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Explore how to utilize the patch command to turn your surface into a solid, how to use the analysis tools to view a section of your model, and how to use the shell command to create an internal space.
Type:
Tutorial
Length:
6 min.
Tutorial resources
These downloadable resources will be used to complete this tutorial:
Transcript
00:03
Before we proceed,
00:05
we have received some initial feedback but the dip section might be too
00:07
shallow and we need some space to add some holes of ventilation.
00:12
As always,
00:13
I could just quickly jump back into the edit form
00:15
command to rework this to a more appropriate size.
00:21
We now want to add some definition and detail to the
00:23
ridge that surrounds this section and proceeds to the front.
00:28
We can do either using the crease or insert edge command.
00:31
And in this case, I'll use the latter approach to give us a more smoother transition.
00:40
I'll repeat this command of the inner edges.
00:42
Although you will notice the in two edges cannot be selected at the same time.
00:48
The best thing to do here is create the edges first,
00:52
then use the inset point command to make
00:53
sure the vertices are coincident with one another.
01:00
You can see we have more definition
01:02
but now I have a potential issue where there are seven edges on the front section,
01:06
meaning any subsequent modeling will require more effort
01:11
to counter this. I can simply delete the edges to create a T point
01:15
as you'll see when I go to use the repair body command,
01:17
making sure the two points are selected in the geometry label section.
01:24
Generally speaking,
01:25
we should always aim to maintain four edges for each face.
01:28
However,
01:29
a T point can also be used to constrain detail to part of the service
01:38
moving on.
01:39
I want to make our lives easier when we subsequently lost this front section.
01:43
I'm going to edit this front section to be more circular.
01:46
As I know the target profile will also be circular
01:49
when using the L command,
01:51
the more the origin profile matches the target profile,
01:53
the more uniform and consistent the luff will be
01:58
notice that as we have removed some of the edges in the previous step,
02:01
you'll find less work needed to find the form you are. After
02:05
again, we can always add or remove sporting geometry when needed.
02:14
Now, we're ready to crate a loft.
02:17
If I turn the canvas back on and go to our front view,
02:20
we can see we'll first need to shift these
02:21
set of edges back slightly to make some space
02:24
and adjust some of these edges to maintain our uniform shape.
02:29
I'll then also need to create a new offset plane where our previous
02:32
set of edges used to sit and sketch a circle to loft to
02:38
again,
02:39
I'm just reviewing the canvas from other angles and
02:41
amending as necessary to make sure everything lines up.
02:45
Now make sure your sketches are visible
02:47
and using the loft command in the surface space.
02:49
We're going to select the mesh edges and recently
02:51
created circle profiles to lock the two together.
02:57
If you turn off our canvas,
02:59
you can see there is no smooth transition between our lofty profiles.
03:02
However, if you change your continuity to curvature in the drop down,
03:06
then adjust the tang of
03:07
weight, you can better match the canvas.
03:12
An alternative approach might be to leave it as
03:14
is then apply a parametric filet to this edge.
03:16
Instead
03:19
at the moment,
03:20
we are still working with the surface body, meaning it has zero thickness,
03:25
we're going to add some thickness in these next steps. So we can calculate, analyze
03:29
and compare different materials and their weights.
03:32
First, though
03:33
we need to cut these ends off
03:35
to do this, use the patch command on either end
03:39
followed by the stitch command which combines selected
03:41
surfaces into one by a defined tolerance value.
03:46
Once you press OK,
03:48
all selected surfaces will be stitched together to form one single solid body.
03:52
As you can see from the body's drop down in the browser tree.
03:56
Now,
03:56
I can go ahead and create a section analysis using
03:58
the central plane to confirm this is a solid body
04:01
as defined by the hatched areas.
04:04
As a note, you can change the color of the hatched area should you wish?
04:07
Or as I'm doing here
04:08
leaves a default from component
04:12
in the browser tree.
04:13
You will see the analysis drop down has now
04:15
appeared which includes our section analysis amongst others.
04:17
You create,
04:19
this means you don't have to recreate these each and every time
04:22
simply hide or make visible as necessary.
04:26
And finally,
04:27
we know this won't be a completely solid model as we
04:29
need room for internal components such as the motor assembly.
04:34
We're going to use the shell command,
04:36
a solid modeling tool to let us create some wall thickness.
04:40
The reason we use this command is so we have a parametric function
04:42
in our timeline that can be edited at any point in the future.
04:47
I'll turn on our section analysis again. So we can view the results.
04:53
In this case, we might want to add some more thickness to improve stability.
04:56
As we know, we have a moving part that sits inside,
04:60
we just need to simply edit the values
05:03
and the model will update parametric.
Video transcript
00:03
Before we proceed,
00:05
we have received some initial feedback but the dip section might be too
00:07
shallow and we need some space to add some holes of ventilation.
00:12
As always,
00:13
I could just quickly jump back into the edit form
00:15
command to rework this to a more appropriate size.
00:21
We now want to add some definition and detail to the
00:23
ridge that surrounds this section and proceeds to the front.
00:28
We can do either using the crease or insert edge command.
00:31
And in this case, I'll use the latter approach to give us a more smoother transition.
00:40
I'll repeat this command of the inner edges.
00:42
Although you will notice the in two edges cannot be selected at the same time.
00:48
The best thing to do here is create the edges first,
00:52
then use the inset point command to make
00:53
sure the vertices are coincident with one another.
01:00
You can see we have more definition
01:02
but now I have a potential issue where there are seven edges on the front section,
01:06
meaning any subsequent modeling will require more effort
01:11
to counter this. I can simply delete the edges to create a T point
01:15
as you'll see when I go to use the repair body command,
01:17
making sure the two points are selected in the geometry label section.
01:24
Generally speaking,
01:25
we should always aim to maintain four edges for each face.
01:28
However,
01:29
a T point can also be used to constrain detail to part of the service
01:38
moving on.
01:39
I want to make our lives easier when we subsequently lost this front section.
01:43
I'm going to edit this front section to be more circular.
01:46
As I know the target profile will also be circular
01:49
when using the L command,
01:51
the more the origin profile matches the target profile,
01:53
the more uniform and consistent the luff will be
01:58
notice that as we have removed some of the edges in the previous step,
02:01
you'll find less work needed to find the form you are. After
02:05
again, we can always add or remove sporting geometry when needed.
02:14
Now, we're ready to crate a loft.
02:17
If I turn the canvas back on and go to our front view,
02:20
we can see we'll first need to shift these
02:21
set of edges back slightly to make some space
02:24
and adjust some of these edges to maintain our uniform shape.
02:29
I'll then also need to create a new offset plane where our previous
02:32
set of edges used to sit and sketch a circle to loft to
02:38
again,
02:39
I'm just reviewing the canvas from other angles and
02:41
amending as necessary to make sure everything lines up.
02:45
Now make sure your sketches are visible
02:47
and using the loft command in the surface space.
02:49
We're going to select the mesh edges and recently
02:51
created circle profiles to lock the two together.
02:57
If you turn off our canvas,
02:59
you can see there is no smooth transition between our lofty profiles.
03:02
However, if you change your continuity to curvature in the drop down,
03:06
then adjust the tang of
03:07
weight, you can better match the canvas.
03:12
An alternative approach might be to leave it as
03:14
is then apply a parametric filet to this edge.
03:16
Instead
03:19
at the moment,
03:20
we are still working with the surface body, meaning it has zero thickness,
03:25
we're going to add some thickness in these next steps. So we can calculate, analyze
03:29
and compare different materials and their weights.
03:32
First, though
03:33
we need to cut these ends off
03:35
to do this, use the patch command on either end
03:39
followed by the stitch command which combines selected
03:41
surfaces into one by a defined tolerance value.
03:46
Once you press OK,
03:48
all selected surfaces will be stitched together to form one single solid body.
03:52
As you can see from the body's drop down in the browser tree.
03:56
Now,
03:56
I can go ahead and create a section analysis using
03:58
the central plane to confirm this is a solid body
04:01
as defined by the hatched areas.
04:04
As a note, you can change the color of the hatched area should you wish?
04:07
Or as I'm doing here
04:08
leaves a default from component
04:12
in the browser tree.
04:13
You will see the analysis drop down has now
04:15
appeared which includes our section analysis amongst others.
04:17
You create,
04:19
this means you don't have to recreate these each and every time
04:22
simply hide or make visible as necessary.
04:26
And finally,
04:27
we know this won't be a completely solid model as we
04:29
need room for internal components such as the motor assembly.
04:34
We're going to use the shell command,
04:36
a solid modeling tool to let us create some wall thickness.
04:40
The reason we use this command is so we have a parametric function
04:42
in our timeline that can be edited at any point in the future.
04:47
I'll turn on our section analysis again. So we can view the results.
04:53
In this case, we might want to add some more thickness to improve stability.
04:56
As we know, we have a moving part that sits inside,
04:60
we just need to simply edit the values
05:03
and the model will update parametric.
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