00:06
Them. So fantastic. Thank you.

01:21
Briefly, We might need to.

01:34
So her, she

01:41
Like to go.

01:48
It sounds. If you do that you should and then like this is just a random template.

02:09
And it's a. So, one of the

02:27
It might look like nothing, we're good, but actually.

02:44
Yes.

02:50
Why are we here?

02:55
Or.

03:04
So it enlightened that it's important to find, it's just some and supports, really, really but by doing that,

03:57
You guys is that's what will be the looping. If there's no broaden, your program will just bet. And so add, even if

04:32
I didn't know.

04:39
It's not me, there are things like

05:05
Like that thing.

05:10
Sort of. Yeah, he I was just kind of on the periphery of it but yeah I'm part of that team. I'm not sure. Yeah, what's up? I was also a bail on the perfect. Yeah. Thanks. I don't know the bulk of it. Yeah. So, but I know that there was a three times the following syringes again,

06:03
Were.

06:13
As well as there's a lot. Yeah, those are everybody's favorite to me and not quite everybody. That is of me.

06:34
And the goal is to like army on one person or two.

06:44
The community discussion. Okay, but I think we're going into it. We're on the same page. Yeah, it's

07:03
We know which one to be.

07:09
Yeah.

07:16
Suggest.

07:33
Is.

07:41
Because,

07:52
Okay, so, welcome everybody. I'm excited to have guest guests here today. So, Steven Laura is visiting assistant professor in the school of architecture here, at UNM is a practicing architect, as well as

08:19
Although then you spent some time start attacking LA. Yeah. Who and so he's gonna share with us his mastery of like modeling in rhino. So I'm really and thank you so much. Thank you, thanks for having me. Hopefully, I can share with you all some tricks and working, and right now that might be helpful for your own workflow.

08:47
Typically, I'll present rhino, tutorials, to architecture students. And so, we have a pretty unique workflow to architecture and so it'll be interesting to see how how the two workflows overlap or don't overlap. And so, not knowing exactly where you are in the workflow. I'm going to start with some of the fundamentals.

09:08
Just talking a little bit about rhino. Hopefully, I can jump past the navigation in right up at all. I'll check if you don't want that and then we'll get into some of the fundamentals of the geometry and the fun ways to work with geometry and right up. So are you all familiar with rhino and use it as an interface in that?

09:25
Correct, mostly do work in grasshopper as icons and put your seeing the word in Rhino. Has that little bit of man. Okay, perfect. So, you all know how this window, how to navigate for that was allowed to looking at how we we build geomet plant phrases down to them a little bit more efficient on the left on them.

10:01
So I went ahead and just opened up a brand new scene in Rhino and created just a couple pieces of geometry. The scene that I'm using units, I have the document properties. That itches that may be the document properties that you all use is that is millimeters. Really, okay.

10:31
Crazy.

10:40
All right. So, what I had drawn here, previously was four inch by orange squares. So, now we have about a hundred millimeters in each direction on that. And so just to talk a little bit about the fundamentals of building, and I think using pythoning breath onto. You kind of understand how points can create lines.

10:58
How minds can create surfaces great. And so, that's what we've got shown here. You know, we have our poly surfaces our surfaces closed polyline, you know, rhino recognizes all vectors as curves and then as a line segment and all of those commands and tools are far down the side here, you also have your vector commands up under the curve, drop down.

11:24
So with that, I just kind of wanted to kind of show a little bit about the way that we would build up some of this geometry. So, stepping aside from this, I'm gonna go ahead and create. I'm gonna start with my polyline tool and use the, I've got a series of constraints on down the body.

11:49
Here we have oh snaps which allow us to snap to objects and that can give us nice precision when we work with those. So those things we don't know about if you think like perfect shooting. Yeah. Like, even in the interface, like where are they sounds great? Yeah. Okay.

12:07
So,

12:15
So we'll start to scratch you. So if I'm going to create a vector, I'll start with my polyline tool. And then we'll do some where we curve, which is a curve versus straight segments, but I'll start with my polyline tool and I'm just going to draw a rectangle in, let's say, 100 millimeters in each direction, or squaring 100 million.

12:38
Or so, when I start my line command for my body line command, I now have on the command line, it allows me to either graphically. I can click the next point of the quality line or I can enter the unit. So if I type in 100, now it's constrained that line segment to a hundred millimeters.

13:00
And now while I have to do is graphically tell it where I would like to snap this. Now, if I wanted something like a rectangle where each of the corners are of diagonal or 90 degrees set from each other. Now, at the bottom here, you'll see. And if you're using a Mac, it's going to be a little bit of a different place, you'll have to kind of, and I can help you with that.

13:20
But you'll see down spots, therefore, though. And if I turn that you can see, now it's constraining that line to zero diagonal directions, to X to wind. So I can click here type in 100 again that constrains the line to that life. And now I just need to graphically snap where I'd like it 100 do thing and then and click back in a bit lands on that start point and ago, it automatically ends the trigger.

13:53
And now we have by selected. You'll see up in a command line, a closed curve and into the selection. So we've got that. You can also do the same. I turned off my ortho. You can graphically draw and you can see that it doesn't use that orthogonal constraints. And now, we see that I really am struggling to close this curve.

14:16
You know, it started the polyline but I can't actually get this to close because of two things. One, the rectangle would be drew was very measured. So it was calculated so that when we came back around it went ahead and closed. Now we don't have that because I've just kind of graphically drawn this polyshape and so there are a couple ways we can do this.

14:38
If you look at the command line within your polyline command up here, it has an option to close. So I could just click on close and that would close the bottom line. The other way to do that is to turn on your OS naps and that's going to allow you to snap objects and lines to other objects and different location bonds.

15:05
So if I click make bold the OS now down to the bottom, all of the OS maps that are available to me. Are this list across the bottom here? You'll see that there's and near point mid-centur intersection improvement. Typically, I think the most useful would be pen near point mid.

15:28
Maybe all the way up to intersection and you'll see as I'm drawing, whereas I'm moving my cursor. Now that I have those checked and now that I have those now fold here, when I hover near that point, you'll see that it's natural and tells me that I'm snapping to that way, which allows me to close the curve at that point or if I didn't want to close, but I wanted to finish the line here.

15:51
It'll allow me to snap to that point as well. You can also then.

15:59
Good time.

16:09
If you hover over a line you can see that it actually tells me near so it allows me to snap that line too. Another line, but not in any specific location, it's just making sure that snaps on the line. If I uncheck that you, if it doesn't give me that option so I can still snap to the end or the intersection or the point, I can still send to the midsection, but it won't allow me to snap anywhere else.

16:35
So you have pretty nice controls in terms of how you define to control your curves in that way. And so if I click on that final point it snaps, and it's complete the curve because it is. Now, when I selected this one postcard pad system, so the Oz maps are really nice in that way.

16:55
Especially if you're dealing with multiple objects and you want them touching or if you need control geometry to even create a closed close loop so that we could then start to do extrusions and that sort of thing. So, once we've created our closed polymer complete

17:17
So once we've created our clothes poly lines here, I'm going to create a surface from each of these to do. We all know how to create a surface with curves. Okay, perfect. So, the way that I would move from surfit, are from curve to serve, this is I'm going to select the curve, and it needs to be a closed curve for this to work.

17:44
It also needs to be plainer. So right now we've drawn these curves on the construction plane so you can see their planar. They they don't have curvature in the other direction. They only have particulations looking from the one from the top views. So if I select this and type in planner SRF, that's PLA.

18:04
And AR and SRF and hit enter, that's going to give us a surface created from that curve. Yeah. So just to know, like, all of these commands of the same.

18:22
Any of the RS dot commands, like clean their surface? What. Yes, Great. Yeah. So, hopefully some of the commands that that will be covering are familiar in that way and you can just see other partners running. So, I have my viewport set to shade, if you right click on the viewport, here mindset to shaded, the default in Rhino is set to wireframe and so you can see that even some of the solid objects that I have in the background, you know, render out.

18:59
Once I start getting into curves, surfaces poly, surfaces, I like to have it at least in the shade, if you pour so that I know what solid or the first is, what the vector that just allows me to see this. A. So we've created the surface here. I'm going to grab that surface and just left.

19:17
Clicking drag it out the way so that we can see. It's still keeps the curve that we use to generate that. So it doesn't replace that curve. It uses it as a base arm trees and it creates a surface out of that. So another command, you know, I'm grabbing this surface that I'm just dragging it off to the side.

19:36
Another command that's nice or another tool. That's nice to use is down at the bottom where the OS maps and the ortho are set. It's called the gumball. And if you select the gun ball and make it bold, then when you select an object, you see that I get the cursor, this gumball that, that pops up, that allows me to move the object and transform the object without having to enter those commands.

20:00
So you could type and move and you can move something you could tighten and scale, you can scale something you type in rotating and rotate something, but this allows me to use all of those live as I'm working. So now if I want to move it, 100 millimeters to the in the extraction, which is a red direction, I'll just click on that arrow there and I'll say 100 move it.

20:24
I can do the same any other direction.

20:30
Also, you have to the little boxes that the end of these points. So we have these arrows are for move. These boxes are going to be how we scale the object and then the arcs are how we're going to rotate that often. So I can graphically scale it. If I just want to adjust it proportions if I'm still designing kind of freely.

20:54
And I don't know exactly the proportions that I need. I could just scale it graphically that way. I can also click on the box and say 0.5 and it'll scale it in that direction in by half to do the same in the other direction. And so and then if we have rotate or if we want to rotate our object, I can select and I can graphically rotate that object.

21:17
I can also, if I click on the arc, you see that it gives me arrows. So I know which direction is going to rotate that object and I can type in an angle and that allows me to activity. So we got balls really useful in that way because move scale and rotate are all three different commands that we could enter, but you would then have to go type it into the command line.

21:40
If I were to select this and type in move, now I can enter that move command and I can say a point to move from here. And then if I turn on my ortho and I can say 100 millimeters,

21:59
And to do so just like that I could also type in rotate. Okay. My center rotation, and rotate the object. I can also scale in the same way. So all of those transformation options are going to be located up in the transform drop down. And so each each of the tools that we're going to use in, radial can be found in three ways.

22:27
One, you can type it into the command line. The other is you can find it from a drop down and the third would be that you can find it as a button. And so if we look, if I want to rotate something, if I type in rotate, you see that?

22:41
We have a rotate option. If I go to transform and I come down to rotate, that's the same tool, it's just another way of getting there. And then if I come down here to the button you can see. Rotate if I click on that, that's my rotate tool. So each of the tools that we use there are three ways to get to that tool and you'll kind of find what's most comfortable for you.

23:02
A lot of times, some of the some of the commands I use if they're right here in the buttons I'll use those but you'll kind of see me, jump around. So you'll have to figure out if the command line is most comfortable for you. Then you can, you have to think about how much money you said that way.

23:17
We also have all of the other tools you because they're not showing currently. Here's our transform and we can get more tools there. So,

23:28
Okay.

23:33
So as we start to work on different objects, let's say some working on this object here. And then if I want to come over here and work on these objects, you may have had issues. Where if you move from one object to another object or one area of the scene to another area of the scene and and you're trying to fly the camera around that object, it can be a little bit wonky in the way that you can't focus on the object.

24:01
We have a couple ways that we can adjust that. So if I'm working on this object, if I type in C for zoom, you do the right out soon or you can hit these or zoom, We have a series of options here. We can zoom all, which it allows my camera to focus on every object that's in the scene.

24:19
Zoom dynamic, zoom extents. Zoom factor in out, selected targets Selected is what I'm going to be using right now. So if I want to work specifically on this object, if I type in selected it now focuses the camera directly on that object. And when I rotate around, now the camera is locked in on that.

24:41
So then if I want to come over here, you can see as I'm rotating, it still has that as the focal point from a distance and so it makes working on this object a little bit difficult, unless I select it and then hit zoom for z for zoom and then pass for selected.

24:57
And now I can focus the camera for about that and I think that's that's useful. Even if you're working in the icon or grasshopper that allows you to kind of focus on what you're working with.

25:12
You have. So, let's jump back. I'm gonna make a plainer surface out of the three of these objects. I'm gonna select all three and I'm gonna type in cleaner. SRF and because they're all closed, all the lines and planer that allows me to create a surface from. Let me go ahead and draw a polyline.

25:33
I'll just draw one graphically like we did here for a second ago but I won't close that line. So if we look, I'm going to CS to zoom select it. Now if we look it's planer and it's built on the construction plane but it's not closed. And if I select this and I'm trying to type it in planer SRF, it's going to give me an error here.

25:56
It says no basis were made curves. Must be closed in some I created this on the construction plane and it didn't snap to any other objects. So I know that it's planets, There's nothing that would be out of planners. I drew it on that construction plane so that I know it's, it's not closed.

26:11
You could.

26:33
Let's imagine that this is the curve that I created and I believe it to be closed in later, but when I select it and I type in planar surface, it says no faces were made. Curves must be closing for this. There are two things that I'll check one is, is the physical curve planner and two is close.

26:53
That's, that's how we've been troubleshooting that. So, if I look just at a graphic plans, I looked it, look explainer to me, if we would go to one of our side views. And in this view, they zoom selected. I can see my curve here and it looks to yes.

27:12
How do you make it so that your views are all like as one screen like right now? I know it's like I got all four views and how do I make it? So it's just like, oh yeah. Okay so yeah, that's a great question. If you double click on the view name that you want to maximize that will maximize that few sweet and then if you want to get back out of it just don't click on that you name it and that brings us to 14.

27:42
So sweet. Thank you. No problem. You can also, if you end up manipulating your four views so that you can, you know, that's kind of width bullying right now to be what you need to do, if you do something like this and you really want to get back to your board views.

27:58
You either drag this back, just kind of sometimes I've accidentally kind of off the videos but undocked of a viewport up at the top here, you have your 4V ports. If I just click on that, that reset the four key ports. So now you're back to the original and you can double click to maximize the double tip please.

28:17
Yeah. All right. So, we've got our curve here. I look in the front view. It looks to be planar. So the question is, where? Where is it? Not closed, and I did this as a tutorial. So I know that it's not close right here, but in some cases, you might have built this curve a long time ago, you weren't paying attention and so it's hard to know where that may be the first option.

28:40
I was, I would do is collect a curve and type in close CRV

28:48
Having hit enter. If if it's a closed curve, it won't do anything. It won't allow you to do anything. But here it says, one curve closed by adding a line segment. So, even if it was such a small segment here, it went ahead and just closed it with the line of them and so that would be one way to testing if you like the geometry.

29:08
That's when we need to get to that point. And then using try it when your surface and now with a creative service for you, and if that doesn't work, then if it closed the curve, then, you know, it's not that then it might be something where it's not something.

29:23
And if you have good enough that right home. All right, so we've got our services that we've created from our curves. Now, we want to go ahead and create some version of a volume. So I'm going to select these three and type in offset, SRF answer. And we have a series of options in our command line of top here.

29:56
And we also see that it's giving us some errors, the arrows illustrate, which way it's going to be offsetting and right now they're all offsetting downward. I'm just going to click on them and flip them upward. So if you just click on a surface, you can toggle that in Georgia to tell it which direction you want those arrows to go.

30:14
You can also hit if every single surface is pointing in the wrong direction. And you don't want to take the time to have to click on every single one. If you look in the command line here, we say flip all. And that allows you to flip everything up. And so that's how you can adjust which direction is going to create the object.

30:33
And then if we look distance is four, I'm going to set the distance to that was going. It was four inches. So I'm going to set the distance to 100 which the corners that don't worry about detaching the corners. But the main thing we want to look at here is where it says solid equals.

30:52
Yes, so if you're so solid equals, no, we'll cover what that means here in a second. But if it says solid equals. Yes, then we head under it'll now just shoot those and give us volumes for those profiles. Let me go ahead and undo that and let me offset service.

31:18
I'm gonna flip all and I'm gonna check the box solid equals. Yes, I'm gonna turn that to solid equals note so that we can see what it's gonna give us. So what that does is it just offsets that surface as a duplicate service that distance away from from the original surface.

31:35
So if you need a duplicate surface, you can do it that way. If you need a volume, make sure that the to select its solid. So let me go ahead and do this. I get to select this surface. I'm gonna offset surface, we'll go 100, make sure it's solid, say, yes, get enter.

31:57
And now I have that box. Now, if I want to do that. Same man, if I want to perform that same command to these objects rather than having to type in offset FRF and another time, if it's the most recent command that you've used, if you just hit space bar, you can see that brings up the last command that you used.

32:16
And so now I can just select the object hit enter. It's space bar, bring up the the last command, hit enter, and so on. And so, if you're going to do a repeat command multiple times, you can just do it that way without having to type it in over.

32:33
And over, are we all falling along with getting to volume from from curb through surface? That now I'm gonna go ahead and select these objects that we just created. I'm gonna go over to the side here and if you don't have this window of tools, if you type in later and opening up your layers, if you do, have the tools showing on side here, is this sort of piece of pie that we see if you hover over that, it says layers, if I click on that, those are all the different layers that I have in.

33:13
I'm going to select all the objects that we just created and I'm going to write click on layer one and say, change objects layer and you'll see graphically that changes the color of them because the layer the color of the layers, right? And so now I can organize my file and so this is a really great profile management.

33:33
I can order organize my file in this way. And this allows me to kind of adjust visibility, I can hide or lock certain objects as I'm working. So I've moved all of those to layer one. This light bulb here is the visibility if I turn that off now. It's you don't see any of those objects.

33:52
So if I'm working specifically in one area or around one object, that allows me to kind of focus on what I'm working on and, and that's nice. And I can also adjust type and lock it, that layer is now locked. And when I select anything in rhino my tent select those objects so I can't accidentally modify them.

34:11
So you have a bit of controls when when it comes to that so I'm gonna just turn off the visibility of that layer. This one that later as well. And then I'm going to place all of these objects on another layer. Sorry that do you know how to get to view the layer panel?

34:36
Maybe in the command line type in later Drive and normally, if we

35:01
It's not a way that's behind the range.

35:08
Negative method.

35:18
Interesting level. Yeah, so maybe let's say, click on the bulletin that's getting popping up on compared so it's just biting there. Okay. And yeah, you'll find out very quickly there. I don't know. Rhino at the don't know, how do you take computer from accident now? So, all right, so I've got the original objects that we talked about earlier on here.

35:49
I've just moved them to one layer. I'm gonna turn off this ability there, I've got the object that we just created on another layer that I can turn off the visibility and that's a really nice way of organizing a file. So if you're working on iterations of an object or like an architecture, we do structure, floors, roofs, glass mullions.

36:08
That's that's a way to kind of organize those objects. So mullion is the the frame that's within the glass. I know. So like the fragments here.

36:25
Now, I'm going to jump over to my top view, and we're just going to draft for, or draw a few shapes and and look at creating three dimensional shapes that are made more than just an extrusion. So I'm gonna use my polyline tool, I've still got my ortho on and my old snaps on and my gum balls on.

36:45
I'll typically keep those three going and then disable them.

36:52
And I'm going to start by drawing a 100 by 100.

37:04
Cute or rectangle again.

37:13
And now I'm gonna draw. Let's imagine that I want some version of a cutout on this I'll actually add a bit. Well, I mean this one, I'm going to just drop here. I'm going to draw an area that I want to move from that so I could have drafted the profile but if I'm just kind of designing and sketching and thinking about how I want to to shape the geometry you may not always know what distance and length of wines that you want to create and so you may end up thinking that you might want to do something like that.

37:56
So now these are separate poly lines and I'm using my snaps to make sure that they snapped to the end. But let's imagine that we didn't and that they're off just a little bit. That's okay. The next set of commands, I'm going to use are going to be trim and extent.

38:14
So I want to create a closed shape from all of these. And I know that they roughly suggest the location of where I want. My my post, if I type in trim the command line is going to ask me to select the cutting objects. So if I want to cut the rectangle at this point, I'll select this is my cutting object, hit enter and then select the object to trim and if you click on the part that you want to be deleted, that will go away for me there.

38:49
Same thing I can do all hit space bar, bring up the last command, so it's like, depending object also like this as my cutting object, to trim off these little extensions. Hit enter. And now, I can click on those two ends and I can actually use different pieces of geometry as a way of creating a profile.

39:13
So, same thing here, I could use this and cut those two ends that at this end. Now that's that's going to allow me to trim these objects. You see here. This this line doesn't reach the outer, boundary quite all the way. And so if I type in extend it says collective boundary objects, and I'll click this the outer boundary there to enter and then I click it and that'll extend that line to it and now I can type in trim select this profile and click there and that allows me to join it.

39:52
Is it is not a little, we'll get to trimming three and it's again, trim works with free extend, not quite as much. And let me go ahead and add. So we've got all of these are two degree or one degree curves meaning that they're all straight lines. I guess this is a three degree between it has perpendicular.

40:15
Let me go ahead and use that and I'll just join that one too as well. So let's imagine, this is the profile of something that I want to extrude or generate three dimensional object. Right now if I selected you can see that there's it's still an artifact of how it was constructed.

40:32
So each of these pieces are separate pieces. If I select all of them and just type in join and enter on the command line, you can see six curves joined into one closed curve. And because we know it's closed, it should, we should be able to create a policy surface.

40:57
Now, I'm going to create a copy of this. Come to the side.

41:08
Read a minute to some of that. Yeah. Whenever I try to use the trim. Command. Nice. What? Like my cutting piece you can hit enter. And then my head is like, the hour square. The outer space is here.

41:31
Okay, perfect. I'm gonna do that. Now if you click the piece that you want to delete, click the inside of their that little vertical line. There you are. So, because you're clicking out here, it was leaving this piece and delivered.

41:54
So if we have, let me just illustrate this for everybody. If we have two objects that intersection and I type in trim and I use this as my cutting object, if I click on the outside on this outer order that will delete that outer border and it leaves that section there.

42:11
If I click on the inner border, that's the piece that I delete. So you have to click on the piece that you want to be deleted. Same thing, if I go this way, if I'm using this is my cutting object. If I click here, it'll trim it that way.

42:24
And if I click there,

42:33
So, once we've once we've tried and extended all of these lines, so that we have a closed shape. If you select it, make sure that it says, one close curve, added to selection. If it's still separate segments draw a window around them and type and join and that will join them into one close object.

42:54
Now, I'm going to extrude this into different ways. One. I'm going to select that profile and I'm going to just type in copy. Let's imagine we don't want a true extrusion, we don't want it. Just to be an extrusion from upward that that doesn't change along its vertical axis.

43:12
Let's imagine that. We want to start to add some bit of variation in the vertical. That's what we're going to do here. So, I'm going to talk it.

43:25
Copy. And I'm just going to click in place and now if I deselect that object, if I click on that line, you'll see that it gives me. This selection menu, anytime, this is election menu comes up. That means that we're we've clicked in an area that there are multiple objects and rhino just wants to know, which object you meant to select.

43:46
And so if you see, you separate objects different of this. If I click right here at the intersection,

43:59
Perfect. Gradity intersection. It gives me this election, then you and if I toggle back and forth, you can see it tells me that there are two objects, right. Right. Click. And it just wants to know which one to select and then you can pick that object and select it.

44:11
So I'm going to select this. I'm going to copy into what I went and deleted my copy. So now by clicking here, I should have two identical curves sitting on top.

44:26
You can't. But what you can do is let's say they were both on different layers. If I click here, you can see the difference, this one green, and that was black, space on the lip. So it automatically calls it, fundamentally what it is and right now, it doesn't mean for us, but yeah, so sometimes it can be a little bit tricky.

44:48
But if they're organized by layer that could help,

44:53
All right, so I'm gonna select one of these and we know that we started with a hundred by hundred millimeter square. So all go up. Let's say 50, as I'm just going to use my gum balls to move, that one of those objects up in the blue axis, 50 millimeters.

45:19
And then I'm going to select that one. Copy it. In place the blue air and I'm gonna move that one up 50 as well.

45:31
I've got three copies vertically and then I still have my original on this side. Feel.

45:40
Create one more copy of this so that I can use this exercise to show a couple. So if I take this first one and I type it in your service and create a surface and then select that surface and type it offset SRF and makes your pointing upward and I go a hundred millimeters that should get me to the same top point.

46:05
The rest are, is solid is, yes, so it should be a lot of volume and there because there's an extrusion of that profile that we created,

46:16
Now if we don't want a simple extrusion, if we want to add some kind of curvature to the profile of it, I'm going to select this object and I'm just going to scale it down graphically. Now when I was talking about the scale on the gumball earlier, if I grab the red box and scale it the only scales it in that direction.

46:38
If I graph the green box and scale, it only scale it in that direction. And if I graph the red box and hold shift that scales it proportionally always and and that will work with the green boxes as well. If I grab and hold shift, that allows it to scale over portion.

46:58
And then this object, I'm going to go ahead and leave it the same scale, I'm going to click on the rotation and just rotate this.

47:17
All right, so I have three copies vertically of each. This one has the center portion of the scale down a little bit. It could be scaled up. And then this powder one has that profile rotated a certain amount Now to create a surface from this. If I type in loss,

47:40
And it's asking me to select the curves to locked. You have to select the three curves that you want to create a surface from. And so, but you also have to pick them in order. I can't say, bottom top mid. I want to say bottom mid top. Otherwise it will try and run the surface through a different order.

47:58
So if I go bottom mid top and hit. Enter now before it creates the surface. It shows me this set of arrows and it has big landline, big men, like pops up with some questions. I'm seeing that these are all pointing in the same direction which is good. If one of those were flipped that would adjust the geometry and I can show you what that's going to do here in a second.

48:24
And you also want to make sure that they're pointing at from the same corner that, you know, we have this straight segment from that back corner. They're all from that same origin point on each of the objects. And now, if I hit enter, it brings up a set of loft options that we can talk through.

48:46
Automatically it should show up as normal, which means that it's just trying to run a surface smoothly through all three of those or five or ten hours of acres. You have. If I go to straight sections, you can see it lost a straight section to this one, and then it has a kink there, and then it lost in the next.

49:07
Curve type means that it's curving perfectly through those loose means that it's using them as an influence but they're not actually it's not actually running through that that surface or that curve and normal is because it's pretty similar to type. I think if you had really complex geometry to the difference so I'm gonna leave this one is normal and just say and that gives us this type of industry.

49:40
Now, if I do that again and one of these arrows is pointing in the wrong direction, you'll see what happens. It tries to actually flip with the surface and the direction of the surface and really kind of causes us some issues you can click to lying curve and that's when you can bring back to these view arrows and I can just

50:11
So if you really wanted to pay attention to, it's like these three hit enter, they're all pointing in the same direction. That's great. Now, what I'm gonna also do is, you can drag these just different points on on the, on the curve. So that's imagine that this surface is now, going starting with this corner.

50:38
It's not lofting directly to that one. It's actually gonna lock to this next line, this next corner. And then it's not locking directly up. It's locking to the next corner. Let's just use that and see what that gives us. We'll say. Okay. And now you can see it creates sort of a torsion or rotation in that profile, as it's trying to create a surface upwards from that,

51:03
And so, in some cases, you know, these types of tools are interesting even in the way that we just explore designs. So, you know, if you know what you want it to be, you have the control fields to do that if you're not sure, or if you want to just kind of explore different opportunities, you can find really interesting opportunities within that.

51:21
So I'm gonna just move this off the side. We're going to lock it again and all of the true where they want to vertically, okay?

51:44
And we'll say street function.

51:49
So, these are the three, three of many different outcome. Geometries from that, those three input occurs in that way of

52:03
Now let's take a look at this second set, So I've got the second profile rotated and is now going to type in law selective and ordering again to make sure that the corners align. What rhinos try to do is give us the closest corner in the vertical space. So I'm going to rotate it around the left and corner and enter.

52:30
There's my straight section normal. So okay, you can see that it actually flows that surface through those those profiles.

52:43
On there with locked again.

52:55
Okay.

53:12
Any questions up to that point on creating profiles of geometry. So this is using closed profiles to locked. Let me go ahead and just move just off to the side. I'm going to draw three degree curve and I'll draw on me two or three of them that are similar, but not the same they'll have varying curvature but they'll somewhat have a similar profile.

53:58
If you're looking perspective, I moved away from the grid so that it would be normally you'd be working at the zero zero or near the grid. I moved it away so that we could see it a little more clearly on that over. So, here we have those four curves that I've created.

54:17
I'm just going to move them in space, you know, they're all slightly different looking at it from that profile. But I'm just going to move them in this direction. In space enough, just a little bit.

54:43
So now from those I'm going to go ahead and type in Loft and again from one side or the other, I'm going to select all of them in order and we can do the same thing. We can look at those curves and create a surface through those right now.

54:56
It sets a straight sections. If I go to normal can see, it comes me and undulating service with one to those curves, okay?

55:15
This out of the way a little bit.

55:24
So, we saw what that could do now. We can also,

55:30
Modify these curves as well.

55:40
I'm just gonna add a few profiles during that.

55:49
And what's nice, when if you know, you have multiple objects of the trim, like, if I wanted to trim this extension and I want to cut this partly section, and I want to trim this extension, If I type in trim and it says, select cutting object. If I take every object in the area and hit enter, now, any intersection is a trim point and I can just graphically click and delete the areas that I'd like.

56:12
So if you have multiple trim commands that you need to work, that's a beneficial way to do and then I'm going to select all of these like this set and join it.

56:35
Okay, so because I moved away from the seaplane, you see how in 3d it created? These curves all the way back to that construction level. So if we look that construction plane is in line with the grid and so it's going to draw those at the zero in that area.

56:52
So even though they look like closed curves here, we can see that. When I drew those, they were actually snapping back over here. And so when I try to join those curves, it's not going to join me because because of that third dimension, and so you have to be careful with that.

57:11
Now, if I need to correct this, I'm going to select all of these curves and in the view that I'm looking at that I was drawing that. I'm going to type in project to see one and that will take all of the curves that you've been working on and it'll project them and flatten them to that sequence.

57:28
And so when we talked about creating a planar surface, the two things that it needed was they needed to be planner and it needs to be closed. We already dealt with how to close and through the curve, if it's not planar, which you can do is come into the, the view that you're looking at the geometry, the way you want to see it type in projects to see flame and say, delete input.

57:48
Yes. And basically, when you're going to do that with both, you can see what it does. So I'm going to be working in my front view, but you can also see what happens here. So, if I'm in my front view and as I've been project to see playing hit enter and say, delete your input object.

58:05
Yes, rejects it all the way black on the C-plane. And now, so it's created planar curves. So if you have an issue with something, that's not planning. That's, that's only to create something you're set occurs. I'm gonna move this back over here where I'm working and now I'm going to select each one and join

58:33
The way that we select objects and right now you have a little bit of control there as well. So I can click on object hold shift and add to that selection. If I hold control, I can remove from that selection. And if I drag a window around my objects, if I go from right to left any object, that is intersects will be selected.

58:55
So you can see, even though it's not fully encompassing, all of those objects, if I draw window and it intersects them, it'll select them. If I draw a window from left to right, it only picks the objects that are completely within that window. So these are all joined, this one's joined.

59:12
So if I draw into this way, it only selects those two because they're fully inside of that link. So depending on what you're working on, you might be an in a situation like this where you want to select this arrow and if you continue to open window like that that allows you to kind of have a little bit more control.

59:31
So I'm going to select those and type in join. And now I have one, two, three, and four open purposes. Now, we'll go ahead and go back to where we were when we were locking previously. I'm going to move these.

59:54
This direction.

1:00:00
Might even maybe if I want this surface to curve back and then curve forward, I'm going to go to the top view here. I'll just select these three, and I'm going to mirror them across this center point and on your ear command. At the top here, it says, copy.

1:00:18
Yes, that'll allow me to to mirror them and create a copy of them if I'm near and and it says copy, no, it just mirrors them to the other side.

1:00:34
We go. And now let's take a look at this. I'm going to select these curves and locked.

1:00:46
And that you can see it. Even has that bridge or that profile in the surface there?

1:01:04
Now I'm gonna three so I want to give rid of this top portion. Maybe maybe I just want to use these lower portions of the curve. If we have our curves joined like this. If I select them and type and explode that explodes six curves into 24 seconds and I think then select each of the different segments that were created and to leave that.

1:01:31
Now we just have that lower portion. Same thing works here. If I zoom in on this I've got a poly surface. If I want to break this apart and start to work on it, I can type and explode. And now we have a poly surface of an enclosed into 13 surfaces.

1:01:47
And so now I have the ability to to manipulate over these some of those ideas. So the reason I'm doing that hair, if I, if I come over and I select all of these and I lost them

1:02:03
This surface that it creates when I select it it says open surface at its deselection. When I select this one, it says, open poly surface. So the way that we've been thinking about the, the planar service and then the poly surface.

1:02:30
If I move this over here, we have a service. And here we have a quality service, the same thing applies. Even when we're dealing with curves surfaces. So this is a surface and this is the poly surface. The only real reason we need to know that and and the defining feature of it is the hard corner if this were a curved profile.

1:02:53
So say, instead of having a sharp corner, a sharp corner and a sharp corner, if that was just a smooth profile all the way around, that would still be a surface. The reason that matters is because you have the ability to when you select a surface, you can type in points on and that turns on the control points for that surface and you can actually select those points and pull and manipulate that surface the service sculpted space.

1:03:30
Now, if I try to do that and I just hit escape a couple times to get out of the points on command. And so the points on command, if you look on the side here we have this set of tools points on for like I said you can type in points on and that turning points on and then once you completed the transformations that you wanted to complete then you just hit escape a couple times and that gets you out of that command.

1:03:57
Now, if I select this poly surface and type in points on it says, cannot turn points on for a false service. So if I were to want to manipulate that service, I need to do. So while it's a service and then create a policy surface from it afterwards, you could explode this and now it's in four surfaces and I could then select the surface and type in points on and that will allow me to manipulate that service.

1:04:26
But you have to be careful because you could grab some points that would allow those to separate, and then it's no longer something that you can put back together. 17 manipulated one of those separated and then they joined to as long as it doesn't separate. Yeah. So if I select, let me select all of these I'm sure they're going to

1:05:13
If you now that they're all separate surfaces, you might be able to manipulate all of them at the same time. And we see that it keeps that joint. And then when I select all of these, if I type enjoying, it says more surfaces or quality services, don't go with one of those points of this.

1:05:29
So yeah.

1:05:35
Now, if we need thickness for these,

1:05:44
Happiness over.

1:05:50
And so if I select this, it's a surface and previously we took our cleaner surface and we offset surface to get thickness right? We gave ourselves volume by offsetting service so I'm going to select the surface and type in offset. SRF may you see all of the arrows? Kind of look to me running in different directions.

1:06:09
They're just tangent to the surface so it's either offsetting to the left, or to the right. And so if we fly around and look, we can see that it's offsetting outward to our left. And let me go ahead and split that and go to the other direction and now distance model.

1:06:27
Modeling scalelessly over here. But if we know that this is a hundred millimeters, I might offset it 10 billion because let's see if we give it just a definition,

1:06:43
And there we go. So now we have, we select, this is a closed poly surface and it has something that's good. Now, you have to be careful with how graphic your curvature is. If I were to offset surface here to do the same thing, and go to 30 will probably see some areas that start to overlap.

1:07:09
So you'll see that it really has trouble offsetting that surface in some of those tighter areas because that second service starts to collide with itself. So, you really have to be careful if you need it to offset, 30 millimeters or something like that, what you'll need to do is kind of simplify some of the geometry in these tighter areas so that it doesn't have that issue.

1:07:30
And even simply just turn your points on manipulate, those points to be less drastic in that way than opposite surface. And that we get a little bit closer. You can see there's still a little bit of an issue there where we have nonetheless geometry work in intersection.

1:08:02
So they're just a couple more men that I want to cover here real quick. I'll come back to to some of the solids to cover this really fast. So, if we think about the profile of you created, if I draw this profile,

1:08:29
Something like this. If I'm working with this profile, I can create a series of these and lock them together and that would give me a surface. I could also let me to one of them is going to be completely curved and the other one, I'm going to add some bit of

1:08:54
One degree elements to it so we'll then it will trim those. And then we're going to maybe.

1:09:09
That opens that up so you can see it.

1:09:14
Join. Now, if I know that I'm thinking, you know, if we think about the fundamentals of the geometry that we want, if I want something like a base or something like that and I know it's going to be somewhat radial. I could create a profile manipulate that profile. I'm just going to scale it in one day, so it's not quite soon.

1:09:33
So you move that over, and I'm going to draw a center axis for this object and my copy that. So that I have the same answers for the other objects because I can take this profile and I type in revolve it asks me to select the curve to revolve and also like that and enter and it says revolve access start of the access so you just pick one end of the axis and then you snap to the other end of the axis.

1:10:04
And then at the top here, I'm just going to say full circle and that'll allow it to revolve that curve all the way around the full circle.

1:10:18
And so there is taken that profile and sweat it around a 360 degree axis, and it allows me to create Now, let's do the same with this one. So we're going to type in revolve, I'm going to select this curve, to revolve want to make that access to the same way and then I'm going to click full circle and now you can see that even the the one degree carvings that I did with that profile show up on that on that alcohol problem.

1:10:50
Now, the two the difference between these two is if I select this one, it's a poly surface. If I select this one, it's a surface. Which means I can turn the points on for this one and I can start to manipulate the shape not in a semicolon. So I could then start to pull on this.

1:11:09
If I wanted to exaggerate in one direction, and if I want to create some database and reacting to select these manipulate and so so you have a little bit more control while it's still just a surface. Whereas if I try and turn the ball points on here, we have a poly surface and we can't.

1:11:31
So we would have today, explode. It.

1:11:38
Probably see that they can get to be a little bit tricky in the way that may work. But in some instances, some some bits of the of the geometry themselves, might respond to that manipulation differently.

1:12:01
In some cases, has you manipulated the geometry, you'll start to see that they're a little areas where where they're not influenced in the same exact way and you could cause yourself to shoot you but it's something to work through in kind of just you know play with and see what you can get.

1:12:17
Then once you've manipulated that it's like and now we're back to object. Okay. Any questions yet question? I wonder who would be we're doing most of the best modeling for 3D printing where we need to have solid objects for them to print properly. Could you go over a bit about life with like being politics?

1:12:44
And it's gonna not manifold, like, how to kind of first like, identify where the problem is, and potentially to fix it. So, that's great. Okay, so if I select this, it's an open poly surface. The first thing all trying to do is cap, gap will take any planar opening and trying to create a surface there.

1:13:06
So, by typing calf, it says, created two caps, resulting in one? Closed object now that it's closed. I know the values here on this one. Let me cap that created two caps, resulting in one closed object. Now let me do that with these. If I select this object and type in cap, we know that those are planar.

1:13:29
That's going to work. Now, if they're not plainer, we find this on

1:13:40
Let's say it has.

1:13:50
So I went ahead and just cut away at this edge, knowing it now that open that opening is not clear. It's got a kind of thing in it. If I select this type of cap, it says, one attempted object is still open. So it capped the bottom, but it can't cap this opening because it's not playing.

1:14:10
And so when you're looking at your objects and rhino the easiest way to find your open edges or your non-menopoled edges is, if you select your, you select your object and you type in show images, you'll have this pop up here that says show edges. It'll, you can highlight all of the edges.

1:14:35
I'm not exactly sure why you would ever need to do that, but you can make it edges, which are edges that, don't share a surface on the farm all edges. So that's where it would be open. And then you also have non-manifold edges and this piece of geometry doesn't have any non-metal elements.

1:14:52
And so this would be how you identify as those areas that are an issue. So right now we see the naked edges, I see that. That's the issue. And I'll say and I can close, and sometimes that might be just a tiny sliver, you can't find it. And that's why I highlighting any magenta, really kind of helps identify the issue.

1:15:10
So now, in this case, I know that this top piece is fairly planar. And I see that there's a corner here. I can just the way that we were lofting her room to curve. I can log surface edge to surface edges. So if I select, if I think this is all one line quick and I see that that's actually not one line, I can actually select this edge and this edge and lock them together and say, okay and now is created a surface from that edge.

1:15:40
And if I join that to this project, joining in one open poly surface, I can say, show edges. And I know that now that it's joining that has taken this area out of the equation and now I can, the next thing I would try cap again and attach doesn't work.

1:15:59
And you kind of have to kind of work your way around that edge to see if you can track down something issues. So now when I selected it, it says closed poly surface added to selection the other way that you can start to even evaluate how much material in your object is going to take if I select and close object type in volume, it gives me a volume of 558,000.

1:16:26
You could millimeters. So I mean, I can even start to evaluate the amount of material that would take different, something like this. Now, if I select an open object, this would clearly open. And I type in volume it'll stays that some of the selected objects are not closed and the calculations will be meaningful if they're closed.

1:16:43
So that would allow you to see that. There's an issue with that piece of geometry as well. Now, let's go back to this one. We were able to get the non would be offset and our app.

1:17:13
We should start by selected. It says one closed poly surface so I know that it's closed.

1:17:24
It will help with volume. And if I even show edges, how they may not be hard to program, they actually because laser they're really for something like this. There isn't a way to understand what, how to identify that is. You have to kind of be presented what I typically do.

1:17:47
If I'm going to 3d print something, there's a command called clipping plane and I'm going to create that type of plane. I'm just going to draw the right angle and basically cuts a section through the object so that you can analyze the objects cutting through. I'm going to rotate it, so this

1:18:13
So the direction that that we want it, we want it pointing towards the objects that we're going to be cutting. So it has this, this needle, that that is pointing. And then, as I move it in that object, in that the viewport, you can see that it cuts through those objects.

1:18:27
So I can look here and I can see how solid this object looks. I can see that this one has no thickness, and then I can see that this offset surface. If I move through works really nicely but you can start to see that there is an issue here with the geometry and so potentially that you have to go back be a little bit more gentle with how you manipulate that initially the geometry or offset just a little bit less so that you don't have that issue.

1:18:54
So that would be the the one way that you can start to see those issues but there's no way to really identify that as an issue. And now, let's just look at that creating a piece of geometry that has not manifold service.

1:19:27
I've intentionally didn't non-menable so we'll see if this works.

1:19:45
Great. Seven surfaces or poly services joined in the one, close poly surface. So, I created a duplicate surface here, which means that it joins with one surface, it follows the exterior of that joints in the next surface. And so we know now,

1:20:09
And really struggling to figure out how to create non-menable geometry. But if we had nonmetal geometry, if we type in show edges and if you look at non-manifold, it'll show you those edges and it's typically that it joins and it's not part of the the volume defining piece of geometry.

1:20:29
And so you, you attract it down that way, you'd explode the object and trend the eliminate, the piece of geometry.

1:20:38
We have. We're here till 10:45 is that correct. Okay, let me let me run you one other set of commands? They're gonna be the boolean options. You've got boolean, union and boolean difference, and this maybe two minutes. So, over on the side here, if I look at these two spheres and fully and union, and if I write click, it's got all my boolean options.

1:20:59
So if I type in boolean difference, you can subtract one object from another object. So, let's created duplicate of this that older

1:21:16
The same and I might even create this figure. And so, any of the volunt, any of the geometries that we create that are closed poly services that calculate as volume can be used with the boolean operations. And so if I select these two here guys like those two and type in bullying union can see you.

1:21:41
Barely see a difference. You can see that. There's a hard edge here. It says that it created a mesh, and if I select here, these are two separate objects. This is now one object. And if I move my clipping plane through, you can see where there are two objects, you see that inner edge and when it boolean unions, you can see that it actually union them to be one volume.

1:22:02
I did it with cubes, but any of these closed poly surfaces can be union or difference from one another, and we can continue that without the

1:22:15
We've had issues wherever you try to union, like three things where all three intercepts. Like do you have any advice or situations like that? Like it can. Sometimes work inside I would I would try and isolate. So I would do one a with B and then Candy with C or and that's one way to identify the other is anytime you have edges and right now those those clearly miss and so rhino doesn't have to be interested in there.

1:22:43
If those were perfectly in the line there, rhino sometimes will have a difficulty trying to understand what to do with the geometry there. So if you do have that issue, you may even want to just start to adjust some of those edges. So that they don't collide in such a strange way.

1:22:59
And maybe if you can isolate each of those, you'll find the moment where it's a little bit tricky for riders in yourself. No, perfect trick. Other than that sort of trouble. You so equally indifference. This. Because now we've carved that unit into that box. There we fully immediately into this one.

1:23:22
We go ahead and union these two. And now we move through and see can see that. That's all joined. This one object in that that cavity is now in carved. This is all one object that's a union. And now let's pull in really difference one of these cubes to help them together.

1:23:46
See that it comes that way. Now, in our boolean difference option, if I still subtract from, if I subtract from this one and the command line, it says delete input. No. If I say delete input, yes, it actually deletes the object that you're carving with. So, if you need to carve multiple objects with using the same carving object, then you can say deleted but no, or if you don't ever need this again, you can say, you're leaving with this, and it's just takes a step out of the indifference that there and you see that I did both of those as two separate commands.

1:24:32
You probably could do it as one, but sometimes it does get to be a little bit difficult to run under the kind of understanding. And as long as you select it closed, any type of volume and calculates your good. You say to show edges we have known, we have no negative edges and no non-metal veins thank you so much and then this is awesome.

1:25:00
Yeah my pleasure I hope to maybe get done a little bit sooner so that I don't add this to any questions. Maybe.

1:25:14
Getting was sure again how to throw the fish in the Philippines, the creeping. It's really prep. No, no. The needle, how to create cutting point with cutting point? Clicking thing. Yeah, Thank you brother. Thank you.

1:25:45
So you'll just go and take them plane. Oh, that's yeah. Can you see that there? Yes. And when I hit enter, it wants me to draw the rectangle of the clipping. Oh, so I see that's for me to draw the first corner. And then I just draw that and then depending on how it deploys into you can see that it becomes a plane that cuts the objects.

1:26:15
It's I'm just going to rotate it of this way. Oh, I need to move extra. So you you also turn on the compost for the creaking plant. It makes it easier to move. You don't need it. You could turn off the gumball but then I would have to select this and type and move and then you can do the same, but if you have to go bowl on, that allows me to just grab it.

1:26:42
And and I can graphically just kind of move it through that makes it easy because I don't question how to make sure but in dry no I mean poison, how you can see one who know of position of a coin, how to consume that and imagine distance.

1:27:06
We type in distance, you can select one point and then another point and it'll give you that measurement. Oh, so can use that of positive particular point on the object, he sort of. If, if I knew, let's see this. This line is 146 millimeters. If I wanted something, 20 millimeters in this, I would have to take go get my line, and I can start a line here and then I just type in 20, so, and that was giving me a reference point.

1:27:42
Oh, so just so there's, there's no, you can see. There's the curve that I just created, so it can be a little bit tricky. Trying to identify those points. You might need to use the vectors to give yourself. Oh, construction, level the commend on point of point going on.

1:28:01
Yes. And can you click the points and see the code? These names.

1:28:18
But but you have to import this specific PDF and file and then what I was

1:28:30
But it's a bit different in just a safe that saves us an image that when you, there's a specific likely that you have to different

1:28:40
The same for me, it's not safe.

1:28:53
Thank you. Thank you. Yeah. Okay, administrator. There we go. Okay. So the way that you have to do this, the device select this and I type in points on, you have to create a building. Also, you can't it won't give you any information about these points, but if I create a point I snap, it just keeps like it.

1:29:24
Then when I hit escape now I have to see like, maybe seconds like that, you know, and then I type in a properties and then go to details before you can see, oh, so I don't need to use points on these. There's no and then. Yeah. And take a look here.

1:29:45
We It's not necessarily like climate but like it goes back to print that spot and then like, you know, it's made must just be like brain that. So when I had my points on, then I come up and I'll grab this point and and just snap it to that, you have to make sure you're oh, snap is on so that it'll snap right to it.

1:30:10
Yeah. And then you can turn your points off and select it and then go to. That doesn't really happens to be a better musically than down details like that. And then, that gives me importance. And I hope other person and policy. So, hot lunch. I know I haven't ordered.

1:30:50
No, Do you have anything? No, but I'm working. Okay. So using because poison yeah okay. You're also you know with someone else? I've done some 3d scram with three. Yeah. And then oh I've used some lasers. Yes. So I have done specifically photography. I think slip styles like for example, once they serve the default 60 doesn't happen, and it's like, yes, no.

1:31:56
You spend so much time and be able to. Yeah. Yeah. Of course you do something better about it here. We want successfully. I think from the very first points of figured, and I think that's nice to see you all close. It is so the 3D standard that we use in the next engine, that's the company.

1:32:26
And it actually creates a car or using, that was the one that we have. But, yeah, it is possible. Let me see if I find something that I scared, just one person. So, how do you always actually create a mesh? Oh, it creates a me. Yeah, and especially if you didn't clean.

1:33:01
Your is just my curiosity because I including it looks like that. I scrap it depression is high enough. I don't make sure you have any studies that use but I trust you. Do you have enough to get nice? Okay. If somebody had I knew a fairly new idea. Oh, they have something yes, very nice feedbacks.

1:33:28
Oh that you can use more oh, because I yeah, yeah, thank you very much, so super, thank you, my pleasure. Did you teach a class? Not specifically on Rhino, I incorporated into some of the other classes but I teach in their architecture department. So some of the design studios and visualization classes and stuff.

1:33:51
Yeah, thank you. Yeah, my pleasure.

1:34:04
So here was a test that I had done on a scanner. So I bought this on eBay, it's about this big just to see if I can scan and get a high resolution. And so it was like five dollars and the scanner the next engines scanner that we use gave me this as a scandal.

1:34:28
And so he was it was multiple scans that I had put together to try and get the. But like you said, it's almost like the 20th cloud where if I look at the shade, if you it's very dense and it's really difficult to use, what you can do. If you have something like this, you can say, rebuild mesh the profile control.

1:34:58
What is it?

1:35:06
Reduce mesh. So here, if we say reduced mesh, I can reduce it to a certain amount or I can reduce it by 50%. Say okay.

1:35:26
See it's viewer. Let's do it again. Let's say, okay.

1:35:37
And so here, let's do 80%. So, I mean, you lose some of the resolution, but you also, then give yourself the geometry, that's a little bit easier to use. So you could potentially kind of use that as a way of going. Did the scatter that I eat used should have a turntable, we just don't have it.

1:36:00
I don't the department lost it as a couple years ago. So it only takes individual scans and then you have to stitch them together yourself, but the turntable normally would do that. But I think the, the iPads have a really nice through their lidar. They have a really nice, the ability to scan really nicely and so you can remove it around the object, and I think it identifies focal points, and then, it gives you a scan.

1:36:33
And I think the size of maybe car parts, I don't know. If you could do a full car or even if you're patient, you probably don't. Yeah, but this is exactly, exactly. So you cannot give you some nice messages. Nice and simple. That would be nice but not possible.

1:36:56
I think just in the fundamentals of the request, you know, if you have a nice car it has these lines. And then it happens. Just this is also cool. How do you do this? Is that yes. Okay, maybe I can send you the book if you are interested. Yeah, that'd be great.

1:37:22
Okay, so you want I didn't find your content. Okay. Okay. Yeah, that's not as clear. And, oh, got it and of about. So do you plan with person in West, very little, because five or more class projects, I start to create a lot of art and so I used courier details a lot, okay?

1:37:52
Because I want to make a lot of classes amount to 33 those hearts. This is not competitors. So help I used notion. Yeah, nice. Well hopefully this was helpful because almost not mine too. Yeah.

1:38:27
And what was your name? So I think I send you the email and it's okay and you're still not there. Okay, great. Yeah. Just so that I can keep an eye out for that. That's yeah, my pleasure.

1:39:10
Have going until