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen Select the section boundary grip and reposition
7.
exercise. In the onscreen list of it as shown.
chapters and exercises, click Chapter
4: Sectioning a Model and Creating
Drawings. Click Exercise: Draw a
Section Plane.

1. Open C_Draw-Section-Plane.dwg.

8. To create the 2D section view:

2. On the ViewCube, click Top. Right-click the ■ With the section boundary selected,
ViewCube and make certain Parallel is selected. right-click anywhere in the drawing. Click
3. On the Home tab > View panel, click select 2D Generate 2D/3D Section.
Wireframe in the Visual Styles list. ■ In the Generate Section/Elevation dialog
4. Turn object snaps off. box, click Create.

318 ■ Chapter 4: Sectioning a Model and Creating Drawings

 ■ Left-click to insert the block above the 3D 11. To modify the section settings:
model as shown. ■ Click Section Settings.
■ Accept the default values for scale and ■ In the Section Settings dialog box, under
rotation. Intersection Fill, select Cyan in the Color
list.
■ Under Background Lines, select No in the
Hidden Line list.
■ Click OK.

9. To click and drag the section plane grip to

reposition the jog line.

12. In the Generate Section/Elevation dialog box,

click Create.
The section view block updates to reflect the
changes.

10. To continue modifying the section plane:

■ Right-click anywhere in the drawing.
■ Click Generate 2D/3D Section.
■ In the Generate Section/Elevation dialog
box, click the Expand button.
■ Under Destination, click Replace Existing
Block. 13. On the Home tab > View panel, select Realistic
■ Click Select Block. from the Visual Styles list.
■ Select the 2D section view. 14. On the ViewCube, switch to a Southeast
Isometric view.

Lesson: Section a Solid Model and Generate 2D Geometry ■ 319

15. Select the section plane to display its grips.
Click the menu grip shown and select Section
Plane.

16. Right-click anywhere in the drawing.

■ Click Activate Live Sectioning.
■ Reposition the section plane grip as shown
(1).
This repositioning has no effect on the live
section because while in this mode the section
plane is infinite.

17. Click the grip menu and select Section

Boundary.
With the Section Boundary state active, the
sides of the part are sectioned at the boundary
lines.

18. Close all files without saving.

320 ■ Chapter 4: Sectioning a Model and Creating Drawings

Lesson: Creating Drawings from 3D Models

This lesson describes how to display geometry from 3D models, and geometry generated from 3D
models in layouts.
In the following image, layout views have been created from the 3D model. The isometric view is
a Realistic view of the 3D model, while the other views are 2D geometry generated from the solid
model.

Visualization, interference checking, and mass property information are a few of the benefits of
creating designs with 3D models. As you design in 3D, you still need to create 2D documents of your
models.Using layouts, you can createall the viewsnecessary todocument your models.

Objectives
After completing this lesson, you will be able to:
■ Identify the types of views created from 3D models.
■ Describe the process for creating shaded and hidden views.
■ Create layout views of geometry created with the Flatshot and Sectionplanes commands.

Lesson: Creating Drawings from 3D Models ■ 321

 Types of Views from 3D Models
One of the benefits of designing with 3D models is the ability to visualizeduring the design process.
You can continue this practice when you publish your drawings. You use layouts to create different
types of output files for your 3D model space designs. Depending on the intended audience, you
can create viewsin a shaded, hidden, or wireframemode.You can also create 2D prints based on the
geometry created with the Flatshot and Sectionplane commands.The views created in layouts can
contain a combination of solid, surface, and wireframe geometry.
In the following image, identical views are created using the different visual styles. The bottom-left
view is a wireframe display of a solid model. The bottom-right view is 3D hidden display. The top-left is
conceptual, and the top-right is realistic.

Types of Views
From 3D models, you can produce different types of views depending on your requirements. Using
visual styles, you can generate views based on geometry view types: Wireframe, Hidden, or Shaded.
You set the display options from either the Home or Visualize tabs, on the View or Visual Styles
panels. Display options are based on the current viewport.

322 ■ Chapter 4: Sectioning a Model and Creating Drawings

Wireframe Views
There are two options for wireframe display: 2D Wireframe and 3D Wireframe. Both options display
3D models as 2D lines and arcs and can be virtually identical. The difference is that the 3D Wireframe
visual style offers properties and settings that are not available in the 2D Wireframe visual style. As
a rule of thumb, if your viewport consists of 3D geometry, and you require a wireframe view, use 3D
Wireframe visual style.

2D Wireframe 3D Wireframe

Views with Hidden Lines Removed

There are three options that do not display lines that would be considered hidden. They are: 3D
Hidden, Conceptual, and Realistic. 3D Hidden appears as a wireframe silhouette of a 3D model.
Although it appears to be wireframe geometry, lines that would not be visible are hidden from view.
Conceptual and Realistic visual styles both apply color to faces of models and hide hidden lines.
Conceptual shading uses a transition between colors. Realistic shading displays 3D models in the colors
assigned, and also displays materials if they are attached.

3D Hidden Conceptual Realistic

Lesson: Creating Drawings from 3D Models ■ 323

 Example of 3D Model Views in Drawing
In the following illustration, a layout sheet is set up with different types of views from the 3D model.

324 ■ Chapter 4: Sectioning a Model and Creating Drawings

Shaded and Hidden Views
To create a hidden or shaded view, you must first have a 3D model or 2D region. You then determine
the number of viewports required to display your design. With the viewport active, select the visual
style for the view.
In the following image, four shaded standard orthographic view are created. The isometric view is
Conceptual. The front view is 3D Hidden. The other two views are Realistic.

System Variables That Affect Display

.

The display quality of your views can be affected by certain system variables. These system variables
constitute a trade-off between display quality and performance: increasing the values can decrease
the performance of drawings. The following table explains these system variables.

System Variable Definition

Viewres Controls the smoothness of arcs and circles. Values range from 1 to 20,000. The
VIEWRES setting is saved in the drawing.

Facetres Controls the smoothness of shaded and rendered objects. Values range
from .01 to 10. The FACETRES setting is saved in the drawing.

Isolines Controls the number of contour lines on a curved surface. Values range from 0
to 2047. The ISOLINES setting is saved in the drawing.

Lesson: Creating Drawings from 3D Models ■ 325

 System Variable Definition

Perspective Controls the viewport display representing depth in the view.

Projection

Parallel Projection Turns off Perspective Projection.

Creating Views from Flatshots and Sectionplanes

The process for creating layout views of geometry created with the Flatshot and Sectionplanes
commands is the same as that for creating views of any other geometry.You generate the geometry
needed to convey the design using the Flatshot and Sectionplanes commands in model space,
andcreate a viewport for each view in Layout mode. You determine the geometry that will be
displayed in each viewport and adjust the viewport scale, alignment, and visual style as needed.
In the following illustration, on the left, 2D views of the 3D model are created in model space using
the Flatshot command, and on the right, the resulting layout of the 2D views is shown.

Creating Views from Flatshots and Sectionplanes'

Upon completion of a design created with 3D models, you generate different views using these
commands. View types such as plan, elevation, orthographic, section, and offset views are generated
in model space. In Layout mode, you create viewports to display these views. You create a viewport
and display the geometry to represent the view. You remove any unwanted geometry from that
view by freezing the layers in the viewport where the unwanted geometry resides. You then set the
viewport scale and lock it.
The Flatshot command enables you to create projected views in a very simple fashion. It generates a
block by projecting the current view onto the current XY plane.
The Sectionplane command enables you to create live sections of your 3D model. It generates a
section object enabling you to see the interior of your model.

326 ■ Chapter 4: Sectioning a Model and Creating Drawings

Process - Creating Views from Flatshots and Sectionplanes
The following steps give an overview of the steps required for creating views from the Flatshot and
Sectionplanes commands.
1. Create or access a drawing with 3D models.
2. Generate 2D geometry using the Flatshot and Sectionplanes commands.
3. Place geometry for each view on a layer independent of other views.
4. Create viewports for each view in Layout mode.
5. Adjust the orientation of each view created.
6. Freeze the layers of unwanted geometry in each viewport.
7. Set and lock the viewport scale.
8. In the case of orthographic or other related views, align the views.

Lesson: Creating Drawings from 3D Models ■ 327

Exercise: Create Layouts of 3D Models - Mechanical
In this exercise, you create a layout containing four 4. On the View tab > Viewports panel, click New.
standard orthographic viewsof 3D models.

5. In the Viewports dialog box > Viewports tab,

create the viewports based on the following
settings:
■ In the Standard Viewports area, select Four:
Equal (1).
■ For Setup, select 3D (2).
The completed exercise ■ For Visual Style, select Realistic (3).
■ Click OK.

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
4: Sectioning a Model and Creating
Drawings. Click Exercise: Create
Layouts of 3D Models - Mechanical.

1. Open M_Drawing-Views-of-3D-Models.dwg.
2. Make the Layers panel visible by right-clicking
the Home tab and selecting Show Panels >
Layers. 6. To complete the creation of orthographic
3. To display the 2D Drawing View Layout: viewports, when prompted for the first corner,
■ Start the Quick View Layouts (QVLAYOUT) enter F for Fit.
command.
■ Click the 2D Drawings Views layout.
■ On the Home tab > Layers panel, click Layer
Control and set the Viewports layer to
current.
Note: Switch to the Layout environment using
the Quick View Layouts (QVLAYOUT) command.

7. On the Home tab > Layers panel, click Layer

Control. Freeze the Title Block layer for clarity.

328 ■ Chapter 4: Sectioning a Model and Creating Drawings

8. To display the proper geometry for the front 10. To display the proper geometry for the top
view: view:
■ Move the cursor to the front view and ■ Move the cursor to the top view and
double-click to activate the view. double-click to activate the view.
■ Press F7 to turn off the grid. ■ Press F7 to turn off the grid.
■ On the Home tab > Layers panel, click Layer ■ Move your cursor to the collapsed Layer
Properties. Properties Manager palette to expand the
■ In the VP Freeze column, freeze all layers Layer Properties Manager.
except for Section View and 0. ■ In the VP Freeze column, freeze all layers
■ Right-click the title area of Layer Properties except for Top View and 0.
Manager palette, and click Auto-Hide if it is
not already selected.

11. To set the viewport scale:

9. To set the viewport scale:
■ On the status bar, click Viewport Scale.
■ On the status bar, click Viewport Scale. Select 1:1 in the Viewport Scale list.
Select 1:1 in the Viewport Scale list.
■ Pan the viewport to put the geometry in
■ Pan the view to center the geometry in the the center of the viewport.
viewport as shown.
12. Double-click outside of the viewports to return
■ Double-click below the viewport to return to the layout.
to the layout.
13. To align the top view to the front view:
■ On the command line, enter MVSETUP.
■ When prompted to enter an option, enter A
for align.
■ When prompted to enter an option, enter V
for vertical alignment.
■ When prompted to specify a base point,
use the Midpoint object snap and select
the midpoint of the vertical connector in
the side section view.

Lesson: Creating Drawings from 3D Models ■ 329

14. When prompted to specify a point in the 17. To set and lock the viewport scale:
viewport to be panned, use the Center object ■ Navigate to the Front View.
snap and select the center of the connector in
the top view. ■ Double-click in the viewport to make it
active.
■ To lock the viewport, on the status bar, click
the Lock/Unlock Viewport icon near the
Viewport Scale list.
Repeat this action for each of the other
viewports to keep them in alignment. Once this
is complete, be sure to double-click below the
viewports to return to the layout.
18. To display the drawing:
15. Press ESC to exit the Mvsetup command. ■ Thaw the Title Block layer.
■ Set the Title Block layer current.
■ Freeze the Viewports layer.

16. Repeat the steps necessary to create the right

side and isometric views:
■ Press F7 to turn off the grid.
■ In the viewport for the isometric view, use
the Valve Body layer. 19. Close all files without saving.
■ In the viewport for the right side view, use
the Right Side View layer.
■ Set the scale for both viewports to 1:1.
■ Use MVSETUP to align the front view
horizontally with the section view.

330 ■ Chapter 4: Sectioning a Model and Creating Drawings

Exercise: Create a Section Plane Layout View
In this exercise, you create section views of an ■ When prompted to align the section, enter
assembly in a layout. Front.

The completed exercise Create the 2D section view:

3.
■ Make the Section View layer current.
■ Select the Section Plane to display grips.
Completing the Exercise ■ Right-click and select Generate 2D/3D
To complete the exercise, follow the Section.
steps in this book or in the onscreen ■ In the Generate Section/Elevation dialog
exercise. In the onscreen list of box, click 2D Section/Elevation.
chapters and exercises, click Chapter ■ Click Create.
4: Sectioning a Model and Creating ■ When prompted to specify an insertion
Drawings. Click Exercise: Create a point, click in the drawing area.
Section Plane Layout View. ■ Enter 1 for all scale factors and 0 for the
rotation angle.

1. Open M_Sectionplane-Layout-View.dwg.

2. Create a section plane view:

■ Turn on the Section Plane layer and make it 4. Create a new layout:
current. ■ On the Menu Bar click Insert > Layout >
■ On the Home tab > Section panel, click New Layout.
Section Plane. ■ When prompted for the new layout name,
■ When prompted to select a face, enter enter Section View.
Orthographic. ■ Press ENTER.

Lesson: Creating Drawings from 3D Models ■ 331

5. Display the Layouts toolbar:
■ Right-click the Quick Access toolbar.
■ Click Toolbars > AutoCAD > Layouts.
6. Create the Viewports:
■ Make the Viewports layer current.
■ On the status bar, click the Quick View
Layouts icon. Click the Section View layout.
■ If a viewport is drawn, delete the existing
viewport.
■ On the Layouts toolbar, click Display
Viewports Dialog.
■ In the Standard Viewports area, select
Three: Right (1).
■ For Setup, select 2D (2). 9. Set the display of the top view:
■ Double-click in the upper left viewport.
■ On the ViewCube, click Top to change the
view.
■ Press F7 to turn off the grid.
■ On the Layer Control drop-down menu,
select the Freeze or Thaw in Current
Viewport icon for the Section View, Section
Plane, and other layers.

7. Click OK. When prompted to specify the first

corner, enter F.
8. Set the display of the side view:
■ Double-click the lower left viewport.
■ On the ViewCube, click Top to change the
view.
■ Press F7 to turn off the grid.
■ Use Realtime Pan and Zoom to center the
geometry in the viewport.
■ On the Layer Control list, freeze the layers in
the current viewport as shown.

332 ■ Chapter 4: Sectioning a Model and Creating Drawings

10. Set the display to wireframe:
■ On the Render tab > Visual Styles panel,
click 2D Wireframe.
■ Use Realtime Pan and Zoom to center the
geometry in the viewport.

11. Set the display of the isometric view:

■ Double-click the isometric view.
■ On the Layer Control drop-down menu,
select the Freeze or Thaw in Current
Viewport icon for the Section View and
Section Plane layers.
■ Press F7 to turn off the grid.
■ Double-click outside the viewports to return
to the layout.

12. Close all files without saving.

Lesson: Creating Drawings from 3D Models ■ 333

Exercise: Create Layouts of 3D Models - Architectural
In this exercise, you create a layout drawing of an 2. To display the 2D Drawing View Layout:
architectural model. ■ Click Quick View Layouts (QVLAYOUT).
■ Click the House Review layout.
3. On the View tab > Viewports panel, click New.

4. In the Viewports dialog box > New Viewports

tab, create the viewports based on the
following settings:
The completed exercise ■ In the Standard Viewports area, select Four:
Equal (1).
■ For Setup, select 3D (2).
Completing the Exercise ■ For the Visual Style, select Realistic (3).
To complete the exercise, follow the ■ Click OK.
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
4: Sectioning a Model and Creating
Drawings. Click Exercise: Create
Layouts of 3D Models - Architectural.

1. Open I_Drawing-Views-of-3D-Models.dwg.

334 ■ Chapter 4: Sectioning a Model and Creating Drawings

5. To complete the creation of orthographic
viewports, when prompted for the first corner,
enter 0,0 for the first corner and 31,23 for the
opposite corner.

9. To set the viewport scale:

■ On the status bar, click the Viewport
Scale button. Select 1/8" = 1'-0" from the
6. On the Home tab > Layers panel, click Layer Viewport Scale list.
Control. Freeze the Title Block layer for clarity. ■ Pan the view to center the geometry in the
Note: Layers panel is turned off on Home tab viewport as shown.
by default in 3D Workspace.
■ Double-click below the viewport to return
7. To set the Layer Properties Manager to Auto- to the Layout.
hide:
■ Open the Layer Properties Manager.
■ Right-click the Layer Properties Manager
title.
■ Verify a check mark is next to the Auto-hide
option.

10. To display the proper geometry for the top

view:
■ Move the cursor to the top view and
double-click to activate the view.
■ Press F7 to turn off the grid.
This enables you to work with the Layer ■ Move your cursor to the collapsed Layer
Properties Manager open, conserving desktop Properties Manager palette to expand the
space. Layer Properties Manager.
8. To display the proper geometry for the front ■ In the VP Freeze column, freeze all layers
view: except for View-Plan and 0.
■ Move the cursor to the front view and
double-click to activate the view.
■ Press F7 to turn off the grid.
■ Move your cursor to the collapsed Layer
Properties Manager palette to expand the
Layer Properties Manager.
■ In the VP Freeze column, freeze all layers
except for View-Front and 0.

Lesson: Creating Drawings from 3D Models ■ 335

 13. When prompted to specify a point in the
viewport to be panned, use the Endpoint
object snap and select the top left corner of the
wall in the front view.

11. To set the viewport scale:

■ On the status bar, click the Viewport
Scale button. Select 1/8" = 1'-0" from the
Viewport Scale list.
■ Pan the viewport to put the geometry in 14. Press ESC to exit the Mvsetup command.
the center of the viewport.
■ Double-click outside of the viewports to
return to the Layout.
12. To align the top view to the front view:
■ On the command line, enter MVSETUP.
■ When prompted to enter an option, enter A
for align.
■ When prompted to enter an option, enter V
for vertical alignment.
■ When prompted to specify a base point,
use the Endpoint object snap and select the
lower left corner of the building in the plan
view.

15. Repeat the steps necessary to create the right

elevation and isometric views:
■ Turn off the grid in each view.
■ In the viewport for the side view, use the
View-Right and 0 layers.
■ In the viewport for the isometric view,
use everything except for theTitle Block,
View-Front, View-Plan, View-Right, and
Viewports layers.

336 ■ Chapter 4: Sectioning a Model and Creating Drawings

 17. To display the drawing:
■ Thaw the Title Block layer.
■ Set the Title Block layer current.
■ Freeze the Viewports layer.

■ Set the scale for both viewports to 1/8" =

1'-0".
■ Use the Mvsetup command to align the
front view horizontally with the section
view.

18. Close all files without saving.

16. To set and lock the viewport scale:

■ Go to the Front View.
■ Double-click inside the viewport to make it
active.
■ To lock the viewport, on the status bar, click
the Lock/Unlock Viewport icon near the
Viewport Scale list.
Repeat this action for each of the other
viewports to keep them in alignment. Once this
is complete, be sure to double-click below the
viewports to return to the layout.

Lesson: Creating Drawings from 3D Models ■ 337

338 ■ Chapter 4: Sectioning a Model and Creating Drawings
 Chapter

Visualization
You can present your designs while they are still being created, using visualization tools such as visual
styles, model walk and fly throughs, materials, and lighting. Presenting designs in progress encourages
feedback and can uncover problems that might otherwise not be found until much later in the design
process. A dramatically lighted model, with the right materials and rendering, produces an image that
makes a design much easier to visualize.

Objectives
After completing this chapter, you will be able to:
■ Create, apply, and manage visual styles and visual style overrides.
■ Add and edit lights in a scene to make it more realistic.
■ Create and edit materials and apply them to a model.
■ Use the sun to enhance outdoor scenes of your 3D models.
■ Render a scene and save the render to an image file that you can share with the project team.
■ Use the 3Dfly, 3Dwalk, and Motion Path Animation commands to navigate models.
■ Create and use cameras to illustrate views in a drawing.

Chapter Overview ■ 339

Lesson: Using Visual Styles

This lesson describes how to create, apply, and manage visual styles and edge effects to control the
appearance of your 3D model.
In the following illustration, two different visual styles are applied to the same drawing.

Conceptual visual style Realistic visual style

Visual styles enable the designer to quickly change the appearance of a model. A visual style is a
collection of settings similar to a dimension style or text style. A visual style controls the model's
edges, shading, background, shadows, faces, and more. In the design process, each visual style can be
used to convey visual information for a different audience. For example, an architect might createone
visualstyle to look like a hand sketch,and another for a more realisticrendering.

Objectives
After completing this lesson, you will be able to:
■ Describe visual styles and edge effects and how they are used in a drawing.
■ Use the Visual Style Manager and ribbon to create and manage visual styles.
■ Use the Visual Style Manager to create and manage visual styles. Use the Edge Effects to create
visual style overrides.
■ Export visual styles to the tool palette for use in other drawings.

340 ■ Chapter 5: Visualization

About Visual Styles
Visual styles can significantly affect the appearance of models in your drawing. For example, you can
give a drawing the traditional hand-drawn appearance. Visual styles can also reduce the number of
steps needed to achieve a specific look and provide you with more options to convey your ideas. The
workflow can be shortened to rendering with a visual style and printing the result. Using visual styles,
you can draw something once and apply varying visual effects using various visual styles.
In the following illustration, a visual style is used to simulate a hand sketch.

Definition of Visual Styles

Visual styles are used as a means to convey the same visual information in a variety of ways. An
architectural firm will use numerous methods to convey information about a project: examples are
hand sketches, hand renderings, hand-built massing models, CAD drawings, wireframe models, hidden
line models, shaded with hidden line models, 3D photo realistic renderings, and animations. Each
of these methods can be considered as a visual style. These traditional visual styles require different
mediums. For example, hand sketching requires paper and pencil, massing models may require
material such as form core, and hand renderings may require colored pencils. CAD-based visual styles
use the same medium for all styles.
With visual styles, you can use one drawing for all of your visual styles, yet with this single drawing
you can create and convey information in multiple ways similar to traditional methods. For example,
an architect has created a 3D computer massing model and wants to create a hand rendering to show
the potential project in a traditional form. The artwork needs to have the appearance of a hand-drawn
sketch. A typical workflow is for the architect to print the 3D massing, trace the 3D massing model,
and import it into a paint application for final presentation. Using visual styles, the architect can simply
switch from a 3D massing visual style to a hand-drawn sketch one.

Lesson: Using Visual Styles ■ 341

 In the following illustration, a kitchen remodeling design is being presented using a visual style
designed to present a realistic look with materials and textures.

Example Visual Styles

In the following illustrations, the same design is shown using different visual styles and edge effects.
The image on the left is using the default Conceptual visual style. The image on the right represents
the same design, with simple changes made to specific edge effect properties.

Default Conceptual visual style Modifications to Conceptual visual style

342 ■ Chapter 5: Visualization

Using the Visual Styles Manager
Use the Visual Styles Manager to apply default visual styles, and to create, edit, and manage visual
styles. In this way, the Visual Styles Manager controls the look and feel of a drawing.
In the following illustration, the Visual Styles Manager was used to create a hand-sketch visual style.

Command Access
Visual Styles

Command Line: VISUALSTYLES

Ribbon: Render tab > Visual Styles panel > Visual Styles

Menu Bar: Tools > Palettes > Visual Styles

Lesson: Using Visual Styles ■ 343

 Visual Styles Manager
Using the Visual Styles Manager, you can assign any of the five default styles to your drawing. You can
also edit an existing style or create new styles to fit your design needs.

The five default styles are:

2D Wireframe: Displays 3D models as wireframe with no shading. Default style recommended for
2D drawings. ViewCube is not displayed.
3D Hidden: Displays 3D models as wireframe with hidden lines removed. ViewCube is displayed.
3D Wireframe: Displays objects as wireframe. 3D UCS icon is displayed. ViewCube is displayed.
Conceptual: Displays 3D Models in a shaded format with transitioning colors. Gives the model a
conceptual visual appeal. ViewCube is displayed.
Realistic: Displays 3D models as shaded with the edges between polygon faces smoothed.
Materials applied to objects are displayed. ViewCube is displayed.

344 ■ Chapter 5: Visualization

 Each visual style has its own set of options. By making adjustments to an existing style, you can achieve
dramatically different results.

Process: Creating Visual Styles

The following steps give an overview of how to create custom visual styles from existing visual styles:
1. Open the Visual Styles Manager.
2. Select one of the default visual styles that most closely reflects the style you would like to
customize for your use.
3. Copy, select, and rename the visual style.
4. Make changes to the visual style.
5. Save the visual style.
6. Apply the new style to the drawing.

Using the Visual Styles Panel

Use the Visual Styles and Edge Effects ribbon panels to manage the current appearance of a drawing
by applying visual style overrides.

Visual Style Overrides

You can create temporary visual style overrides by changing a visual style's properties on the Render
tab, Visual Styles and Edge Effects panels. Temporary overrides made here are not saved automatically.
If you select another visual style, the only way to return to the one for which you created overrides on
is to use the Undo command.

Lesson: Using Visual Styles ■ 345

 Visual Styles Panel

Visual Style Manager

Visual Styles
X-Ray Effect
Opacity
Face Color Mode
Face Style
Lighting Quality
Performance Tuner

Edge Effects Panel

Edges
Edge Overhang toggle / Edge Overhang slider
Edge Jitter toggle / Edge Jitter slider
Silhouette Edge toggle / Silhouette Edge Width slider
Obscured Edges toggle / Obscured Edges Color pull-down

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 Intersection Edges toggle / Edge Intersection Color pull-down
Edge Color

Saving Visual Style Overrides

To make the visual style overrides available to use later, you need to save the changes to a new visual
style. Enter VSSAVE on the command line and then enter a name for the visual style. The new visual
style appears in the Visual Style Manager.

Command Access
Save Visual Style

Command Line: VSSAVE

Process: Overriding A Visual Style

The following steps give an overview for overriding visual style settings.
1. On the Visualize Tab > Visual
Styles panel, select a Visual
Style.

2. Expand the Visual Styles

panel and make changes
to the visual style property
settings.

Lesson: Using Visual Styles ■ 347

 3. The changes you make are
reflected, in real time, in the
drawing area.

Exporting Visual Styles

When you create a visual style, it is stored in the drawing in which it was created. The easiest way
to make the style available in another drawing is to export it to a tool palette. Once the tool palette
contains the visual style definition, the style can be used in any drawing.
The following illustration shows custom visual styles on a tool palette.

348 ■ Chapter 5: Visualization

Export Visual Style Using Visual Style Manager
To export a visual style, you must first access the Visual Style Manager.

Highlight the desired visual style from the Available Visual Styles in Drawing list and click the Export
the Selected Visual Style to the Tool Palette button.

Drag Export to Tool Palette

You can also export a visual style by dragging it onto a tool palette. In the following illustration, the
selected visual style has been dragged to the active tool palette.

Lesson: Using Visual Styles ■ 349

 Visual Style Tool Palette Properties
When you export a visual style to a tool palette, it becomes completely independent from the original
visual style in the Visual Styles Manager. If you change a visual style, it does not affect the other ones.

Visual style selected in the Visual Styles Manager.

Properties of the selected visual style. Changes to these properties are automatically reflected in
the drawing.
Visual style selected on the tool palette.
Properties for the selected tool palette visual style. Changes to these properties are not
automatically reflected in the drawing.

Procedure: Exporting Visual Styles to the Tool Palette

The following steps give an overview of exporting a visual style to the tool palette.

350 ■ Chapter 5: Visualization

1. Open the Tool Palettes
window verifying that the
Visual Styles tool palette
group is checked.

2. Click the Visual Styles tab.

3. In the Visual Styles Manager,

select the visual style to
export. Click Export to Tool
Palette.

4. To use the new style, click

the visual style on the tool
palette, or drag it onto the
drawing. Right-click the visual
style for other options.

You can export a visual style to any existing or custom tool palette. You are not
limited to the Visual Styles tool palette.

Lesson: Using Visual Styles ■ 351

Exercise: Use and Create Visual Styles
In this exercise, you activate the default visual styles 3. On the Visual Styles Manager palette, in the
to see their effect on the drawing. You create a new styles list select 3D Hidden. Right-click and
visual style and export that visual style to a tool select Apply to Current Viewport.
palette.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen 4. Review the changes to the appearance of the
exercise. In the onscreen list of drawing.
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Use and
Create Visual Styles.

1. Open C_Visual-Styles.dwg.
2. On the Render tab > Visual Styles Panel, click
Visual Styles.

352 ■ Chapter 5: Visualization

5. On the Visual Styles Manager palette, in the 7. To create a visual style to represent a hand
styles list select the Conceptual visual style and sketch:
apply it to the current viewport. ■ In the Visual Styles Manager, click Create
New Visual Style (1).
■ In the Create New Visual Style dialog box,
enter Hand Sketch for Name.
■ Click OK.
■ In the Visual Styles Manager, select None in
the Face Style list (2).
■ Click Apply Selected Visual Style to Current
Viewport (3) to see the results.

6. On the Visual Styles Manager palette, in the

styles list select the Realistic visual style and
apply it to the current viewport.
Note the shading differences between the two
styles.

8. In the Visual Styles Manager, set the properties

as shown.
Make sure to click the Overhanging Edges (1)
and Jitter Edges (2) buttons indicated.

Lesson: Using Visual Styles ■ 353

 10. To create temporary visual style overrides, on
the Visual Styles panel, adjust the following
properties:
■ Select Realistic Face Style (1).

■ Adjust the Edge Overhang slider as shown

(2).
■ Click to turn off the Edge Jitter property (3).

9. As you adjust each of the properties in

the previous illustration, note the effect 11. If the Tool Palettes window is not currently
on the drawing. When you are done, your visible, press CTRL+3 to open it.
drawing should appear similar to the following
illustration. 12. If the Tool Palettes window is docked, right-
click the horizontal bars across the top.
■ Click Visual Styles.
If the tool palette is floating, click the menu
button at the bottom.
■ Click Visual Styles.
Visual Styles should be the only visible palette.

354 ■ Chapter 5: Visualization

13. To export the visual style:
■ Return to the Visual Styles Manager.
■ Select the visual style to export.
■ Click Export the Selected Visual Style to the
Tool Palette (1).

14. Create a new drawing with some basic solids

and test the visual style from the tool palette.
15. Close all files without saving.

Lesson: Using Visual Styles ■ 355

Exercise: Apply Visual Styles to Layout Views
In this exercise, you apply visual styles to layout 3. Apply the 3D Hidden visual style to a viewport:
viewports. ■ Double-click inside the bottom left
viewport.
■ On the Render tab > Visual Styles panel,
click 3D Hidden visual style from the list.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Apply
Visual Styles to Layout Views. 4. Apply the Conceptual visual style to a viewport:
■ Click inside the bottom right viewport.
■ On the Render tab > Visual Styles panel,
1. Open C_Applying-Visual-Styles.dwg. click Conceptual visual style from the list.
2. ■ Click Quick View Layouts.

■ When the layouts are displayed, select

Visual Styles.

356 ■ Chapter 5: Visualization

5. Apply the Realistic visual style to a viewport: 7. Double-click outside of the viewport.
■ Click inside the top right viewport.
■ On the Render tab > Visual Styles panel,
click Realistic visual style from the list.

8. Close all files without saving.

6. Apply the visual style of your choice to the top

left viewport:
■ Click inside the top left viewport.
■ On the Render tab > Visual Styles panel,
click Conceptual visual style from the list.

This image shows the Conceptual visual style

applied to the viewport.

Lesson: Using Visual Styles ■ 357

Lesson: Using Lights

The sunis a form of light in your scene, but it is not really intended to add light inside your buildings
and at specific spots. Lights allow you to control the intensity of light in specific locations on your
scene as well as the direction in which the light shines.
Too many lights in a scene can make things look very bright and washed out, which can lead to scenes
appearing unrealistic. Learning how to apply lighting to your scenes takes time. As you add lights, it
is recommended that you take periodic sample renderings, because what you see in the scene might
not exactly represent the final output.
In the following illustration, several different lighting sources are used to illuminate the scene.

Objectives
After completing this lesson, you will be able to:
■ Define light types.
■ Add user-created lights to a scene.
■ Edit user-created lights and identify various light properties.

358 ■ Chapter 5: Visualization

About Lighting
In addition to the sun, there are two types of lights. There is default lighting and user-created lighting,
which allows users to add and modify the light sources. Familiarity with each type of light source will
help you to add proper levels of lighting to your scenes. In order to make use of user-created lights,
you must add them to a scene first (unlike using the sun). Becoming proficient with user-created light
sources will involve some trial and error.

The Challenge of Lighting

Lighting is used to set a specific mood in a scene or draw attention to a specific area or detail. If you
want to represent a scene during the day, it will most likely be warm and bright. At night a scene will
be darker, but through lights you can still make it warm and inviting. Lighting in a scene must be done
with the right balance of lights and shadows.Achieving such a balancein a software program can be
challenging; when you use a light in a real-world situation, you often do not think about how much
light it will give off.
Materials in a scene can play a role in how lights affect the scene’s final outcome. Materials and their
properties can affect how light reflects from them or is absorbed. When adding lights to a scene, there
are times when too many lights are added. This can cause increased rendering times and provide a
rather unrealistic look to a scene. It is best to start with a few lights and adjust their properties to
produce the desired look before adding more lights. Lights cast shadows, so to add too many can
confuse someone when they are looking at a rendered scene if there are multiple shadows on objects.
To mitigate this effect, you can create point lights, distance lights, and spot lights.
When default lighting is enabled, there are two distant light sources available for your scenes that emit
light onto all visible faces. As you move around the scene, the light sources follow you. You can control

Lesson: Using Lights ■ 359

 the brightness, contrast, and midtones by using the sliders on the Lights panel of the ribbon. However,
this form of lighting provides little control when rendering a scene, and does not cast shadows. For
these reasons, default lighting is usually not used when rendering a scene with materials.

Point Light
A point light emits light in all directions from its specified location. The closer to the location of a point
light an object is, the more intense light it receives. Point lights are good for emulating sources of light
such as light bulbs, lanterns, and candles. A point light is represented in a scene by a spherical glyph
with crossing lines through its center.

Spot Light
A spot light emits light from a source location to a target based on the shape of a cone. The closer
an object is to the source, the more intense the light it receives. You can control the size of the outer
cone that helps to define when the light starts to fall off, and an inner cone that determines the hot
spot of the light. The spotlight shines only in the direction that is determined by the source and target
points. Spot lights are good for emulating sources of light such as floodlights and track lighting. They
make it easy to highlight a specific feature in a scene. A spot light is represented in a scene by a glyph
that looks like a flash light.

360 ■ Chapter 5: Visualization

 Distant Light
A distant light emits light uniformly in a single direction based on a From and a To vector. Unlike the
other types of lights, an object does not receive any additional light by moving closer to a distance
light source. Nor does a distant light dim the further away an object is from its source. Distant lights
are good for filling a scene with an even amount of light. An example of a distant light is the sun. No
glyph is displayed in a scene for a distant light.

Adding Lights to a Scene

To add a light to a scene, you use the Light command. The Light command has several options, but
there are three main options: Point (point light), Spot (spot light), and Distant (distant light). The
easiest way to create a new light in a scene is to expand the Lights panel on the Render tab and select
the appropriate icon for the type of light that you want to create.

Introduction to the Lights Panel

The Lights panel makes it easy to add lights to a scene with the Light command. The Light command
has three main options, one for each of the types of lights. To create a light from the Lights panel,
expand the panel on the Render tab and click the appropriate icon for the type of light that you want
to create and adjust. You can also use the Lights panel to access the Lights in Model list palette where
you select lights in the scene and change their properties with the Properties palette.
By default, the Lights panel shows a selection of controls for working with lights. To see all the controls,
you click the down arrow to expand the panel.

Lesson: Using Lights ■ 361

 The Lights panel provides the following light settings:
Create a Point/Spot light: Starts the Light command with the Point or Spot option.
Shadows: Controls whether Full, Ground or No shadows are displayed.
Default Lighting Mode: Turns default lighting on and off. Default lighting must be turned off
before you can use lights and the sun when rendering.
Brightness Slider: Controls the brightness of all the lights in the scene by a given factor; typically
used with default lighting.
Contrast Slider: Controls the contrast of all the lights in the scene by a given factor; typically used
with default lighting.
Midtones Slider: Controls the midtone values for exterior scenes that are lit by the sun. This
slider is only available when the LIGHTINGUNITS system variable is set to 1 or 2.
Light Glyph Display: Turns on and off the display of the glyphs in the drawing that represent the
location of point lights and spotlights.
Units: Controls whether Generic units, American units (generic) or SI units (photometric) lights
are used.
Lights in Model: Displays the Lights in Model palette on which you can select lights in the scene
and display their properties on the Properties palette.

362 ■ Chapter 5: Visualization

Turning Off Default Lighting Mode
If Viewport Lighting Mode is still set to use default lighting when a light is added to a scene, a dialog
box is displayed to inform you that default lighting must be disabled. Click Turn Off The Default Lighting
option to disable default lighting and enable the use of user lights and the sun.

Procedure: Adding a Point Light

The following steps describe how to create a point light.
1. On the Render tab > Lights panel, click Point Light.
2. Specify a point in the drawing.
3. Use the Name option and provide a name for the light so that you can find it in a scene among
other lights.
4. Continue making changes to the light's properties as desired.
5. Press ENTER to end the Light command. A spherical glyph with crossing lines through it is
displayed in the scene at the point you selected.

Procedure: Adding a Spot Light

The following steps describe how to create a spot light.
1. On the Render tab > Lights panel, click Spot Light.
2. Specify the source point in the drawing.
3. Specify the target point in the drawing.
4. Use the Name option and provide a name for the light so that you can find it in a scene among
other lights.
5. Continue making changes to the light's properties.
6. Press ENTER to exit the Light command. A glyph that looks like a flashlight is displayed in the
scene where you selected the source point. The glyph points to the location you selected for the
target point.

Lesson: Using Lights ■ 363

 Procedure: Adding a Distant Light
The following steps describe how to create a distant light.
1. On the Render tab > Lights panel, click Distant Light.
2. Specify the From point in the drawing, or the vector.
3. Specify the To point in the drawing.
4. Use the Name option and provide a name for the light so that you can find it in a scene among
other lights.
5. Continue making changes to the light's properties.
6. Press ENTER to exit the Light command. No glyph is displayed for a distant light in the scene.

When photometric lighting is enabled (LIGHTINGUNITS = 1 or 2), the Distant Light

command is deactivated on the Light control panel. You can still access the command
by clicking View menu > Render > Lights > New Distant Light, or you can enter
distantlight at the command line.

Editing Lights in a Scene

You can edit lights using many of the usual methods, including grips and the Properties palette. You
can edit both point lights and spotlights using grips and the Properties palette. You can only edit
distant lights with the Properties palette because distant lights do not have a glyph that is displayed in
the scene and so cannot be selected.

Light Glyphs
Lights are not actual objects that appear in the scene the way solids and faces do when rendered.
However, point lights and spotlights are represented in a drawing in such a way that you can select
them.

Point lights and spotlights are displayed in a scene with a special type of object called a glyph. Glyphs
are displayed, but are not plotted by default. They exist so that you can graphically select and edit
a light in the scene. To display glyphs, you can click Light Glyphs display on the Render tab > Lights
panel, or click Menu Browser > View > Render > Light > Light Glyphs.

Point light glyph: Point lights appear in a scene as a spherical glyph with crossing lines through
the center.
Spotlight glyph: Spotlights appear in a scene as a glyph that looks like a flashlight.

364 ■ Chapter 5: Visualization

Light Glyph Appearance Dialog Box
It is possible to control the size and color of the light glyphs in a scene using the Light Glyph
Appearance dialog box. To display this dialog box, in the Options dialog box, Drafting tab, click Lights
Glyph Settings…. Slide the Glyph Size slider to the right to make the glyph larger or to the left to make
the glyph smaller. Click Edit Glyph Colors to display the Drawing Window Colors dialog box and select a
different color for the light glyphs. You can select either Point, Spot, or Web next to the Glyph Preview
to see how the glyph appears. Click OK to save the changes.

Lesson: Using Lights ■ 365

 Lights in Model Palette
Use the Lights in Model palette, also known as the Light List, to select lights in a complex scene with
many objects. Remember that distant lights do not have glyphs, so it is not possible to edit them in
the scene with grips. The only way to select them is to use the Light List. You can use a selected lights'
grips to modify its location and other properties based on whether it is a point light or a spotlight.
You can also right-click a light on the Light List palette and delete it or display the Properties palette,
where you can adjust more properties of the light.

366 ■ Chapter 5: Visualization

Common Light Properties
The three main types of lights, Point, Spotlight, and Distant light, share some common properties.
Changing these properties has the same effect regardless of the type of light.

Lesson: Using Lights ■ 367

 General Properties
The following table lists the General light properties on the Properties palette.

Option Description

Name Displays the name of the light in the scene. The name can be a total of 256
characters and can contain hyphens and underscores.

Type Switches between point and spotlight lights.

On/Off Status Turns light on or off in the scene.

Shadows Toggles whether shadows are calculated for the light that the light casts. When
set to Off, the values of the rendered shadow details are read-only.

Intensity Factor Specifies the brightness of the light.

Filter Color Specifies the color light that the light emits.

Rendered Shadow Details Properties

These properties affect the appearance of the edges of the shadows that are calculated. To view or
change these properties, you select one or more lights in the scene and open the Properties palette.

Option Description

Type Specifies the type of shadows you want to generate from the light that is
emitted.

Map Size Controls the shadow map size. The higher the number, the better the shadows
look, but the longer it takes to render. Type must be set to Soft in order for this
property to be available.

Softness Controls the appearance of the edges of the shadows that are calculated. Type
must be set to Soft in order for this property to be available.

368 ■ Chapter 5: Visualization

Editing Point Lights
When you select a point light, a grip at the center of the light is displayed. Use this grip to reposition
the light in the scene.

Geometry Properties
The following table lists the Geometry properties available for point lights and spotlights.

Option Description

Position X Specifies the X coordinate value for the source location.

Position Y Specifies the Y coordinate value for the source location.

Position Z Specifies the Z coordinate value for the source location.

Target X Specifies the X coordinate value for the target location. Only available with
Targeted = Yes.

Target Y Specifies the Y coordinate value for the target location. Only available with
Targeted = Yes.

Target Z Specifies the Z coordinate value for the target location. Only available with
Targeted = Yes.

Targeted Yes/No. Specifies whether or not the point light or spotlight has a target point.

Lesson: Using Lights ■ 369

 Attenuation Properties
The following table lists the Attenuation properties of a point light in the Properties palette. The
Attenuation properties affect how the light from the point light decays or diminishes over a distance.

Option Description

Type Specifies how the light diminishes over a distance. You can select None,
Inverse Linear, and Inverse Squared.

Use Limits Turns limits on and off for the light.

Start Limit Offset A distance from the center of the light where light starts as an offset. Use
Limits must be On to change this value.

End Limit Offset A distance from the center of the light where light ends as an offset. Light is
not cast beyond this point. Use Limits must be On to change this value.

Editing Spotlights
When a spotlight is selected, a grip is displayed at the center of the source of the light, along with
several other grips with which you can specify the target point and affect both the hotspot and falloff.
Use these grips to reposition the light in the scene.

370 ■ Chapter 5: Visualization

Position Along Line: Changes the position of the spotlight along the angle specified by the current
position and target values.
Position: Changes the position of the source location for the spotlight.
Hotspot: Adjusts the angle of the hotspot for the spotlight.
Target: Changes the position of the target location for the spotlight.
Target Along Line: Changes the target of the spotlight along the angle specified by the current
position and target values.
Falloff: Adjusts the angle of the falloff for the spotlight.

Lesson: Using Lights ■ 371

 Editing Distant Lights
You can only edit distant lights using the Properties palette. To select a distant light, use the Light List
palette and then display the Properties palette.

The following table lists the Geometry properties of a distant light in the Properties palette, which
specify the source location of the distant light.

Option Description

From Vector X Specifies the X coordinate value for the source location.

From Vector Y Specifies the Y coordinate value for the source location.

From Vector Z Specifies the Z coordinate value for the source location.

To Vector X Specifies the X coordinate value for the target location.

To Vector Y Specifies the Y coordinate value for the target location.

To Vector Z Specifies the Z coordinate value for the target location.

Source Vector X Specifies the X coordinate value to calculate the vector direction.

Source Vector Y Specifies the Y coordinate value to calculate the vector direction.

Source Vector Z Specifies the Z coordinate value to calculate the vector direction.

Procedure: Editing Lights

The following steps describe how to edit lights in your scene.
1. In the drawing area, select the light(s) you need to edit. You can also select the lights on the
Lights in Model palette.
2. Open the Properties palette. Adjust the light properties as required.

372 ■ Chapter 5: Visualization

Exercise: Work with Lights in a Scene - Architectural
In this exercise, you will work with lights in a kitchen
of a house to add a distant light, add and edit point the materials. Either copy the newly
lights, and spotlights. The Lights in Model palette will installed files to the location you want
be used to select and modify light settings. or change the path back to the default.

1. Open I_House-Lighting.dwg.
2. On the Render tab > Render panel, click Render
to view the scene rendered with the default
lighting.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter 5:
Visualization. Click Exercise: Work with
Lights in a Scene - Architectural.

A typical installation installs less than

100 materials on the Materials tool
palettes. An additional 300 or more
materials are available by optionally
installing the Materials library. The 3. Close the Render window.
library can be accessed through
the Configuration button on Add/ 4. Set running object snaps to use only Node. On
Remove features in the installer. These the status bar, turn off Dynamic UCS.
additional materirals should be added 5. On the View tab > Views panel, select Add
for this exercise. Lights in the View list. This view is saved with
the Points-Lights layer thawed and displayed in
Additionally, the Materials library 3D Wireframe visual style.
components are always installed to 6. On the ViewCube, verify that the World option
the default location. If you change the is selected.
paths before you install the Materials Note: Although the drawing opens using the
library, the new materials are not world coordinate system (WCS), this step
displayed on the tool palettes and the verifies that you are working in the WCS.
texture maps are not referenced by

Lesson: Using Lights ■ 373

7. On the Render tab > Lights panel, select Create
a Point from the pull-down.
Note: When initially placing lights into a new
drawing, you may be presented with the
Lighting - Viewport Lighting Mode dialog box.
Click the Turn off default lighting option.
8. When prompted to specify a source location,
select the point object at location 1, as shown
in the following illustration, using the Node
object snap.

11. On the View tab > Views panel > View list, click
Kitchen.
12. On the Render tab > Render panel, click Render.
The scene appears rather dark because the
point lights are not emitting a lot of light in the
scene and the default lighting is turned off.

9. On the command line or Dynamic Input tooltip:

■ Enter N for the Name option.
■ For Name, enter Kitchen1-Point. Press
ENTER.
■ Enter A for Attenuation. Press ENTER.
■ Enter T for the Attenuation Type option.
Press ENTER.
■ Enter I for the Inverse Linear option. Press
ENTER.
■ Press ENTER twice to exit the Light 13. On the Render tab > Lights panel, click Lights in
command. Model to display the Light List palette.
10. To create three additional point lights: 14. On the Lights in Model palette:
■ Add a point light named Kitchen2-Point
with an Inverse Linear attenuation type at ■ Press CTRL+select Kitchen1-Point, Kitchen2-
location1. Point, and Kitchen4-Point.
■ Add a point light named Kitchen3-Point ■ Right-click the selected point lights. Click
with an Inverse Linear attenuation type at Properties.
location2. 15. On the Properties palette, select the text box
■ Add a point light named Kitchen4-Point next to the Intensity Factor property. Enter 5.
with an Inverse Linear attenuation type at 16. Change the Intensity Factor property of the
location3. Kitchen3-Point light. Enter 15.

374 ■ Chapter 5: Visualization

17. Render the view. The scene should appear 22. On the Properties palette:
brighter. ■ Enter 15 for the Hotspot angle property.
■ Enter 95 for the Falloff angle.
■ Enter 25 for the Intensity Factor.
■ Select Inverse Linear for the Attenuation
Type.
23. Set the Kitchen view current and render the
view.
The corner of the counter should appear
brighter where the bowl is.

18. Close the Render window.

Next, you add a spot light over the bowl on the
corner of the counter.
19. Select Add Lights in the view list.
20. To create a spotlight:
■ On the Render tab > Lights panel, select
Create a Spot light from pull-down.
■ When prompted to specify a source
location, use the Node object snap and
select the point object at location 1. 24. Close the Lights in Model palette.
■ When prompted to specify a target 25. Close all files without saving.
location, use the Node object snap and
select the point object at location 2.

■ Enter N for the Name option. Press ENTER.

■ For Name, enter Kitchen-Spotlight. Press
ENTER.
■ Press ENTER to end the Light command.
21. On the Lights in Model palette, double-click
Kitchen-Spotlight.
Note: On the Lights panel, click Lights in Model
to open the palette if it is closed.

Lesson: Using Lights ■ 375

Exercise: Work with Lights in a Scene - Mechanical
In this exercise, you will work with lights placed upon
a part by adding and editing point lights, and adding library, the new materials are not
and editing spot lights. The Light List palette will be displayed on the tool palettes and the
used to select and modify light settings. texture maps are not referenced by
the materials. Either copy the newly
installed files to the location you want
or change the path back to the default.

1. Open I_Mech-Lighting.dwg.
2. On the Render tab > Render panel, click Render
to view the scene rendered with the default
lighting.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter 5:
Visualization. Click Exercise: Work with
Lights in a Scene - Mechanical.

A typical installation installs less than

100 materials on the Materials tool
palettes. An additional 300 or more
materials are available by optionally
installing the Materials library. The
library can be accessed through the
Configuration button on Add/Remove
features in the installer. These should 3. Close the Render window.
be installed for this exercise.
4. Set running object snaps to use only Node. On
the status bar, turn off Dynamic UCS.
Additionally, the Materials library
components are always installed to 5. On the View tab > Views panel, select
the default location. If you change the Placement in the View list. This view is saved
paths before you install the Materials with the Light_Points layer thawed and
displayed in Realistic visual style.

376 ■ Chapter 5: Visualization

6. On the ViewCube, verify that the World option 10. To create an additional point light:
is checked. If it is not, select the World check ■ Add a point light named Point-Bottom
box to turn WCS on. with an Inverse Linear attenuation type at
Note: Although the drawing opens using the location1.
world coordinate system (WCS), this step
verifies that you are working in the WCS.
7. On the Render tab > Lights panel, select Create
a Point Light from the pull-down.
8. When prompted to specify a source location,
select the point object at location 1, as shown
in the following illustration, using the Node
object snap.

■ Once placed, select the point light and

open the Properties palette. Change the
following point light properties:
Intensity factor: 500
Lamp color: Daylight Florescent
Targeted: Yes (This must be adjusted prior
to Target Z being set)
Target Z: 100
9. On the command line or Dynamic Input tooltip:
■ Enter N for the Name option.
■ For Name, enter Point-Overhead. Press
ENTER.
■ Enter A for Attenuation. Press ENTER.
■ Enter T for the Attenuation Type option.
Press ENTER.
■ Enter I for the Inverse Linear option. Press
ENTER.
■ Press ENTER twice to exit the Light
command.

Lesson: Using Lights ■ 377

11. On the View tab > Views panel, select 16. Render the view. The scene should appear
RenderView from the View list. brighter.
12. On the Render tab > Render panel, click Render.
The scene appears rather dark because the
point light above the part is not emitting a lot
of light in the scene, and the default lighting
is turned off. The light below is casting heavy
shadows and makes the mechanical assembly
hard to view.

17. Close the Render window.

Next, you add a spot light over the right side of
the assembly.
18. Set the named view back to Placement.
19. To create a spotlight:
■ On the Render > Lights panel, click the
Create a Spot light.
13. On the Render tab > Lights panel, click Lights in ■ When prompted to specify a source
Model to display the Light List palette. location, use the Node object snap and
14. On the Lights in Model palette: select the point object at location 1.
■ Select the light Point-Overhead. ■ When prompted to specify a target
■ Right-click the selected light. Click location, use the Center object snap and
Properties. select the centerpoint of the hole at
location 2.
15. On the Properties palette, select the text box
next to the Intensity Factor property. Enter 40.

■ Enter N for the Name option. Press ENTER.

■ For Name, enter Spot-Right. Press ENTER.
■ Press ENTER to end the Light command.

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20. On the Lights in Model palette, double-click
Spot-Right.
Note: On the Lights panel, click Lights in Model
to open the palette if it is closed.
21. On the Properties palette:
■ Enter 55 for the Hotspot angle property.
■ Enter 95 for the Falloff angle.
■ Enter 12 for the Intensity Factor.
22. Set RenderView as the current view and render
the view.
The part assembly should appear brighter on
the right.

23. Close the Lights in Model palette.

24. Close all files without saving.

Lesson: Using Lights ■ 379

Lesson: Using Materials

This lesson describes how to use, create, and edit existing and new materials. You learn how to begin
by using existing materials and then edit those materials to achieve the desired results.
Applying materials to objects is a key part of rendering a scene. Until materials are applied, your
objects can only be rendered based on their specific color or the layer's color. When you apply
materials to objects, you can really convey the design intent by making objects appear more realistic.

380 ■ Chapter 5: Visualization

 Objectives
After completing this lesson, you will be able to:
■ Describe materials and how they can be used to control the appearance of objects in the drawing.
■ Describe how to locate predefined materials as a basis for a rendered scene and assign them to
objects in the drawing.
■ Create new materials and edit existing ones.

To complete this lesson, you must have installed the Materials Library during your
AutoCAD® installation.

About Materials
You use materials to add visual impact and clarity to your designs. When you apply a material to an
object, such as a surface, you can transform it from a simple colored object to a closer representation
of reality.
In the following illustration, even just previewing the objects before they are rendered, the image on
the right gives you a better idea of what the final product will look like. Patterns are noticeable in both
the wood grain material and the marble counter top.

Definition of Materials
Materials consist of a set of properties that define how an object will appear when it is rendered or
viewed using a visual style capable of displaying the material's properties. For example, a material can
control an object's color, shininess, transparency, illumination, and, in some cases, textures and surface
qualities.

Lesson: Using Materials ■ 381

 The following illustration uses several materials applied to separate objects. Each material has unique
values set for various properties, resulting in completely different appearances for the objects.

The material applied to the floor uses specific color properties as well as a texture map and a
bump map to simulate a hardwood floor.
The material applied to the table top uses a Diffuse color setting of nearly white (250, 250, 250)
with the Shininess property set to the maximum setting, while the Opacity property is set to the
minimum setting. Other settings are used as well to simulate a glass table top.
The material applied to the chair surfaces uses color settings and texture and bump maps to
simulate a leather seating surface.
The material applied to the table legs and chair risers uses the Metal-Polished template, the
Shininess property set to 94, and a texture map. These properties combined with others simulate
a chrome reflective surface.
While it may not be apparent in the previous illustration, the material used for the chair
platforms uses the Metal-Bushed template settings, specific color values, and a texture map.
These properties combined with others simulate a dark blue metal surface.

382 ■ Chapter 5: Visualization

 Example of Materials
In the following illustrations, applying a different material to the table object results in a completely
different appearance for the table.

Glass Material Marble Material

Working with Predefined Materials

When you create a new drawing, it contains one material called Global. However, a default installation
of the software contains scores of sample materials on the tool palettes and textures that you can use
in custom materials. If you choose to install the Materials library, even more materials and textures are
available.
You can use materials on the tool palettes in the same way you would use the predefined blocks on the
Blocks tool palette: just drag a material from the tool palette and drop it in the drawing. If necessary,
you can modify the materials to better suit your needs or the objects in the drawing.

Lesson: Using Materials ■ 383

 In the following illustration, a material from the tool palette is being dropped onto the floor object.

Command Access
Materials Tool Palettes

Command Line: TOOLPALETTES

Menu Browser: Tools > Palettes > Tool Palette
Ribbon: View tab > Palettes panel > Tool Palettes

Predefined Materials
There are potentially two tool palettes that contain materials, depending on the options chosen
during installation:
■ Materials
■ Materials Library

In the following illustration, the image on the left shows sample fabric materials on the Materials
palette. The image on the right illustrates how many more of the same type of materials are available

384 ■ Chapter 5: Visualization

on the Materials Library palette. Each Materials Library palette contains many more materials than its
equivalent Materials palette.

Sample Fabrics Palette Materials Library - Sample Finishes Palette

The Materials Palette contains a few The Materials Library palette contains over 300
materials in several different categories professionally created materials. This palette, along with
and is installed by default when you hundreds of texture maps, is only available if you select
install the software. the Install Materials Library option when you install the
software.

Procedure: Applying Materials from the Materials Tool Palette

The following steps give an overview of applying materials to objects from the tool palette.
1. Display the tool palette
and select the Materials or
Materials Library tool palette
group.

Lesson: Using Materials ■ 385

 2. Select the tab containing
the types of materials
you require. Materials are
organized by usage, such as
Flooring or Fabrics.

3. Drag and drop the material

from the tool palette onto
the object.

Instead of dragging the material, you can also select the object first, then click the
material on the tool palette.

Creating and Editing Materials

While the predefined materials are a great way to start applying materials, at some point you will
need to create new materials and edit the existing ones. The materials and configurations you can
create are limited only by the amount of time you can commit to creating them.

386 ■ Chapter 5: Visualization

In the following illustration, the Materials palette displays several materials available in a sample
drawing.

Command Access
Materials

Command Line: Materials

Ribbon: View tab > 3D Palettes panel > Materials

Lesson: Using Materials ■ 387

 Materials Palette
The Materials palette is where you
create, edit, and apply materials
to objects in your drawing. Each
material currently loaded in the
drawing is displayed in the Preview
window.
Use the buttons below the Preview
window to set the material display
options in the palette, create and
delete materials, indicate materials
in use, or apply materials to and
remove them from objects. Right-
click a material in the Preview
window for additional options.
The Materials palette is divided
into five separate panels.
■ Material Editor
■ Maps
■ Advanced Lighting Override
■ Material Scaling & Tiling
■ Material Offset & Preview

Each panel can be expanded or

collapsed by clicking the down or
up arrows on the right side of each
panel.
Changes you make to materials in the Materials Editor happen in real time and automatically reflect on
objects that reference the material.

Material Editor
When you are creating a new material, use the selections in the Template list as a starting point.
For example, if your material is supposed to represent a type of metal, you might begin by selecting
Realistic Metal in the Template list. These selections have preset values associated with the Shininess,
Refraction Index, Translucency, Self-Illumination, and Opacity properties.

388 ■ Chapter 5: Visualization

Maps Panel
You use the Maps panel to select and adjust properties for Diffuse maps, Opacity maps, and Bump
maps.

To apply a texture map, such as a wood grain pattern, click the Select Image icon under Diffuse Map
and browse for the texture.

Note: The first time you click to select a texture map, you may need to browse to the location of your
texture maps. The default path is C:\ProgramData\Autodesk\AutoCAD 2010\R18.0\enu\Textures\.

Lesson: Using Materials ■ 389

 Advanced Lighting Overrides
This control is only available when the Material Type is set to Realistic or Realistic Metal. You use this
panel to change the way a material is rendered when it is lit by indirect illumination.

Material Scaling & Tiling

Use the options in this panel to adjust the scale and tiling properties for the selected material.

390 ■ Chapter 5: Visualization

Material Offset & Preview Panel
Use this panel to preview and adjust the offset and rotation values of the material.

Texture Maps Search Path

Many of the predefined materials use texture maps as part of their material definition. In the Options
dialog box, the Files tab contains search paths for the installed texture maps. You can also add paths of
locations that contain custom texture maps.

Lesson: Using Materials ■ 391

 Material Tool Properties
The Materials palette and the Materials Library tool palette store the material properties that
define each material. You can view and edit these properties in the Tool Properties dialog box as
an alternative to the Materials Editor. However, the changes you make to material properties on
the palette using the Tool Properties dialog box are not automatically applied to objects using that
material. You must reapply the material from the tool palette to the appropriate objects. To modify
the version of the material as it exists in the drawing, use the Materials Editor.

Procedure: Creating and Editing a New Material

The following steps give an overview of creating and editing a new material.
1. Open the Materials palette.
2. Click Create New Material and enter a name and description. Click OK.
3. In the Material Editor, under Type, select a material type.
4. In the Template list, select a material template based on the type of material you want to
simulate, for example, Metal or Fabric.
5. Adjust the material properties as required, including assigning texture, opacity, or bump maps.
6. Click Apply Material to Objects and select the objects that will use the material.
7. Render the scene to see the results. Continue adjusting the material properties until the
material meets your requirements.

392 ■ Chapter 5: Visualization

Procedure: Editing a Predefined Material
The following steps describe how to start with predefined materials for rendered scenes.
1. Begin by applying materials
to objects from the Materials
tool palette.

2. When edits to the materials

are required, use the
Materials Editor to edit
the materials used in the
drawings.

3. Render the scene to see the

effect of your changes on the
material.
4. If you suspect the modified
version of the material
may be required in other
drawings, export the material
to the active tool palette.
This makes the modified
version of the material
available in all drawings.

Lesson: Using Materials ■ 393

 Guidelines for Working with Materials
Consider the following guidelines when working with materials:
■ Review the sample materials provided on the tool palette so you become familiar with the types
of materials and finishes that are available. This review is also a great way for beginners to see
how the various material properties are used.
■ When possible, begin by applying existing sample materials. In many cases, this can save you time
as you might only need to change a few properties.
■ Export your custom materials to a tool palette, or save the drawing containing those materials as a
template drawing.
■ Confirm that the Texture Maps Search Path option on the Files tab of the Options dialog box
represents the current location for the texture maps provided with the software, as well as other
custom texture maps you may be using.
■ The tool palette contains two material palettes: Materials and Materials Library. The Materials
palette contains only some of the predefined materials. You can add to or modify the materials
on this palette. The Materials Library palette contains all the default materials. Modifying the
material properties on this palette is not recommended. You can modify the material with the
Materials Editor after you place the material in the drawing. The changes will not be reflected on
the Materials Library palette, so you will always have the default version of these materials.

394 ■ Chapter 5: Visualization

Exercise: Add Materials to Your Scene - Architectural
In this exercise, you add materials to objects in your 4. Drag the Finishes.Flooring.Wood.Hardwood.1
drawing by starting with predefined materials. You tool and drop it onto the floor as shown.
modify the predefined material and create a new one.
After rendering the scene with the new materials, you
export the modified material to a tool palette.

5. To simulate a wider plank pattern on the wood

floor:
■ On the Render tab > Materials panel, click
Materials
■ On the Materials palette, select the
material shown.
The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Add
Materials to Your Scene - Architectural.

1. Open C_Apply-Materials_Architectural.dwg.
2. If the Tool Palettes window is not displayed,
press CTRL+3 to open it. Select the Materials
palette.
■ In the Materials palette, find the Material
3. To add a material to the scene, on the Materials Scaling & Tiling panel. You may need to
palette, click the Flooring - Materials Sample expand it.
tab.
■ Enter 100 for the Width property.

Lesson: Using Materials ■ 395

 8. Confirm the appearance of the material on the
floor as shown.

6. To rotate the material pattern, scroll down to

the Material Offset & Preview panel.
7. For Rotation, enter 90. Confirm the real-time
changes in the drawing.

9. To create a simple black metal material, in the

Materials palette, click Create New Material.

10. In the Create New Material dialog box, for

Name, enter Black Metal. Click OK.
11. In the Materials palette, on the Material Editor
panel, in the Type list, select Realistic Metal.

396 ■ Chapter 5: Visualization

12. Click the color swatch. In the Select Color dialog 17. For Description, enter Wide Planks - Rotated 90
box, for Color, enter 0,0,0. Click OK. Degrees. Click OK.
18. To export the material to the tool palette, right-
click the material. Click Export to Active Tool
Palette. The material appears at the bottom of
the active tool palette.

19. Close all files without saving.

13. To apply the material to the stove, right click

the material in the list, click Apply Material.

14. Select the object representing the stove. Press

ESC.

15. To rename the modified floor material, right-

click the floor material in the Materials palette.
Click Edit Name and Description.
16. In the Edit Name and Description
dialog box, for Name, enter
Finishes.Flooring.Wood.Hardwood.1.Wide90.

Lesson: Using Materials ■ 397

Exercise: Add Materials to Your Scene - Mechanical
In this exercise, you add predefined materials to 1. Open C_Apply_Materials_Mechanical.dwg.
objects in your drawing. You also create and apply a 2. On the Render tab, Materials panel, verify that
new material and adjust its properties. Material and Textures are turned on.

On the Render tab, Visual Styles panel, verify

that Realistic is selected.

The completed exercise

Completing the Exercise

To complete the exercise, follow
the steps in this book or in the
online exercise. In the online list of
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Add
Materials to Your Scene - Mechanical. Note: These two settings are necessary in
all drawings to make Materials appear when
applied.
3. On the View tab, 3D Palettes panel, click
Materials to open the Materials palette.

398 ■ Chapter 5: Visualization

4. Right-click on the default material. Click Create 9. Press CTRL + 3 to open the Tool Palette.
New Material. ■ Locate the Metals - Materials Samples tab.
■ Right-click Metals.Ornamental
Metals.Brass.Satin.
■ Click Add to Current Drawing.

5. Name the material Blue Glass. Click OK.

6. In the Materials Editor panel:
■ Click the Color swatch.
■ Click the Index Color tab.
■ Click Cyan for the color.
■ Click OK. 10. Repeat the process to add Metals.Ornamental
7. Set the Opacity slider to 50. Metals.Bronze.Satin to the drawing.
11. Double-click Metals.Ornamental
Metals.Brass.Satin in the Available Materials
in Drawing list. In the drawing area, click the
bearing as shown. Press ENTER.

8. Double-click the Blue Glass material in the

Available Materials in Drawing list. In the
drawing, click the plate as shown. Press ENTER.

Lesson: Using Materials ■ 399

12. Repeat step 10 to apply Metals.Ornamental
Metals.Bronze.Satin to the pillow block and
bolts as shown. Press ENTER.

13. On the Available Materials in Drawing panel,

Materials palette:
■ Click Metals.Ornamental Metals.Brass.Satin
■ In the Materials Editor panel, select Metal -
Polished from the Template List.

Note:
■ The Shininess scale changes to 95.
■ There is a slight change in the texture of the
pillow block.

14. Close all files without saving.

400 ■ Chapter 5: Visualization

Lesson: Using the Sun

Using the sun, you can simulate sunlight based on a geographical location, time of day, and day of the
year. You can thus determine how sunlight might appear on the outside or inside of a building.
It is important to know which direction your building faces so that you can properly configure the
northern direction. To properly configure the sun, you also need to know the geographical location or
the longitude and latitude of your model.
In the following image, the sun is used to simulate shadow positions on a proposed home design.

Objectives
After completing this lesson, you will be able to:
■ Describe the concept of using the sun in 3D models.
■ Access sun settings using the Visualize tab on the ribbon.
■ Specify the north direction and geographic location for a scene.
■ Use the Sun Properties palette to access more comprehensive sun settings.
■ Create a basic rendering using the sun.

Lesson: Using the Sun ■ 401

 About the Sun
Using the sun, you can fill an entire 3D scene with light from a source that simulates the direction and
position of the sun according to the time of day, calendar date, geographic location, and the north
direction.

The Sun Defined

The sun is a light source that is ideal for evaluating how a building might best use and receive
maximum sunlight.Getting the most sunlight through windows can help to save heating costs during
the day. Another use for the sun is to show how shadows would appear on the outside of a building
after it was built, which can help to determine where to locate windows or plant certain types of
trees. The Sun is primarily designed for lighting exterior surfaces, but it can add visual impact to a
scene by having sunlight enter a room through a window or door.
The sun differs from other types of lights in the way that you access and edit it. You can select most
lights in a 3D scene directly, and then edit them using the Properties palette. The sun is completely
invisible in the drawing window and has no special graphic with which you can select it in the scene.

402 ■ Chapter 5: Visualization

About the Render tab
The Render tab on the ribbon is the easiest way to access the sun's settings. From the Render tab you
can indicate the geographic location of the building; toggle the sun on and off, and access the Sun
Properties palette.

Sun Controls on the Render tab

The Render tab contains several controls for managing light and sun properties.

The Render tab has the following settings to control the sun:
Default Lighting: Toggles default lighting on and off. It is recommended that default lighting be
turned off when you are rendering to prevent it from affecting sunlight and shadows.
Sun Properties: Toggles the Sun Properties palette on and off.
Sun Status: Toggles Sun Status on and off.
Location: Specifies the geographic location of the scene and the north direction of the model.
Sun Date: Specifies the day of the year for calculating sun position.
Sun Time: Specifies the time of day for calculating sun position.

Lesson: Using the Sun ■ 403

 Turning on the Sun
Click the Sun Status toggle to enable the sun.The dialog box gives you the option to turn default
lighting on or off.

Changing the Sun Date and Time

Sun Status must be enabled before you can change the date and time. Set the Sun Date or Sun Time
by dragging the slider. You can also move the sliders using the Page Up and Page Down keys. The order
in which you specify the time and date is not important.
Setting the date and time is particularly useful for determining how shadows from vegetation or other
buildings might fall onto your building, or to see how much sunlight your building might receive in
different seasons. These factors can help with landscaping decisions and window positioning.

If your graphics card supports Hardware Acceleration and Full Shadows, you can
enable Full Shadows on the Render tab > Lights panel. You can then see the shadows
from the sun in real time.

404 ■ Chapter 5: Visualization

Specifying Your Scene's Geographic Location
When rendering scenes that involve sunlight, the position of shadows at specific times and dates can
be helpful in understanding the effect of the building on its surrounding environment. In order to
calculate the proper position of the shadows, you must define the geographic location of your scene.
You use the Geographiclocation command to specify the geographic location and the north direction
of your 3D scene.

In the following illustrations, the same scene is previewed with shadows. In the image on the left, the
geographic location is set to a northern location in the United States, while the image on the right is
set to a southern location in the United States.

Northern location Southern location

Command Access
Geographic Location

Command Line: GEOGRAPHICLOCATION; GEO

Ribbon: Render tab > Sun & Location panel > Set Location

Geographic Location Dialog Box

Use the options in the Geographic Location dialog box to set the location of your scene. You can enter
precise coordinates, select a location on the map, or select a nearby city in the list. You should also
specify the time zone and the north direction.

Lesson: Using the Sun ■ 405

 Option Description

Latitude & Specify the location using coordinate values or time zone.
Longitude

Use Map Opens a map enabling you to click a location anywhere on the globe.

Coordinates and Determines where the geographic marker is placed on the model.
elevation

North Direction Specify the angle from 0 for the north direction. By default, north is the
positive Y direction in the world coordinate system.

Up direction By default, the up direction is the positive Z-axis (0,0,+1). The Up direction and
the north direction are always constrained such that they are perpendicular to
each other.

406 ■ Chapter 5: Visualization

Location Picker Dialog Box
The Location Picker appears when you select the Use Map button on the Geographic Location dialog
box. To set the location of your scene you canclick a location on the map, or select a region and nearby
city from the list.

Option Description

Map Click on the map to select the scene location.

Region Select the region where the scene is located.

Nearest City Select the nearest big city to the scene.

Time Zone Select the time zone in which the scene takes place.

Nearest Big City When checked, your click on the map will snap to the nearest big city. When
cleared, the exact latitude and longitude of your click on the map will be used.

Lesson: Using the Sun ■ 407

 Procedure: Specifying the North Direction
The following steps give an overview of specifying the north direction for a scene:
1. On the Render tab, Sun & Location panel, click Set Location.
2. In the dialog box, select Enter the location values.

3. In the Geographic Location dialog box, under North direction, enter the angle in the scene that
represents north. You can also click on the compass to specify an approximate angle for the
northern direction.

4. Click OK.

Procedure: Specifying a Geographic Location Using the Map

The following steps give an overview of specifying a geographic location for a scene:
1. On the Render tab, Sun & Location panel, click Set Location.
2. In the dialog box, select Enter the location values.

408 ■ Chapter 5: Visualization

3. In the Geographic Location dialog box, click Use Map.

4. In the Location Picker dialog box, select a Region from the list. The map updates based on the
selection you make.

5. Ensure that Nearest Big City is checked.

6. Click on the map approximately where the scene takes place. The nearest big city to where you
clicked is listed under Nearest City and the time zone of the city is displayed under Time Zone.
You may also select a city from the list.
7. Click OK.

Lesson: Using the Sun ■ 409

 About the Sun Properties Palette
The Sun Properties palette controls whether the sun is able to cast shadows, the color of light that is
emitted, the intensity of the sun, and sky properties if photometric lighting is enabled.
The Sun Properties palette is divided into five areas: General, Sky Properties, Sun Angle Calculator,
Rendered Shadow Details, and Geographic Location.

Command Access
Geographic Location

Command Line: SUNPROPERTIES

Menu Browser: View > Render > Light > Sun Properties
Ribbon: Render tab > Sun & Location panel > Sun Properties

410 ■ Chapter 5: Visualization

General Section
The General section of the Sun Properties palette contains the sun settings that are not related to
date, time, and geographic location.

Option Description

Status When on, the sun is used to calculate shadows.

Intensity Factor Specifies the brightness of the sun.

Color Specifies the light color that the sun emits.

Shadows Selects whether shadows are calculated for the light that the sun casts. When
set to Off, the values of the Rendered Shadow Details are read-only.

Lesson: Using the Sun ■ 411

 Sky Properties
The Sky Properties section consists of settings to control the appearance properties of the sky. These
settings are only available when you are using a photometric lighting workflow. The LIGHTINGUNITS
system variable must be set to 1 or 2 for these options to be available.

Option Description

Status Set the status by selecting Off, Sky Background, or Sky Background and
Illumination.

Intensity Factor Enter a value to magnify the effect of the sky light.

Haze Enter a value between 0 - 15 to adjust the atmospheric scattering effects.

Height Enter a value that represents the absolute position of the ground plane
relative to world zero.

Blur Enter a value to control the amount of blurring that occurs between the
ground plane and sky.

Ground Color Select a color for the ground plane.

Night Color Select a color for the night sky.

Aerial Perspective Turn aerial perspective on or off.

412 ■ Chapter 5: Visualization

 Option Description

Visibility Distance Enter a value to specify the distance at which 10% haze occlusion will result.

Disk Scale Enter a value to specify the scale of the sun disk.

Glow Intensity Enter a value to adjust the intensity of the sun glow.

Disk Intensity Enter a value to adjust the intensity of the sun disk.

For drawings created in AutoCAD 2007 or earlier, the LIGHTINGUNITS system variable
is set to 0. This system variable must be set to 1 or 2 for the Sky Properties options to
be available.

Sun Angle Calculator

The Sun Angle Calculator section of the Sun Properties palette contains the settings that control the
angle of the sun.

Lesson: Using the Sun ■ 413

 Option Description

Date Sets the calendar date via a calendar control.

Time Specifies the time of day in 15-minute increments.

Daylight Savings Turns daylight savings time on and off, and determines whether changing the
date affects the time.

Azimuth A read-only property that displays the angle of the sun due north clockwise
along the horizon.

Altitude A read-only property that displays the angle of the sun vertically from the
horizon.

Source Vector A read-only property that displays the source vector of the sun, indicating the
direction of the light it is emitting.

Rendered Shadow Details

The Rendered Shadow Details section of the Sun Properties palette contains settings that affect the
appearance of the shadows that are calculated from the light that the sun emits.

414 ■ Chapter 5: Visualization

 Option Description

Type Selects the type of shadows you want to generate from the light that is emitted
from the sun.

Samples Sets the number of samples to take on the solar disk. This option is only
available when Type is set to Soft (area) by selecting it in the Type list, or
enabling photometric lighting by setting the LIGHTINGUNITS system variable to
1 or 2.

Softness Enters a number to control the appearance of the shadow edges.

Geographic Location
The Geographic Location section displays read-only information about the simulated geographic
location of your scene. You can edit these values by clicking the Launch Geographic Location button in
the title area of the section, or by clicking the Geographic Location button on the Light control panel.

Option Description

Geographic Displays the current geographic location settings. You can only edit the
Location geographic location settings in the Geographic Location dialog box, which you
open by clicking the Launch Geographic Location button in the section header.

Lesson: Using the Sun ■ 415

Exercise: Use the Sun
In this exercise, you work with the sun to light a scene 2. On the View tab > Viewports panel, Select
of a basic house that has been placed on a plane with SouthWest-Ext in the View Control list.
a few trees.

The completed exercise

Completing the Exercise 3. On the Render tab > Sun & Location panel, click
To complete the exercise, follow the Sun Status.
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter 5:
Visualization. Click Exercise: Use
the Sun.
4. If presented with the option, select Turn off the
1. Open I_Sunlight-House.dwg. default lighting.

416 ■ Chapter 5: Visualization

5. If your graphics card supports hardware 8. On the Render tab > Render panel, click Render.
acceleration, on the Render tab > Lights panel,
click Full Shadows.

6. On the Render tab > Sun & Location panel,

select the Date slider and slide it near Verify that your results are similar to what is
March 11. Select the Time slider and slide it shown. Notice the direction of the shadows.
near 9:35 AM.
Close the Render window.
9. On the Render tab > Sun & Locations panel:
■ Click Set Location.
■ Click Enter the Location Values
■ Under North Direction, enter an angle
of 55.
Note: You can move the sliders using the Page
Up and Page Down keys.
7. On the Render tab > Visual Style panel, verify
that Realistic Face Style is selected.

Lesson: Using the Sun ■ 417

10. In the Geographic Location dialog box, click Use 12. On the Render tab > Render panel, click Render.
Map. In the Location Picker: Notice that because of the new location and
■ Select Green Bay, WI from the different north angle, the shadows are now
Nearest City list. cast toward the back of the building.
■ Click OK.

13. Close all files without saving.

11. If the Time Zone Updated message box is

displayed, click Accept updated time zone and
click OK. This dialog box informs you that the
new geographical location is in a different time
zone than the old one.

418 ■ Chapter 5: Visualization

Lesson: Rendering

In this lesson, you learn about rendering using pre-made render presets, or by customizing one of
the presets with your own rendering configuration. Rendering calculates how light might reflect off a
material and scatter through a scene once you have the scene set up with materials and lights.
When preparing for the final render, it is best to use some of the lower quality render presets to
quickly make sure the scene is how you want it to look, rather than waiting for a custom render to
complete.

Objectives
After completing this lesson, you will be able to:
■ Describe the rendering environment and render presets.
■ Use the Render and Render Cropped Region commands.
■ Use the Render Window and read the image information in the window.
■ Control render output size and format and render a scene to a file.
■ Describe some of the rendering effects controlled by advanced rendering.

Lesson: Rendering ■ 419

 About the Rendering Environment and Render Presets
The rendering environment is the set of tools that you use to generate a rendered output of a scene.
The output might be to the screen or to an electronic file that you can save and email to the client.
Render presets help to simplify the rendering process by giving you some options to take some of the
complexity out of getting a render that looks good. There are five render presets that you can select
from, ranging from the Draft preset that gets a render out quickly and gives a general idea of how a
scene will look, to a much more accurate representation of the materials and lighting in a scene with
the Presentation preset.

Rendering Environment Defined

The rendering environment consists of many user interfaces and settings that can affect shadows,
materials, lights, and other aspects of rendering. Most of these settings are left as is due to the fact
that many of the render presets provide an adequate range of options for someone to choose from.
The main tools that are associated with the rendering environment can be accessed from the Render
tab, Render panel. The main interfaces include the Render window, Render Environment dialog box,
Advance Render Settings palette, and the Render Presets Manager.

Render Presets
The render presets take some of the complexity out of rendering by giving you a range of rendering
qualities to select from. Rendering can be a complex process, depending on how involved you want
to get. If one of the presets does not offer what you are looking for, you can create a custom render
preset based on one of the available presets. However, before youstart doing this, you should try
the render presets provided. To do this, select one of the presets from the Render Presets list on the
Render panel before you start rendering the scene.

The following table describes the render presets:

Option Description

Draft Produces a blocky-looking render due to the low sampling, but is very fast
and can provide a rough idea of what the lights in the scene are doing. Lowest
quality render preset.

Low Produces a coarse-looking render due to the low sampling, but is fast and can
give you a quick idea of what lights and shadows look like in a scene. This is a
better choice than Draft if you want to see both lights and shadows in a scene.

420 ■ Chapter 5: Visualization

 Option Description

Medium Produces a good render due to the sampling and ray-trace settings that
provide a nice balance of speed and rendering quality. The render may appear
a little blurry along edges due to the sampling not being set to its highest level.
A good way to test a scene for lighting and shadows before you get ready
for the final output, as it gives you a close representation of the final render
without taking a lot of time.

High Produces a slightly higher quality rendering than the Medium preset due to an
increase in sampling and ray-tracing, but not quite as good as Presentation.

Presentation Produces sharply detailed renders due to the high sampling and ray-trace
settings, but can be very slow and should only be used for final output.
Highest quality render preset.

Rendering Views, Cropped Regions, and Selected Objects

The Render and Rendercrop commands enable you to render part or all of a scene to the viewport, the
Render window, or a file. Using Render, you have the option of rendering the view, a cropped window,
or selected objects. Using the Rendercrop command, you can render a portion of the scene directly
in the viewport. The Rendercrop command can be helpful when you want to check lighting, shadows,
and materials in a particular area of a complex scene without having to render the entire scene.

Lesson: Rendering ■ 421

 Command Access
Render

Command Line: RENDER

Ribbon: Render tab > Render panel > Render > Render drop-down

Command Access
Rendercrop

Command Line: RENDERCROP

Ribbon: Render tab > Render panel > Render > Render Region drop-down

422 ■ Chapter 5: Visualization

 Procedure: Using Render
The following steps give an overview of using the Render command to render the current view.
1. Change the view of the scene to the view that you want to render.
2. On the Render tab, Render panel, select a render preset from the list.
3. Click Render. The Render window is displayed. You can monitor the progress bars in the Render
window or the Render panel.

Procedure: Using Render on a Cropped Region

The following steps give an overview of rendering a cropped version of the current view:
1. Navigate the model to the view that you want to render.
2. On the Render panel, select a render preset from the list.
3. On the Render panel, click Render Cropped Region.
4. When prompted to define the crop window, specify two points in the drawing to define the area
you want rendered. The windowed area is then rendered in-place in the viewport.

About the Render Window and Image Information

After you render a scene, the output is either displayed directly in the current viewport or in the
Render window. If you want to generate a file from a rendering, the rendering must be done in the
Render window and not the viewport. Each time you render, the Render window maintains a history
of the renderings that you have recently created, so you can compare them to each other to find the
look you want. You can also compare the settings that were used to create each render in the Image
Information pane. If one of the renderings in the render history is the one you want, you can save it to
an image file.

Render Window
The Render window is made up of three main areas: the Image pane, the Statistics pane, and the
History pane. The Image pane displays the current render in progress or one of the images selected
from the History pane located at the bottom of the dialog box. Below the Image pane is the progress
meter of the current render in progress with a Cancel button to the left of the meter. The History
pane displays the most recent renderings of the current drawing that have been done in the Render
window. The Statistics pane displays the information about the selected image in the History pane. The
information of the render in progress is unavailable until the render has been completed.

Lesson: Rendering ■ 423

 Render History
Using the History pane at the bottom of the Render window, you can quickly access the most recent
renderings that have been done in the Render window. You can select the image to display in the
Image pane and view the rendering options used to create the image in the Statistics pane. The
History pane displays the output file name, output size, view, render time, and render preset for
previous renderings.

Entries in the History pane's list of renders have three states of output:

Output State Description

Saved Entries have a folder icon and a user-specified name and file type.

Temporary Entries have a clock and green arrow icon, which represents a temporary
entry, meaning that the file has not been given a proper name and file type.

Deleted Output Entries have a red X, meaning that the output files associated with the entry
have been deleted.

424 ■ Chapter 5: Visualization

You can see the three states of render entries in the following illustration.

The following table describes the options available when you right-click an entry in the History pane:

Option Description

Render Again Renders the current view, a selection, or region using the same settings as the
render in the History pane. The entry in the History pane is updated with the
new rendering results.

Save Saves the selected entry to a file, and the icon for the entry is updated to a file
folder with a red checkmark. If you right-click the entry and click Render Again,
the file is overwritten.

Save Copy Saves the selected entry to a file, but the icon is not updated to a file folder
with a red checkmark. If you right-click the entry and click Render Again, the
file is not overwritten.

Make Render Makes current the render settings used to create the selected rendering.
Settings Current

Remove From the Removes the entry from the History pane but does not delete the saved
List output.

Delete Output Deletes the output file and leaves the entry in the History pane.
File

Lesson: Rendering ■ 425

 Image Information
When a render completes or you select an entry in the History pane, the information about that
render is displayed in the Image Information pane. Using the image information, you can compare
the render settings of two entries in the History pane to see how you can improve the quality of a
rendering.

Render Output Size and Format

When rendering a scene, you typically need to generate an image file that can be emailed or printed.
You can specify the file format and the size of the output. If you are printing a rendered image, you
probably want the output to be larger than if you were viewing it on screen or in a word processing
document or presentation file.

Render Output Settings

You can render a scene and output an image to a file. To do this, navigate to the Render tab and on
the Render panel, click the icon to open the Advanced Render Setting palette.

426 ■ Chapter 5: Visualization

Preset Output Sizes
When outputting to an image file, you can specify the size of the created image. The default size is 640
x 480, but you also have the preset options of 320 x 240, 800 x 600, and 1024 x 768.

You can also define a custom image size by selecting Specify Output Size and using the Output Size
dialog box.

Supported File Formats

In the Render Output File dialog box, you can choose from the following image file formats for the
render output file:

Format Description

BMP Windows Bitmap

PCX PC Paintbrush

TGA Targa

TIF Tagged Image File

JPG and JPEG JPEG File

PNG Portable Network Graphics

After you click Save, an Options dialog box is displayed, in which you can select options that affect the
file size and quality of the final image file.

Lesson: Rendering ■ 427

 Output Size
To specify a custom image size, enter the Width, Height, and Image Aspect values.

Procedure: Setting Render Output

The following steps give an overview for setting the render output settings.
1. On the Output tab, Render panel, select the desired quality for the rendered image.

2. Expand the Render panel to specify the destinaton for the image, the file name and type for the
rendering, as well as the output size of the image.

428 ■ Chapter 5: Visualization

 If you want to save a scene that has been partially rendered with the Render Cropped
Region command, you need to use a screen capture utility.

Procedure: Rendering to a File

The following steps give an overview of rendering to a file and specifying the render output file's
settings.
1. Navigate the model to the view that you want to render.
2. On the Render panel, select a render preset from the list.
3. Click Render Output File.
4. Click the [...] button to specify a name and location for the file, and the file format.
5. In the Image Option dialog box, specify additional options for the image output file.
6. Select one of the preset image sizes from the Output Size list, or click Specify Output Size to
create your own image size for output.
7. On the Render panel, click Render. The Render window is displayed. You can monitor the
progress bars in the Render window or the Render panel. A green checkmark is displayed next to
the entry in the History pane when rendering is complete.
Note: You cannot output an image created with the Region/rendercrop command to a file.

Advanced Rendering
Until you feel comfortable using the basic tools for rendering and the render presets, it is
recommended that you stay with those. When you are ready to work with the advanced rendering
options, you can create custom render presets with the Render Presets Manager.

Advanced Rendering Features

The render presets are designed to help you get acquainted with rendering. There are some elements
that the default presets do not take advantage of, such as shadow maps, global illumination, and final
gather. There are also options such as ray-tracing settings that are part of the render presets but can
be more finely adjusted.
Ray tracing affects how light bounces off materials and how reflections and refractions are calculated.
When specifying values for ray tracing, you are determining the number of times a ray of light is
reflected or refracted. The higher the number, the better the reflections and refractions appear in a
scene. Ray tracing is used with all of the presets, because it creates sharper shadows than shadow
maps do. The disadvantage is that it can take longer to render when you use ray tracing.
Using indirect illumination, you can enhance a scene by simulating radiosity, which can help to improve
the way light fills a room and the way colors bleed off some objects onto others. For example, you
might have a metal cabinet next to a matte paint on the wall; the color from the metal cabinet bleeds
onto the wall in real life based on how the light hits it. You can use the Global Illumination and Final
Gather options to improve the accuracy of how light bounces off objects in a scene.

Lesson: Rendering ■ 429

 Advanced Render Settings Palette
Using the Advanced Render
Settings palette, you can fine-tune
settings that affect the rendering
of a scene. You can select one of
the render presets from the list at
the top of the palette to see what
the current settings are for the
preset. You can also click Render
at the top of the palette to start
the rendering process based on
the options selected under Render
Context.

Many of the render settings can

affect other settings without
you knowing. It is recommended
that you take some time and
experiment with a scene to see
how each setting affects the final
output. As you make changes
to one of the render presets, an
asterisk is added in front of its
name. You can supply a new name
or remove the asterisk from the
name to update the original preset
with the changes.

The following table briefly explains the sections of settings on the Advanced Render Settings palette.
It does not go into depth on the specific settings in each section due to the number of options
available. These settings are also available in the Render Presets Manager.

Section Description

Render Context Contains settings that affect what is rendered and the final output of the
render.

Materials Contains settings that affect how materials are used during rendering.

Sampling Contains settings that affect how sampling is handled for rendering.

Shadows Contains settings that affect how shadows are calculated and appear in a
rendering.

Ray Tracing Contains settings that affect the shading of objects in a rendering.

Global Contains settings that affect how a scene is illuminated.

Illumination

Final Gather Contains settings that affect how Global Illumination (GI) is calculated.

Light Properties Contains settings that affect how indirect illumination is calculated.

430 ■ Chapter 5: Visualization

 Section Description

Visual Contains settings that control how some of the visual aids are displayed to
help explain how some of the features of the renderer behave.

Processing Contains settings that can affect the time in which the rendering is completed.

Render Presets Manager

The Render Presets Manager is almost identical to the Advanced Render Settings palette. The main
difference is that the Preset Info section replaces the Render Context section. The other difference is
that you can remove a custom render preset in the Rendered Presets Manager. Otherwise, you can use
both interfaces to create a new preset from an existing one, change the render settings, and make one
of the render presets current. When you create a new render preset, the preset is only available in the
drawing in which it is created.

Lesson: Rendering ■ 431

Exercise: Render an Architectural Scene
In this exercise, you render a scene using the Render 3. Click Region.
and Render Cropped Region commands. You compare 4. In the drawing area, select two points to define
the results of using a few of the render presets in the the region to be rendered.
Render window and create a custom render preset
with global illumination enabled to improve lighting
in the scene.

5. In the Render panel, select the Low preset from

the Render Preset list.
The completed exercise
6. Click Render.
The Render window is displayed and shows the
completed render after it is done.
Completing the Exercise
7. In the Render panel, select the Presentation
To complete the exercise, follow the preset from the Render Preset list.
steps in this book or in the onscreen 8. Click Render. The Render window is displayed
exercise. In the onscreen list of and shows the completed render after it is
chapters and exercises, click Chapter 5: done.
Visualization. Click Exercise: Render an 9. Compare the two renderings by selecting them
Architectural Scene. in the lower pane of the Render window. You
can examine the differences in visual quality
in the images, and, in the Statistics pane, the
differences in image information.
Render an Architectural Scene 10. Do not save file and continue to next exercise.
1. Open I_Render-House.dwg.
Render an Architectural Scene to a File
1. Continue from previous exercise in I_Render-
House.dwg.
2. To activate a photometric workflow:
■ On the command line, enter
LIGHTINGUNITS. Press ENTER.
■ Enter 2. Press ENTER.
3. On the Render panel, select Manage Render
Presets from the Render Preset list.
4. In the Render Presets Manager, under Standard
2. In the Render panel, select the Medium preset Render Presets, select Presentation. Click
from the Render Preset list. Create Copy.

432 ■ Chapter 5: Visualization

5. In the Copy Render Preset dialog box, for 15. On the Render panel, click Render. This may
Name, enter Presentation with Global require several minutes to complete. You
Illumination. Click OK. can monitor the progress bars in the Render
6. Use the scroll bar under Properties to locate window or the Render panel.
the Final Gather section.
7. Click the light bulb in the Global Illumination
header to enable the properties. Under the
Final Gather panel, for Rays, enter 50.

16. In the Render window a red check mark is

displayed to the left of the file name when
rendering is complete.
Compare the renderings in the Render window.
You can see a significant difference in image
quality.

8. Click Set Current to make the custom render

preset current.
9. Click OK to save the changes to the custom
render preset.
10. Expand the Render panel.
■ Click Save Rendering to File
■ Click [...]

17. Browse to the My Documents folder. Double-

click the I_Render-House-Final.bmp file that
was created.
18. Close all files without saving.

11. In the Render Output File dialog box, for File

Name, enter I_Render-House-Final.
12. Browse to the My Documents folder. Select
BMP from the Files of Type list. Click Save.
13. In the BMP Image Options dialog box, select 24
bits (16.7 Million Colors).
14. Click OK.

Lesson: Rendering ■ 433

Exercise: Render a Mechanical Scene
In this exercise, you render a scene using the Render 3. On the Render tab > Materials Panel, click on
command. You compare the results of using a few of Materials:
the render presets in the Render window. You create ■ In the Available Materials in Drawing
a custom background in the scene. You increase the window, right click on Metals.Ornamental
Sun intensityto improve lighting in the scene. Metals.Brass.Satin.
■ Click Apply Material.
4. In the drawing area, click on the bearing to
apply the material as shown. Press ENTER.

5. Repeat the process to apply

The completed exercise
Metals.Ornamental.Bronze.Satin to the three
parts as shown.

Completing the Exercise

To complete the exercise, follow
the steps in this book or in the
online exercise. In the online list of
chapters and exercises, click Chapter 5:
Visualization. Click Exercise: Render a
Mechanical Scene.

1. Open I_Render-Mechanical.dwg.
2. Open the Tool Palette and locate the Materials
tab:
■ Right-click on
Metals.Ornamental.Bronze.Satin.
■ Click Add to Current Drawing.

434 ■ Chapter 5: Visualization

6. In the Materials palette: 11. Open the View manager. On the command line,
■ Click Create New Material. enter VIEW. Press ENTER.
■ Name the material Blue Plexiglass ■ Under Model Views, select gradient.
■ Click OK. ■ Click Set Current.
■ Click Apply.
■ Click OK.

7. On the Materials Editor panel:

■ From the Template list, select Glass - Clear.
■ Set the Opacity slider to 25. 12. On the Render tab > Render Panel, click Render.
■ Click the color swatch. 13. Compare the two renderings by selecting them
■ Click the Index Color tab. in the lower pane of the Render window. You
■ Select Cyan. can examine the differences in visual quality
in the images, and in the Statistics pane, the
differences in image information.
14. Open the View Manager:
■ Select gradient.
■ In the Background Override list, click Edit.

8. Repeat the steps above to apply the Blue

Plexiglass material to the plate as shown.
9. On the Render tab > Render panel, select the
Presentation preset from the Render Preset list.
If necessary you can adjust the output size of
the rendering to increase visibility or decrease 15. In the Gradient Options area:
rending time. ■ Click the color patch to edit the Bottom
color.
■ Click the Index Color tab and enter 250 in
the color box.
■ Click the color patch to edit the Top color.
■ Click the Index Color tab and enter 4 in the
color box.
■ Click OK to close the Background dialog
box.
■ Click Apply, then OK to close the View
Manager.
■ On the View tab, Viewports panel, select
10. On the Render panel, click Render. The Render gradient from the view list.
window is displayed and shows the completed
render after it is done.

Lesson: Rendering ■ 435

16. On the Render tab > Sun & Location panel, click
Sun Properties. In the Sun Properties palette,
set the Intensity Factor value to 8.

17. Set the Sun time and Sun date to the values
shown.

18. On the Render tab > Render panel, click Render.

Verify that your results are similar to what
is shown here. Compare the renderings to
previous renderings.

19. Close all files without saving.

436 ■ Chapter 5: Visualization

Lesson: Navigating the Model

This lesson describes how to use the 3Dfly, 3Dwalk, and Motion Path Animation commands to navigate
and present your designs.
As drafters, designers, or engineers, you are required to validate and present your designs to others.
Having the ability to view your designs from any angle and perspective, and present those designs
to others in a way that is easy to understand, can help you to convey your ideas and uncover design
problems.

Objectives
After completing this lesson, you will be able to:
■ Use the 3Dwalk and 3Dfly commands to walk through your model for a perspective view of your
design from any angle.
■ Record your walk-through to a video file for later playback.
■ Use paths to create animated fly-throughs of your model.

Lesson: Navigating the Model ■ 437

 Walking and Flying Through a Model
Using the 3Dwalk and 3Dfly commands, you cannavigate around your model using familiar "game-
style" navigation keys. Using a combination of mouse and keyboard input, you can move through your
model as though you were walking or flying through it.

Command Access
3Dwalk

Command Line: 3DWALK

Ribbon: Render tab > Animations panel > Walk

438 ■ Chapter 5: Visualization

 3Dfly

Command Line: 3DFLY

Ribbon: Render tab > Animations panel > Fly

If the Animations panel is not displayed on the Render tab, right-click the Render tab
and click Show Panels > Animations.

Distinction between 3Dwalk and 3Dfly

The navigation options for the 3Dwalk and 3Dfly commands are identical. The differences between the
two commands are:
■ While using 3Dwalk, you are limited to movement on the XY plane.
■ While using 3Dfly, you can move on all planes.

Walk and Fly Navigation Mappings

When you start the 3Dwalk or 3Dfly commands, the Walk and Fly Navigation Mappings dialog box is
displayed, showing you the key mappings for navigating your model. Once you become familiar with
the direction key mappings, select the Don't Show Me This Again option. Press TAB to display this
dialog box while using the 3Dwalk or 3Dfly settings.

Lesson: Navigating the Model ■ 439

 In the following illustration, simple solid objects are shown while using the 3Dwalk command.

Current target: Press the forward key to move towards this target.
Cursor: Click and drag to reposition the target.

440 ■ Chapter 5: Visualization

Position Locator
When you are using the 3Dwalk or 3Dfly commands, the Position Locator palette is displayed. To
reposition your view, click and drag the camera, the target, or both. As you walk or fly through the
model, the position locator is updated in real-time.

Position indicator: Click and drag to rotate the position around the target. To move the position
indicator and the target, click and drag between the position indicator and the target indicator.
Target indicator: Click and drag to adjust target.
Preview Window: Shows objects in your drawing.
Properties: Adjust the properties of the Position Locator and the preview window.

Lesson: Navigating the Model ■ 441

 Walk and Fly Settings
You can adjust the speed at which you walk through the model by changing the Step Length and Steps
Per Second properties in the Walk and Fly Setting dialog box.

Step Size: Enter a value for the step size. A larger value results in faster navigation, as a larger
distance is covered in each step.
Steps Per Second: Enter a number between 1 and 30 to determine the number of steps taken per
second as you navigate through the model.

Procedure: Walking Through a Model

The following steps give an outline of walking through a model.
1. Create a new camera view or activate Perspective mode on the current view.
2. Start the 3Dwalk command.
3. Close the Walk and Fly Navigation Mappings dialog box.
4. Using your mouse and keyboard keys, walk through your model.
5. Press F to toggle fly mode on or off.
6. Press ESC to cancel the command.

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Recording an Animation
When using the 3Dwalk and 3Dfly commands, you have the option of recording an animation of your
view. You can record and play back everything you see in your camera view.

Command Access

The animation controls Play, Record, Pause, and Save are only available while the 3Dwalk or 3Dfly
commands are active.

Animation Settings
Use the Animation Settings dialog box to set properties for the animation before you begin recording.
In the Visual Style list, you can select a visual style or rendering presets for the animation. Adjust the
resolution as required, set the frame rate, and select an output format.

Note: Higher frame rates generate smoother animations but require more processing power and result
in larger files. Experiment with lower resolutions and frame rates until you know what your machine
can do.

Lesson: Navigating the Model ■ 443

 Note: You can access the Animation Settings dialog box by clicking the Animation Settings button in the
Save As dialog box when you save the animation. This enables you to change the settings before the
video is created and saved.

Creating Video
When you click Save Animation you are prompted for a file name. When you click Save, the Creating
Video dialog box is displayed. The progress bar and the frame count status appears. The Seconds
Remaining information at the bottom is an estimate of the time required to save the animation file.

Procedure: Recording an Animation

The following steps give an overview of recording a walk through animation.
1. Start the 3Dwalk or 3Dfly commands.
2. On the Render tab, Animation panel, click Record.
3. Begin navigating through the model using standard walk or fly navigation methods.
4. Click Save Animation.
5. In the Save As dialog box, enter a file name for the animation. Click Save.
Note: If you did not previously set the Animation Settings, you can change them by clicking the
Animation Settings button in the Save As dialog box.
6. To see the animation, on the Tools tab, Animation panel, click Play.

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Using Animation Paths
Using Animation Paths, you can animate flying through a model by attaching a camera to a path and
animating the camera or target along the path. The animation is stored as a movie and can be played
back by any computer that supports the WMV, AVI, MOV, or MPG formats.
In the following illustration, a spline object is created as a path for the camera to follow.

Command Access
Animation Path

Command Line: ANIPATH

Menu Browser: View > Motion Path Animations
Ribbon: Render tab > Animations panel > Animation Motion Path

Lesson: Navigating the Model ■ 445

 Animation Motion Path
Use the options in the Animation Motion Path dialog box to control the camera's position and target,
and the animation settings. These animation settings work the same as the settings in the Animation
Settings dialog box.

Using the Camera options you can select either the point where a camera is located or the path along
which a camera travels, depending on whether Point or Path was selected.

Using the Target Point options, you can link the target to a point or a path. If the camera is linked to a
point, the target must be linked to a path. If the camera is linked to a path, you can link the target to
either a point or a path.

Using the Target Path options you must click the Select button and select a path. The path can be a
line, arc, elliptical arc, ellipse, circle, polyline, 3D polyline, or spline. When you select an object to be
used as a path, the Path Name dialog box is displayed. Enter a name for the path and click OK.

When you create a motion path animation, the camera is automatically created but you have to draw
paths for the camera or target.

446 ■ Chapter 5: Visualization

Procedure: Creating an Animation Motion Path
The following steps give an overview of creating a motion path animation.
1. Draw the path or paths for the camera and its target.
2. On the Render tab, Animations panel, click Animation Motion Path.
3. Link the camera to a point or path.
4. Link the target to a point or path.
5. Adjust the options in the Animation Settings area. Click OK.
6. Enter a file name in the Save As dialog box. Click Save.
7. View the animation in the preview window.

Lesson: Navigating the Model ■ 447

Exercise: Walk Through a Model and Create a Path Animation
In this exercise, you walk through a model using 2. To walk through the model:
the 3Dwalk and 3Dfly commands, and create a path ■ On the Render tab > Animations panel, click
animation using the Anipath command. Walk.

■ Review and close the navigation key

mappings.
3. Press and hold W to begin walking forward.

The completed exercise

Completing the Exercise

To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Walk
Through a Model and Create a Path
Animation. 4. On the Render tab > Animations panel:
■ Select Walk and Fly Settings from the pull-
down.
Exercise: Create an Animation ■ Enter 30 for Walk/Fly Step Size. This
increases the distance for each step so you
1. Open C_Walk-Thru.dwg. can cover more distance in a shorter time.
■ Click OK.

448 ■ Chapter 5: Visualization

5. Continue to walk straight, until you approach 7. In the Position Locator palette, click and drag to
the table. reposition the camera or target.
You can move the camera, target, or both
simultaneously by clicking near the center of
the position locator icon.

6. Click and drag the mouse to the left to turn the

view towards the kitchen.

8. To fly through the model:

■ Press F to switch to flying.
■ Click and drag the mouse to position your
target in an upwards direction.
■ Press W to begin flying towards the target.
Note: While flying, you are not limited to
movement on the XY plane.
9. Continue to navigate around the house using
the navigation keys and mouse.
10. To animate the walk or fly through:
■ On the Render tab > Animations panel, click
Start Recording Animation.
■ Navigate around the model.

11. On the Animations panel, click Save Animation.

In the Save As dialog box, enter Walking-
Animation.wmv. Click Save.

Lesson: Navigating the Model ■ 449

12. On the Animations panel, click Play.

13. During the Animation Preview you can click

Pause and drag the slider back to replay the
animation, or press ESC to close the Animation
Preview window.
14. Continue to the next exercise or close all files
without saving.
4. In the drawing area:
■ Select the orange spline object.
Exercise: Use an Animation Motion Path In the Motion Path Animation dialog box:
1. Continue from the previous exercise or open ■ For Path Name, accept the default name
C_Walk-Thru.dwg. Path1.
2. Right-click on the View Cube. Click Home. ■ Click OK.
■ Click Preview.

3. To create the motion path animation:

■ On the Render tab > Animations panel, click
Animation Motion Path. 5. In the Animation Preview window, select
■ In the Motion Path Animation dialog box, different visual styles while the preview is
under Camera, click Path. playing.
■ Under Animation Settings, enter 10 for 6. Close the Animation Preview window.
Duration. 7. To create the animation:
■ Click Select Path. ■ Click OK to create the animation.
■ In the Save As dialog box, enter Path
Animation. Click Save.
The animation preview window appears as
each frame of the animation is being recorded.
8. Navigate to the Path Animation.wmv file.
Double-click the file to play the animation.
9. Close all files without saving.

450 ■ Chapter 5: Visualization

Lesson: Leveraging Cameras and Views

This lesson describes how to create and use cameras in your drawings to illustrate various views.
The ability to view your designs from any angle not only adds visual impact when presenting your
design, but also provides you with more opportunities to identify potential flaws or problem areas.
In the following illustration, a camera is being created to show an elevation for the house model.

Objectives
After completing this lesson, you will be able to:
■ Describe cameras and how they can be used in your designs.
■ Create and position cameras to illustrate perspective views of your designs.
■ Activate and manage camera views.
■ Use ShowMotion to play back presentation views.
■ Create new presentation views to use with ShowMotion.

Lesson: Leveraging Cameras and Views ■ 451

 About Cameras
You use cameras to create perspective views of your models, simulating real-world views of virtual
objects. Just like using a real camera, the resulting views are based on the camera's position, target,
field of view, and lens properties.

Definition of a Camera
Cameras are physical objects that can be selected, moved, and manipulated. They have a limited
set of properties that you can modify either by manipulating them with the cursor or through the
Properties palette.

Camera Location Grip: Click and drag to move camera.

Target Location Grip: Click and drag to move camera target.
Lens Length/FOV Grip: Click and drag to adjust the lens length and field of view properties.

452 ■ Chapter 5: Visualization

 Camera and Target Location Grip: Click and drag to move the camera and target at the same
time.

In the following illustration, a camera object is selected. The Camera Preview dialog box opens and
displays the view as seen by the camera.

Creating Cameras and Views

When you create cameras, you are creating views. When the Perspective property is set to Off, only a
parallel projection view is created. When the Perspective property is set to On, a camera is created and
appears as a view in the view list.
In the following illustration, the camera shows a perspective view of the kitchen. You can list and
activate cameras and views on the Home tab, View panel.

Lesson: Leveraging Cameras and Views ■ 453

 Command Access
Create Camera

Command Line: CAMERA

Ribbon: Render tab > Camera panel > Create Camera

Command Options
After you specify the camera and target location, the following options appear on the command line.

Option Description

Name Enter a name for the camera. This is the view name as well. Spaces are not
allowed.

Location Enter a coordinate for the camera.

Height Enter a value for the camera's height in the Z axis.

Target Enter a coordinate for the target location.

Lens Enter a value for the lens length.

Clipping Turn the front and back clipping planes on and set their offset values.

View Change the current view to the camera's view.

Exit Exit the Camera command.

If the Camera panel is not displayed on the Render tab, right-click the Render tab and
click Show Panels > Camera.

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Positioning the Camera
Until you click to position the camera, it is always facing the current UCS, so as you move your cursor
around the scene (1-3 in the following illustration), the camera may rotate.

After the initial placement, you will probably need to tweak the camera and target positions. Use the
3D grip tool to move the camera. To activate the grip tool, select the camera and hover over one of its
position grips. Using the grip tool, you can restrict direction of movement along a specific axis or to a
specific plane.

Lesson: Leveraging Cameras and Views ■ 455

 Using Camera Properties
You can position the camera using Camera Properties. You can directly edit the values of Camera X, Y,
and Z and Target X, Y, and Z values as well as other properties. This can make positioning the Camera
and Target Z values easier.

While you are tweaking the camera's position and other properties, use the Camera Preview dialog
box as your guide. The preview represents a real-time representation of the camera's view.

456 ■ Chapter 5: Visualization

Procedure: Creating and Using a Camera
The following steps give an overview of creating and using a camera.
1. Start the Create Camera
command.
2. Click to define the camera's
location (1).

3. Click to define the camera's

target (2).
4. Enter an option for the
command, for example, N
for name, or press ENTER
to accept the default name
and options and exit the
command.
5. Select the camera object to
activate its grips. Drag the
grips to adjust the camera or
target location, as well as the
Lens/FOV properties.

Lesson: Leveraging Cameras and Views ■ 457

 6. The Preview Window displays
the camera's real-time view.
You can also specify a visual
style for the camera.

Activating and Managing Camera Views

Once you have created your camera views, you will be switching between various predefined and
custom views. You can easily select all of these on the ribbon, Home tab, View panel, View list. You
can also select them in the View Manager.

Activating a View
In the following illustration, the Home tab, View panel, View list shows the available camera views and
predefined views for the current drawing. To activate a view, select it in the View list.

458 ■ Chapter 5: Visualization

Command Access
View Manager

Command Line: VIEW, V

Ribbon: Home tab > View panel > Named Views > View Manager

Lesson: Leveraging Cameras and Views ■ 459

 View Manager
You use the View Manager to modify the view properties for your custom views. After you have
created a camera, it appears in this dialog box as a saved model view. Using the properties in the View
Manager, you can customize your view. For example, use the Layer Snapshot property to return layers
in the view to the state they were in when you clicked the Update Layers button.

You can also associate a specific visual style with the view, associate a live section from an existing
section plane, and configure a background override. The background override can be a solid color, a
gradient, or a raster image.

460 ■ Chapter 5: Visualization

Setting the View Background
You use the Background dialog box to define a background for the view. The options that appear in the
main area of the dialog box depend on the type of background you choose. For example, if you choose
Image as the type, you must browse for the image and adjust image options by clicking Adjust Image.
The Preview area shows the selected image as it is currently configured.

Lesson: Leveraging Cameras and Views ■ 461

 Adjust Background Image
If you choose an image for the background to a view, use the options in the Adjust Background Image
dialog box to adjust the image's position, offset, and scale values.

Tweaking the Camera View

While working in a camera view, you can tweak the view using camera-friendly commands. The 3D
Swivel and Adjust Distance commands are intended to be used on perspective views but they work on
non-perspective views as well.
Using the 3D Swivel command, you can pan the camera along the XY plane and the Z axis. Click and
drag to change the target of the view.
Using the Adjust Distance command, you can move the camera closer to the objects in the scene.
Click and drag the mouse to move the camera along an imaginary line between the camera and
target.

462 ■ Chapter 5: Visualization

Command Access
Swivel

Command Line: 3DSWIVEL

Adjust Distance

Command Line: 3DDISTANCE

Procedure: Editing and Activating a Camera View

The following steps give an overview of editing and activating a camera view.
1. On the Home tab > View
panel, click View Manager
in the Named Views drop-
down.

2. In the View Manager dialog

box, select the view to
modify. Adjust the properties
as required for the specific
view.

Lesson: Leveraging Cameras and Views ■ 463

 3. In the View Manager dialog
box, click Set Current. Click
OK to close the dialog box
and activate the view.

Viewing ShowMotion Presentations

You use the ShowMotion control panel to visually navigate between named views in the current
drawing. Activating the ShowMotion control panel displays thumbnail images of each named view
defined in the drawing. When the named views have categories assigned to them, the named views
are displayed by category. With ShowMotion you can play a slideshow that will automatically cycle
through all the views in a category. You can choose to loop the slideshow so that it continues to play
from the beginning until you stop it. You can also pause the show when necessary.

Command Access
ShowMotion

Command Line: NAVSMOTION

Status Bar: ShowMotion

You can change the size of the thumbnail images by pressing the CTRL key while
rolling the mouse wheel up or down. Select the thumbnail to change to the desired
view.

464 ■ Chapter 5: Visualization

Showmotion Properties
When ShowMotion is displayed, the following options are available.

Pin ShowMotion: Locks the ShowMotion control panel so it remains visible while you work in the
drawing.
Play All: The current drawing automatically cycles through all the views in the selected category.
Stop: Stops ShowMotion.
Turn On/Off Looping: Controls whether the animation will continuously play back the transition
and motion assigned to the view.
New Shot: Activates the New View / Shot Properties dialog box where you can create a new view/
shot.
Categories: Displays a thumbnail image for each view category in the drawing. As you move your
mouse over the different categories, the views that fall within the category are displayed above it.
Views: Displays the named views that are defined in the selected category. Select the desired view
to activate it in the drawing area.
Play: Enables you to play shots and view categories. When the cursor is over a thumbnail, the Play
button appears in the center of the thumbnail. During playback, the Play button is replaced with
the Pause button. Click on the Pause button to pause the playback. When the playback has been
paused the Pause button is replaced by the Play button.
View Go: Enables you to move the camera to key positions while modifying shots or view
categories. When the cursor is over a view category thumbnail, the View Go button appears in the
upper right-hand corner of the thumbnail. To move the camera to the starting position of the first
shot of the view category, click the View Go button.

Lesson: Leveraging Cameras and Views ■ 465

 You can also right-click any of the view or category thumbnails to access the shortcut menu. You can
arrange, delete, and edit the properties of the views from the shortcut menu.

Procedure: Playing presentation views with ShowMotion

The following steps give an overview of how to play presentation views with ShowMotion.
1. On the status bar, click ShowMotion.
2. To play an animation with all views in the drawing, click Play All on the ShowMotion control.
3. To play an animation with all views in a category, click Play on the category thumbnail.
4. To change the order of the views in the animation, right-click on the desired view, then select
Move Left or Move Right to reposition the view.

Creating Views for Presentation with Show Motion

Using ShowMotion, you can add movement and transitions to named views and captured camera
positions. These animated views are called shots. There are three types of shots: still, cinematic, and
recorded walk. Each shot type has different shot properties.
■ Still shots are comprised of single stored camera positions. When you create a new named view
from the View Manager, the Still shot type is the default type assigned to a named view.
■ A cinematic shot utilizes a single camera position with additional cinematic camera movement
applied.
■ A recorded walk allows you to click and drag along the path of desired animation.
When shots are grouped together into categories, a sequence for the animation is created.

Command Access
New Shot

Command Line: NEWSHOT

ShowMotion shortcut menu: New View / Shot
Showmotion controls: New Shot

466 ■ Chapter 5: Visualization

 The ShowMotion shortcut menu is displayed when you right-click the ShowMotion
button on the status bar or when you right-click on the thumbnails of any view or
category when the ShowMotion controls are activated.

New View/Shot Properties

When you create or edit a view/shot, the following options are available.

View Name: Specifies the view's name.

View Category: Specifies a category for the named view. Select a view category from the list, enter
a new category, or leave this option empty.
View Type: Specifies a view type of Still, Cinematic, or Recorded Walk. The Recorded Walk view
type is not available when you create a shot in paper space.
View Properties: Controls whether the animation will continue with the first view after it reaches
the last one.

Lesson: Leveraging Cameras and Views ■ 467

 Transition: Defines the transition type to use when playing back a view and sets the length of time
for the transition.
Motion: Defines the behavior of the motion to use when playing back a view. You will have
different options depending on the view type. You will also have different options if you are in
model space or paper space when you create the new shot.
Preview: Previews the transition and motion assigned to the view.
Loop: Continuously plays back the transition and motion assigned to the view.

Procedure: Creating views for presentation with ShowMotion

The following steps give an overview of creating a new view/shot.
1. On the status bar, right-click ShowMotion. Click New View/Shot.
2. For View Name, enter the desired name of the new view/shot.
3. For View Category, select a category from the list or enter a new category.
4. Select the desired type from the View Type list.
5. On the Shot Properties tab, under Transition, select the transition type and duration.
6. Under Motion, specify the desired values depending on the view type that you selected.
7. On the View Properties tab, under Boundary, select current window to use the current display as
the new view or define a boundary for the new view.
8. Under Settings, specify the UCS, Live Section, and Visual Style you want to associate with the
new view.
9. Under Background, assign a background image.
10. Click OK.

468 ■ Chapter 5: Visualization

Exercise: Create Camera Views
In this exercise, you create cameras and adjust 4. To create a camera:
their properties to use a background image and live ■ Click near point (1) then near point (2)
sectioning from a section plane object. indicated.
■ Press ENTER.

The completed exercise

Completing the Exercise 5. To adjust the camera:

To complete the exercise, follow the ■ Select the camera glyph. The Camera
steps in this book or in the onscreen Preview window is displayed.
exercise. In the onscreen list of ■ Adjust the camera by selecting its position
chapters and exercises, click Chapter and target grips and dragging the grips as
5: Visualization. Click Exercise: Create shown.
Camera Views.

1. Open C_Create-Camera-Views.dwg.
2. In all drawings using materials, these two
settings must be made to make materials
visible:
■ On the Render tab > Visual Styles panel,
verify that Realistic is selected.
■ On the Render tab > Materials panel, verify
that Materials and Textures On is selected.
3. On the Render tab > Camera panel, click Create
Camera.

Lesson: Leveraging Cameras and Views ■ 469

6. Continue to adjust the camera so that 8. On the Home tab > View panel, View selector,
the preview looks similar to the following select Camera1 in the View list.
illustration.

9. On the Layers list, thaw the 2nd Floor layer. This

layer contains the ceiling objects for the first
floor.
10. On the Home tab > View panel, select View
Manager in the View list.
7. To adjust the camera's properties: 11. To configure the camera view properties:
■ With the camera selected, open the ■ In the View Manager dialog box, under
Properties palette. Model Views, select Camera1 and adjust
■ Adjust the Camera Z and Target Z properties the Layer Snapshot and Visual Style
as shown. properties as shown.
■ Click Apply.
■ Click OK.

12. To test the changes to the camera view

properties:
■ On the Home tab > View panel, select
Southeast Isometric in the View list.
■ Freeze the 2nd Floor layer.
■ On the Home tab > View panel, select
Camera1 in the View list.

470 ■ Chapter 5: Visualization

 The camera view appears as shown. The 2nd 14. Adjust the camera so that the Camera Preview
Floor Floor layer is thawed and the Conceptual window appears similar to the following image.
visual style is applied.

15. On the Home tab > View panel, select View

Manager in the View list.
16. To apply a live section to the view:
■ In the View Manager dialog box, select
Camera2.
■ In the Visual Style property list, select 3D
Hidden.
■ In the Live Section property list, select the
first Section Plane (1).
13. Create a camera in the rear of the house as ■ Click Set Current.
shown. ■ Click OK.
Note: You may need to adjust the position in 17. On the Layer list, thaw the 1st Floor Sections
different views. layer.
The layer containing the section plane must be
thawed for live sectioning to work.

18. On the Layer list, turn the 1st Floor Sections

layer off.
If the layers containing section planes are off,
live sectioning still works, but the plane is not
visible.
19. To add a background image to the Camera1
view:
■ On the Home tab > View panel, select View
Manager in the View list.
■ In the View Manager list, select Camera1.
■ In the Visual Style property list, select
Realistic.
■ In the Background Override property list,
select Image.

Lesson: Leveraging Cameras and Views ■ 471

20. In the Background dialog box, click Browse.
■ Locate and select the Lakeview Lot.jpg.
■ Click Adjust Image.
■ In the Adjust Background Image dialog box,
select Stretch in the Image Position list.
■ Click OK.
21. Your image preview should appear as shown.

■ Click OK to close the Background dialog box.

■ Click OK to close the View Manager dialog
box.
22. Verify that your results look similar to what is
shown by selecting Camera1 from the View list.
Adjust camera properties if necessary.
■

23. Close all files without saving.

472 ■ Chapter 5: Visualization

Exercise: Use ShowMotion
In this exercise, you use the ShowMotion tools to create a presentation within the drawing.

The completed exercise

3. Move your mouse over the thumbnail labeled
Completing the Exercise none, then the thumbnail labeled 1. Click Go.
To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
5: Visualization. Click Exercise: Use
ShowMotion.

Exercise: Create a New Shot

1. Open c_ShowMotion_Cinematic.dwg.
2. To display the ShowMotion controls, on the
status bar, click ShowMotion.
On the ShowMotion controls, click Pin Quick
View.

4. On the ShowMotion controls, click New Shot.

5. In the New View / Shot Properties dialog box,
Shot Properties tab:
■ For view name, enter Start.
■ For View category, enter Exercise.
■ For View type, select Still.
■ For Transition type, select Fade from black
into this shot.
■ For Transition duration, adjust the value
to 2.

Lesson: Leveraging Cameras and Views ■ 473

 ■ For Duration, adjust the value to 3 seconds. 4. On the Exercise category thumbnail, click
■ Click OK. Play. The shots in the Exercise category play in
sequence and look similar to the illustration
6. Move the mouse over the thumbnails labeled when completed.
Exercise, Start. Click Play.

5. On the Show Motion toolbar, click New Shot. In

the New View / Shot Properties dialog box:
7. Save the file as c_showmotion2.dwg and ■ For View name, enter look right.
continue to next exercise.
■ For View category, select Exercise.
■ For View type, select Cinematic.
Exercise: Create a Cinematic Shot ■ For Transition type, select Cut to shot.
■ For Movement type, select Look.
1. Continue from previous execise or open ■ For Duration, adjust the value to 6 seconds.
c_showmotion2.dwg. ■ Select Degrees right and set the value to 90.
2. On the ShowMotion controls: ■ For Motion, select Starting Point.
■ Move your cursor over the Exercise ■ Click Preview. The camera should turn to
category, Start shot. the right and point at the stove.
■ Click Play. ■ If so, Click OK
■ Click New Shot. 6. On the Exercise category thumbnail, click
3. In the New View / Shot Properties dialog box: Play. The shots in the Exercise category play in
■ For View name, enter zoom in. sequence and look similar to the illustration
■ For View category, select Exercise. when completed.
■ For View type, select Cinematic.
■ For Transition type, select Cut to shot.
■ For Movement type, select Zoom In.
■ For Duration, adjust the value to 4 seconds.
■ For Distance, adjust the value to 650.
■ For Motion, select Starting Point.
■ Click Preview. The preview should appear
to fly through the door and look back at it
from the inside out.
■ Click OK.
7. Save the file as c_showmotion3.dwg and
continue to the next exercise.

474 ■ Chapter 5: Visualization

Exercise: Create a Recorded Walk
1. Continue from the previous exercise, or open
c_showmotion3.dwg.
Note: Familiarity with the Walk command is
required for this exercise.
2. On the Show Motion toolbar click Unpin Show
Motion.
3. On the Exercise thumbnail:
■ Click Play.
■ Click New Shot when all the shots have
played.
4. In the New View / Shot Properties dialog box:
■ For View name, enter walk to kitchen.
■ For View category, select Exercise.
■ For View type, select Recorded Walk.
■ For Transition type, select Cut to shot.
■ Click Start Recording.
5. Use the Walk controls to create a short
recording.
■ Move the cursor over the door of the stove
before you click.
■ Hold the mouse button down. The further
you move the cursor from the control point,
the faster you will move.
■ Release the mouse button to stop
recording.
■ Click Preview to review the recorded walk.
■ If necessary, repeat steps 4 and 5 to re-
record the Walk.
■ Click OK to accept the recording.

6. To review your cinematic shot sequence:

■ On the status bar, click Show Motion.
■ On the Exercise thumbnail, click Play.
7. Close the file. If desired save the file as
c_showmation4.dwg.

Lesson: Leveraging Cameras and Views ■ 475

476 ■ Chapter 5: Visualization
 Chapter

Downstream Uses for Your Digital

Prototype
The lesson in this chapter introduces you to some of the potential downstream uses for your digital
prototype.
Creating a 3D model typically occurs at the beginning of the digital prototyping process. Depending
on the design or project, many other steps could be required before your design is manufactured
or constructed. In some cases having a physical model that you can touch and examine, can provide
additional insight to the design and assist in presenting that design to others. 3D Printing enables you
to create a physical, scaled prototype of your design that is both cost effective and easy to produce.

Objectives
After completing this chapter, you will be able to:
■ Output models into a digital format that can be used by common rapid prototyping technologies.

Chapter Overview ■ 477

Lesson: 3D Printing

This lesson describes how to use AutoCAD® 3D printing capabilities. You will learn how to output your
3D model into a digital format that can be used by common rapid prototyping technologies.
With 3D printing you can quickly obtain a physical model of your design for checking. Finding errors or
envisioning ergonomic improvements before committing to expensive production tooling can prevent
costly changes.

Objectives
After completing this lesson, you will be able to:
■ Describe 3D printing and how the technology is being used in different engineering and design
disciplines.
■ Describe how to output your 3D designs to STL supported 3D printing vendors.

478 ■ Chapter 6: Downstream Uses for Your Digital Prototype

About 3D Printing
3D Printing is a process that include several types of rapid prototyping technology. Stereolithography
(commonly abbreviated to STL or SLA) is the technical term for one process that enables you to create
plastic 3D models directly from your AutoCAD composite solid or mesh models.
3D printing is available from many vendors. You can electronically transfer your 3D model directly from
AutoCAD to a vendor and in some cases have a part shipped to you within a few days.

Definition of 3D Printing
3D printing in AutoCAD is the process of electronically publishing a file of a 3D virtual prototype
that can be used to create a physical model. The original file remains intact and a new file is created
with the extension .stl. The new file is imported into a stereolithography machine which creates the
physical model. There are different types of stereolithography processes, each with their strengths and
weaknesses.

Lesson: 3D Printing ■ 479

 Analogy
Here is an easy way to envision how 3D printing works. When you buy Swiss cheese it is sold in several
slices cut from one large block. Each slice is the same thickness, but each has a unique shape. As it is
sliced, the holes inside that you could not see from the outside are revealed.
When you convert your 3D model into an STL file, you digitally slice it into many thin section views.
The STL machine creates a thin layer of plastic that is dimensionally accurate in shape and size to each
section view. It creates each layer in the proper order and permanently attaches it to the previous
layer. Several components of an assembly can be made in place at the same time.

Example of 3D Printing
It is possible to create a part that cannot be made with any other machining process using 3D printing.
Consider the Swiss cheese example where a void area can be created inside of a block. The illustration
below demonstrates how multiple pieces can be created in successive layers to create a moving
assembly.

480 ■ Chapter 6: Downstream Uses for Your Digital Prototype

3D Printing
3D Printing can be used in many imaginative ways.
Assemblies
For manufacturing applications, in one run you can build a working model with multiple moving parts.
Consider the illustration showing the common roller chain. All the parts can be created at one time
using one STL file. No assembly is required.
Tooling
It is possible to create a mold using 3D printing, apply a coating of metal to the SLA part using a plasma
spray application, and use the mold to perform low volume production runs.
Architecture
You can create a complete mockup of a building with fixtures, doors, and even furniture if desired. You
can create a separate roof that can be removed.
Options
Different 3D printing processes can be used for different purposes. You can create lower cost models
that are less durable or higher cost models that are more durable and in some cases more suitable as a
functional part.

Command Access
3DPRINT

Ribbon:
Output tab > 3D Print panel > Send to 3D Print Service
Note: 3D Modeling workspace must be active to see this panel.

Application Menu: Publish > Send to 3D Print Service

Command Line: 3DPRINT

Lesson: 3D Printing ■ 481

 3D Printing Described
When you output your model to a 3D printing service, AutoCAD will generate a file with an extension
of .stl. It will then open a web page linking you to 3D printing service providers where you can upload
your model, get a quote, and order your parts. The service providers can generate manufacturing or
architectural models.

Process: Sending a 3D Print to a Service

1. On the ribbon, click Output tab > 3D Print
panel > Send to 3D Print Service.

2. In the 3D Printing dialog box, click Continue.

3. Select the objects to send. They must be

solids or watertight (closed) meshes.

4. In the dialog box, you may choose to add

more objects to the selection set or use the
Quick Select panel to create a selection set
filter.

482 ■ Chapter 6: Downstream Uses for Your Digital Prototype

5. In the dialog box, you may change the scale
or the output dimensions of the model.

6. Use the preview window to verify what will

be printed. If you choose to edit the output
dimensions, the preview window will not
reflect the changes.

7. Choose a location and file name for the STL

file.

8. Your browser will open and link to the

Autodesk 3D Printing web page. Review
all vendors and select one that meets your
needs. Vendor web sites will provide a link
to upload your STL file and will require your
contact information. You may obtain quotes
and/or order parts.

Guidelines for 3D Printing

Consider the following guidelines when 3D printing:
■ You can 3D print solid models or watertight meshes only. Watertight is a term that describes a
closed model with no openings or loosely joined edges.
■ AutoCAD does not support 3D printing of colors or materials.
■ 3D printed parts have limitations on minimum wall and shell thickness. Take this into consideration
when creating or scaling down models. Check with your service provider for requirements.
■ Determine the correct amount of clearance required for moving parts. Check with your service
provider for recommendations.
■ If a complex model gives you errors during 3D Print, manually union the individual objects together
one at a time, and retry 3D Print.
■ The preview window will help you to determine if the model will print correctly. Expand the 3D
Printing Pane preview to ensure all selected objects are present.

Lesson: 3D Printing ■ 483

Exercise: Create a 3D Print
In this exercise, you will export a 3D model to a 3D 1. Open C_3dPrint.dwg.
printing service provider. Note: The 3D Modeling Workspace must be
active for this exercise.

The completed exercise

2. On the Output tab, click 3D Print panel > Send
to 3D Print Service.
Completing the Exercise
To complete the exercise, follow the
steps in this book or in the onscreen
exercise. In the onscreen list of
chapters and exercises, click Chapter
6: Downstream Uses for Your Digital
Prototype. Click Exercise: Create a 3D
Print.

484 ■ Chapter 6: Downstream Uses for Your Digital Prototype

3. In the 3D Printing dialog box, click Continue. 5. In the Send to 3D Print Service dialog box, note
the scale and output dimensions option. Do not
change them for this exercise.

6. In the Send to 3D Print Service dialog box,

review the preview window. What appears
here is what will be exported for 3D printing.
Click OK.
4. In the drawing, select the two solid model
shells and press ENTER.

Note: If you change the output dimension

values, the changes will not be reflected in the
preview window.

Lesson: 3D Printing ■ 485

7. Create a folder named 3D Printing. Name the 9. Close all files. Do not save.
file C_3dPrint.stl.

8. The Autodesk 3D Print Service web page is

opened. Review the information about 3D
printing vendors. If you select a vendor, the
links will take you to the vendor web sites
where you can request a quote and place an
order.

486 ■ Chapter 6: Downstream Uses for Your Digital Prototype

 Appendix

Additional Resources
A variety of resources are available to help you get the most from your Autodesk® software. Whether
you prefer instructor-led, self-paced, or online training, Autodesk has you covered.
For additional information please refer to the disc that accompanies this training guide.
■ Learning Tools from Autodesk
■ Autodesk Certification
■ Autodesk Authorized Training Centers (ATC®)
■ Autodesk Subscription
■ Autodesk Communities

Learning Tools from Autodesk

Use your Autodesk software to its full potential. Whether you are a novice or advanced user, Autodesk
offers a robust portfolio of learning tools to help you perform ahead of the curve.
■ Get hands-on experience with job-related exercises based on industry scenarios from Autodesk
Official Training Guides, e-books, self-paced learning, and training videos.
■ All materials are developed by Autodesk subject-matter experts.
■ Get exactly the training you need with learning tools designed to fit a wide range of skill levels and
subject matter—from basic essentials to specialized, in-depth training on the capabilities of the
latest Autodesk products.
■ Access the most comprehensive set of Autodesk learning tools available anywhere: from your
authorized partner, online, or at your local bookstore.
■ To find out more, visit http://www.autodesk.com/learningtools.

Autodesk Certification
Demonstrate your experience with Autodesk software. Autodesk certifications are a reliable validation
of your skills and knowledge. Demonstrate your software skills to prospective employers, accelerate
your professional development, and enhance your reputation in your field.

Appendix: Additional Resources ■ 487

 Certification Benefits
■ Rapid diagnostic feedback to assess your strengths, and identify areas for improvement.
■ An electronic certificate with a unique serial number.
■ The right to use an official Autodesk Certification logo.
■ The option to display your certification status in the Autodesk Certified Professionals database.

For more information:

Visit www.autodesk.com/certification to learn more and to take the next steps to get certified.

Autodesk Authorized Training Centers

Enhance your productivity and learn how to realize your ideas faster with Autodesk software. Get
trained at an Autodesk Authorized Training Center (ATC) with hands-on, instructor-led classes to help
you get the most from your Autodesk products. Autodesk has a global network of Authorized Training
Centers which are carefully selected and monitored to ensure you receive high-quality, results-
oriented learning. ATCs provide the best way for beginners and experts alike to get up to speed. The
training helps you get the greatest return on your investment, faster; by building your knowledge
in the areas you need the most. Many organizations provide training on our software, but only the
educational institutions and private training providers recognized as ATC sites have met Autodesk's
rigorous standards of excellence.

Find an Authorized Training Center

With over 2000 ATCs in more than 90 countries around the world, there is probably one close to you.
Visit the ATC locator at www.autodesk.com/atc to find an Autodesk Authorized Training Center near
you. Look for ATC courses offered at www.autodesk.com/atcevents.
Many ATCs also offer end-user Certification testing. Locate a testing center near you at
www.autodesk.starttest.com.

Autodesk Subscription
Autodesk® Subscription is a maintenance and support program that helps you minimize costs,
increase productivity, and make the most of your Autodesk software investment. For an attractive
annual fee, you receive any upgrades released during your Subscription term, as well as early access
to product enhancements. Subscription also gives you flexible license terms, so you can run both
current and previous versions (under certain conditions) and use the software on both home and
office computers. In addition, Subscription gives you access to a variety of tools and information that
save time and increase productivity, including web support direct from Autodesk, self-paced learning,
and online license management.
Autodesk Subscription offers a way to make software costs predictable. Whether a customer opts
for a one-year subscription or a multiyear contract, the costs are known for the entire term of the
contract.
A complete library of interactive learning tools and high-quality, self-paced lessons help users
increase their productivity and master new skills. These short lessons are available on-demand
and complement more in-depth training provided through Autodesk Authorized Training Centers.
Autodesk Subscription makes managing software licenses easier. Customers have added flexibility
to allow their employees to use their Subscription software—in the office or at home. Better yet,
designers are entitled to run previous versions of the software concurrently with the latest release
under certain conditions.

488 ■ Appendix
 Get what you need to stay productive. With web support Autodesk support technicians provide
answers to your installation, configuration, and troubleshooting questions. Web and email
communications deliver support straight to your desktop.
For more information visit www.autodesk.com/subscription.

Autodesk User Communities

Autodesk customers can take advantage of free Autodesk software, self-paced tutorials, worldwide
discussion groups and forums, job postings, and more. Become a member of an Autodesk Community
today!

Free products are subject to the terms and conditions of the end-user license
agreement that accompanies download of the software.

Feedback
Autodesk understands the importance of offering you the best learning experience possible. If you
have comments, suggestions, or general inquiries about Autodesk Learning, please contact us at
[email protected].
As a result of the feedback we receive from you, we hope to validate and append to our current
research on how to create a better learning experience for our customers.

Useful Links
Learning Tools Communities
www.autodesk.com/learningtools www.autodesk.com/community
Certification Student Community
www.autodesk.com/certification www.students.autodesk.com
Find an Authorized Training Center Blogs
www.autodesk.com/atc www.autodesk.com/blogs
Find an Authorized Training Center Course Discussion Groups
www.autodesk.com/atcevents www.discussion.autodesk.com
Autodesk Store
www.store.autodesk.com

Appendix: Additional Resources ■ 489

490 ■ Appendix