MODELING BASICS

Introduction to 3D | 2006

c 2006 Gray Holland | a production of

LEARNING ALIAS STUDIO

Why learn Alias Studio...?

...for that matter any 3D design tool?
Its simple. To take control of your designs.
This tool empowers your ideas.
It allows you to execute your ideas with superior...
Accuracy
Integrity
Clarity
Studio is a communication tool, one that uniquely operates on many
levels: Conceptually, Visually, and Technically. This tool allows the
Industrial Designer to play powerfully on the digital playing field,
joining the engineering and manufacturing world on its own terms:
>> Digital 3D Data.
This 3D data drives photorealistic renderings and animations,
communicating clearly a designs function, materials, form, and
intention. 3D data removes the possibility of re-interpretation of your
ideas because this data maintains the ideas integrity throughout the
development process exactly, all the way through manufacturing.
Lastly, Studio will engage you in the craftsmanship of your
designs. Digital does not have to mean the elimination of Human
qualities. This tool can be the connection of artfully crafted designs
with mass produced manufacturing technology.

Now the only question is how to get started...?

This document is designed as a guide. It is a short-hand reference
focused on presenting just information you need to know in order to
get started. This document provides support as you journey through
your self-training experience. It is crafted to support you through
entry, deep into the world of computer aided industrial design.
This document is not designed to cover all the tools in great detail.
For drilling down deeply into Studios large tool set, please use the
extensive support included in StudioTools Help (found right under
Help in the Menu Bar).
It is your complete guide to Studios software.
>> The StudioTools Help can be very useful to drill in more thoroughly
into the individual tools and options.

interface | 

NAVIGATION

interface | 

Virtual 3D Space:
First things first. Using any type of software necessitates learning its
Graphic User Interface (GUI). And 3D modeling software presents
some of the highest challenges in the industry, mainly because of the
limitations of hardware. You are using 2D tools to do a 3D job: the
mouse provides two-axis input on a 2D computer display, and the
keyboard allows for input of alphanumeric information.
So how does one use these tools to manipulate the 3rd Dimension?
There are three levels of interface and convention that allow hardware
and software to work together for 3D interaction:
Level 1: Hardware
3D is principally brought into play through the use of a three-button
mouse in coordination with keyboard commands.
Level 2: 3D Virtual Space
The next level of interface is based on a virtual 3D environment.
At the center of this Global Space are three vectors (or axes) that
define this space: X, Y, Z. All spacial orientation in this virtual world is
measured from the Origin of these three axes.
>> Navigating in this 3D space is accomplished by pressing the
Shift and Alt keys while mousing down on any of the three mouse
buttons: RMB (right mouse button) facilitates Tumble in the
perspective window (only), MMB (middle mouse button) initiates
tracking or panning, and LMB (left mouse
button) produces zooming in and out of the scene.

Hold -> Shift Alt

Allows for quick
switching between
S+A
types of navigation

Tumble
(perspective only)

Pan

Dolly

interface | 

USER INTERACTION PHILOSOPHY

Level 3: Global Interface

This last level puts it all together: the hardware inputs, the virtual
3D space, and the software modeling and visualization tools. By
learning this 3D GUI environment, you are essentially learning a new
language. The chart below attempts to classify the layers of access
to this new language and how it is organized and controlled.

Organization of Tools and Actions:

Its all about the focus. This chart describes the layers of access to
the tools and how they are organized based on the importance and
frequency of use. The PLE version of Studio has been customized to
improve your ease of learning and productivity in design.

As you learn the hierarchical interactions, the interface will fade into
the background, and with fluency design becomes your primary focus.
Learning this tool will take practice, even some memorization, but the
more you use it the faster fluency takes over...

ALWAYS

SOMETIMES

Reflex Action (muscle memory) >> Pre-Cognitive

MODE

Cognitive >> (thought) Strategic Action

MOST OFTEN

MARKING MENUS
>> embedded muscle memory
HOT KEYS
>> memorized

FREQUENCY

Alt Z
Alt A
Ctrl X
Alt C
Alt V
Alt D
Alt G

- Undo
- Redo
- Cut
- Copy
- Paste
- Duplicate
- Group

>> Please refer to the Appendix

(pages 3-4) for two views on all
of the Marking Menus and Hot
Keys. Print these pages out and
keep them by your side as you go
through the training material for
instant reference...

PANEL and SHELF

>> focused around given task

LEAST OFTEN

MENU BAR and TOOL PALETTE

>> less frequently used

interface | 

WINDOW SYSTEM

Perspective and Orthographic Windows:

The view of this new virtual world comes through four windows
which are made up of three orthographic (side, front, and top) and
one perspective window. They can be expanded and contracted
with the icon on the upper far right corner of each window.
Navigation of and within the windows will be your primary activity
within this 3D space, constantly tumbling and dollying in and out,
changing perspective to allow for the evaluation of your design work.

Below is a short list of Hot Keys

that control various window and
layout options:
F4
All 4 Windows
F5
Top View
F6
Right View
F7
Front View
F8
Perspective View
F9
SBD (see page 9)
Alt 5 Full Screen View
Ctrl Z Previous View

>> The Grid option box enables

you to edit the resolution of the
grid in the set units and sub-units
Ctrl G Toggle Grid
Toggles the grid on and off

The Viewing Panel in the

perspective window
enables fast view
changes and view
book marking. It
can also toggle
perspective and
isometric viewing.

Alt L Look At
This command will frame any selected
objects while making it the tumble center.
If nothing is selected then all objects
in the scene are framed and centered.
This is a great workflow aid, keeping you
focused on your work.

Camera Switcher
allows switching
between multiple
perspective
cameras.

The Point of Interest

icon can be placed
interactively on any
object, manually
making it the tumble
center for the camera.

Hold -> Shift Alt

Allows for fast
switching between
S+A
types of navigation

Tumble
(perspective only)

Pan

Dolly

S+C

>> The Window tab in the Default

C
Panel contains relevant tools:
create New Cameras, adjust Clipping
Plane, Synch Ortho Windows, Refresh
A
Layout, Toggle Smooth Objects, adjust
Grid, adjust GUI colors, and Capture
Active Window snapshots.
C+A

>> On the Construction Shelf there

are three set units icons for fast
switching between common units of
measure.

interface | 

FILE STRUCTURE and MANAGEMENT

Opening and Saving Files:

Opening and saving files is a basic software concept you are familiar with, but there
are particular types of files and folder organization that are unique to Studio and worth
noting. Folder structure is the fundamental level of organization and important for good
housekeeping. The .wire files are the working 3D file format for native models, and are
saved in the Wire folder. There are also Shaders, Lights, Environments, Textures, and SDL
folders for files involved in rendering and texture mapping. The Pix folder is where renderings
are rendered to, but also are the home for all image files to be used for any kind of image
texture mapping.

Alt R Open File

Alt S Save All As
Ctrl S Save All

The list below covers the minimum recommended file structure to follow new projects:
project_name -the project folder title
pix -stores the rendered images and image maps for any texture images
wire -stores the 3D data files created by Alias

Alias creates a very large number of folders by default. It is necessary to maintain this large
number of folders only for the Demo project (see below). This project should be thought of
as the library, storing all image maps, textures, shaders, and generic wire files for
repeated use.

Naming of files can be very subjective. The key here is to communicate clearly with your
naming, while keeping it simple. The usual naming structure involves a number of stepped
history files documenting the evolution of the given design. You should save these steps
liberally. Better to have too many stepped files than to have skipped an important step, and not
be able to go back easily, and reclaim work.
Appropriate naming conventions could be as follows:
cube10.wire
-sets up the file lineage
cube11.wire
cube12.wire
-and so on (book marking your progression)
cube20.wire
-marks a big change worth noting
cube57fini.wire
-marks the final iteration
cube57_stitch.wire -marks the stitched part files for data exchange
cube_rendo1.wire -indicates a rendering specific file
>> The bottom line: you want your naming to be as informative and concise as possible. And
dont forget to save often (disk space is cheap; your time is not). Your idea is only as good as
the last time you saved!

interface | 

WORLD SPACE AND OBJECT TRANSLATION

Controlling Objects in Global Space:
The foundation of any 3D software is its coordinate system: a global space defined by three axis vectors (X, Y, Z).
Each object has a reference point called the Pivot Point, which is the functional axis point for all transformations.
Every object, and every grouping of objects has its own Pivot Point, and every translation of any object or group is
defined around this relative Pivot Point. A given Pivot Point can be placed anywhere relative to its given object or
grouping (that is, centered on some part of its geometry, or even off of the object) in order to precisely transform that
object. Another detail of the basic transformation of objects is the differentiation of Absolute or Relative space.
>> It is recommended to stay in absolute mode except when performing relative transformations.
Every operation starts with selecting an object, followed by
executing an operation. The basic procedure is as follows:

>> While in transformation mode,

switching between Absolute and
Relative space is accomplished
by typing (and entering) either
A or R respectively (while in
transformation mode).

Shift Alt I Info Window

>> Info Window provide numerical
access to X, Y, Z transformations.

1] Select an object,
2] If necessary, Re-position the selected objects Pivot Point,
3] Transform (Move, Rotate, Non-p, Scale) selected object.
Snapping Constrains:
There are several sets of constraints that can be used together to
accurately control objects in this virtual 3D space:
First there are the three axis constraints (mapped to the mouse
buttons from right to left: X, Y, Z); second, there are the three
snap modes (Grid, Point, and Curve snap). Together they can be
combined with transformations to produce 3D alignments and object

Object and its Pivot Point

Z
>> The Information Window gives you a numerically
precise access to the any selected objects or groupings
translational information. Fields can be directly manipulated,
(and the object can be named within this editor).

Grid snap

Point snap

Curve snap

press >> Alt

press >> Ctrl

press >> Ctrl Alt

>> Press Shift - (while in transformation mode)

momentarily toggles into picking mode.
>> Constraints respond to proximity... Notice that they will snap to
the closest constrain attribute on screen (such as grid or point).

>> Remember, after the chosen objects are selected, you must not
touch any other objects while in the transformation mode; just clickdrag up to the thing you are snapping to (except for Curve Snap,
where you will have to touch the given curve itself).

>> While in Absolute mode, all transformations are measured in

respect to the Global origin (0, 0, 0).
>> While in Relative mode, all transformations are measured relative to
the objects current location.

interface | 

LAYERS and GEOMETRY DISPLAY

Object Management with Layers:

Understanding and using the Layer system for
object management is integral to good workflow
and performance. Use layers to organize your work
by assigning sets of objects to specific layers. One
part per layer is the recommended strategy. Layers
are useful for, but are not limited to:
Rendering Pickable Layers only
Hardware shading Pickable Layers
Colorizing wire look and feel per Layer
Speed of navigation through complex models
Optimizing workflow with Creation Layers
Hiding and showing data
Symmetric display of objects on a

per Layer basis
View entire model while working on one part
at a time
Each layer has individual display options:
Visibility (on and off)
Symmetry (renderable)
States -> Pickable (renderable and
interactive)

Reference (snappable only)

Inactive (templated)
Organize your model with layers:
By working on one part at a time, one Layer at
a time (via the Creation Layer), newly created
objects are automatically assigned to that Creation
Layer (by default). By setting all the layers to some
sort of non-active state, you can pop around from
layer to layer, making the selected layer active
(Creation), and keep your work well organized and
efficient.
>> In the illustration on the right, while the bike
sprocket Layer is the active Creation Layer, it is
shaded (along with the frame and rear layers).
The key layers are either Reference or Inactive,
allowing just their wireframes to be seen for
reference, but without being fully shaded.

Default Layer:
It is always present, pickable, and
visible. Keep all camera and lights on
this layer. Keep this layer free from
geometry data, using it as a temporary
workspace.

Creation Layer:
The active Layer (highlighted in yellow) that you are
currently working on.
Invisible layers:
Self explanatory.

Pickable layers:
Objects on a layer are pickable by
default. You can change this attribute
on any layer except the default layer,
which is always pickable and visible
(background gray).

Default Panel > Layers tab:

The Layers tab covers
frequently used tools:
Create New Layer,
Delete Unused Layers,
Set Symmetry Plane,
and Create Symmetry
Geometry.

Reference layers:
Objects on these layers cannot be
picked or rendered, but you can snap to
them. This state allows curve snapping
to all the objects in that layer. CVs
and edit points are not displayed on
reference layers, and therefore not
snapable (orange).
Inactive layers:
You cannot pick, snap, or render any
objects or nodes on the inactive layers.
This behavior is similar to templated
objects, but is displayed in a different
color (light gray-blue).

Symmetry:
Symmetry can be toggled on and off on
a per layer basis. Layer Symmetry is for
visualization only and helps to keep file
size at a minimum (The symmetrical side is
represented with a dotted wireframe).

Alt T

Toggle Template
Toggles selected object(s) to and from a templated
state (gray) on a per-object basis.

Ctrl T Pick Template

Selects templated objects.

Alt V

Paste > Options

Default pasting is set up to paste onto Creation Layer.
>> There is a no layer change option for Paste
(Default Panel > Main tab), pastes copied objects with
their original Layer intact.

Alt B Toggle Box

Toggles selected wireframes
to a (blue) bounding box
representation.

interface | 

SBD, GROUPING and UNGROUPING OBJECTS

F9 SBD:

Node definition:
The SBD is populated with transformation nodes. Every node stores
and maintains it own relative transformational information (this is all the
Translate, Rotate, and Scale info in the Information Window).

The Scene Block Diagram is an alternative and abstract way to look at (and select) the objects in a given scene (surfaces,
curves, lights, cameras, etc.) in an iconic way (Nodes). The purpose of this type of view is to understand the given objects
relationship within the hierarchical structures of the given grouping.
Transformation Node
Animated Node

Parent Node

Camera Group
Child Node

COS

Geometry Node
Surface

Solid Texture

Image Plane

Curve

Stitched

Alt G Grouping:

Shift Alt I

Grouping is a way to organize sets of objects under one Node

which allows that Group to behave as ONE object. You can group
Groups, and so on, thus allowing the creation of multiple levels of
grouping hierarchy. This process is fairly straightforward, but there
are several way to Ungroup that produce very specific results

Object Lister: [Menu > Windows]

An alternative to the SBD.
The Object Lister represents the
entire scene in a vertical format
including a hierarchical data tree
that will expand and contract
interactively. It can also organize its
display based on geometry layers.

Ungrouping: [Default Panel > Main tab]

There are five ways to ungroup objects,
three of which are primarily useful.
Delete Node:
Deletes the parent node of a selected group without
disturbing the position of its children.
>> The Preserve Position option needs to be always turned
to Yes in all instances of ungrouping.
Collapse:
Completely collapses the whole hierarchical structure
of a selected group(s), making ALL of the children
independent and singular nodes, zeroing all of the
transformations in the process
Extract:
Extracts a selected child from a given group
without disturbing its position.

Info Window

Copy Node:
and Move Up:
Not very useful for
ID applications.

interface | 10

GLOBAL vs LOCAL TRANSFORMATIONS

Global Move and Rotate: [Marking Menu: MMB]

Global Translational and Rotational transformations use the Global
Spaces three axis coordinate system (X, Y, Z).

>> An important note for CV manipulation:

Whether you are performing Global or Local transformations on CVs,

you must be in Relative mode for those CV transformations to work.

Mirroring Objects: [Default Panel > Main tab]

Geometry can be mirrored by duplicating it across the given axis with a
negative scale value (-X, -Y, -Z).
>> Remember that
Duplication uses the
objects Pivot Point as
its point of mirroring.

Move > Local:

Rotate > Local:
[Default Panel > Special tab]

Local transformations use

an objects own coordinate
system, meaning that the

-X

objects node has its own

x, y, z. This local coordinate
system can be used
to produce particular
transformations not possible
within the Global system.
>> In the sample above, the cylinder on the left is performing a
Local Move in its z-axis. The cylinder on the right is executing a
Local Rotation also about its z-axis.

Zero Transforms: [Default Panel > Main tab]

This tool zeroes out the transformation info of
a selected Node. It is recommended to Zero the
Transforms of any mirrored object or group.

modeling | 11

ANATOMY OF A NURBS CURVE

3rd Degree Curve: [Concept Shelf]

Curves are the first level of definition of your design. They are the
geometric entities that delineate your desired design qualities
through the unseen mathematics of CAD. They are used to draft,
build surfaces, project Curves-on-Surface (COS), trim other curves,
and so on.
The curve you see below represents third degree geometry, which is
to say that it is a polynomial equation of the third power, something
like X3 + cosY3 = N

1st SPAN

CONTROL VERTICES (CVs)

There are many degrees of curves possible in Studio (1st, 2nd, 3rd,
5th, and 7th), but we will only concern ourselves with 3rd degree
geometry for now.
end

This type of geometry in its simplest form has 1 span, 4 CVs,

and an edit point at each end. As you add more CVs you add
corresponding edit points and spans.

start
HULL
Control Vertices (CVs):
CVs are the primary controlling elements of curves (and surfaces).
They effectively act on their geometry like gravity, pulling the curve
(or surface) towards each of the CVs, sharing their relative influence.
Hulls:
Hulls make up a control polygon connecting the CVs in a linear
fashion. It is often useful to select and manipulate a hull, transforming
a whole row of CVs at once.
Edit Points:
Edit points lie on the curve itself. They define the parameterization
of the given curve. They can be directly manipulated, but it is not
recommended because it produces unpredictable results. Edit points
(for curves) are the direct analog to isoparms (for surfaces).
Spans:
Spans are the sections of the curve that lie between the given
edit points.

EDIT POINTS

modeling | 12

KEY POINT LINES, ARCS, and MEASUREMENT

Key Point CAD: [Curve Shelf]

Key point lines and arcs are CAD tools. These tools are useful in 2D
drafting, laying out packaging info, and other quick measurements.
These tools have smart attributes that know their own dimensions,
mid-points, and orientation. Key lines and arcs have interactive midpoint keys, and arcs have key points that mark their centers.

>> Guides are very useful at

times, but can also get in the
way while manipulating Key
Points. Delete Guides (on the
Curve Shelf) eliminates them.

>> Arcs are particularly heavy in data. It is a good idea

to rebuild them when using them for surface generation
(Curve Shelf > Rebuild Curve tool). A two span curve
will capture the arc quality and still be light.

Alt F

Drag Key Point:

This tool allows the manipulation of Key Point lines and arcs through
direct manipulation of the Key Points themselves.
Guides:
Key Point lines and arcs create automatic guidelines that anticipate
relative orientations and alignments. Snapping to any line automates
both tangent and perpendicular guidelines.
>>While in Curve Snap (Ctrl Alt), planar lines have an automatic
snapping feature at their intersections.

Key Line

>> The information window gives you access to controlling the basic
attributes of the Key Lines and Arcs. Length, angle, sweep, radius can
all be modified at any time.

>> The Pick Locator tool

allows the relative repositioning
of a locator. Locators can also
be selected with this tool and
then deleted (with Alt X).

Locators and Measurements: [Construction Shelf]

There are several measurement tools for evaluating relative distances,
angles, radii, and so on.
>> Use Curve Snap to lock locators to selected geometry, then the
measurements will update interactively with any manipulation.

modeling | 13

ANATOMY OF A NURBS SURFACE

3rd Degree Surface:

Developing surfaces for our design ideas is why we are using Studio.
It is with surface geometry that we construct these ideas, and with
renderings and data we can communicate our designs. All the rules
for creating curves apply to surfaces. The difference is that surface
geometry is described as having two parametric directions named
U and V. Think of these 2 directions as defining a 2D grid that is
then warped into 3D space (the surface still defines its own 2D
area even though that area is warped into 3D space). The simplest
surface consists of a span in each U and V direction, resulting in a
one span square patch of surface, with a control network of 16 CVs.

Isoparms:
Isoparms are the surfaces equivalent to the curves Edit Points.
They lie on the surface itself. Isoparms define the parameterization
of that given surface. They constitute the visual wire frame that you
typically see in computer 3D surfaces.

U SPAN

SURFACE
ORIGIN

V SPAN

>> All NURBS surfaces have four edges. This is even true for
geometry that looks to have fewer sides: In the case of the section
of a sphere below, the top and bottom poles are concentrated in
single points (the CVs are all on top of each other),
resulting in the illusion that it has
only 2 sides. These poles are called
degenerative sides.

edge 2

edge 1

edge 3

edge 4

ISOPARMS

HULL

CONTROL VERTICES (CVs)

modeling | 14

GOLDEN RULES FOR MODELING

Alt I

Parameterization:
This describes the placement of edit points and isoparms of curves
and surfaces. Depending on how you create and alter an objects
parameterization, you can achieve good or bad results. The follow list
is a set of general rules that will guide you towards the best results,
as well as help manage quality surface development throughout the
modeling process:
[1] Keep it simple, keep it light
Start surfacing with as few CVs as possible, creating even less data
than you know you will need later. The strategy involves sculpting the
lightest surfaces, then adding (using Alt-l to insert CVs) more control
only where and when needed. Models evolve from simple forms,
gaining complexity proportionally to the designs refinement.

Insert
>> Press Alt - (momentarily) while Inserting
automatically snaps half way between
isoparms or edit points.

>> Highlighted Isoparms indicate the

affected range of influence.

[2] You can always add control (insert CV), but you should not
take it away (delete CV)
It is possible to use Delete Active to remove CVs, but it seems to
damage the quality of the curve or surface. Rebuild Surface is the
only quality way to reduce data effectively. Sometimes a complete
manual recreation is necessary to lighten data properly.
[3] Always insert halfway between edit points, or isoparms
This practice ensures the best quality and most control of surface
character. To accomplish this, after invoking Insert > Alt I, press the
Alt key while selecting the approximate insertion position, and the
green indicator snap to mid-points, halfway between isoparms.

2 Spans of Influence
Influence
Boundaries
A CVs Range of Influence:
The surface above, and its edge section below,
illustrates the influence of CVs. The CVs have
a smooth roll off of affect on the surface (and
the curve) for two spans in each direction. This
is indicated by the white highlighting of the
isoparms (and curves) showing the CVs range
of affect. This is a valuable interactive feedback,
allowing you to anticipate and compensate
by inserting more CVs for tighter regions of
parameterization.

[4] Transform CVs, not Edit Points

This also is a control issue. You will have more control of your
curves by sticking to CV manipulation. Moving edit points has some
problematic and unpredictable results. Also, surfaces do not have edit
points to manipulate, so pulling CVs is your only real option.
[5] If youre not pulling CVs, youre not using Alias
One of Alias most powerful features is the ability for you to
manipulate the interior of a given surface via its CVs (most systems
only allow you to edit the boundaries of surfaces, a big limitation
when free-form sculpting).

<< 2 Spans

Influence

2 Spans >>

modeling | 15

TRIM and DETACH

F11 Trimming:
A surface can be trimmed into any shape imaginable. This
functionality effectively hides part of the surface without actually
changing it. Trimming only occurs along closed boundaries of
geometry edges and Curves On Surface (COS).

Detaching: [Concept Shelf]

A surface (or curve) can be broken along isoparametric lines. This type
of operation is permanent, and should be carried out with care.

>> Trimming has several options to select which

regions will be trimmed:
Keep keeps the selected regions
(like in the sample to the left).
Discard removes the selected regions.
Divide splits the surface into two (useful when breaking
a single surface into two materials), although it will not
respect trim history like Keep and Discard will.
>> If a history update is desired, make two copies of
the surface and create COS on each before trimming.

F12 Untrimming:
Untrimming reverses the trimming
function. These two functions can be
invoked back and forth endlessly to produce
the desired design intention. Trimming behavior remembers
successive trims, and thus untrimming steps back one step at a time.
>> Untrim > all: [Default Panel > Special tab]
This option untrims through all the historical trimmed steps to
completely untrim the selected surfaces.

Ctrl D Detach
>> Press Ctrl - (momentarily) while detaching to automatically snap to
isoparms or edit points, then execute.
>> It is recommended to always Detach at Isoparms or Edit Points.

>> WARNING: Be very careful when

using Detach: it permanently
changes the given surface.

>> Notice that the CV control polygon remains exactly the same after
trimming: the underlying geometry remains unchanged...

Curves On Surface: [COS]

Curves On Surface are a special entity that can define any shape on
a given surface. They are like normal curves that are trapped in the
given U-V parameter space of the surface itself. It is a very important
component of 3D modeling because it allow you to define surface
edges that do not follow the square nature of the U,V parametric
directions.

modeling | 16

PROJECT COS

Project View: [Default Panel > Create_COS tab]

This tool takes the selected surface(s) and projects the subsequently
selected curves (or isoparms), creating COS on the surfaces. It uses
the active orthographic view to determine the projection vector.

>> This tool has full history

update. After transforming
surfaces, curves, or CVs trim
edges automatically update.

Project Normal: [Default Panel > Create_COS tab]

This tool takes the selected surface(s) and projects normally
(perpendicularly) the subsequently selected curves (or isoparms),
creating COS on the surfaces.

1] Project curves onto surface,

based on orthographic view.

1] Project curves onto surface,

based on the curves closest
normal projection.

2] Trim (F11) desired regions.

2] Trim (F11) desired regions.

>> This tool also has full

construction history update.
>> Alt . Suspend History
This suspends the history updates
until toggled on again. Useful with
complex history chains.

modeling | 17

INTERSECT SURFACES and DRAW COS

Intersect Surfaces: [Default Panel > Create_COS tab]

This tool takes a set of selected surfaces and intersects them with a
subsequent set of selected surfaces, creating COS on both sets of
surfaces. This is the most common way to create Curves on Surface.

1] Intersect selected surfaces,

based on spacial intersections.

Draw COS: [Default Panel > Create_COS tab]

This tool allows you to draw a COS directly onto a selected surface.
This method for COS creation is not very accurate: better results come
from projecting curves, but it is a quick way to close a trim region that is
just slightly open.
The History Concept:
History describes topological dependency of one
object to another. It maintains daisy chains of
actions taken on curves and surfaces to update
after any changes made at any level.

Alt . Suspend History

2] Trim (F11) desired regions.

>> Intersect has 2 useful options:

Intersect > Both is the most useful, and puts COS on
both sets of selected surfaces.
Intersect > 1st is useful in special situations, and puts
COS on only the first set of selected surfaces.

>> In the example to the left:

If either the sphere or the cube
is transformed in any way,
their trimmed intersections
update automatically.

modeling | 18

PERIODICALS

Circular Geometry:
A periodic is any revolved or closed surface (or curve):
A sphere, a cylinder, a cone, a tube, a circle; all are closed
and continuous geometry.

Sections of Periodics:
In the case of revolved surfaces, the number of sections set the
level of control. eight sections is the minimum for creating a good
approximation of a circular form. You want to choose the number of
sections that best serves your design goals.
>> In this case, by taking a twelve section circle, selecting
every other CV, then rotating them around their central
pivot pointyou will transform it into a blended
hexagonal shape.
>> So much can be done
with periodic surfaces. There
is a huge opportunity for
creativity here. All this design
work has underlying periodic
geometry.

>> While manipulating

periodics, it is very important to
leave the first and second rows
of CVs alone in order to not
disturb the tangency across
the center.

>> The seam can be seen

as a double thick line like all
edge geometry.

Periodic seam:
The seam is the practical beginning and end of the periodic. This is a
paradoxical detail in the mathematics of periodical surfaces, because
it seems in conflict with the geometrys continuous circular nature. You
need to be aware of how the seam can affect other modeling features:
trimming regards the seam as a geometric edge. When building
surfaces that cross over a periodic seam, they (fillets, Bi-rails, etc.)
also treat the seam as the boundary of two separate surfaces. It is a
good idea to plan ahead where the seam will end up so that it does not
interfere with your modeling.

modeling | 19

BASIC BUILDING BLOCKS

Primitives: [Default Panel > Main tab]

Primitives are pre-built fundamental objects. They consist of the basic
geometric forms. Primitives are most useful as basic building blocks
for beginning design work. They make good volumetric studies and/
or underlying 3D packaging layouts.

Primitives are sized equal to ONE current working unit of measure (in
your relevant scene). For instance, if you are working in inches, and you
create a primitive cubeit will be a 1 inch cube. Similarly, if you change
your units to millimeters and create a primitive sphere, it will have a
diameter of 1mm.

Contextual Placement:
A Primitives orientation is determined as you place it in the scene. The
central axis of the Primitive is always perpendicular to the orthographic
view you place it inmeaning that the top of the object is always
pointing up in the view you create it. In the case of the perspective
window, Primitives are created on the XY plane by default, so they are
always pointing upward.

Scale Measurements:
Exact scale measurements and 3D orientation can be easily blocked out with Primitives. Given that they are created as
a single unit volumes in the current unit set up, a rectangular object can be dimensioned quickly from a cube by entering
the desired numeric values into the scale fields of the cubes Information Window (Alt Shift I). With this technique internal
components can be simply blocked out and serve as an underlay for design work.
>> Warning: manipulating the CVs of a given Primitive nullify the accuracy of this technique. Also, zeroing transforms on
a Primitive also undermines this technique because it overrides the transformational information.

>> AutoStudio creates its primitives with a scale factor of 100, because
it is assumed that the user is working in automotive scale

REVOLVED SURFACING

modeling | 20

Revolve: [Concept Shelf]

In its simplest form, revolve can quickly create surfaces from a single
curve. History allows you to manipulate the creation curve and update
instantly. Perfect for symmetrical objects.

Generation
Curve

Spin and Pull:

Revolving a surface is just a beginning. Asymmetrical objects (below)
can be easily created by deleting the Revolve History and then free
form sculpting with its CVs.
Circular Repeating Designs:
Effective modeling involves being clever by surfacing your forms in as
few pieces as possible. In the example above, a wheel is constructed in
3 major surfaces from just 3 curves: 1] Section curves are drawn and
then Revolved with 15 sections (as a multiple of this 5 spoke design).
2] The central revolved surface History is killed. Then every third CV
is selected at it perimeter, moved backward and twisted to create a
directional automotive wheel in seconds
>> Surfaces that are built with history have a dark green wire frame
by default. When a primary object is picked, the object with dependent
history highlights in magenta.
>> Remember that history is there to serve you and not you it. Many
modeling techniques require deleting construction history (including any
time you manipulate CVs). Thus the idea is to take advantage of the
power of history-driven surfacing, then kill it if and when it gets in the
way of moving forward.

modeling | 21

SKINNING SURFACES

The Basic Skin:

Skin is a simple yet very powerful surfacing tool. It takes multiple
curves and skins them together to create lofted surfaces.
There are two main variations on this tool, each with their own icon:
Open and Closed Skin.

The Worm [Closed]:

By closing the skin around its selected
curves, it becomes a periodic. This is one
of the most powerful surfacing techniques
because of its interactivity and ability to
create enclosed volumes with one surface.

Skin > Open: [Concept Shelf]

This tools option creates an open loft surface, skinning through
the curves themselves.

>> This watch has been modeled almost

entirely using these skinning techniques.

Skin > Closed: [Concept Shelf]

This tools option creates a closed tube surface, always wrapping
around the curves, connecting back onto itself (like a Revolved
object), forming a periodic surface. (see page 18)

Closed Skin: from 8 curves

1] Open Skin: 2 curves

The Patch or Cookie Cut [Open]:

Two curves is all you need. 1] Skin between
two curves, and kill its history, 2] next, grab
the center two hulls and scale outwardthis
produces a full section without using a
complex modeling tool.
>> Skinning is the quickest way to create an
extruded shape. Take your generation curve,
copy it and move it in position of the end of
the extrusion, then just skin the two curves
together. And because it has history, the
curves can be re-positioned and the surface
updates automatically.

Open Skin: from 3 curves

2] kill History
Scale hulls

modeling | 22

MULTI FILLET BLENDING

Round 9.0: [Concept Shelf]

Round solves the difficult problem of filleting multi-sided objects while
blending the three-sided corners. This tool also supports variable
fillets on consecutive edges. The Round tool supports only Tangent
continuity.
As you evolve your design, Round can be very useful in developing
transitions, working out sizing and flow of tangent fillets (that could be
rebuilt by higher quality surfaces, via Birail, at a later date).

1] Shade and evaluate... Re-edit.

Roller Ball fillet

2] Build Round group.

1] Select boundary edges, and set sizing.

A double-click on
the intersection
edge adds additional
measurements for
Variable radii.

RMB
(right mouse
button) adjusts
the fillet size.

MMB
adjusts the
position of fillet
measurements.

Assigning a
0 value to the
sides at the end
of a fillet ensures
that corner will be
Trimmed out.

>> The variable radius can also be very powerful in quickly figuring out
complex transitions.

One fillet size

entry produces
Roller Ball radii.

Variable fillet

>> The main difference between Roller Ball radii and Variable radii
are in the manners of their calculation:
Roller Ball fillet
Variable Radii calculate the tangent points based on measuring out
from the theoretical intersection of the surfaces.

Roller Ball Radii are calculated based on the tangent points of the
chosen circular radius, as if a ball bearing of that particular size was
rolled down the interesting surfaces determining the tangent line.

Variable fillet

modeling | 23

CURVATURE FILLETING

Surface Fillet: [Concept Shelf]

Surface Fillet only solves one transitional blend at a time, but it does
it with polish. This tool supports a variety of cool features, but most
important is its ability to build Curvature continuous surfaces.

Query Edit: [Default Panel > Main tab]

This tool is very useful for re-editing any surface
with active history. Click the Query icon, select the
surface (with history) that you want to edit, and
the appropriate edit window re-opens.
Construction Type:
Surface Fillet has three types of construction.
Each produces results depending on your desired
design intent. Chordal is particularly useful
because of its constant flowing fillet results.

Constant

Variable

Chordal

>> Constant fillet construction uses

roller ball calculation, and, ironically,
does NOT produce constant looking
fillets in some instances.
>> Chordal fillet size measures
theoretical intersection to calculate
tangent points. It always produces very
nice constant looking fillets.

>> Variable construction works similar to

Rounds variable filleting: clicking on its guideline
produces a new fillet measure, RMB varies size,
MMB adjusts position.

Auto
Surface
Trimming

Normal
Fillet
Side

>> Surface Fillets construction is different than

Round: it is defined by the surfaces overlapping
and not their trimmed intersection.
The Surface Fillet is determined by choosing the
Normal side of the two surfaces which is where
the fillet will be built.