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1. The keyboard shortcut is Command Control E formez File Edit Window Views Display Options Palettes Hell 4 Thu 11 37AM ee o Untitled1 Cone Of Vision s is C AAA ax T 6 y Choose Views gt Perspective or hit the P key Choose Display gt Interactive Render Command Comtrol J Choose Views gt Reset View Angle Choose Windows Align amp Scale Frames You can now graphically manipulate the location of the Eye Point Sta tion Point Center of Interest Center of Vision Line of Sight and the Cone of Vision to achieve the desired view Feriodically choose Align amp Scale Views To save the view choose View gt Save View enter a view name e g Southeast in the dialog box and click OK Create a new view or close the Cone of Vision window When you returned to the graphice window the last view you created will be displayed and any views you saved will appear in the Views palette Note The Window Tools are available at the bottom of the Cone of Vi sion window for use at any time Note Do not use the Zoom window tools to adjust a perspective It will alter the cone of vision To recover choose Reset View Angle from the drop down menu in the Edit Cone Of Vision window 48 08 03 View Parameters
2. Facets 26 Edge Iso Line Points 90 Topology Type Solid Well Formed Yes Edges 2 Faces 3 Points 2 Geometry Non Planar Faces O Strict Planarity Surface Area SqFt E Volume CuFt Center Of Gravity Object Axes Origin Rotation ME I Y 27 0 To eus Pas Mass Properties Reset To 3 Object Centroid f Center Of Gravity m Reset C Cancel ox gt Query Object Attributes Object Name piet3 On Layer layer1 A Surface Style Style 1 Visibility Visible O Locked a M Snapable M Casts Shadows M Receives Shadows O Render As Wireframe Width 1 Pixels v Render As Shaded Surface O Rendering Backdrop Texture Maps Smooth Shading Decals Radiosity Meshing Display Resolution C X Display Resolution O Simple 9 Detailed rEdges And Iso Lines Iso Line Density Medium Hj Point Density O Of Segments Max Normal Deviation O Max Edge Length Facets M Max Of Facets Length 4 Depth Ra Lock O Max Edge Length 2 0 M Max Normal Deviation 10 O Max Surface Deviation 0 1 Form Z Manual Query Tool Editing The Query tool is a powerful editing
3. Light Parameters Name Sun Preview Distant E Color Type Intensity Simple 1150 P6 ralloft Constant O Accurate Options a aiiai Location Center Of Interest x 40 0 x o o Y 80 0 Y o o z 120 0 liz o o M Shadows Type Hard Raytraced 8 O Transparent Distant Light f Light Direction From Sun ad aj cti ari o B Locked a O Shining Lens Flare 10 Glow Glow Options Map Options f Alternative Lights Za Rest Cancel E Light Group Attributes Name Main Space Visible Invisible E Shining Yes HJ Locked No Shadows HJ Override Attributes Color M Intensity O Replace Simple gt Accurate 100 Options Distant gt SERIES duds Options Others Scale By O Shadow Type Soft Mapped ransparent Options O Glow No O Radius Angle Options Radius 10 0 Outer Angle 60 Inner Angle 45 Reset Cancel ok gt Form Z Manual 08 03 21 Editing lights Double click on a light name to access the Light parameters dialog box illustrated to the left Use Simple light Intensity Intensity can be greater than 100
4. image Size Choose Image gt Image Size Pixel Dimensions 259K was 1 01M 0 3 width 433 pixels Ja Cane Check Resample Image and choose Bicubic Nearest Neighbor may Height 612 pxes PATA work well for images with crisp lines and text Document Size Enter the desired resolution Downsampling is when you enter a lower Width 34 68 f picas m ONT j Je resolution Upsampling is when you enter a higher resolution Height 48 96 picas Resolution 75 pixels inch 793 Note that the size of the file shown at the top of the Image Size PT dialog box has changed because the quantity of information has M Resample Image Bicubic i changed Note Downsampling is much preferable to upsampling in terms of image quality Click on OK to apply the change 26 08 03 Levels Channel Gray Input Levels 0 1 00 255 Cancel A P Output Levels 0 255 Preview oc so Layers Channels Paths C Normal Opacity 100 PP Lock 3 Td a Fin 100 PA 20 0 0 W 2 O E B Photoshop Manual Adjustment Layers Whenever you apply levels to an image you are degrading the image by throwing away some image data Once the data ie gone it cannot be retrieved When you use adjustment layers you are editing a layer above the image rather than to the image itself The reasons for us ing adjustment layers are as follows You can change your m
5. Reset Cancel ok gt Layer Attributes Name Site Visibility Visible Locked No kJ Snapable Yes 33 Override Attributes O Surface Style JD style 1 O Shadow Casting Yes O Shadow Receiving Yes O Render As Wireframe No a dth 1 Pixels O Render As Shaded Surface Yes O Smooth Shading Options All Gi C E Form Z Manual 08 03 19 Layers Palette Layers are saved to isolate model elements There are five columns in the Layers palette Column 1 A check indicates the active layer Column 2 The layer name Column 3 Visibility A diamond makes a layer visible Column 4 Selectability Locks and unlocks layers Column 5 Snapability A circle allows you to snap to layer elements Note Clicking in the header of a column changes the setting for all layers Creating A Layer Click in the space below the last name in the palette and a new layer will be created with its standard name highlighted Type in a meaningful name and hit Return to save the view Click in an existing name to select it for editing Type in a new name and hit Return Click in the palette while pressing the Control Mac or Ctrl Alt Win and a new group will be created Click and drag a name into or out of a group or to a new location in the palette Assigning Layers New elements are constructed on the active layer To move an el ement to a new layer make the destination layer active Choo
6. Symbol Definitions Modeling Libraries y z lb New nn Er XE toad Display Modeling Q Drafting Info Overview Edit O Alphabetical Sorting Compact Library Delete Duplicate Form Z Manual 08 03 127 MODELING SYMBOLS Symbols are groups of entities that are stored in a library for use ina model The advantages of symbols include Symbols can be retrieved from a library and placed in a model original is drawn only once Symbols save memory and file size one description for all instances of a symbol in a model Symbols support the ability to make global replacements Create the Object Create the object that will be made into a symbol It can contain as many elements as desired A symbol can contain nested symbols The surface styles used in symbols will be added to or use the surface styles in the file in which they are placed Surface styles used in sym bols will be locked when a symbol is placed in a file Therefore consider creating unique surface styles for all objects that will be used in a symbol These can then be brought in with the symbol and they will not affect the existing styles in the file The layers used in creating a symbol can be ignored or added to a file when the symbol is placed If symbols are going to be on their own layer consider placing the objects that will make up the symbol on one or more of their
7. MARA ELENE OUTLINE AR e NEM Object Transformation 0 Self Copy Object Construction Base de O O Revolve Sweep Sk po Smooth Curves Organics AAA E js vno nl ad a FER E di s D ER TEND EP TA BT Window Tools XY Plane YZ Plane ZX Plane Arbitrary Planes Edit Planes Ferpendicular Grid Snap Directional Snaps No Directional Snap Object Snap No Object Snap Zoom Z Fit F Set View S View Tools Reset X Graphics Window Form Z Manual 08 03 13 x BARRES NES ide oc po EE o Changing Your Point of View Use Zoom In By Frame Z click and drag a rectangle to set view to move in and Fit F to move back Use I to zoom In and O to zoom Out incrementally It will keep the center of the image in the centered in the graphice window Fit F is set to zoom in to a selected element If no object is selected it will fit the whole model Use Reset X to return to the default grid size and location 14 08 03 Form Z Manual Form Z Keyboard Shortcuts Operation Macintosh OS X Windows XP Save Command S Control S Undo Command Z Control Z Redo Command B Control B Copy Command C Control C Cut Command X Control X Faste Command V Control V Select Topological Level Element Click Click Deselect
8. oo0 Stroke Weight 1 pt mh M Miter Limit gt El Tx Join Align Stroke B Type 4 Start None 4 End None Hd Gap Color 7 None Gap Tint 100 T O amo Av See Bl rr 1 atra aw s InDesign Manual PANELS Control Pallette Panel The Control Fallette is one of the most important panele in InDe sign It changes ite display based on the object selected 08 04 E The Control Pallette adjust some but not all of the options avail able to each object in the document It contains many of the most often used functions such as font style and size for text blocks and stroke position and size attributes for graphic elementos It hae many tools for editing and manipulating text It is always the first place to go when adjusting text While editing a given text block use adia Command 7 Alt Control 7 for PC J100x s OT T 00x A No character style 3 T Tv English USA 5 to quickly ewap between Type optione and Faragraph options in the Control Falette Option Clicking on many of the buttons will open further text editing dialogs Color Swatches amp Stroke Panels The Color panel allowe you to define colore according to three dif ferent modes CMYK RGB and LAB In the illustration the CMYK mode ie being used to specify a color Once the color ie epecified it can be placed in the Swatches panel If an object ie selected it edite
9. 2 in the Horizontal and Vertical Size boxes under Wrapped Textures If the style is a solid procedure enter 2 in the Solid Tex turee Size box Click and drag the intersection of the tiling coordinates to set the starting point for the tiling pattern ae desired The tiling can be rotated relative to the ob ject by selecting the appropriate Axis Flane combination Z XY from the pop up menu the axis will turn red and then clicking on Mapping wpe Leme camino and moving a green axis and or entering an ga a angle under Rotation for the appropriate axis Z Click OK and render the scene The custom prat mapping when combined with the same style Chew delete Rename produces the pattern shown to the left on a two foot square surface Note Scaling will maintain the proportions but not the dimensions of a pattern For example a 10 mortar setting for a one foot square is half the actual dimension of 10 of a two foot square Make a visual judgement as to the end result of scaling the style and make adjustments in the style if needed Re member that the style and the texture map ping are independent but related variables Note Surface Styles can changed or as signed from within the Texture Map Controls dialog box by clicking on Assign choosing the style and clicking OK 138 08 03 Form Z Manual Texture Groups By defau
10. View Name Untitled1 1 Model View Type Perspective E Eye Point 34 Center Of Interest x x Y 61 11 13 Y o o z 6 0 Z 6 0 XYZ FH O Clip Hither Yon Hither 24 5 3 4 Yon 103 9 9 16 Spin Angle Perspective Parameters 34 Focal Length 31 177 mm O Keep Vertical Lines Straight Width 64 Aspect Ra Pixel Ratic Animat Duration Frames Pe Time Con Keyfra gt Custor Keyframe 1 e Cir Eye Path COI Path Reset Form Z Manual Exact Eye Level Perspectives Choose Views gt Edit Cone of Vision Command E to open the Cone of Vision window Choose Views gt Ferspective or hit the P key Graphically manipulate the location of the Eye Foint Center of Inter est and Line of Sight to approximate the desired view Choose Views gt View Parameters The dialog box will contain the coor dinates for the existing Eye Foint and Center of Interest Note All coordinates in the View Parameters dialog box are relative to the world axis Note Eye level is generally assumed to be five to six feet above the ground plane Enter the eye height as the Z dimension e g for both the Eye Foint and Center of Interest This is correct if the plane on which the viewer is standing coincides with the XY plane of the world coordinates No
11. Click OK and Save the file Check and Uncheck the Image lock as appropriate to protect from ac cidently painting on the layer Color layer The Color layer is located above the Values layer and will contain the color washes Activate the Value layer Click on the New Layer icon at the bottom of the Layers palette Name the layer Color and set the Mode to Multiply This mode will result in the lines reading through the layer Check and Uncheck the Image lock as appropriate to protect from ac cidently painting on the layer Link the Structure Lines Value and Color layers together so that they can only be moved together Click OK and Save the file EHE B Photoshop Manual 08 03 63 Selections Selections can be made in many ways as described in the previous section of this syllabus Given the image that is being used the magic Wand is an appropriate selection tool Refer to the pre vious description of this tool as required Choose the Magic Wand tool and set its options New Selection or Add Selections Tolerance Start at 10 Check Use All Layers Check Contiguous Zoom in to see representative lines in detail Click within the area you want to select Marching ants appear to define the selection Expand the selection Command F 1 The goal is to enlarge the se lection to include at least half of the line Determine the number of pixels that a selection will need to be expanded Fit the image to the wind
12. Form Z Manual 08 03 113 Nonparallel Faces Example Problem Create a wall or planar element that is a solid object whose two major faces are not parallel and may be irregularly shaped planes Summary Create two C Meshed planes Derive 2D Surfaces from the boundaries of the planes Create a C Mesh between the two 2D surfaces Stitch the three surfaces together C Mesh Face Creation Draw 2D Surfaces with the Vector Line Tool that define the top bot tom and the desired number of intermediate defining lines Draw the lines on a common plane and then move them into position vertically with the Ferpendicular switch turned on Note The lines for both surfaces should be drawn in the same direc tion PrePick the lines defining one of the faces You must PrePick the source objects when there are more than two Open the C Mesh Options dialog box Length Of Net Same Points or Use Existing Refer to previous dis cussion Use Existing is a better choice if the 2D surfaces do not have the same number of points Depth Of Net Use Control Line Intervals Mesh length Of Segments This should be kept constant for both planes so that they have the same number of length points Set the number of segments in relationship to the length of the surface Mesh Depth Of Segments This should be kept constant for both planes so that they have the same number of depth points Set the number of segments in relationship to the hei
13. Position the import pointer where you want the upper left hand cor ner of the graphic to appear and click to place the graphic Notes Control Click Right Click for PC to bring up a menu of image manipulators If you are going to print your document is it a good idea to import rd party images in TIFF format Indesign importe easily from photoshop and illustrator native files as well Images can also be imported by drag and drop or copy and paste techniques Most imported files are linked by default in InDesign Managing Links Imported files can be linked to or embedded in a InDesign file When files are linked their data is not made part of the InDesign file therefore the InDesign and all linked files must be kept together for display and printing When files are embedded their data is made part of the InDesign file and you only need the InDesign file for display and printing Save any linked files in the same folder as the document to which they are linked BEFORE IMPORTING It is best if they are all at the same level within the folder because InDesign looks in the document folder for linked files if their original location path has changed To update a link click on the Links panel and choose Update Link from the pull down menu Select Link Information from the pull down to see apecific file info To update or reestablish a link select Relink from the pull down Navigate to the desired file and double click on
14. Turn on Foint or Intersection Snap to aid in locating the center of the circle Click to set the circle s center and move the mouse Enter the radius with the keyboard and hit Return to complete the circle V Translate Move Options Optio Copy Options Relative To 9 Reference Plane O Object Coordinate System XY Plane 2 YZ Plane D ZX Plane Form Z Manual 08 03 71 GEOMETRIC TRANSFORMATION Moving Objects Moving Horizontally Using the Move tool moves objects parallel to the active reference plane by default Grid Snap should usually be On Set the Copy modifier to self Choose the Move tool Click on the object and move the mouse to move the object Click to locate the object Moving Vertically To move objects perpendicular to the active reference plane requires the use of the Perpendicular Switch Grid Snap should usually be On Perpendicular Switch gt On Choose the Move tool Set the Copy modifier to self Click on the object and move the mouse to move it vertically Click to locate the object Moving Through Space To move an object through space and make one of its points coincide with a point on another object requires the use of Point Snap Choose the Move tool Set the Copy modifier to self Set Object Snap to Point Snap the cursor to the point of the object you want to move and click Move the cursor near the destination point on the second object and Clic
15. 08 03 Trim Split Options Ontions 1 Status Of Objects First Object Both Objects With Line My My Trim O Split O xs Ny V VY a wW O Stitch Round Distance 2 0 Of Rounding Points 8 oc Form Z Manual Trimming amp Splitting with Objects The other options support trimming and splitting of one object with another The objects may be Smooth Meshed or Farametric but are most predictable for Meshed objects First Object Trimming The first object picked is trimmed by the second object picked The location of the mouse click on the first object determines the part that will be kept First Object Splitting The first object picked is split by the second object picked Both parts of the first object are kept Both Objects Trimming The smaller contained object is split by the larger object The pick sequence is irrelevant The location of the mouse click on the smaller contained object determines the part that will be kept Both Objects Splitting The two objects are split by each other The pick sequence is irrele vant All parts are kept First Object Trimming Plus Stitching The smaller contained picked object is trimmed by the larger picked object The pick sequence is irrelevant The location of the mouse click on the smaller contained object determines the part that will be kept The remaining parts are
16. Current Group Pick By lU M 339 Mm d Scale With Object Clear To Default Other faces can be added to a group by selecting it and clicking on the edges of the faces Adding faces to another group requires that you create or select the group first and then select the faces To remove a face from a group select the group and then click on the edges of the face to dim it Note A Texture Group can contain multiple Surface Styles but only one set of mapping parameters mapping type tile size plane lo cation and plane orientation settings If you want different faces to have different mapping parameters they must be in different groups 140 08 03 Form Z Manual Color Image Maps The Surface Style Parameters lets you create an enormous variety of surface styles using various combinations of Color Reflection Transparency and Bump parameters Each one of these catego ries of parameters can also use an external image or Image Map to add to the variety of surface styles This section will only ad dress image maps used in the color category The goal is to bring an image into form Z and map it to a surface This could be a painting wall mural etc Edit the image in Photoshop or other image editing program to have appropriate proportions and save it as a TIFF file For example the proportions of the image illustrated are 6 wide to 10 high Image proportions may come from the surface that you are cov erin
17. Leave sunlight surfaces White Make shade surfaces 30 black Three 10 fills Make shadows as 60 black Three 10 fills Refined Value Structure Adjust the values to differentiate surfaces and simulate light vari ation Low percentages of black and white can be used in the adjustments Make Black or White the foreground color as required Use 5 and 10 fills to make general surface adjustments Use Foreground to Transparent Gradations and large soft edged Faint brushes to create variation shade curved surfaces and simulate changes of light intensity Use low percentages e 9 10 20 50 at all times Refer to the previous section of the syllabus for additional infor mation on the Gradient tool EHE B Photoshop Manual 08 03 65 Creating Surface Color Create a mixture of hues on the Color layer that matches the values of the Value layer Use some combination of fills gradations and large paint brushes In general do not use black and white while creating the surface colors Lock and turn off the Value layer Lock the Lines and Structure lay ers This will ensure that you do not accidently put colors on the wrong layer Activate the Color layer Make and or load selections Selection tools should be set to Use All Layers Begin by using the 10 fill action to establish basic surface hues Adjust the overall surface value and hue with 10 fills of a variety of hues Add Gradations with a variety of hue
18. Note Choosing Destination as the Source option allows you to select the patch area first and then drag it to the area to be patched Removing Lines With Paths This technique will work in areas of uniform value and or color Draw a path with the pen tool that follows the center of the line you want to remove Save the path by double clicking on the Work Path in the Fathe pal ette Click on the Clone Stamp tool and choose a soft edged brush that s slightly wider than the line you want to remove at its widest point Set other options Use All Layers should be selected Option Alt Click directly to the left or right of the beginning of the path to set the source point Create a new layer the layer should be active highlighted With the path highlighted choose Stroke path from the Paths palette pop out menu The area along the path should be changed Turn off the path by clicking in the open space of the paths palette When retouching is done you can see the before and after views by toggling on and off the new layer If results are satisfactory you can merge the layers EHE B Photoshop Manual 08 03 33 Unsharp Mask Unsharp Mask is an operation that increases the contrast along existing edges within an image and should be used on every image Sharpening should be done at the end of the image manipulation process after all other adjustments have been made Unsharp Mask provides a full image preview which shows
19. O gt untitled 1 Model frame 1 1 Pers mone ET SEDIT BE a y G Form Z Manual Graphics Window Proportions Understanding the relationships between the proportions of the graphics window cone of vision and final output are essential to controlling the content of the images produced from form Z It is important because the proportions of the Graphics Window controls the proportions of the cone of vision the printed output from form Z when Window Contents is chosen and the exported output Graphics Window Content amp Cone of Vision The proportions of the graphics window affects the window content and controls the proportions of the cone of vision When you change the proportions of the graphics window the proportions of the cone of vision change in response For orthographic and axonometric views this changes what can be seen based on the proportions of the window For perspective views what shows left to right does not change but what is visible top to bottom does change as illustrated to the left Change the proportions of the graphics window and examine the af fect on the proportions of the preview window and cone of vision visible in the Cone Of Vision window They are all the same Chang ing the proportions of the graphics window affects the propor tions of the cone of vision The size of the cone of vision can be changed by dragging its bound aries or changing its Angle setting in the
20. O Fit Increment Mesh Direction 9 From Picked Segment O From Angle Altitude X Z 45 Azimuth X Y 45 O Triangulate f Reset f Cancel Form Z Manual 08 03 89 ana MESHES Mesh Tool Meshes add points and segments to an object or surface to increase the flexibility of an object and support its modification The Mesh tool can generate plain meshes on closed surface objects or on faces of 3D solid objects Double click on the mesh tool to open the Mesh Options dialogue box By default meshes are created in all directions and locked together When the XYZ Lock option is checked a change in one dimension changes all dimensions You can mesh in only one direction by un checking the directions you do not want active Note the Z dimension will only be used if you are meshing a 3D object Where you click affects the application of the mesh The X dimension will run perpendicular to and the Y dimension parallel to the first seg ment you choose The XYZ dimensions do not have anything to do with the XYZ axis They are relative to the face you click on with the Z dimension always applied perpendicular to the face The triangulate option breaks the mesh down into triangles The triangulate option for the tool will create a smoother form than using the Triangulate tool after the mesh has been created Mesh Within Meshes You can place meshes within meshes to pro
21. The next step is to build vertical elements that fit between the main roof and the clearstory roof Look at the roof in elevation to determine the height of an element that would reach from the XY world plane to above the clearstory roof Set the dimension in the heights menu e g 40 Set the Grid to 6 or as desired Choose View gt Top Build one element using the 3D Extrusion modifier and the appro priate drawing tool Convert the element to a Plain facetted object if desired Copy the element For example if the clearstory is round use the Rotate tool with the Self Copy modifier set to Repeat Copy Click on the support Click on the center of rotation Move the mouse to start rotation clockwise and type in 2O Click repeatedly to create the desired number of supports Cut the Supports Use the main lower and clearstory roofs to cut the supports using boolean operations Choose the Boolean Split tool Options One Way Set the Status of objects to Keep Click on a support and then on the main roof Repeat for all supports Ghost the main lower roof Choose the Delete tool and click on the supports below the main roof twice to remove the unwanted elements including the one within the roof Unghost the main lower roof Choose the Boolean Split tool Click on a support above the clearstory roof and then on the clear story roof Repeat for all supports Ghost the clearstory roof Choose the Delete tool an
22. You can repeat the above process for additional pieces Once you have assembled all the pieces you can crop image to it final size and Save the file 84 08 03 O E B Photoshop Manual Line Quality If you have exported a hidden line view from Form Z or if the lines in your drawing are more mechanical than is desirable for the pre sentation you can affect their quality by using Photoshop filters The following described using the Distort filter This filter distorts that image as if it were being seen through glass The effect can be a line that looks more hand drawn more ir regular Set the Background color to White The Glass filter will use the back ground color to fill empty areas created at the edge of the image when the filter is used Make sure the layer containing the lines is active Choose Filter gt Distort gt Glass Set Distortion O to 20 The higher the setting the more the filter offsets duplicated pixels Start with a setting of 1 Set Smoothness 1 to 15 Lower settings produce extreme distor tions Higher settings produce more even distortions Start with a setting of 5 Choose a Texture Choose the Frosted or Canvas textures that are built in to Photoshop You can use any image saved in the Photo shop native format Set the Scaling 50 to 200 The larger the number the coarser the grain in the image Start at 125 Checking inverts the displacement map before distorting the image Start
23. tion that breaks the page into pieces and prints them on smaller sheets of paper You can use this function to produce larger pre sentations Process Establish the print area of the output sheet size e g 6 x 10 for a letter size output sheet Specify the InDesign page size and orientation based on multiples of the printable area of the output sheet size and orientation e g page size of 10 x 16 for printing on two letter size sheets oriented vertically Create the document remembering the you can use bleeds because the specified page will be printed in its entirety If elements do not bleed include a thin line at the edge of your page to guide trimming after printing 08 04 InDesign Manual Choose File gt Print and choose the appropriate printer and page orientation This controls the orientation of the paper on which you will be printing Choose Setup from the list on the left hand side Under Setup Set Faper Size and Orientation Under Options Scale should be set with Width and Height both at 100 Check Tile gt Auto gt Overlap O Click on Print
24. 0 Offset y 50 Fuzz y 50 O Area Sample Match Color Shader J Revert Default Cancel Form Z Manual Brick The goal is to create a surface style that would appropriately rep resent standard brick sizing 4 x 8 x 2 2 3 including a 3 8 mortar joint Double click on an existing surface style to edit the style or click to create a new surface style Enter a name Names can be sorted alphabetically for display in the Surface Styles palette or if they are preceded by a number they will be sorted first by number Choose Brick Simple from the Color shader pop up menu Choose Color gt Options and set the Length to 64 Height to 19 and Mortar to 3 The default tile in the texture mapping tool is one foot square Therefore 64 plus 5 is close to 66 666 which is 2 Srds of 12 inches or amp inches The height was experimented with to produce as close to nine courses in 24 inches as possible Click on the Brick Color to open the Edit Color dialog box and set Hue to 15 Saturation to 90 and Value to 75 or as desired Click OK Choose Brick Simple from the Bump shader pop up menu Choose Bump gt Options and click on Match Color Shader This will match the dimensions entered in the Color Shader Options Click OK Close the Surface Style Parameters Dialog box Create a two fool cube Apply the style to the two foot cube Choose View gt Front and Dis play gt 1 scale The patter
25. Create A Second Instance of A symbol You can save up to three versions of asymbol These can be three different designs or three different levels of representational complexity Set the symbol level at the bottom of the Symbol palette to 2 or 3 as appropriate Follow the above procedure In the dialog box under Definition Name give the symbol the SAME NAME as the level one 1 instance and click OK Highlight the symbol in the library and look at its different levels Symbol Libraries 460 Library zlb Symbol Definitions Modeling New _ Save A Copy As ioa Info Overview Display amp Modeling Q Drafting Edit I O Alphabetical Sorting Compact Library Delete Duplicate Form Z Manual 08 03 129 Editing Symbol Libraries Click on the word Library at the top of the Symbols palette to open the Symbol Libraries dialog box From this dialog box you can load symbol libraries and work with the symbols contained in the libraries Editing A Symbol s Origin Handle Double Click on the symbol instance to open the Symbol Definition dialog box If the Pick Origin option in the Symbol Creation tool was active when the symbol was created the Origin Handle is represented by the red axes Choose an appropriate point of view Move the cursor over the intersection of the red axis and click and drag it to the desired location You
26. DIGITAL TOOLS FOR ARCHITECTURE Abreviated Software Manuals For Selected Programs Model by Neiel Norheim William R Benedict Architecture Dept Cal Poly El Corral Publication 12188 03 2 08 03 Digital Tools For Architecture William R Benedict Architecture Department California Folytechnic State University 1 Grand Avenue San Luis Obispo CA 93407 Phone 805 756 5082 Fax 805 756 1500 Email wbenedic calpoly edu Web calpoly edu wbenedic 2003 William R Benedict amp El Corral Publications All Rights Reserved All materials contained within this publication have been reproduced with the permission of the copyright owner s and proper royalty fees have been paid by El Corral Bookstore No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher and the author Digital Tools For Architecture 08 03 3 CONTENTS Computer Basics 5 Operating A sedo acd RRS Ep ean 5 Loosing Your Work ossa cisto ee 7 Hierarchical Filing 5 nu dA Po kA ORES Oe eo 8 Problem Frevenbion eset ec ae a ok ag ae 9 Coping With Disaster 0 ee 11 Miscellaneous DTU ooo 12 Form_Z Manual Photoshop Manual Freehand Manual 4 08 03 Digital Tools For Architecture Digital Tools For Architecture 08 03 5 COMPUTER BASICS JJ Compute
27. Double click on the tool and set its options to create an appropriate sized mesh grid e 9 2 square Click on the planes you have created Set the desired perspective view Form Z Manual 08 03 93 nnn QUICK amp DIRTY TRUSSES Trusses both planar and three dimensional are often a visible part of architectural models They can be created in form Z with great preci sion but their simulation early in the design process warrants quick and imprecise construction strategy Planar Trusses The problem is to simulate a planar triangular Fink Pitched Pratt Pitched Howe Scissors bowstring or parallel chord Pratt Howe truss or an open web steel joist The model starts with defining the overall geometry and dimensions of the truss and a typical member SIZE Example A Pitched Howe truss with a span of 56 and a depth of 10 with members that measure 4 deep by 8 wide Make active a construction plane that matches the orientation of the truss e g ZX Choose appropriate orthographic view e g View gt Front Custom Height Turn on grid snap and set an appropriate grid interval Height Add To Menu Set the Object Type Modifier to 2D Surface Reset Cancel 0K Choose the Vector Line or Segment tool as appropriate for drawing the truss elements Turn on and off appropriate Directional and or Object Snap as re 3D Enclosure Options quired Turn on and off Grid Snap as required Options
28. Note The Multiply and Screen modes can be used to change the af fect of the tools Note The Gradient tool must be set to Multiply to build the mask with multiple passes and or it must be set to Foreground to Transparent When you are finished modifying the mask click on the layer thumbnail to modify the image Invert A Mask Click on the layer mask icon Choose Image gt Adjust gt Invert Apply or Discard A Mask Click on the mask thumbnail Click on the trash button at the bottom of the layers palette Choose apply or discard Paste Into The Faste Into function creates a new layer and a Layer mask in one step Open a file and make a selection Open another image and copy the image Choose Edit gt Faste Into to create a new Layer and Layer Mask Note The layer mask is not linked to the layer s image Click between the two icons to link the mask and image oco Layers V Chane Tras O Normal HJ Opacity 100 PR Lock 1 7 4 m Fill 100 IW er F Render ng MM E Photoshop Manual 08 03 51 Transparency Mask Photoshop keeps track of how transparent each pixel is on a layer This information is called the Transparency Mask A Transparency Mask includes all pixels on a layer that are not transparent To load a Transparency Mask as a selection to select all the non transparent pixels on a layer choose Command Control and click on the layer name in the Layers palette Adjust
29. Self Copy The Self Copy modifier palette controls whether the operation will result in moving the original object or a copy of the object To move the object itself choose the Self modifier Active Reference Plane All movement is parallel to the active refer ence plane unless the Ferpendicular Switch is selected in which case the object will move perpendicular to the active reference plane Grid Snap It is usually desirable to turn on the Grid Snap Moving An Object Select Object as the Topological Level modifier Select Self as the Self Copy modifier Select the Move tool Click on the object you want to move Move the mouse to move the object The object will move parallel to the active reference plane unless the Perpendicular Switch is activated Click the mouse to accept the move Note The Move tool will not work in perspective view if the line of sight lays on the active reference plane Move Options Double click on the Move tool to open the Translate Options dialog box By default Relative To reference Plane ie selected To move an object relative to ite local axis select Object Coordinate System and choose the desired plane The rotation will be parallel to the chosen object plane To see the axes displayed choose Show Object Axes in the Wire Frame Options dialog box W The axis of the first object selected will control if multiple objecte are chosen Form Z Manual 08 03 41 EEE Editing Objec
30. of Lines Splines amp Arcs tools You can change tools during drawing as many times as necessary to complete a complex 2D shape For example you might begin with the Vector Line tool and after locating needed points choose an arc tool and make an arc and then return to the vector tool to continue etc 36 08 03 Form Z Manual Drawing Parametric Primitives Form Z provides the ability to directly generate parametric primitives with the analytic primitive tools The analytic primitives are both a kind of object and a tool This means that they do not require the selection of a drawing tool from the top four tool sets Choose the desired Parametric Primitive and set its options Click once on the active reference plane to set the first point of the object Move the mouse and click to set other points on the active reference plane as required Move the mouse vertically and click to give height to the object if required Deleting Objects Choose the Trashcan tool The topological level must be set to Object Click on the objects you want to delete Selecting Objects Selection of objects or their various topological levels is done with the Pick tool the arrow icon What you pick point segment face object etc is controlled by the chosen Topological Level modifier Set the desired topological level e 9 Object Click on an object to select the object Clicking successively ona series of objects selects multiple
31. or vertical One Third Rule Foint handles should not be longer than one third the length of the segment for smooth looking shapes Single click over the first point to create a closed path Note If you place a point in error hit the delete key to remove the point and then continue placing points again Adding amp Subtracting Points Select the path and chooge the Fen tool Move the tool over an existing path segment When it shows a plus sign click to add a point to the segment Move the tool over an existing point When it will show a minus sign click to delete the point 08 04 InDesign Manual Deleting amp Moving Points amp Segments Chooge the Direct Selection tool Click a path to select it Click on a segment or point to select it Shift click to select ad ditional points and or segments Press Delete to remove the point or segment Click and drag one of the selected points to reshape the path Opening Closing amp Splitting Paths The pen tool can be used to close an open path Simply draw a segment from end point to end point To split a path use the scissor tool clicking the path where breaks are desired Split ting a closed path at two points creates two open paths You can also close a path by dragging one end point over the other end point with the Direct Selection tool Modify Paths With The Direct Selection Tool Choose the Direct Selection tool and select the path Click and
32. Building A Fluted Column Example Create Paths The process will use an underlay drawing of the column Open the file that contains the scanned shape of the column The one being used is illustrated to the left Underlay Scale 1 4 Vertical Origin 10 0 File Column 150 tif Choose Front View Command Set Grid Snap to Trace the Underlay Set Object Type to 2D Surface Begin with Vector Line tool Switch to the Arc tool using 3 Foints with the Endpoint Last Set to By Max Size Of Segments 2 O Switch back to Vector Line tool Turn off Underlay Set Topological Level to Point Fit Filet Bevel Lines tool set to Fit Fillet Of Edges 4 Use Distance O Click on the points that need rounding Choose Top view or leave in Axo Set Topological Level to Object Set Self Copy to Continuous Copy Choose Rotate tool Relative To Reference Plane Click Foint Follow prompts directions to place 3 copies of the profile at the axis at 90 increments Move and double click to end process All paths have been created Create Sources A different source must be constructed at each location needed to maintain a shape or change a shape In the example two of each shape will be needed to bracket the portions of the column that have agiven shape The skin tool will blend between different shapes Object Type set to 2D Surface Draw Circles 2D Surface modifier Three Point circle tool By Number Of Segments 24
33. Finish The Structure Layer Turn off the Lines layer visibility and make the Structure layer active Choose the Magic Wand tool and set ite options Add to selection second icon Tolerance start at 32 No Anti aliased Check Contiguous Uncheck Use All Layers Click in all background areas to select all areas beyond the limits of the structure Zoom in on a representative area of lines and Hit Command Control F1 to expand the selection until it is centered on the line Hit Delete to discard all selected area Click on the Transparency lock for the Structure layer Set the default colors to black and white D Make the Foreground color white X Enter Option Delete to fill the layer with white 62 08 03 O E B Photoshop Manual Check All Lock to keep from painting on or moving the layer Make the lines layer visible Link the two layere Change The Image Mode If the image was scanned as Grayscale it must be changed to RGB Color Choose Image gt Mode gt RGB The image will be translated into the RGB color mode Save the file Value Layer The Value layer is located above the Lines layer The Values layer is used to hold a value study for the rendering and can become part of the final rendering Activate the Lines layer Click on the New Layer icon at the bottom of the Layers palette Name the layer Values and set the Mode to Multiply This mode will result in the lines reading through the layer
34. Generally stay between 1 20 amp 80 for the midtone Input Levels Hold down the Option Alt key to change the Cancel button to Reset Click Reset to cancel slider adjustments Click OK Turn visibility of the adjustment layer on and off to see the effect of your changes Levels Adjustment Color Images Slider Value Adjustment The overall value range of an image can be adjusted using the RGB Channel in the Levels adjustment dialog box Click on the Adjustment Layer icon black white circle at the bottom of the Layers palette and choose Levels from the pop up menu Adjust the Left Right and Middle sliders as you would for a B amp W im age Hold down the Option Alt key to change the Cancel button to Reset Click Reset to cancel slider adjustments Slider Color Adjustment If the overall color balance seems out of balance or the individual color channels are not even each color channel can be adjusted individually Click on the Adjustment Layer icon black white circle at the bottom of the Layers palette and choose Levels from the pop up menu Inspect the individual color Channels by selecting them one at a time from the pop up menu If they do not start and stop at very similar places on the histogram they can be adjusted individually to correct the image s color balance Select Red channel from the pop up menu 28 08 03 Levels r Channel ncs Input Levels 0 1 00 255 Output Level
35. Layer Mask in the Layers chapter for more information about layer masks Mask First Activate the Layer Set or the element s layer if the element is on a single layer Choose Layer gt Add Layer Mask gt Hide Selection or click on the Layer Mask icon box with circle inside at the bottom of the Layer palette Create a selection that includes the portion of the element you want be hidden It is important that the edge behind which the entou rage element will disappear is carefully selected The other sides of the selection need only be larger than the entourage element Fill the selection with black Selection First Create a selection that includes the portion of the element you want be hidden It is important that the edge behind which the entou rage element will disappear is carefully selected The other sides of the selection need only be larger than the entourage element Choose Selection gt Inverse Activate the Layer Set or the element s layer if the element is on a single layer Click on the Add Layer Mask icon box with circle inside at the bottom of the Layer palette Adjust Location Choose the Move tool and use the arrow keys to make any fine adjust ments to the location of the entourage element EHE B Photoshop Manual 08 03 71 Finishing Now that all layers have been created it is time to do some fine tun ing There are a number of things that can be done to refine the image and prepar
36. Light Groups Highlight the desired group name in the Lights dialog box and click on Edit or double click on a group s name in the Lights palette In either case the Light Group Attributes dialog box will open The Light Group Attributes dialog box can change or override the parameters of individual lights in the group If different members of a group have different states Visible Locked Shining and Shadows three asterisks are displayed Changing the state for the group changes the setting for all lights in the group The Shadows state will usually be different for different lights in a group Override Attributes are those attributes that can be overridden Checking a box overrides an individual light s setting for that par ticular attribute An individual light s settings are not lost They are restored when the box is unchecked or when the light is removed from the group The Intensity category provides an option to Replace the individual lights settings with the ones entered or Scale the settings The Scale By entry adjusts the overall exposure of the scene without changing the intensity of the lights relative to each other Graphically Locating Lights Create a new light as previously described Make the light visible by clicking in the Visibility column A diamond will appear in the column and the light will appear in the graphics window Choose View gt Edit Cone Of Vision to open the Edit Cone Of Vision win dow
37. Split Two Way The intersection and the difference of both objects are returned The selection order is irrelevant Status Of Objects The Status Of Objects contains the options for the Union Difference and Intersection tools The Boolean Split Options dialog box has both Options and Status Of Objects tabs In general leaving the status of objects set to Ghost allows you to use the Unghost tool to bring back objects you want to retain and use the Edit gt Clear All Ghosted to remove ghosted objects when they are no longer needed By default when a new object is created from and existing one form Z Ghosts the source object it turns it gray on the screen The Status Of Objects Dialog box provides three choices Keep Ghost and Delete Choices in the Edit menu and the Ghost and Unghost tools provide the means for working with ghosted objects 78 08 03 Form Z Manual EBENEN 2D amp 3D Insertions Insertions allow a 2D or SD object to be modified creating additional pointe and or segments that become part of the object These points and or segments can be manipulated in the same manner as the object s original points In this way simple objects become the basis for more complex forms The first two insertion tools can be used on 2 and 3 objects and operate directly on the object The remaining four that appear in magenta in the tools palette are modifiers that require a drawing tool and the prepicking of a face In
38. The Reference Planes tools provide the means for modifying standard reference planes and creating arbitrary reference planes The tools support the creation of a reference plane at any point or angle in space There are three columns in the Planes palette Column 1 A check selects the layer that is displayed in the graphics window Column 2 The layer name Column 3 Plane Type Reference Planes Plane Name Save Top Delete Bottom BERE elt Load Project Planes Form Z Manual 08 03 25 Saving A Plane When you change the default grid or modify the plane in any way it is a good idea to save it in the Plane palette for future reference The process for changing planes uses the Edit Planes and Define Arbi trary Plane tools in the Windows palette Make changes in a plane and or define its location Click in the space below the last name in the palette and a new plane will be created with its standard name highlighted Type in a meaningful name and hit Return to save the view The new plane has been saved in the Planes palette Click in an existing name to select it for editing Type in a new name and hit Return Click and drag a name to a new location in the palette Plane Management Hold down Option Mac or Control Shift Win and click in the Planes palette to open the Planes dialog box Planes can be managed from this palette Refer to the illustration to the le
39. The organiza tion of the panels can be customized in the following ways To move a panel or panel group out of a dock drag the panel by ite tab until a rectangle appears indicating that the panel ie outeide the dock 3 ES Location Angle o Reverse EF To combine panele drag the panel by ite tab over the edge of an other panel When a highlight appeare at the bottom of a panel or between panele release the mouse to dock the panel To open and close panele attached to the ecreen edge click once on the grey bar Hold down the option key FC Alt Key to open or close all panel groups at once To move a panel into an existing group click the tab and drag it into the desired group New groups can be created by dragging a tab into a window with only one tab The small black triangle at the top of the panel sets individual options specific to that panel Settings such as small names can be used to save screen space The Control Palette at the top of the screen contains settings specific to the currently selected item s The Fages Info Layers panel contains general information about the document and currently selected item The other panels support the listing and adjustment of more spe cific attributes and effects of objects in the document 08 04 The Toolbar Pointer selection Tool V Fen Tool P Fencil Tool N Rectangle Frame Tool F Rotate Tool R Shear Tool O EyeDropper Tool I Butt
40. Z use 4 Choose Triangulate Supports Boolean operations Enter Site Starting height use 4 Choose Contour Heights Set New Interval and enter the vertical distance between contours use 2 Choose Interpolation Fall Lines which generally produces the most accurate models Note Smooth by Interval only applies to Stepped and Triangulated Contour models Close the Options dialog boxes and click on the site boundary 118 08 03 Terrain Model Options Options C Status Of Objects Mesh Increment jx ICE mz _ All Directions MM XYZ Lock 9 Normal Alignment O Center On Line O Center Between Lines O Fit Increment Mesh Direction _ From Picked Segment O From Angle Altitude X Z 45 Azimuth X Y 45 O Triangulate Reset Cancel ox gt Form Z Manual NANA Path Road Through Terrain Model Problem Build a path or road through a terrain model that follows the con tours of the model Strategy Build the Terrain Model Build a 3D Enclosure with the footprint of the path or road Execute a two way boolean Split Discard the top of the 3D Enclosure Process Define the Underlay TerrainPath tif 1 0 scale Build the terrain model using the previous settings with the mesh resolution set to 2 feet Plan View Choose the 2D Enclosure tool and set the Justification option to Center and enter the width of the path
41. ccce 113 Building A Terrain Model Discontinuous Contours 117 Fath Road Through Terrain Model eee eee 118 Building Mesa 119 Working With Lights 121 Controlling A Lights ATGGL cre temere Ope UELLE eee dd 123 Lighting For Orientation 0 icis 125 Modeling Symbols 127 Place Ac oyttbol ccu c Ee CROCO EGO ERE 150 Edit Manipulate A Placed Symbol ccce 151 Surface Styles 133 Basic Scaling Recommendations sees 155 Texture Mapping ee ee emen e 156 Dore m n eane E N 136 Color Image A Vrae Ore oe EX a 140 Reflection Transparency amp Bump Maps isse 142 Creating Image Map Files csse 143 Decal cte s te tia d edel bate os Efe eae patct 144 Form Z Manual nnn FORM Z ENVIRONMENT Customizing Files Files are available for the environment described on the following pages They can be copied from the PickUp folders in the Arch 131 and Arch 160 folders on the ARCH O1 server The files should be placed in the form Z application folder Organizing the Environment The customized desktops shown on the following page are for mon itors set to 1024 x 768 pixels 15 display and 1280 x 1024 pixels 17 display The following gives a brief description of the desktop and its creation Menu Bar The menu bar is located across the top of the screen Click on an item to open the corresponding menu Note If a menu item has an asterisk by it there is an associated dialog box that can be accesse
42. create 2D surfaces that can then be used to derive 3D forms The wires can either be smooth or facetted in most cases but at times the type of object may affect the process or end result Note The following descriptions assume facetted objects Expanding Lines The goal is to give an existing open wire or 2D surface a specified width Choose the 2D Enclosure Derivative tool Options Justification to Center or as desired gt Wall Width enter desired dimension Click on the wire or surface to give it width Extending Straight Lines The goal is to extend the length of an expanded open wire Choose the Extend tool Options Segment gt At enter desired distance From Point Trim Split Options Click near the ends of the lines that are to be extended First Object Both Objects With Line Expanding amp Ending Arcs Hs O O The goal is to expand an arc cut it at a line and add a rectangular end c Stitch The radiating line and the arc must extend past each other Round Distance 2 0 Expand the arc as you would any line and extend its last segments to cross the line oo Of Rounding Points Choose the Trim Split tool Double click on the tool and set its op Reset Fama tions to Trim gt With Line Click on the expanded rc and then the line This should result in an arc ending at its defining point with its end parallel to the line Attach Options that was use
43. default all options for Get Attributes are turned on Choose the tool and click on an object to acquire the object s attributes By default all Set Attributes options are turned off Set the at tributes you want to paste and click on the object you want to assign the attributes to The Rendering Attributes and Smooth Shading tools adjust shadow casting render as wireframe radiozity and the smoothing attri butes of objects as indicated Set Attributes Options O Layer O Surface Style O Visibility O Locked O Snapable d O Shadow Casting O Shadow Receiving O Render As Wireframe i Ne Line Width O Render As Shaded Surface Yes L Smooth Shading Options O Texture Map Controls Options O Radiosity Meshing Options O Wires And Facets Options Rendering Options Object Shadow Casting Casts Shadows Q Does Not Cast Shadows Object Shadow Receiving Receives Shadows Q Does Not Receive Shadows O Object Render Line Width i Object Renders As Shaded Surface a Radiosity Meshing Object Face Patches Wireframe Polygons f Smooth Shading Options Smooth All Faces Smooth M Edges With Angle gt O All Faces Specified As Smooth Render Parametrics Smooth came o 146 08 03 Form Z Manual INDESIGN MANUAL Description of Selected Program Tools Functions 4 Processes InDesign Manual BEEN William
44. gt Modeling gt Display gt Interactive Renderers gt Wireframe Options Add W Project gt Modeling gt Display gt Static Renderers gt Hidden Line Options Add H Project gt Modeling gt Display gt Static Renderers gt RenderZone Options Add K Project gt Modeling gt View gt Axonometric View Add A Project gt Modeling gt View gt Perspective View Add P Name the file arch_shortcuts sct and save it in the form Z applica tion folder Click Save Load the file you just saved and exit the process Note Single letter shortcuts e g those added in Form Z Keyboard Shortcuts will conflict with entering text in form Z The options are to load the default shortcuts when you are entering text use the standard shortcuts or add a modifier key when creating shortcuts e g Option A instead of just A Form Z Manual 08 03 17 Views Palette Views are saved to either facilitate construction create a presen tation or to act as the basis for an animation Making a view active displays it in the graphics window There are six columns in the Views palette Column 1 A check indicates a selected view This is used in creating animations Column 2 An eye indicates the active view and displays it in the graphics window Column 3 The view name Double click on a view name to edit the view name and parameters Column 4 View Type Column 5 Visibility A diamond
45. over the length of the spline or arc The radius of a circle curve or arc should be considered when setting the number of segments the smaller the radius the fewer the number of segments Uncheck the lock symbol to set the Length and Depth separately Note Cones cylinders and other vertical curved surfaces single curved surfaces only have length facets Max Edge Length Sets the maximum length of a facet The length of the spline or arc is divided by the dimension entered to determine the number of segments The overall size of the shape should be considered the larger the shape the longer the segment Form Z Manual 08 03 39 Max Normal Deviation Sets the maximum angle between the normals of two adjacent facets For example if you want a cylinder to have 24 facets divide 360 by 24 to get 15 Max Surface Deviation Sets the maximum distance between the curve and the center of the facet Detailed Display Resolution Smooth One of the main differences between the resolution set for facetted models and smooth models is that it can be edited after the model has been created Therefore keep the resolution low at the beginning and increase the resolution only if required by final rendering or other specific needs An object will be represented by dark lines that represent iso lines and edges leo lines lay on curved surfaces and edges define surface boundaries In addition curved surfaces will contain light lines or facets t
46. you may as well not save your work at all The goal is to never have only one copy of anything in only one place Do all your work on your internal hard disk and use your Zip disk or CD as a backup Develop the habit of making a backup copy of a file that you have been creating at the end of each work ses sion Simply copy the file or folder from your hard disk to a Zip disk or CD Make double backups of finished documents This means copying the document or folder onto two different Zip disks or CDs This protects you in the event that one of the copies has problems When you hand work into me on a Zip disk or CD it should not be one of your backup disks You should have three copies one on your internal hard disk and one on two different Zip disks of any finished project in adai tion to the one that you hand in to me Digital Tools For Architecture 08 03 7 Revise Duplicates A good way to protect completed work is to do new work on a duplicate file For example when you scan an image keep the original scan as a base file and only make modifications to duplicates of the file Another case is when you have completed a project or some major phase in the development of a project and are about to make changes or proceed with the next phase Make a duplicate of the file and proceed to develop or change the duplicate If something happens you can return to the previous version of the file the file you duplicated One problem tha
47. 08 03 19 Select Destination Some scanner software offers an option to define the destination The destination refers to the final use or output such as a spe cific printer When a destination is chosen a resolution is sug gested for your consideration Suggested resolutions attempt to balance file size and output needs Decide if they make sense given the scanning principles and your goals Set Resolution Choose a resolution that responds to the principles previously dis cussed e g 300 spi Scaling Scan at 100 for maximum clarity Other Adjustments Turn off scanner adjustment settings Use the adjustments offered by the scanner software only after understanding and testing their affects on the quality of the scan Preview There will be an option to make a preview scan This is a low resolution preview of the entire glass area that will be used to assess align ment and define the scan area Defining The Scan Area Move the mouse over the previewed image It will turn into something like a plus sign Position this at one corner of the area you want to include in the final scan and click and drag diagonally to define a box around the final scan area File Size Note that somewhere in the scanning window the eventual size of the file will be displayed Refer to this if file size is critical Make A Final Scan Click on the Scan button to scan the original Save the File Name the file so you will remember it
48. 77 EAIC TYPE isses sched RR RS Rake ek eh 77 TratiStor di TYPE cst Boer seem SOR t la a ae 77 Render Types essem es rorida ek rg ee he ale vu Res 78 Paths 79 Creating FADS aeoeaio scs ose mk 79 Moditying Fath is sos dr pda nd ac 80 OAVIFBOIE ALAS E cece eho aes 80 Activating PaThS oo o ooooooocooccoro ooo 80 COMPING FANS unos usen SD Fa ode ae 91 Convert Paths to Selections n u auaa uaaa anuau 81 Extending or Joining PathS ooooo o o ooo o ooo 81 Fill amp Stroke PANS oraraa ee 81 Clipping FAEN S s sese eee n bee adhere 82 Misc Techniques 83 OCA tit e eb es idas ta SUR Ste o5 LineQuality a isse we ke yen 84 Colorizing Grayscale Images sls 65 ManipulatingEdges iiie 56 GHOSTING e fin enw ga Mere Patho gee a he BD YS 56 EE BEBE protesto Manual EE BEBE protesto Manual PHOTOSHOP ENVIRONMENT Photoshop Help The following description covers selected Photoshop tools and techniques A more complete description can be found in Photoshop s extensive help function contained within the program You access the help function by choosing Help gt Photoshop Help Default Work Environment The Photoshop default work space is shown below It has the Toolbox is on the left Option bar is along the top and four sets of palettes or ganized down the right side The Image Window appears in the middle Choosing Window gt Workspace gt Reset Falette Locations will return the work enviro
49. A surface volume is one that is bounded by surfaces and is hollow Model Types Facetted amp Smooth Form Z can create objects that are facetted smooth or a blend of the two Facetted objects are built with polygons where each poly gon must be planar and curved parts are approximated by several polygons Smooth objects are built with accurately curved surfaces Blended objects include both planar and curved surfaces Smooth objects were added to form Z to support disciplines such as industrial design that need to send the models to other programs and manufacturing equipment Architectural models can appropri ately be constructed with facetted models For this reason Smooth Modeling has been turned off in the preferences Facetted and smooth objects are internally stored through a bound ary representation b rep Boundary representations consist of Points a coordinate triplet x y z Segments a direct connection between two points Outlines an ordered sequence of segments Faces a collection of outlines and Volumes a closed collection of faces These elements constitute the basic topological levels of an Object a collection of volumes In facetted models the faces must be Planar surfaces all their points lie on the same plane and seg ments must be straight where as smooth models include curved sur faces and segments For example a facetted sphere is represented by many planar faces while a smooth sphere is represented
50. Coordinates palettes to display the desired dimensions relative to the active reference arbitrary plane These can be changed at any time during the drawing process Begin by unchecking the W World button and checking the A Absolute button to precisely locate the first point relative to the arbitrary plane Note When prepicking the face for insertions the first segment you choose may affect the orientation of the object you draw Strategies For Openings In Walls There are three basic ways to create openings in walls Boolean Difference Create a wall Create and position an object the size of the opening that intersects the wall Difference the object from the wall Insert Holes Create a wall Use the Insert Hole tool as previously described Delete Typology amp Parallel Create a paper thin 2D wall Insert Segments and or Outlines as desired Delete Typology with Face as the Topological Level Use Farallel tool to give the wall thickness 82 08 03 Form Z Manual Vault Strategy 1 The goal is to create two intersecting barrel vaults Create a volume that is the space within one vault Rotate a of the vault copy 90 Union the two vaults Build a rectangular volume that encompasses the vaults and reaches down the vaults the desired distance Difference the vaults from the rectangular volume Use Delete Typology to remove all faces of the rectangular volume that are not needed Use the para
51. Create the selection you want to add to the existing selection Choose Selection gt Save Selection Select the Name of the saved selection you want to revise from the Destination Channel drop down menu Click on the radio button for the desired operation e g Add to Chan nel Click OK The saved channel will have the new configuration when loaded Inverting Selections Any selection is really two selections The second is the inverse of the first It is sometimes easier to select and invert rather than select directly To invert a selection begin by making or loading a selection Choose Select gt Inverse OR Enter Shift Command i key and the selected will be inverted 42 08 03 O E B Photoshop Manual Rectangular Marquee Tool Select the tool Set ite options Click and drag to draw the rectangle Selecting with Lasso Tools There are three lasso tools Lasso Folygon Lasso and Magnetic Lasso They create straight lines by clicking points a continuous line that corresponds to the movement of your mouse or pen and a con tinuous line that snaps to a contrasting edge respectively Selecting with the Lasso and Folygon Lasso tools will be described and treated together because you can switch back and forth between them using Keyboard commands The Folygon Lasso tool will be used as the base because the majority of the edges in architectural draw ings will be combinations of straight lines In addition many i
52. E 3D Enclosure Options Options Status Of Objects r3D Enclosure Options Justification O Left 9 Center O Right Wall Width Top Thickness Base Thickness Top Open O Closed Base 9 Open O Closed Extrusion Convergence Options O Perpendicular To Reference Plane Perpendicular To Surface Cancel Reset ok gt Form Z Manual Volumetric Trusses The problem is to simulate a volumetric truss that defines a triangu lar prism Example Span of 36 with a width and depth of 8 with members that measure 4 square Make active a construction plane that is perpendicular to the length of the truss e g ZX Turn on grid snap and set an appropriate grid interval Choose Heights gt Custom and enter the truss length e g 5 Set the Object Type Modifier to 3D Extrusion Choose the Vector Line tool and draw one end of the truss A three dimensional prism will result Choose the Mesh tool and open its options dialog box Choose a subdivision increment for the truss e g O Uncheck XYZ Lock Uncheck all but the axis perpendicular to end of the truss e g X Check triangulate if the truss is to be triangulated Click OK Click on a segment of the object that is perpendicular to the mesh axis The object will be meshed If the mesh dose not work as desired try different combinations of the checked mesh axis and the segment chosen to me
53. Even Increment O Divide Distance L Big Angle For Rotation Of Copies oc3 Form Z Manual Scaling Objects Independent Scale Tool Scaling can be applied to a point a segment an outline a face a com plete object a group of objects or a hole volume all plain objects Scaling cannot be applied to analytic primitives metaballs and text Scale By Percentage amp Click Point Set the appropriate reference plane Turn on Ferpendicular Switch if desired Set the Topological Level e g Object Set the Self Copy mode e 4 Self or One Copy Set Object Snap to Point Choose the Independent Scale tool Set Scale options to Scale By Fercentage Click Foint Click on the object to select it Click to set the center of scale The point that will not move during scaling Click to set the scale handle Move the mouse to scale the object or copy Enter the desired scale factors in the Prompts palette with the keyboard or click the mouse Hit return Note Placing the scale handle on an axis constrains scaling Note The perpendicular switch constrains movement Note Multiple elements can be scaled if they are prepicked Scale By Percentage amp Object Coordinate System An object can be scaled relative to the local coordinate system The coordinates are centered on the origin centroid of the object When multiple objects are picked the coordinates of the first object picked controls the moveme
54. Landau s MacFixit Web page www macfixit com or Maclntouch www macintouch com Call the application s technical support line 12 08 03 Digital Tools For Architecture Miscellaneous Stuff Macs To start up from your system CD you must first place the CD in the drive and then hold down the C key after pressing the Start Up Fower button Hold down the option key as you drag an icon to make a copy Select an icon then press Return to select the name Immediately start tying in the new name or place the l beam to edit the name The best way to eject a floppy disk is to drag it to the trash Pressing the Tab key will step you through the choices in a dialog box Cancelling fast can be achieved by pressing Command Feriod The escape key also works in most instances Windows XP Control Panels gt Folder Options gt View Tab gt Uncheck Hide Extensions For Known Types Q Control Fanels gt Folder Options gt View Tab gt Check Show Hidden Files amp Folders Control Fanels gt Folder Options gt File Types Tab gt Set TIF amp TIFF to open in Photoshop Control Fanels gt Appearance and Themes gt Change The Computers Theme gt Appearance Tab gt Choose Windows XP Style and set Color Scheme to Silver Control Fanels gt Appearance and Themes gt Taskbar and Start Menu gt Taskbar Tab gt Check Auto Hide The Taskbar and Check Show Quick Launch Drag Program Icons to the
55. Layer gt Layer Effects gt Color Fill and choose a color for the lines As an alternate you can paint the lines with any painting tool When you are satisfied with the color scheme save the file 76 08 03 O E B Photoshop Manual EHE B Photoshop Manual 08 03 77 TYPE Type is created in Photoshop using the Type tool When type is created it automatically creates and appears on its own layer Each new piece of type will appear on its own layer Creating Type Choose the Type tool Set the type options Note that clicking the Palettes button at the right end of the options palette opens additional type control palettes Point Text Click in the image area and begin typing Press Return Enter to move to a new line Faragraph Text Click and Drag a box in the image area and begin typ ing The text will automatically wrap To convert point to paragraph or paragraph to point choose Layer gt Type gt Convert to Point or Faragraph Text Click on the Check mark at the right end of the options palette or choose a new tool to complete end entering or modifying the type layer The X mark at the right end of the options palette will cancel current editing entries Edit Type Type can be changed after itis created by selecting it with the Type Tool and changing specifications Click on the Check mark at the right end of the options palette or choose a new tool to complete end entering or modifying the type layer
56. Magic Wand Selections The Magic Wand tool is a good choice when values colors within an area are uniform and the boundaries of the area are marked by a strong contrast Before beginning to make the first selection enlarge a portion of the image so that the lines can be seen clearly Choose the Magic Wand tool and set its options 40 08 03 O E B Photoshop Manual Selection Tool Options Set Selection Type There are four icons at the left end of options palette for selection tools that control the type of selection that will be made New Selection Created an new selection each time the tool is used Add Selections Adds the new selection to the existing selection Subtract Selection Subtracts the new selection from existing selection Intersect Selection Keeps the area shared between new selection and the existing selection Set Tolerance Start at 32 The tolerance setting ranges between O and 255 The lower the setting the more limited will be the range of colors values that are selected Anti aliased Uncheck Anti aliased to create selections that match existing pixels Use All Layers Check Use All Layers This assumes that you want to base your selection on all visible layers Uncheck Use All layers to base selection only on currently active layer Contiguous Check Contiguous If this is not checked all similar colors in the whole image will be selected and not those within a boundary To set the Magic Wa
57. Note The first segment chosen when selecting the face will be paral lel to the X axis horizontal Note Face picking sequence will affect the movement Options Attach Kind Per Topological Level This is the most common the only one we will examine and the default choice The topological level Face Seg ment Point must be specified Attach Type Object Part Moves only the specified part which changes the shape of the object Entire Object Moves the entire object without changing its shape Adjust To If the Topological Level is set to Segment then Segment choices ap ply If the Topological Level is set to Face then Face choices apply If the Topological level is set to Point neither Segment or Face choices apply 62 08 03 Form Z Manual Form Z Manual 08 03 63 LINE TO VOLUME MODEL BUILDING PROCESS The following outlines the basic process for constructing a model us ing the approach of working from lines to surfaces to volumes File Setup Create a new form Z model file Rename the default layer Design Create a new layers called Work and Form Put them in order from top to bottom Form Work Design Create the original design on the Design layer Set the 2D Surface modifier s options to Facetted Set the Circle and Arc options to By Max Size Of Segments 2 Make each line a separate Open Wire and each closed shape a Surface object using the Line Arc and Circle tools Select all shapes on the
58. O Closed Base 9 Open O Closed Extrusion Convergence Options Perpendicular To Reference Plane O Perpendicular To Surface Ce Cani E 2D Enclosure Options M Global Operand Status O Keep 9 Ghost O Delete New Object Status amp Object Per Volume O Single Object Crea Cani 2 Form Z Manual 08 03 59 Derivatives Derivative tools derive one kind of object from another The Derivative tools include 2D Surface 2D Enclosure 5D Enclosure 3D Extrusion and 3D Convergence We will look at all but the 2D surface at this time Derivatives From 2D Surfaces Select the desired derivative tool set its options and click OK Set the desired Topological Level Click on the appropriate point segment or object Move the mouse to rubberband the height for 3D derivatives You can also set the height prior to selecting the tool Click to set the height Derivatives From 3D Objects Set Topological Level to Face or Segment Select the desired derivative tool Double click on the tool and set its options Click OK Click to select the Face or Segment Move the mouse to rubberband the height for 3D derivatives You can also set the height prior to selecting the tool Click to set the height Note Prepick multiple faces or segments The extrusion is applied to each face or segment independently Note Deriving 3D objects from 3D objects with the Topological Level set
59. Otyle Select Vector Line or B Spline tool Choose View gt 60 30 and adjust to see the cone tops for a path Click on cone tops to build a path Each path should be built in the same direction Change the view as needed between paths When finished make the Cone layer invisible diamond invisible C Mesh Prepick paths in order Select The C Mesh tool Options Construct Directly Length Of Net Use Existing Depth Of Net Use Control Line Intervals Mesh Length At Intervals 4 Mesh Depth At Intervals 4 Smoothing Normal Tangent Click in graphics window Choose Edit gt Clear All Ghosted and Save Clearstory Example Problem Create a clearstory area within an organic roof form Summary Draw the two closed paths that will define the opening amp clearstory roof Move a copy of the roof vertically into position Trim the organic planes with the closed paths Convert the two roof forms to Plain Facetted objects Use the parallel tool to give the roof elements depth Construct the support elements Use boolean operations to cut the support elements with the roofs 110 08 03 Form Z Manual Paths Choose Views gt Top and Fit to center the roof in the graphics window Turn off the Underlay if is visually distracting Choose 2D Surface Object Type Turn Grid Snap on Select the desired drawing tool e g Circle Center Radius Draw two concentric shapes The difference in size will define
60. Quick Launch area of the Taskbar Open and resize the My Documents window to fill the screen In the My Documents window set the View to Display Details and click on the Folders to display the route to files and folders in the left column PHOTOSHOP MANUAL Description of Selected Program Tools Functions 4 Processes BE BEBE protesto Manual William R Benedict Architecture Department California Folytechnic State University 1 Grand Avenue San Luis Obispo CA 93407 Phone 805 756 5082 Fax 805 756 1500 Email wbenedic calpoly edu Web calpoly edu wbenedic 2003 William R Benedict amp El Corral Publications All Rights Reserved All materials contained within this publication have been reproduced with the permission of the copyright owner s and proper royalty fees have been paid by El Corral Bookstore No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher and the author MM protesto Manual CONTENTS Photoshop Environment 7 Photoshop Help iia dot ot ada t s 7 Default Work Environment 7 Custom Work Environment llle Photoshop Keyboard Shortcuts 0 0 0 eee 9 TOOIDOX reos EG yes PARES OA HA EA RA OS 10 Color Management ors 0 0 0 0 ee 11 Analog To Digital 13 Resolution Terminology 2
61. R Benedict Architecture Department California Folytechnic State University 1 Grand Avenue San Luis Obispo CA 95407 Phone 805 756 5082 Fax 905 756 1500 Email wbenedic calpoly edu Web calpoly edu wbenedic Brent J Freeby Architecture Department California Folytechnic State University 1 Grand Avenue San Luis Obispo CA 93407 Phone 805 756 1792 Fax 605 756 1500 Email bfreeby calpoly edu 2004 William R Benedict Brent J Freeby amp El Corral Publications All Rights Reserved All materials contained within this publication have been repro duced with the permission of the copyright owner s and proper royalty fees have been paid by El Corral Bookstore No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher and the author InDesign Manual ICE BEEN CONTENTS InDesign Environment 5 Work Environment oa s opu edo is om RR 5 InDesign Keyboard Shortcuts 7 MOVING AKOMA ss ate tee defer de Sle SSeS Units Rulers Grid Guides amp Snaps amp Panels 9 Control Fanel i sosa WG Swe a a a S 9 Color Swatches amp Stroke Fanele 9 Layers Fati l eene moo RR m od oen 10 Documents amp Text 11 DOCUMENT FAGES asnicar XS Xo RR ORO Rs 11 Master Tages s xe a a a ae 3
62. The window contains three orthographic views of the model and a 3D view The light is represented by an Eye Point and Center Of Interest con nected by a Line Of Sight Surrounding the Line Of Sight is a Cone Of Vision with near Hither and far Yon planes at its ends To move any one of these elements click on the element move the mouse and click to end the movement All window tools are available along the bottom edge of the window They can be used to adjust the view of the active window cell Click in the header of the Cone Of Vision window to access a menu of items that include display modes reset operations saving etc 22 08 03 Surface Style Parameters Name Style 1 RenderZone Simple Preview Color 1 f Plain Color FH Options Reflection f i Y Matte Options AO ae Transparency ENSE 13 Options Predefined None Options O Shader Antialiasing Options f Reset Cancel t 9 3 Surface Styles E New Top U u MAITE aa Load Surface Styles BERE style 1 Reset Cancel t 9 3 Form Z Manual EEE Surface Style Palette The color of an object is determined by the surface style that is cho sen when the object is created Note Textures only show if RenderZone or RadioZity display modes are used Crea
63. To Default is checked are used as the default mapping crite ria for wrapped patterns Solid Shaders Solid shaders have no mark in front of them in the pop up list Solid shaders produce textures in 3D space they show continuously around corners Solid shaders are always com posed of square tiles whose dimensions and orientation can be varied by the settings in the Texture Map tool The default unit size or scale is controlled by the Solid Textures Size parameter in the Texture Map Options dialog box 134 08 03 Surface Style Parameters Name Brick p RenderZone e it i p Color an l Reflection ANNO i i Transparency ooo eee tem p Bump SS aman Gi shader antialiasing yo 3 a RenderZone Average in o i a AA e A Simple Brick Options Scale 100 o Brick Length 64 Brick Height 19 Mortar Thickness 3 Brick Color Mortar Color Offset M d 50 Fuzz AA An 50 O Area Sample _ Edit Color HARUM Em Original e e CMYK Picker 120 a ed i EH a z Crayon Picker N Hue Angle 15 HLS Picker o o Saturation 88 Value 76 y g 50 10 Cox Simple Brick Bump Options Scale 100 o Brick Length 64 o Brick Height 19 o MortarThickness 3 BrickAmplitude U 2o E Mortar Amplitude
64. Transform Type Point text can be manipulated by choosing Edit gt Transform gt Scale Rotate Skew Flip etc Numeric entries can be made in any of the options boxes Highlight the type layer choose the appropriate transformation ap ply the transformation and hit return to complete the process Paragraph text is created with a Transform box Use the Info palette to see angles etc 78 08 03 O E B Photoshop Manual Render Type Type can be rasterized changed from paths to pixels Once it is rasterized it cannot be edited Select the type layer and choose Layer Rasterize Type EHE B Photoshop Manual 08 03 79 PATHS Paths are created and modified with the Pen and Arrow tools Working and saved paths appear in the Paths palette The key advantage of paths is that they can be edited they can be refined before final use Creating Paths You can create a path with the pen tools by converting an active selection to a path or by copying and pasting a path from an EPS il lustration program like Freehand or Illustrator Pen amp Freeform Pen Tools P The creation and manipulation of paths is very similar to the creation of Bezier curves in programs like Freehand and Illustrator Fen Tool The first tool in the pop out menu is used to place points by clicking or clicking and dragging Clicking places a corner point Clicking and dragging creates a curved point Choose the Fen tool Click to place the
65. Unused Tools Defaults Save Load Icon Style Gray P Click and drag tool icons from the Tool Set area or from another Tool Falette to their destination Tool Falette Cree Cancel E Note The default tool is usually placed at the left end of a tool set Hold down the Control and click on the tool you want to be the default to place a blue dot in ite upper left corner Once the Tool Bar and Falettes have been modified the new configu ration should be saved Click on Save at the bottom of the dialog box Name the file arch ttoole mnu and save it in the form Z application folder Click Save You must now load the file tools file you just created and saved Click on the Load button Navigate to the location of the arch toole mnu file Click on the file Click Open The organization of the tools that is illustrated on the following pages draws heavily on the work of David Wolf of the Architect s Toolbox www architectstoolbox com My thanks to David for his insights into form Z e workings 16 08 03 Key Shortcuts Manager Executes the Wire Frame Options action a Inv im options can be selected jokes the Wire Frame Options dialog through which the wire frame i Shortcuts Add Edit Delete n PST Load Defaults List Shortcuts Reset Cancel Y O Form Z Manual Tool Types The Modeling Tools palett
66. Use the Re verse Direction tool to adjust the directions as needed If the two faces have opposite directione the resultant form will be twisted on itself Choose the Make First Point tool and click to relocate the first pointe for the two surfaces in corresponding corners Placing the first points at surface corners provides better control over the final results Open the Wire Frame Options dialog box and turn off Show Direction and Show First Point Mesh Boundaries Open the Controlled Mesh Options dialog box Length Of Net Same Points or Use Existing Refer to previous dis cussion Depth Of Net Use Control Line Intervals Mesh length At Control Foints Mesh Depth Of Segments Set the number of segments to one unless you want to define subdivisions for the joining mesh as shown in the bottom illustration Close the mesh options and with the Topological Level set to Object click on one and the other boundary The joining meshed surface will be created O ER staced Wall fmz 1 Model RS Sa CIEN CES AAA eprzIT 77 T7 RD Haced Wall 21fmz 1 Model gt BI Trame TT view ZUR REA E E eR es 220 ap y DIZ Form Z Manual 08 03 115 Stitching Surfaces You now have the three surface objects two are ghosted that you will need to create the solid object The Stitch tool can be used to stitch together the open ends of
67. Volumes amp Parts Of Objects The Separate tool is usually thought of as the tool that reverses the Join tool This is an important function performed when the Volumes option is chosen but there are other things that the tool can do as indicated in the Separate Options dialog box Along Stitch A stitch is a closed sequence of internal segments that meet at angles less than 110 Internal segments have faces on both sides The operation is executed by clicking on a single segment The pro gram detects if there is a stitch condition and breaks splits the object along the stitch line Multiple segments can be prepicked Along Selected Segments The operation breaks an object along a preselected sequence of seg ments that is either closed or starts and ends at the boundary of a surface object The sequence of segments must be prepicked Set the Topological Level to Segment to prepick the segments At Boundary Of Selected Faces The operation breaks an object along the boundary of selected ad jacent faces The prepick mode makes most sense with this option Set the pick tool to Clicking Inside Boundaries and the Topological Level to Face to prepick the faces 100 08 03 Form Z Manual Deform Tool The deform tool allows objects to be modified distorted in a number of ways It can deform both facetted and smooth objects and objects can be made smooth in the process if the option is chosen Note that the Bezier bend
68. Z Manual 08 03 49 Plans Sections amp Section Perspectives Plans sections and section perspectives can be created with the Clip Hither Yon function in the View Parameters dialog box Choose the type of view that you want to have e g perspective axonometric etc Use the Set View tool to set relative orientation for a perspective section or choose an appropriate orthographic view g Top or Front for an orthographic section Choose View gt Edit Cone of Vision Command Control E Choose Views gt Axonometric or Ferspective or hit the A or P key Choose Display gt Interactive Render Command Comtrol J Choose Views gt Reset View Angle Choose Windows gt Align amp Scale Frames Move the location of the Eye Foint and or the Center of Interest and or enter dimensions in the View Farameters dialog box to refine the desired view Choose View gt Clip Hither Yon Turn off grid snap This is usually a better choice Click on the Hither plane and move the mouse to move the plane until it cuts through the model at the desired point Refer to the preview as you make adjustments Click to set the location of the Hither plane Save the view and close the Cone of Vision window Note What will be visible is any portion of the model between the Hither and Yon planes the two ends of the cone of vision 50 08 03 SS Untitled 1 1 Model rame ere RS RES CIEN CIEN AAA
69. are acceptable The other choices provide alternative methods for form Z to respond to the control lines with difference numbers of points Partially New preserves current points and inserts new points between them The default setting is Use Existing Depth Of Net Use Control Line Intervals The default choice which uses the selected control lines in their current position Thisis the best choice for matching the final shape to the control lines The Use Mesh Intervals choice generates additional control lines 106 08 03 C Mesh Options fFOptions Object Type Smoothing Status Of Objects Construct Plain Mesh O Adjust To New Parameters O Construct Directly O Edit OD Hide Controls O Snap Length Of Net 9 Same Points O Use Existing O New Points O Partially New Depth Of Net 9 Use Control Line Intervals O Use Mesh Intervals Mesh Length U O At Intervals 4 0 1O Of Segments 10 O At Control Points Mesh Depth V O At Intervals 4 0 O st Of Segments 10 O Per Segment O At Control Lines Reset Cancel ok D C Mesh Options OPtions f ObjectType Smoothing Status Of Objects 9 Open Ends Surface O Closed Ends Surface Solid O All Closed Solid O Ring Surface Solid O Round Front O Round Back O Two Sided Triangulate M Adjust Direction Round
70. by a single curved face 34 08 03 Convert Options Current Object Type Model Type Extrusion Smooth Convert To Object Type Model Type Plain Object gt Facetted HJ O Additional Facetting O Apply To All Options Reset Cancel 5 Form Z Manual Object Types Plain amp Parametric Form Z can create two object types plain and parametric Plain ob jects may be created as facetted or smooth while parametric objects are always created as smooth objects Plain Facetted Objects Plain facetted objects are the most basic objects and can only be modified by moving their component parte e g a point segment or face can be selected and moved to change the shape of the object Plain Objects Plain objects sit somewhere between facetted and parametric ob jects They include objects called facetted arc circle 2D enclosure extrusion 3D enclosure and convergence They can be modified through a set of control handles and points e g a cylinder can be made taller by clicking and dragging its vertical arrow These control handles and points are fewer and less powerful than those associ ated with parametric objects Parametric Objects Farametric objects are generated by a set of parameters that are stored as part of the object s description This allows parametric objects to be modified through a set of handles associated with
71. c Project gt General nosh 0 on Check Use Template Project Click on Choose Template File Navigate to the file named arch_template fmz Select the file and choose Open Uncheck Keep Backup Uncheck Continuous Window Tool Control Project gt Undo Check Use Undos Set last to 50 Check Save Undos In Project Uncheck Reset After Saving Project Reset Cancel E Modeling Model Type Uncheck Enable Smooth Modeling Modeling Textures Check Always Clear Texture Memory System gt General Choose Use Preference File Click on Save Preferences Name the preference file arch_preferences zpf Save it in the form Z applications folder Click Save Click on Load Preferences Navigate to the file named arch preferences zpf Select the file and choose Open Close form Z and restart and open a new model to see the final re sults You can modify your preferences or create a new one by opening a new model making window changes and saving the preferences By default you will save over the existing preferences unless you give it a new name Modeling Tools Lines amp Points Polygons amp Circles Primitives Text Query amp Edit Delete amp Ghost Attributes Layers Geometric Relative Derivatives Trim amp Intersect Line Editing Mesh amp Deform Sweep Revolve Skin C Mesh Smooth Curves Fatches Form Z Manual 08 03
72. can refine its location numeri cally in the Handles box You can also move the origin numerically by clicking on Move Origin to open the Move Definition Origin dialog box Enter the appropriate values and Click OK Note Clicking on the camera makes the current view in the Symbol Definition dialog box the view that will be displayed in the symbol library Symbol Definition Name House p Color Preview Active B ULL Een 2 o Notes Creation time 10 09 36 PM 11 17 00 130 08 03 Form Z Manual Place A Symbol Open the Symbols Falette Highlight the symbol you want to place Choose the Place Symbol tool and double click on it to open the dialog box Symbol Instance Placement AAA ia Scale Factor Locked at same size 1 by default The Scale Factor settings can be used to mirror a symbol instance by entering a Y 1 000 z 1o00 Scale Lock negative 1 for the appropriate X Y and or Z values PickOrgin 5 5 Fick Origin The symbol instance is placed with one mouse click and a the values entered for Scale Factor and Rotation are applied Y 0 z foe Pick Origin And Uniform Scale The first click locates the origin Q Pick Origin And Uniform Scale Moving the mouse produces both rotational and uniform scal Fick Origin AndoGYAnd Z Seale ing Clicking a second time accepts the transformation Hold color Display down the Option ctrl shif
73. change the overall feel of the image Filters are a means to suggest the pres ence of a texture on flat areas and or give a stylistic feel to an image Filters may be applied to the whole image one layer and or a selection Filters should be added at the end of the process after all layers have been completed Itis a good idea to apply filters to copies of layers so that they can be combined with the original layer or discarded in the event of an unsatisfactory result Activate the layer in the layers palette and choose Duplicate layer from the Layer palette drop down menu Activate the new layer and apply the desired filter Once the filter has been applied you can experiment with the layer s Mode e g Multiply Screen and Opacity to investigate the af fect of combining it with the original layer The following are some filter ideas Try them and experiment with ones of your own Write down any settings so that you can reproduce the results on another image Noise One of the easiest filters is the noise filter The addition of Noise breaks up the flat areas and alludes to a finer level of surface texture Activate the desired layer and make a copy Rename the new layer Activate the new layer and make or load a selection if you want to ap ply the filter to a portion of the layer Choose Filter gt Noise gt Add Noise Amount 4 Gaussian Monochromatic Change the Mode and Opacity of the filtered layer Judge the app
74. cool Don t add multiple software applications to your sys tem at one time This will make recognizing conflicts and diagnosing a problem more complicated Things Not To Do Don t connect or disconnect equipment when the com puter is running Don t simultaneously run two or more utilities or pro grams designed to do the same task e g two screen savers virus protection programs system folders etc Don t install Postscript amp TrueType fonts with the same name Don t change the names of program files font files or system files Don t move or rename files folders or disks on the desktop while they are being used by or open in an ap plication Don t shut down with the switch on the computer Always use an appropriate Shut Down command or keyboard shortcut Coping With Disaster There will be times when problems occur There are things that can be done to aid in recovering or respond ing the problem Know Your System If you need technical help from a friend or vendor you must know the details about your configuration This includes hardware specifications model number processor speed total memory installed cards etc and software particulars system version names and version numbers of the applications you use the exten sions and control panels you have installed and so on Gather and keep this information in your sketchbook or somewhere it can be found You should also include serial numbers fo
75. divisible by 4 Object Snap to Foints Wire Frame Display set to Show Points Start at the same Path and draw in the same direction each time for all sources Snap to the appropriate points on the paths 104 Form Z Manual Draw Squares Rectangle by Three Foints tool The next task is to draw the Fluted sources that will create the bulg ing middle portion of the column Move the grid vertically 4 Turn on Grid Snap and Perpendicular Switch and use the Move Grid tool Zoom in to see construction area and points on four paths Choose the Polygon tool and set the options as follows Folygon drawing Center Radius Construct Through Point By Number Of Segments 24 affects number of pattern repeats Refer to the note below Polygon Pattern Choose bottom right pattern Upper First sets which point locates pattern rotation Adjust Inside Angle controls angle of the pattern Number Of Segments 2 sets resolution of pattern element Note To produce an even number of repeats the Number Of Seg ments must be divisible by the number of paths for the first column of patterns or by 2 and then the number of paths for the last two columns of patterns Build bottom fluted source Grid Snap on Object Snap to Point on Click on O O point of grid local grid Click on appropriate Point on Fath along X axis Enter 1 9 and hit Return This will enter required third point and finish the source object Copy and move source to cre
76. eese 16 OCA Soo a EGS PR GR ESE P RP EE YO RS 16 Scanning amp Cropping 17 Scanning Recommendations osse 17 Basic Scanning SEQUENCE saa xa e RI COR 16 SCANMMGAM OD prota c o m p Resp SUR UR m 20 Reducing MoireFatterne ees 21 CROPPINGS au mede ee xr ree eo Rer TEREPS 22 Gride amp Guldee ss sce OP aA eae Eade 25 CANVAS DIZE sc ace dopo e de ro we No d are Red en as 24 Image Editing 25 oizinglmadgebs sees ERR EEUU ro TESTIS 25 Adjustment Layers sss e a RR RR Rx 26 Levels Adjustment Black amp White Images 27 Levels Adjustment Color Images o o o o o o o o 27 Auto Color Adjustment een 26 Photoshop Retouching cece eee eee 29 Clone Stamp Tool x estote m se ale mie me 29 Healing Brush Tool llle 30 FAUCH Tool iate io ia cote dd eee a de Ma ee eh bd 321 Removing Lines With Fathe noaoo auauna 32 Unsharp Mask oss ope ad s e dis gk tese 25 Fills amp Actions 35 Gradient FIS us ss Sea a Ree EE ov en 39 ACUSA Sn Dis Qui a eas ae at 36 Simple Fills eee 37 4 08 03 O E B Photoshop Manual Selections 39 Magic Wand Selections ses 39 Basic Selection Operations xav ded wx ras ex eS 40 Rectangular Marquee Tool o oooo ooooo ooo 42 Selecting with Lasso Tools ooo m o oo 42 Quick Mask se 44 Layers 45 Layers Palette s 419g ues Pu P y RO e Rn 45 Layer FUNCTIONS as sta dee Var ded e ede eed 46 Pend Modes xx xus wha ae hae GRY
77. final alignment The four arrow keys will slide a selected element relative to the active reference plane Holding the shift key and using the up and down arrow keys will move the model vertically in 3D view The Nudge distance is set in the Pick tool Lights Ambient Light ce i Color Intensity Q y el EE enor New Top Sun Fill g Sun O Show Color Highlight Picked Default Light Name Light Default Group Name Light Group Gx Light Parameters Name Sun Type Distant Color v Interisity ct Simple 150 0 Falloff Constant p Preview emmy Q Accurate Options i location Center OF Interest i i X 37 73 16 ix o o Visible i i LI Ghosted gt Y 75 23 8 iv o o locked z 112 99 16 Hz 0 0 i MShining le M Lens Flare rli Shadows Hard Raytraced O Use Sun Settings Bd Transparent Map Options Sun Position Les e fl GLOW Glow Options Form Z Manual 08 03 121 WORKING WITH LIGHTS There are a series of dialog boxes and windows that support the specification and location of lights in a model Before editing the parameters and location of lights it is important to understand how different display modes are affecte
78. first point Move and Click or click and drag to place subsequent points Use as few points as possible You can always add points later to refine the shape To complete a Closed path clicking over the original point A small circle will appear by the cursor when you are over the point To complete an Open path click on the Fen Tool icon in Tools palette after the last point has been created or hold down the Command Control key to change to the Fen Tool and click in an open space in the image Each item in the Faths palette is referred to as a path but may con tain more than one open or closed figure Photoshop calls these subpaths You can create another subpath after completing the current closed or open subpath Freeform Fen The freeform pen tool creates a line by clicking and dragging When you release the mouse Photoshop assigns points and segments to the path 80 08 03 O E B Photoshop Manual Modifying Paths Arrow Tools A Fath Component Black Arrow Tool Selecte and moves open or closed paths Hold the shift key to select multiple paths Hold the Option Alt key as you click and drag to make a copy of a path Direct Selection White Arrow Tool Selects segments points and or control handles These then can be moved Notice the Options available when these tools are selected Note Zoom in close when editing a path to better adjust ite shape and fit To navigate while editing the path hold down the sp
79. from the bottom surface of the ramp Union the ramp and the volume Draw the 2D Path Create or select the appropriate reference grid Draw the 2D path that will define either the left right or center of the final sloped volume This 2D path may consist of any combi nation of straight and or curved segments A smooth path may be constructed with straight segments that pass through critical pointe that is transformed into a curve with the C Curves tool set to one of the Tangent choices Create The Ramp The Stairs From Faths tool provides a way to derive a variety of stairs from 2D path lines anywhere in 3D space The types include Solid Stairs Beam Stairs Steps Only Steps amp Risers Solid Ramps and Beam Ramps Chooge and double click on the Stair From Fath tool to open its dialog box Type Solid Ramp Align Corresponding to the position in which you drew the 2D path Layout Continuous Width Width of the ramp Height Total Vertical distance from the bottom to the top of the ramp slope of Flights 1 Triangulate Checked Edit Checked Status Of Objects Ghost Click OK Click on the 2D path and the Stair From Fath Edit dialog box will appear showing you a preview of the ramp Make any desired adjustments and Click OK The ramp will be created 88 08 03 00 SlopedWallFinal mz 1 Model gt Tame T T ron Imp FE Ann A 0 stopedwallFinalfmz 1
80. grid Move the mouse to rotate the grid in the plane of the grid Click a second time to set the rotation Note Once the direction or is established you can also type the desired angle in the Prompts palette and hit return to set the grid rotation Note If you click directly on one of the axis that lays on the active grid the grid will rotate around the other axis that lays on the grid Save the plane in the planes palette if it is one that you will use again To return to a standard plane choose it from the Window Tools pal ette Extending amp Resetting The Grid Use the Extend Plane tool in the Reference Planes palette to stretch the edges of the active reference plane one at a time Hold down the Shift key and click in the Graphics Window to have the reference plane grid move and expand to match your model Choose the Reset tool and click on the reference plane to return the grid to its default location and size Form Z Manual 08 03 27 Arbitrary Planes By Points Arbitrary planes are planes that you define to support modeling needs They can be parallel to the base planes or angled in space The Define Arbitrary Plane tool is one of the Reference Planes tools found in the Window Tools palette It allows you to define planes using some combination of points and or segments an outline or a face Defining arbitrary planes by points allows you to predictably control the location of the plan s axis and poi
81. is self inter secting whose faces cross or lay on the same plane The paths can be open or closed The direction of the source objects can make a difference Open the Sweep dialog box and choose Boundary Sweep Click OK Follow directions in the Prompts palette To edit the swept object click on it again with the Sweep tool Stair From Path Options f Options Tiles And Sides Railings Limits Status Of Objects Type Solid Ramp E Layout Continuous B Align Center HJ Width 4 0 Height Total Wg 12 0 Of Flights 1 Beam Height 0 8 S amp R Thickness 0 4 Ramp Height 0 10 Step Calculation O Riser 0 8 O Tread 0 11 O Of Steps 16 Landing Extension O Front _1 0 14 31 C Back 1 0 Triangulate O Plain Object Per Part M Edit O Adjust To New Parameters Reset Cancel GoD Stair From Path Ties And Sides Ratings Uwis _ Form Z Manual 08 03 87 Strategy For Uniformly Sloped Volume Problem Create a volume or wall with a uniformly sloping top that has a con stant width and can take any shape in plan Strategy Draw a 2D path Generate a solid ramp from the path with the Stairs From Faths tool Derive a 5D volume
82. make big changes The liability of this approach is that Blacks will stay Black so a Black and White line drawing will show little change Approach 2 This approach to colorizing a grayscale image replaces the black with 100 of the specified foreground color Open the grayscale image Choose Image Mode gt RGB Color Go to the Channels palette Click on each channel to see which has the most information Chances are that it will be the Blue chan nel Set the background color to white hit the D key Click on the Red channel Press Command A to select everything on the channel and hit Delete Click on the Green channel and repeat the process Click on the RGB Channel Return to the Layers palette and choose New Adjustment layer Choose Hue Saturation form the drop down menu Click on Colorize Adjust the sliders to you are satisfied and Click OK 86 08 03 O E B Photoshop Manual Manipulating Edges Open an image Choose the Rectangular Marquee tool You can make a selection of any shape Enter 8 in the Feather field on the Marquee Options palette This step ie optional Note You can feather any selection Select an area that ie inset from the edge of the image The degree of inset will affect the end resulte Use the Canvas Size function with the background set to white to enlarge the canvas if you want to work very close to the edge of an image Switch to Quick Mask mode Q Run one or more of the fo
83. model layers and appropriate lights Render the view e g Choose Display gt RenderZone Choose File gt Plot Print Plot Scale Enter the desired scale e g 1 4 Note Scale To Fit Media must be unchecked to be able to enter a scale Plot Print Type Window Contents Justification Choose desired setting Other Farameters As appropriate Fage Setup As appropriate Fage Preview Click on Fage Preview to check your decisions Adjust as needed Choose Print from the bottom of the Plot Print Setup dialog window Form Z Manual 08 03 57 LINE EDITING DERIVATIVES EXTEND amp ATTACH Drawing 2D Surfaces 2D Surfaces can be created with any combination of Vector Curve and Arc tools If they include curves and arcs they will be plain smooth objects Control Editing 2D Surface objects can be edited with the Edit Controls tool as described previously Line Editing Tools Following is a brief description of the basic function of the Line editing tools Along with the Boolean operations they can be used to edit lines prior to derivative operations Break Line By default a line is broken at the location on a segment or a point where the cursor is clicked Options support the breaking of one line with another where they cross and the specification of the Break Distance Close Line The tool closes an open vector line by Trimming Joining or Connecting depending on the option chosen With the default option
84. objects Clicking on a selected object deselects the object Clicking in empty space deselects all objects Postpicking amp Prepicking When executing an operation you can use either a prepicking or post picking method Postpicking is preferred but some tools and affects require prepicking Fostpicking In postpicking the modifiers are set the operation cho sen and then the object is picked selected In postpicking the steps are fewer but only one object can be edited at a time Prepicking In prepicking the modifiers are set and one or more objects are selected using the Pick tool After the object s have been picked the operation is chosen and the mouse is clicked within the graphics window to execute the operation Note Prepicking ignores where the mouse is clicked within the graph ics window It only recognizes that a click has been made to execute the defined process Form Z Manual 08 03 37 Pick Parade There are times when the Point Segment or Face you want to select is directly under another Use the Shift key to step through the stack It can be used in both prepick and postpick processes Set the Topological Level to Foint Segment or Face and choose the Pick tool Note To pick faces with the pick parade the Click Inside Boundaries option must be selected in the Pick Options dialog box Hold the Shift key Click on the element The nearest element in the stack will be chosen and ite object will turn bla
85. own uniquely named layers Layers that come in with symbols are locked in the layers palette Create or Load a Library If you are going to create a new symbol it must be added to a new or existing symbol library The new library must be created or the exist ing library loaded before you can complete the process of creating a symbol Open the symbols palette choose Palettes gt Symbols If this is the first time that the palette has been opened there will be nothing showing Click on the word Library at the top of the palette to open the dialog box Click on New or Load to create a new library or load an existing one The existing libraries are located in the form Z Libraries folder in the form Z application folder Store libraries in the project folder or location that can be found be cause form Z will look for the library when a file using its symbols ie opened Click OK to close the dialog box 128 08 03 21 EE 10 Tall Overall 3x 3 Symbol Creation Origin Handle Definition O Reference Plane Origin Q Centroid Of All Picked Objects Pick Origin O Pick Origin and Handle Status Of Picked Objects amp Replace With Instance O Use Status Of DD Status Of Objects Symbols hF Library Z amp Library zlb v Library Z amp Library zlb v lb BallTree Ed ese PJ Form Z Manual Create A New Symbol Open the model containing the elements that will be use
86. ppi and dpi Samples Fer Inch spi ie correct when identifying the density at which a scanner or digital camera samples information or a bitmapped program stores information Samples Fer Inch spi defines the den sity of available digital data Pixels Fer Inch ppi identifies the density at which a computer monitor can display information the density of the monitor s pixel elements This resolution is fixed in the construction of the display hardware Dots Fer Inch dpi identifies the density at which an inkjet or laser printer can place dots of ink or toner on a sheet of paper This is con trolled by the construction of the printer and its software All these are often imprecisely referred to as dpi which is fine as long as you remember that there is a difference between data display and printer resolution Scanners Flatbed and slide scanners and digital cameras employ charge cou pled devices CCDs to sense the values and colors presented by the analog image or scene Analog to digital converters A D converters are used to translate the sensed information into digital data A CCD is a solid state electronic element composed of multiple tiny sensors which can register an analog electrical charge proportional to the intensity of the light falling upon it The CCDs in flatbed scan ners are arranged in one three pass scanners or three one pass scanners rows on a chip that is as wide as the scanning window so that the ent
87. remember what they contain or where they are located Displaying Files amp Folders At first you will be tempted to display files as icons The area needed for this approach will soon exceed what can be displayed at any one time and remembering physical location in a field that cannot be completely seen becomes difficult A better approach is to display files by name as alist This takes up less space Controlling File Folder Sequence Alphabetical or numerical ordering can be used to control sequence and grouping and aid in finding files when files are displayed as lists Computers will display numeric listings before alphabetic e g a file named 01 Trees will appear in the list before Trees 01 When using numbers you should name the first file 01 if you have 99 files or less and not 1 Otherwise the sequence will be displayed as 1 10 11 2 3 4 etc Naming Files amp Folders You will quickly forget exactly what is in a document file Therefore it is imperative that you name files so that their contents can be recalled For example what do you think are the odds that you will remember the sub ject or contents of a file names Scan 1 a week later A much better way would be to create a name that indicated its content format For example PineTree tif This gives a clear sense of the files content and tif identifies the format in which the file is saved Adding a date and or sequenc
88. stitched together First Object Splitting Plus Stitching The first object picked is kept and split by the second object picked The two parts of the first object are stitched together inserting the profile of the second object Both Objects Trimming Plus Stitching The two picked objects trim each other The location of the mouse clicks on the objects determine which pieces will be stitched together Both Objects Splitting Plus Stitching The two picked objects trim each other The objects are stitched back together leaving the profile of the other object inserted in each Stitch Options Options Status Of Objects 9 Stitch Multiple Objects O Stitch Object Parts r C Round Distance 2 0 Of Rounding Points 8 Cet Coe 2 Form Z Manual 08 03 97 EEE Stitching The tool is used to stitch open ends of surface objects that coincide It is necessary that the edges coincide in opposite directions to be stitched Form Z is usually able to adjust the directions The stitch operation turns surface objects into solid objects The operation is applied one segment at a time and only to perimeter segments Stitch Multiple Objects is for stitching two or more surfaces Stitch Object parts is for open edges within a single object Note All surfaces of an object can be preselected and the Stitch tool applied once 98 08 03 Form Z Manual Deriving 2D Surface
89. sur faces that coincide It is necessary for the edges to coincide in opposite directions Use the Unghost tool to unghost one of the meshed faces Choose the Stitch tool Its options should be set to Stitch Multiple Objects Click on the joining surface and the unghosted face Unghost the second face and stitch it to the joining surface Choose the Query tool to make sure that you have created a well formed solid object Flat Plus Varied Face Create one varied face as previously described Create a straight line that defines the bottom of the flat surface Move a copy of the line into position vertically with the Ferpendicular switch turned on Create a C Mesh using the same settings Length and Depth used to create the varied surface Follow the same procedure to create the boundaries joining surface and stitch then together 116 08 03 Form Z Manual Terrain Model Options _ f Options Mesh Options Status Of Objects Type Of Model 9 Mesh Model Interpolation OXOYOx Y O Fall Lines O Stepped Model O Triangulated Contour Model Triangulate Non Sloping Site Starting Height Contour Heights Use Existing O Set New Interval 4 0 O Smooth At Interval O Precheck For Intersecting Contours f Cancel gt f Reset gt ok gt Form Z Manual 08 03 117 BUILDING A TERRAIN MODEL DISCONTINUOUS CONTOURS Problem Build a sit
90. the Lights dialog box and click on Edit or double click on a group s name in the Lights palette In either case the Light Group Attributes dialog box will open The Light Group Attributes dialog box contains attributes that can change or override the parameters of individual lights in the group If different members of a group have different states Visible Locked Shining and Shadows three asterisks are displayed Changing the state for the group changes the setting for all lights in the group The Shadows state will usually be differ ent for different lights in a group Override Attributes are those attributes that can be overridden Checking a box overrides an individual light s setting for that particular attribute An individual light s settings are not lost They are restored when the box is unchecked or when the light is removed from the group The Intensity category provides an option to Replace the individual lights settings with the ones entered or Scale the settings The Scale By entry adjusts the overall exposure of the scene without changing the intensity of the lights relative to each other Make changes as desired and click OK Controlling A Light s Affect Form Z offers a choice of seven light types Distant Foint Cone Pro jector Area Custom and Line The affect of the a light on a scene is controlled differently for each type of light Simple Intensity The Simple Intensity setting is entered as a pe
91. the bottom of the Plot Print Setup dialog window Form Z Manual 08 03 55 Preserving Window Proportions This process should be used when it is desirable to preserve the pro portions of the Graphics Window The process is most often associ ated with perspective views Choose the desired saved View Adjust the proportions of the graphics window as desired The nar rower the window the more you will see of the subject vertically What you see horizontally will not change Choose Display gt Image Options Check Use Custom Size Check By Size And Resolution Uncheck Maintain Proportions Uncheck Maximize Window In Screen The dimensions of the Graphics Window are provided in pixels at the top of the Image Options dialog box e 9 480 wide by 615 high Translate these into inches and enter them for the height and width e g 4 60 wide by 6 15 high Or enter any pair of dimen sions that have the same proportions e g 9 6 by 12 3 Enter the desired resolution Use 300 dpi as a standard and downsample to 150 in Photoshop Close the Image Options dialog box The active area of the Graphics Window will match the proportions that you have entered If you are printing a perspective view choose the view from the Views Falette again Turn on desired model layers and appropriate lights Choose the Display Mode e g Display gt RenderZone to render the image Choose File gt Plot Print Setup Scale To Fit Media Che
92. the dis tance that the clearstory roof will overhang the main roof e 9 At 2 2 draw 8 and 14 radius circles Copy The main roof has been created The next step is to make a copy of the roof which will become the clearstory roof and move it into place Choose Views gt 60 30 Turn on Grid Snap and the Ferpendicular Switch Topological Level set to Object Choose the Move tool and set the Self Copy modifier to One Copy Click on the roof and move the copy vertically as appropriate e g amp Allow for the eventual thickness of the roof e g 2 This will become the roof above the clearstory Trim The next step is to trim both roofs Choose Views gt 60 30 and adjust as needed Choose the Trim Split tool Options Trim gt With Line Click on the lower roof at its outside edge and then click on the inside path A hole will be cut in the lower roof Click in middle of the clearstory upper roof and then click on the outside path The central portion of the roof will remain Choose Edit gt Clear All Ghosted and Save Roof Depth Convert the two roofs to Plain Facetted objects Convert To Plain Object Facetted Choose the Parallel tool Options Double Farallel Solid gt Center gt Out amp In 1 Click on the two roofs Note lgnore the error message The roof is not folding back on itself enough to cause a problem Clear all Ghosted elements and Save Form Z Manual 08 03 111 Supports
93. the exact af fects before applying any changes To take full advantage of this the image should be viewed at 100 Actual Pixels Double click on the Zoom tool to set the view to 100 Choose Filter gt Sharpen gt Unsharp Mask Note Using Filter gt Sharpen gt Sharpen applies a little sharpening and is suitable for Web work Amount Varies from 1 to 500 Values from 50 to 150 are most common Amount controls the degree of increase in contrast Higher numbers tend to produce halos If you see halos around the edges of objects you have over sharpened Radius Varies from 1 to 150 A value of O 5 is ideal for Web work For printing values between 0 9 and 2 generally work best Radi us controls the width of the halo of affected pixels Higher num bers tend to produce halos If you see halos around the edges of objects you have over sharpened Rule of thumb Radius equals scanned resolution spi divided by 200 Threshold Varies from O to 255 Values between 5 and 20 are com mon Threshold controls the degree of contrast that triggers filter s application Numbers lower than 5 tend to sharpen noise and imperfections in the image Higher settings progressively ex clude more areas but may be appropriate for architectural images with sharp clearly defined edges and smooth flat surfaces An increase in Radius usually requires an decrease in Amount to keep sharpening constant Higher Radius settings can use higher Threshold set
94. the file name or select the file name and click Open To embed a link select Embed File from the pull down 08 04 000 Text Wrap Invert Clos in Wm 10 05 in BiSfo0sin ma 20 05 in Contour Options Type gt 7 include Inside Edges InDesign Manual Image Manipulation Many images can be manipulated in Indesign by selecting the Image and opening several different panels The Transparency panel can adjust blending styles and opacity The Color pallette can colorize grayscale images Color can be ap plied as if the image is a graphic created in InDesign Images retain photoshop alpha channels in InDesign to preserve transparent areas Sampling Color Images A color image can be sampled as a source of colors Choose the Eyedropper tool and click to pick up colors from imported im ages and graphics Flow Text Around Images amp Objects Select the image or element Click on the Text Wrap panel under Window gt Type amp Tables gt Text Wrap Set wrapping and values as desired InDesign Clipping Paths Alpha channels should be used in photoshop files to create trans parent areas For older or third party files however clipping paths may need to be used After the image is placed select Object gt Clipping Fath Another form of clipping paths uses the Faste Into command To use this feature drag an image over a closed path or vice versa Select the image only and choose Edi
95. the mesh Create a minimum of three appropriately located open or closed 2D control lines Their first points and directions should be synchronized You can create a mesh with only two lines Prepick the shapes in sequence Choose the C Mesh tool and click anywhere in the graphics window The C Mesh object will be generated The edit control lines and points will be displayed if Edit is checked in the Control Mesh Options dialog box Double click in the Graphics Window to drop the control lines C Mesh Options Double click on the C Mesh tool to open the options dialog box Edit Will display a mesh s controls when created Edit must be on to use the C Mesh tool to edit an existing mesh Construct Directly Does not show the controls when a mesh is cre ated It does not go into edit mode Adjust To New Farameters Unchecked by default Should be un checked when you want to edit an existing c mesh without chang ing its parameters Should be checked if you want the current C Mesh tool settings to be applied to an existing c mesh The length and depth options are specified independently Length The direction along a control line Depth The direction across the control lines Length Of Net Same Points Requires that all control lines have the same number of points This choice provides complete control over the c mesh and should be used if you want the final shape to match the con trol lines Colinear segments on control lines
96. the straight segment begins stop movement hold down the Option Mac or Alt Win key and then release the mouse button Now you can move the mouse and click to anchor points To return to trac ing click and hold the mouse button and then release the Option Mac or Alt Win key Proceed with tracing 44 08 03 O E B Photoshop Manual Quick Mask The two icons below the Foreground and Background swatches in the Toolbar controle the edit mode The default or Standard Mode is on the left and the Quick Mask Mode is on the right The quick mask mode provides another way to make and alter selections Before creating a Quick mask set the foreground and background colors to Black and White respectively The shortcut is the letter D Black paints the mask and white erases the mask The foreground color sets the paint or erase function Switch the foreground and background colors to switch between functions Click on the two headed arrow between the foreground and background color swatches to switch the foreground color to the background color Double click on either the Standard or Quick Mask Mode icons to open the Quick mask Options dialog box The defaults of Color Indicates Selected Areas Red and 50 Opacity usually work Change the color if it does not contrast sufficiently with the color of the image Click OK Click on the Quick Mask Mode icon If a selection was active it turns into an area of Red Any of the tools can be
97. the text block select the desired tool and make the graphic transformation OR Choose the text block control click right click PC to bring up a menu of manipulation possibilities OR use options from the control palette to modify the block Text Text can be entered directly or imported Once text is entered its specifications can be set its color can be edited and it can be checked with the Spell Checker Importing Text Text can be imported into InDesign several different ways Text can be highlighted in the creation program i e Word copied and pasted into InDesign OR Text can be highlighted in creation program dragged and dropped into InDesign OR A raw text document may be dragged in from the desktop or file window OR Text can be imported via the File gt Place commana Special Characters Choose Type gt Insert Special Character to see a list of special characters Glyphs can also be inserted from the Type gt Glyphs menu Double click to add a character from the menu Additional Example To move a paragraph to the top of the next text block or object insert your cursor at the beginning of the paragraph you want to move and choose Type gt Insert Break Character gt Column Break Text Color Fill To apply a color fill to text in a text block select the text block highlight the text and click on a color from the Swatches or Color panel Spell Check Choose Edit gt Check Spelling to activate the s
98. to Object results in one new object being derived from each face of the selected object Options 2D Extrusions and Convergences share the same options Ferpen dicular To Reference Plane or Perpendicular To Surface Note With the Perpendicular To Surface option when the source shape is not planar the first three points of the shape define the plane 60 08 03 Extend Options Segment Face C O To Face O Ops is e Oat 1 0 From Point O Oat 1 0 From Face O To Segment M Alert For Intersections M Adjust Directions Cree Cone E Extend Options Segment Face C 9 O To Face O Oys O Oat 1 0 From Point O Oat 1 0 rrom Face e To Segment M Alert For Intersections M Adjust Directions Cree Cone E Parallel Options Options Status Of Objects 9 Single Parallel Surface out O In O Double Parallel Solid Out O Center O In Wall Offset Ou Slab Offset ow in fV On Same Plane Surface Objects rNurbz Control Points Relative To Curvature Max Normal Deviation O Keep Same Number Accurate Cae 2 Form Z Manual MAA Extend Tool The tool is used to extend segments to a surface or another seg ment The Extend Options dialog box allows you to extend Segments or Faces in a variety of ways Using the postpick approach the Topological Level setting has no affect Using the prepick approach the T
99. to both solid and surface objects but not to surface solids double sided surfaces Convert surface solids to surfaces before using the tool Trim Split operations can only be applied to two objects at a time Trim Split operations can be performed with either open or closed objects If an open 2D surface or line is used both ends of the line or surface must extend beyond the limits of the object being trimmed or split If a closed 2D surface solid or line is used it may be placed in any relationship to the object being trimmed or split The result of Trim Split operations is affected by where you click on the objects Trimming amp Splitting with Lines The line being used to trim or split the object is projected perpen dicular to the active reference plane to perform the operation Choos ing an orthographic view to draw the line and execute the operation provides greatest accuracy and control Activate the appropriate reference plane and choose the appropriate orthographic view Draw the line Choose the Trim Split and set the appropriate With Line options Stitch should be chosen if you are cutting a solid and want to keep it a solid When Split and Stitch options are chosen the object parts are stitched back together inserting a line on the object along the intersection of the line and the object Click object and then on the line If Trim is the chosen option the part of the object you click on will be kept 96
100. turned on in the Window Tool palette Display Scale Choose 1 8 1 O Scale from the Display menu Heights Choose Graphic Keyed from the Heights menu Surface Styles Double click on the Red surface style Click on the Options button Choose the Color Sliders icon at the top of the Colors dialog box Choose HSB Sliders from the drop down menu and specify the color as Hue 25 Saturation 100 and Brightness 100 Close the dialog boxes Choose highlight Style 1 to make it active Pick Tool Double click on the Pick tool Turn off Beep When Deselect ing Close the box Set View Double click on the Set View window tool and check Click Foint On Reference Plane option Click OK 10 08 03 Form Z Manual Saving A Template The changes that have been made to this point in terms of the work environment and parameters are saved either in a Template settings or Preferences file window locations We will first save the Template and then make Preference changes and save the preferences Choose File gt Save Name the file arch_template fmz Save it to the form Z application folder Uncheck Keep Backup Click Save You can modify your template or create a new one by opening a new model making setting changes and saving the template By default you will save over the existing template unless you give it a new name Setting amp Saving Preferences ETA Choose Edit gt Preferences to open the Preferences dialog box Sn
101. use the Point Segment or Surface Plane options there needs to be an existing point segment or surface plane One can be made just to facilitate the operation if one does not exist Set the appropriate reference plane Set the Topological Level e g Object Set the Self Copy mode only Self or One Copy Choose the Mirror tool Set the Mirror tool options e g About A Segment Click on the object to me mirrored Click to set the point segment or face as desired e g segment The operation is complete Note When the Relative To Reference Plane option is selected the reflected object will be mirrored relative to the current active ref erence plane it will lay on the same plane as the original object Note The orientation of the segment will affect the result of mir roring around a segment About Local Plane An object can be mirrored about one of its local planes The planes are centered on the centroid of the object When multiple objects are picked the planes of the first object picked controls the movement Set Option Click on object 76 08 03 Scale Options Options Copy Options 9 Scale By Percentage Dynamic Relative To 9 Reference Plane Base At Click Point O Object Centroid O Object Origin O Object Coordinate System XY Plane D YZ Plane D ZX Plane O Scale By Absolute Value oc3 Scale Options Cams a O Return To Self After Copy Multi Copy 9
102. used in the Quick Mask Mode Choose the Faint Brush tool Select a hard edged brush size Faint to create or extend the existing mask area with the tool Switch foreground color to white and paint to erase the mask Zoom in to select smaller areas When you are satisfied with the shape of the area click on the Standard Mode icon The Quick Mask will be transformed into a selection Save or use the selection EHE B Photoshop Manual 08 03 45 LAYERS To use Photoshop effectively and efficiently you must become familiar with layers The basic function of a layer is to isolate one component of an image from an other Layers Palette The illustration below identifies the elements of the Layers palette A more complete discription of the elements follows oco Layers Channe Paths o Layer Options Layer Mode Multiply HE Opacity 100 el Layer Opacity Layer Locking Lock alaita Fill 100 RP Fil Opacity Transparency Lock Image Lock Text Layer Fosition Lock All Lock Layer Set Folder Active Drawing Layer Active Drawing Layer Brush Shaded Image Layer Layer Linked To Partially Locked Layer Active Layer Chain Visible Layer Set Eye Fully Locked Layer Background Layer Add Layer Style Add Layer Mask Add Layer Set Add Layer Add Adjustment Layer Delete Selected Element 46 08 03 Dock to Palette Well New Layer Duplicate Layer Delete Layer Delete Linked Lay
103. values It is important that you name styles logically and con sistently e g Title Head Subhead Text Caption etc so that you and others can understand their application at a later date Develop a naming convention Planning ahead will save a lot of time down the road Paragraph Style Options Font Family Tekton 44 Font Style Regular 4 Kerning Metrics EB Tracking 0 B Size 11 pt 5 Leading 12 pt 5 Case Normal HA Position Normal ES Underline v Ligatures C No Break 7 Strikethrough Edit A Style s Specifications Before closing the dialog box the style must be edited to define the desired specifications New styles can be based on existing styles to create families of styles or created completely from scratch Make the desired changes and then Click OK 000 Character Helvetica Neue T1 S dy Bays B mo Ms B ao 2 om InDesign Manual 08 04 15 Apply A Style Place the cursor in the paragraph to which you want to assign the style or select the text block to assign the style to all ite contents Click on the desired Style name in the Faragraph styles panel Note For character styles only the highlighted text will inherit the settings of the character style Note If any changes are made to text after a style has been ap plied a sign will appear at the end of the style name when the changed text is highlighted Redefine A Style s Specifications Select the
104. when doing repetitive tasks Expand Selection Action Make a selection with any selection tool e g Draw a rectangle with the Marque tool Open the Actions palette You must place a new action in an existing set To make a new set click on the New Set icon Folder icon at the bottom of the Actions palette or choose New Set from the Actions palette pop out menu Name the set e g Rendering and click OK Click on the New Actions icon turned up page at the bottom of the palette or choose New Action form the Actions palette pop out menu Name the new action e g Expand 1 Pixel Choose the set you want the new action to be part of Set the Function Key s e g F1 with Command checked for the Mac and F2 with Control checked for Windows Click Record Execute the commands you want to record Choose Select Modify Expand Select and enter a value of 1 Click OK Click Stop recording click the square button at the bottom of the Actions palette The action is now listed in the Actione palette To use the action make a selection and then press the corresponding Function key s e g Command F1 or Control F2 Note that you must also hold down the Function key on Mac Laptops EHE B Photoshop Manual 08 03 37 Uniform Fill Action Activate a layer or make a selection Open the Actions palette Click on the New Actions icon turned up page at the bottom of the palette Name the new action e g 10 F
105. 11 Curves Arcs Object Type Modifier Symbols Pick Edit Topological Level Modifier Structure Grow amp Join Move Self Copy Modifier Derivatives Booleans Insertions Round Stairs Nurbz Surfaces Metaformz Direct Object Creation want to draw a 3D Extrusion using a Folyline The first two rows require an Object Type Primitives do not require drawing tools or Object Type modifiers Object Attributes amp Editing want to Pick a Face Most editing requires the selection of a topological level The Query tool Q is an important editing tool Object Transformation want to Move a Copy of the 3D object Self Copy Modifier and Topological Level choices affect most transformation operations Derivatives require the selection of a Topological Level Object Construction want to Union two 3D Objects want to Sweep a 2D Object along a 2D Folyline Insertions require drawing tool Line selection Most editing requires the selection of a Topological Level Organics 12 08 03 EEE Modeling Tools Expanded 000 Lines Form Z Manual QOO Curves Direct Object Creation 000 Polygons and Circles TARAA NE Seu Object Type FAEN p els A LA CREATE FLACO L e EDIT J IEsrLODE Object Attributes amp Editing OO Delete amp Ghost ooo Ie Levels
106. 3 os 11 Text DIOC Dire tidad ds bee aks 12 TOD a o ad a a a a i g 13 Faragraph Styles ur yo ag Po SEER ew EE ERs 14 Images 17 Drawing 19 Drawing Fathe i gomme th RR o 19 Other Drawing Toole en 20 Text amp Paths 21 Tools amp Techniques 23 oclesore ToOl s ua y rk RR Eg od eg s 25 FAUT Operations acr os dopo AA 25 InDesign Manual LE InDesign Manual BEEN INDESIGN ENVIRONMENT Work Environment The first step ie to organize the work environment Open InDesign and choose Window gt and open all tool bars and panele Organize the toolbare and panele to eet where you want them located when opened Close the toolbars and panele that you do not want open when you etart the program Note Dragging panele to the right hand edge of the ecreen will turn palettes into eidetabe The baeic work environment will include the Toole Fanel down the left side of the window the Docked Fanele down the right side of the window and the Control Falette attached to the top of the window Ay Sw poor a GS BY A mo cancer O F ay o B ar Soo Tv English USA al The Fasteboard containing the document pages is in the middle with the Custom Magnification Magnification pop up menu Fage Selector buttons and Go To Fage pop up menu at the bottom Customizing the Docked Panels The panels are in groups e g Pages Info and Layers that are docked together so they open and close as a set
107. 6 3 Load il if M Preview Cobr Management Policies RGB Preserve Embedded Profiles CMYK Preserve Embedded Profiles E Gray Preserve Embedded Profiles ia Profile Mismatohes Rf Ask When Opening Y Ack When Pasting Missing Profiles v Ask When Opening r Descrp tion Photoshop 5 Default Spaces Preparation of content using the default spaces from Photoshop 5 Color Settings r Settings f Will s Color m Advanced Mode eos r Working Spaces RGB Adobe RGE 1998 3 CMYK US Web Coated SWOP v2 3 e dotcan20 ee A Mm Preview CobrManagement Policies RGB Convert to Working RGB CMYK Convert to Working CMYK Gray Convert to Working Gray r Profile Mismatches ge Ask When Opening e Ask when Pasting Missing Profiles e Ask When Opening r Deserption Will s Color V Intensity Time Intensity One Bit Intensity Four Bit Intensity Four Bit Intensity Time Sampling Frequency EHE B Photoshop Manual 08 03 13 ANALOG TO DIGITAL The analog world is the one we see hear smell taste and touch It is the world as experienced through our senses The essential quality possessed by analog information is that its intensity varies continu ously The transfer of information in the analog world requires the trans lation of the date between media Fo
108. Adjust the monitor s Brightness On the Mac the inside square is a dark gray not black and the outside square is bright white The square in between should be black Click Next on the Mac Choose Phosphors Refer to your monitor s documentation or check with the vendor Click Next on the Mac 08 03 Color Settings O E B Photoshop Manual Set the Gamma Uncheck View Single Gamma Only Choose Macin tosh Default 1 8 or Windows 2 2 Adjust the three sliders until the center box blende in to the outeide box Sit back and equint you eyes as you do this Click Next on the Mac Set the Hardware white point to 6500 K Daylight Click Next on the Mac Set the Adjusted white point to Same as Hardware Click Next on the Mac On the Mac click on Before and After to see the resulte Click on Fin ieh to save the profile Name locate and save the profile Mac Save it in the ColorSync Profiles folder at the root level of the System folder Windows 989 Windows gt System gt Colors directory 2000 WinNT gt System gt Spool gt Drivers gt Color directory Print Color Settings Open Photoshop and choose Edit gt Color Settings gt Arch Print These settings were created to function as the normal work set tings 7 Advanced Mode r Working Spaces m Settings Photoshop 5 Default Spaces m Cancel RGB sRGB IEC619662 1 al CMYK Photoshop 5 Default CMYK ll Gray f Gray Gamma 2 2 Spot Dot Gan 209
109. Define Arbitrary plane at bottom of volume Scale the bottom face of the volume to create the desired slope e g Uniform Scale Object Centroid 1 8 Union the volume with the site 120 08 03 Form Z Manual Delete All Ghosted elements Detail Site The original site has been created as described above The task is to create a more detailed area within the larger site Bring in an underlay that contains the desired detail contours Lo cate the scan as needed using the Underlay dialog box Create a new layer e g Detail Trace the contours and boundary of the detailed area of the site on the new layer Derive a volume from the boundary of the detailed area It must ex tend vertically above the site Difference the volume from the site Unghost and delete the volume and whole site Move the site back to its original layer lock and turn off the layer Activate the detail layer and unghost the boundary of the detail area Create a terrain model using the detail contours and boundary Se lect the contours in order from the lowest to the highest Choose the Terrain tool and set its options The following options have been used in the example Interpolation XY Mesh Options 10 Triangulate Site Start Height 10 Set New Interval 2 Click on the boundary of the detail area to construct the model Turn on the perpendicular switch and move the detail model vertically into position Use the Nudge keys for
110. Design layer and convert them all to Plain Faceted objects Lock the Design layer Views Zoom in to see the elements you are creating as clearly as possible Points Choose Display gt Display Options gt Wire Frame Options and check Show Points to see existing points in Wire Frame display mode Reference Plane Grid Extend the reference plane grid to match the model as required save the Plane in the Planes palette and name it Site Grid Snap Grid snap should be on whenever possible Change Grid setting as needed by double clicking on the Grid tool and entering the desired dimension Build elements that obviously fall on the grid first Object amp Direction Snap Use Object Snap set to End Point Point MidFoint or Intersection to snap to the ends of lines points on lines or intersections of lines that exist Use Direction Snap set to Ortho to constrain movement Note Do not leave Object or Direction Snaps on after completing a task They may interfer with the operation of the next tool 64 08 03 Form Z Manual Creating 2D Surfaces Footprints Make the Design layer Visible It should be locked Activate the Work layer Check Choose a Surface Style color that contrasts with the lines on the Design layer Select the Vector Line drawing tool and set its options to Facet ted You may use the Rectangle Circle or Arc tools to construct elements if it is more efficient but make sure that points and intersectio
111. Element Click again Click again Select All Command A Control A Deselect All Option Tab Alt Tab Edit Cone Of Vision Command E Control E Zoom In By Frame Z added Z added Zoom In Incrementally added added Zoom Out Incrementally O added O addea Fit All Command F or F added Control F or F added Reset X added X added Set View S added 5 added Hand Spacebar added Spacebar added Close Drawing C after last new point C after last new point End Drawing Nudge Selected Element E after last new point Arrow Keys left right back front E after last new point Arrow Keys left right back front Nudge Vertically Tool Menu amp Palette Options Shift Up or Shift Down Option Click on item Shift Up or Shift Down Shift amp Control Click on item Wire Frame Interactive Display Command W Control W Wire Frame Interactive Options W added W added Hidden Line Static Display Command H Control H Hidden Line Static Display Options H added H added OpenGL Interactive Display Command J Control J OpenGL Interactive Display Options J added J added RenderZone Static Display Command K Control K Renderzone Static Display Options K added K added Perspective View P added P added Axonometric View A added A added 30 60 View Command 1 Control 1 Top Plan View Command 6 Control 6 Righ
112. Folygon or Circle Change to an orthographic view if desired Turn on snaps as desired Create the insertion shape as the drawing tool requires Rubber band or enter the height Note When prepicking the face the first segment you pick will have an affect on the orientation of rectangles drawn Note When working in an orthographic view positive dimensions move toward you and negative dimensions move away Note After an insertion has been created it is automatically picked highlighted Double click away from the object to reverse the highlighted face 80 08 03 Form Z Manual Insert Hole The Insert Hole modifier with a drawing tool can cut a hole through an existing volume or closed 2D surface To insert a hole relative to a face the face must prepicked and planar The direction of motion is always perpendicular to the surface Shapes used to cut holes in 2D surface objects must be closed and completely contained within the boundaries of the surface object Shapes used to cut holes in 3D objects may extend beyond the boundary of the picked surface They cannot be completely out side the boundary of the face The height of the insertion can be set in the heights menu rubber banded or entered with the keyboard 3D Process Decide on a depth If it is greater than the depth of the object it will create a hole The depth will be a negative dimension Set Topological level to Face and pick the face Selec
113. Graphics Window are provided in pixels at the top of the Image Options dialog box e 9 480 wide by 615 high Translate these into inches and enter them for the height and width e g 4 60 wide by 6 15 high Or enter any pair of dimen sions that have the same proportions e g 9 6 by 12 3 Enter the desired resolution Use 300 dpi as a standard and downsample to 150 in Photoshop Close the Image Options dialog box 52 08 03 Form Z Manual Export Render the image e g choose Display gt RenderZone Choose File gt Save As Choose TIFF from the File Format menu Choose where the file is to be saved and name the file Click Save The TIFF Export Options dialog box will appear The de faults will usually work Click OK Remember to return to the Image Options dialog box and choose Use Window Size to regain control of the graphics window after the process has been completed Rendering Display Alternatives The following are the most common rendered image options used if you are intending to bring the images into Photoshop as the beginning of a rendering Line Choose Hidden Line display Set the angle option to eliminate unwanted edges Name the file Lines tif Value Make a copy of your form Z model file Create a White plain surface style Select all elements Command Set the Color tool to Clear All Surface Styles Click in the graphics window Activate shadow casting Choose RenderZone disp
114. L Crop C Healing Brush J Clone amp Fattern Stamp S Erasers E Blur Sharpen amp Smudge R Fath Creation amp Editing A Standard amp Freeform Fen P Notes amp Audio Annotation Hand Hor Spacebar Foreground Color Default Colors D Standard Mask Mode Q Standard Full with Menu amp Full Screen Modes F m O E B Photoshop Manual Move V Magic Wand W Slice amp Slice Select Toole K Faint Bush B Standard amp Art History Brushes Y Gradients amp Paint Bucket C Dodge Burn amp Sponge O Type T Rectangle Ellipse Folygon Line U Eyedropper Color Sampler amp Measure I Zoom Z Swap Colors X Quick Mask Mode Q Screen Modes Launch ImageReady MM E Photoshop Manual 08 03 11 Color Management A color management system is a set of software tools that at tempts to maintain the appearance of colors as they are repro duced by different devices The components of a CMS system include a reference color space a color matching engine and profiles The profile describes the behavior of a device like a scanner monitor or printer It allows the software to understand how different devises are representing color When you embed a profile in an im age you aren t changing the image You are providing a definition of what the numbers in the file mean in terms of actual colors we can see A source profile identifies the devise that generated the RGB data a
115. Lock Max Edge Length 2 0 amp Max Normal Deviation 10 Max Surface Deviation 0 1 Arc Circle Ellipse Edit Display Resolution al Model Type Facetted 9 Smooth Type Circle HJ Center Rotation Cet Cae 79673 Arc Angle i Start 0 End 0 X 12 0 1 2 Y 12 0 1 2 M Lock End Negative Reset Cancel ok Form Z Manual 08 03 45 Display Modes There are many display modes provided by form Z The ones that will be most often used are Wire Frame Hidden Line Interactive OpenGL and RenderZone The options dialog box for any of the display modes can be opened by choosing the display mode from the Display menu while holding down the Option Alt key using the appropriate shortcut key or choosing Display gt Display Options and clicking on the appropriate mode Wire Frame The most commonly used display mode for model construction It shows all edges as lines in either black or the color assigned to the object The options for the display mode are shown below Render Command Control W Options W Wire Frame O
116. Model E Tame T Tn 00 siopedWallFinalfmz 1 Model E rame T Tn ZI EN AAA queRTX Ip WD Form Z Manual Extending Ramp Volume The ramp ie created with a knife edge at ite lower end If you want this edge to have some volume below it if the ramp ie the top of a sloping wall or volume the strategy is to derive the volume from the bottom plane of the ramp Move the ramp vertically into position using the Move tool with the Ferpendicular Switch turned on and the topological level set to Object The 2D path may be moved into position before creating the ramp as an alternative approach Set the topological level to Face Choose and double click on the Derive 5D Enclosure tool to open ite dialog box Check Ferpendicular to Reference Plane or Surface as appropriate Click on two edges of the bottom face of the ramp to select the face and rubber band the desired depth Click to eet the volume Choose the Unghost tool and click on the ramp to unghost it Union The Pieces Set the topological level to Object Choose the Union tool Union the ramp to the derived volume by clicking on both volumes in any order Mesh Options Mesh Increment wx Mv zio M All Directions M XYZ Lock 9 Normal Alignment O Center On Line O Center Between Lines
117. O Objects gt View Name Plan 5 Section AA Entry Main Space Layers Name Site Vegetation Y Building Second Floor First Floor o0 Light Name S Sun gt Sun Fill 7 Main Space Y Exterior Light 3 Interior Spots Lights 60 Planes Pick Marto 33 70 prm no Plane Name Cube Mw Object 3 Mc Select Object E ep y a5 a V z 45 0 Mr E formeZ File Edit Window Heights Views Te To e v First Floor Display Options Second Floor Palettes Help 4 Tue 10 16 AM pages Untitled2 1 Model OO Views ese sea frame 1 1 Axon al gt gt Ea SIE Tl 112 View Name Type elf E en 61 2 P ja A RE Prompts O Coordinates O Objects OO Planes zs Ma xi 4 0 O a Name e e Plane Name E e y e ee w pro par E Tum ee EEE y fy eno Mc PR Rm Rad rM M T Soul Style 1 Form Z Manual nnn Setting Work Parameters Do the following after opening a new model file Absolute Relative In the Coordinates palette uncheck the box next to the A to turn the coordinate information from Absolute to Relative Leave the check next to the A in the Prompts palette Between them they will provide both Absolute and Relative co
118. Objects 2D surface objects may be derived from other surface objects seg ments outlines or faces of objects The derived objects are located in the same location as the original entity The tool can be used in either prepick or postpick mode Prepick is the most appropriate mode when multiple entities are going to be the source of the derivative Each Selected Entity The Topological Level modifier determines what entity will be the source of the derivative Point may not be chosen When Object or Group is chosen one surface object will be generated for each face of the picked object Boundary Of Surface Object Generates a surface object from one or more boundaries Boundary segments of a surface object are those that have a face on only one side Closed Stitch A stitch is a closed sequence of internal segments that meet at angles less than 110 Internal segments have faces on both sides The option generates a surface from the stitch Selected Segments The option generates a surface object from the selected segments The prepick mode makes most sense with this option Set the Topo logical Level to Segment to prepick the segments Selected Faces The option generates a surface objects from any number of adjacent faces The prepick mode makes most sense with this option Set the pick tool to Clicking Inside Boundaries and the Topological Level to Face to prepick the faces Form Z Manual 08 03 99 Separating
119. Opacity the more rapid the change Make or load the appropriate selection or check the Preserve Trans parency lock for the layer Note the direction of the light in the image Shade the element with multiple layers Hiding Portions Of Entourage Elements At times you want to put something e g person behind a column or wall that is within the overall structure Once the element has been located scaled and colored it will cover the portion of the structure it should be behind e g a wall Activate the element s layer Choose Layer gt Add Layer Mask gt Hide Selection or click on the Layer Mask icon box with circle inside at the bottom of the Layer pal ette Refer to the Photoshop Manual section named Layer Mask in the Layers chapter Create a selection that includes the portion of the element you want be hidden It is important that the edge behind which the entou rage element will disappear is carefully selected The other sides of the selection need only be larger than the entourage element Fill the selection with black Adjust Location Choose the Move tool and use the arrow keys to make any fine adjust ments to the location of the entourage element Note The layer and its mask are locked so they will move in tandem 56 08 03 O E B Photoshop Manual Applying Filters Form Z images rendered without texture mapping yield very flat even values that look very stiff The application of filters can
120. Paths should be drawn in the same direction Corresponding points e g end points on a set of paths cannot be colinear they cannot lie on or define a straight line Sources Sources are the 2D shapes open or closed that are moved along the paths to define the faceted object There may be one or more source shapes Multiple sources are most often used when the shape of the final object changes over dis tance Source shapes should be drawn or positioned exactly in their in tended relationship to the paths Points on the source shape should fall on corresponding points on the paths A source shape can not define a straight line Multiple source shapes should be drawn in the same direction The first points of multiple closed sources should be lined up Multiple sources may not share the same point on a path 102 08 03 Form Z Manual Skinning Along Paths Placement by Current Position Construct a minimum of three paths in exact relationship to each other Constructing paths with the Vector Line and Arc tools is usu ally the most efficient approach for creating facetted objects It is desirable for all paths to have the same number of points from end to end Turn on Show Points in the Wire Frame display dialog box to see points You may want the ends of the paths to line up to be colinear If so build the paths and then nudge the ends out of alignment using the Nudge keys Arrow keys with the nudge distance set
121. Redo Shift Command Z Shift Control Z Select Click Click Select All Command A Control A Deselect All Shift Command A Shift Control A Print Command P Control P Open File Command O Control O Open New File Command N Control N Close File Command W Control W Quit Application Command Q Control Q Accept Keyboard Entry Return Return Hand Tool Opacebar Opacebar Zoom Tool Z Opt Alt key reverses Z Opt Alt key reverses Fit Page Command O zero Control 0 zero Fit Spread Command Option O zero Control Option O zero Display Fage at 100 Double Click the Zoom Tool Double Click the Zoom Tool Fit All Pages Command O zero Control O zero Default File Template To start a new file with a certain group of baseline settings already in place open a new file change views grids etc and save file as an InDesign template file Preferences Find and open InDesign s Preferences Choose the category as listed below and adjust as needed Unito Verify or change unit of measure in document Grids Adjust color and interval for grids Display Ferformance Adjust as desired 08 04 InDesign Manual Moving Around Efficiently moving around as you create things in InDesign makes a big difference in your speed While you are using any tool hold the Spacebar This gives you the Hand tool that lets you move around the screen Add the Cmd Ctrl key to access the Zoom
122. Status Of Objects Draw the truss LLL Spin Note Draw the outline of the truss as a single closed surface This O Left Center O Right will produce the cleanest corners Intermediate truss members Wall Width may be drawn as individual or continuous open wires Top Thickness 1 0 Choose Heights gt Custom and enter the depth of the truss member Base Thickness 4 Top 69 Open O Closed e g 4 My Base Open O Closed Choose the 3D Enclosure derivative tool Double click on the tool and Extrusion Convergence Options Perpendicular To Reference Plane set its options O Perpendicular To Surface Justification Center Wall Width As desired e g O Reset ox gt Choose Ferpendicular To Reference Flane Click OK Click on the truss elements If you have prepicked the elements you only have to click once in the window Select all the elements Command Control Choose the Union tool and click in the Graphics Window The truss is now complete Note Individual truss members can be given different widths if de sired 94 08 03 Mesh Options Mesh Increment ax D Y 8 0 Gz s 0 O All Directions 3 XYZ Lock O Normal Alignment O Center On Line O Center Between Lines O Fit Increment Mesh Direction 9 From Picked Segment O From Angle Altitude X Z 45 Azimuth X Y 45 M Triangulate Cie Cani
123. TIONAL COLLAGE TECHNIQUES Using Modes amp Opacity to Shade Elements Entourage elements such as people and trees often need some shad ing to give them form This can be done with the brush tool in combination with Mode and Opacity settings Activate the layer containing the element Select the brush tool Choose a soft edged brush of appropriate size Choose a middle neutral gray as the Foreground color Set the Brush options to Multiply to darken of Screen to lighten Set the Brush Opacity to control the degree of change e g 20 The higher the Opacity the more rapid the change Make or load the appropriate selection or check the Preserve Trans parency lock for the layer Note the direction of the light in the image To darken the shade side of the figure Set the brush mode to Mul tiply and paint with a middle gray To lighten the sunlit side of the figure Set the brush mode to Screen and paint with a middle gray Fainting with a middle gray preserves the original colors Specity a color if you want to change or enrich the color A color with a middle value works best Creating Shadows for Entourage Elements Make the entourage element layer active and hold down the Command Control key and Click on the layer name in the Layers palette to select its contents Choose Layer gt New gt Layer via Copy or enter Command Control J to float the selected element to a new layer An alternative is to choose Duplica
124. Tiling 1 0 Center 8 Mirror E Scale With Object Form Z Manual Texture Mapping Texture mapping controls the size type orientation and location of surface styles relative to surfaces and objects Surface styles and texture mapping parameters are independently assigned removed and changed for each object or surface Default and Custom Mapping At the top of the Texture Map Options dialog box there two impor tant choices Clear To Default and Assign Custom Clear To Default When this option is chosen the default settings for all surface styles are displayed When you click on an object with this setting chosen you can remove all custom maps from the object When Warn Before Clearing is checked you receive a warning dialog box before any custom texture mapping parameters are replaced with the default settings If this option is chosen you can edit the default parameters Assign Custom When you click on an object with the Assign Custom option chosen you assign the currently defined custom mapping parameters to the object based on the following two choices When Adjust To New is chosen the existing mapping parameters are assigned to an object when it is clicked on with the Texture Map ping tool When Edit is chosen the Texture Map Controls dialog box shown below is opened before the custom parameters are assigned It allows you to edit the paramet
125. View Parameters dialog box but its proportions will remain the same as the proportions of the graphics window Understanding these interrelationship is important to controlling the output from form Z Form Z Manual 08 03 51 Exporting Object Images Wireframe Hidden Line and Surface Render displays can be exported in object formats such as Illustrator and EPS The Illustrator format is used when the image is to be edited in Freehand The EPS format is a good choice if you do not intend to edit the image Export Open the appropriate display options dialog box and make desired choices Render the image Choose Edit gt Save As Choose where the file is to be saved Choose the Illustrator or EPS from the File Format menu Click on Save An Export Options dialog box will appear Decide if the background should be included Usually no for Illustrator and yes for EPS Set the desired line weight It applies to all lines EPS Options RGB Level 2 Choose the desired Platform Click OK Exporting TIFF Images You can export images from form Z in the TIFF format for use in page layout programs and or to edit in Photoshop All form Z display modes can be exported as raster e g TIFF images RenderZone must be exported as an raster image Setup Choose Display gt Image Options Check Use Custom Size Check By Size And Resolution Uncheck Maintain Proportions Uncheck Maximize Window In Screen The dimensions of the
126. a 47 OPA LC 48 Layer eC RO eu eC RUE Race RO e A 48 layer ONES s e iesu II 48 Layer MaSK x aae o a REC ER 49 Transparency MaSK cssc as ai ir as 51 Adjustment Layer Mask leen 51 Clipping CIOUES soi w adco d dope oa 51 Basic Collage Rendering Process 53 Preparing The Form Zlmage ee 53 Adjusting Image Values esse 55 Adding Entourage Elemente o ooooo o oo o ooo 54 Shading Entourage Elemente ls 55 Hiding Fortions Of Entourage Elemente 55 PADDING FILES date d Een the Pt e port 56 Layer Adjustments ooo 57 Exporting Thelmage cse ee 58 Color Rendering Process 59 Structure amp LinesLayere ees 61 Value Layers s sus des oe RR e xU Re exa 62 Color AVE Fn oi atta ine bp eae e ree eol e SES 62 Oelectlotio 2 xx sa xoa eges d hbk a o e ROO dob ded 65 Creating Surface Values 2o ess 64 Creating Surface Color 0 0 ees 65 Bcc oi sonados hed ede RO Ped BS 66 Oky Groid jsp dos pep RU Es 67 BEBE BE protesto Manual Additional Collage Techniques 69 Using Modes amp Opacity to Shade Elements 69 Creating Shadows for Entourage Elements 69 Putting an Element Behind a Fortion of a Structure 70 FISHING T Em 71 Deidad SUIS Se a SUE BS 71 DUSK SCENE siii o RR en 71 Light from Windows css ile 72 ina PT 72 Creating Entourage Elements 73 Preparing Entourage Elemente o ooooooo o o 73 Type 77 Creating Type sce ete eto thru eee ER bees bs
127. accomplish the task is to talk to yourself For example On the XY plane with the grid snaps on want to draw a Rect angle that is a 3D Extrusion object type This statement means that you should make the XY plane active turn on the Grid Snap choose the Rectangle tool and set the Object Type modifier to 3D Extrusion before you begin to draw Basic Drawing Steps Choose the desired drawing tool and set its options Note Double click tool icons containing a red mark in the upper right hand corner to open the corresponding Options palette Choose the appropriate Object Type modifier and set its options Click once on the active reference plane to set the first point of the object Move the mouse and click to set other points on the active reference plane as required If you are creating an open 2D object you can double click or enter E after the last point to End the drawing If you are creating a closed 2D object you can triple click at the last point or enter C after the last point to Close the 2D shape If you are drawing a 5D object once the last 2D point has been cre ated move the mouse vertically to give height to the object Click to set the height The height will automatically extrude after completing the 2D portion of a 3D object if a specific height has been chosen in the Heights menu The object is completed Drawing Complex Shapes Objects with complex footprints can be created by combinations
128. ace bar to activate the grabber hand and click and drag in the di rection you want to move the image Release the epace bar and continue editing Pen Tools Ada Point Tool Click on a segment of an existing path to add a point Delete Point Click on an existing point to remove the point from the path Convert Point Changes corner points to curved points Click the point to change its nature Click and drag to pull out and adjust a point s control handles Note The Pen Tool can be used to add subtract and convert points Move the Fen cursor over a selected path segment and it turns into the Add Foint tool Click to add a point lt turns into the Delete Foint tool over an existing point Hold the Option Alt key and it becomes the Convert Foint tool over an existing point Saving Paths When you initially create a path it appears in the paths palette as a Work Path which is a temporary unsaved item To save a work path you double click on the name Work Path in the Paths palette and give it a name You can also drag the work path to the New Fath control button at the bottom of the paths palette second from the right You can avoid creating a work path by choosing New path from the palette submenu before creating any paths Activating Paths To activate a path you Click on its name in the paths palette To deactivate a path you Click in the blank space in the paths palette EHE B Photoshop Manual 08 03 81 Combin
129. acing paper and a Ra zorpoint pen work very well You can use a straight edge to aid in creating the hand drawing It is especially useful for verticals because when they are accurate the whole drawing gains in credibility In general do not hesitate to use a Straight edge when it makes the drawing process more efficient However this is not a drafting exercise Making sure that lines are continuous and meet at corners will facilitate the use of some digital tools but looser drawings can also be used The goal is to begin with a line drawing that is both correct and has an expressive quality The drawing should not be larger than 11 x 17 This will allow the scan to be made in two passes on an 8 5 x 11 scanner or one pass on a 11 x 17 scanner The goal is to make the drawing as small as possible considering the balance between drawing ef ficiency and capturing appropriate information 60 08 03 O E B Photoshop Manual Scanning Trim the sheet carefully before scanning Make sure that the trimmed edges of the sheet are square with the drawings horizontale and verticale to support placement of the drawing on the scanner Small rotations of the image in Photoshop degrades the image Rotating in 90 increments and flipping will not degrade the im age Scan the drawing in Grayscale mode RGB mode can also be used Scan at higher resolution and then downeample Kule of Thumb To calculate the required ecan resolut
130. age all the specifications guides text and or graph ics associated with the master page will appear on that specific document page Creating Master Pages Open or select the Fages panel Click the panel pull down menu and choose New Master Adjust settings as required and click OK A new master page opens in the adjacent window Place the desired guides text and or graphics on the master page When all elements have been placed on the master page select another page in the document and apply the master page as deisred Converting An Existing Page To A New Master Page Select the page Click the panel pull down menu and choose Save as Master 08 04 InDesign Manual To Apply A Master Page Click on the Fages panel click once on a page to select it and click Apply Master to Pages from the pull down menu Select the appropriate master from the dialog box and click OK Editing Master Pages Master pages may be edited by double clicking on the appropriate master page icon in the Fages panel To edit master page options including page name select the mas ter page in the Fages panel by double clicking on its name and select Master Options for Name Remove Master Page from a Document Page Click on the Fages panel click once on a page to select it and click Apply Master to Fages from the pull down menu Select none from the dialog box and click OK Text Blocks To create a Otandard text block choose the Text to
131. ake sure the image is square with the glass This may require several preview scans and or re scanning to ensure that it is square Preparing the image with a precisely cut edge can help the process Rotating images after they are scanned will require interpolation and therefore loss of quality Note flipping or rotating images 90 is OK Activate Scanner Software The software can be activated directly or through an image editing program e g Photoshop Set Scanner Preferences If you are going to be making several similar scans it will be more ef ficient to set the scanner s preferences to reduce the number of settings that need to be changed each time Select the Source Source is defined in terms of the type of scanner e g Flatbed or the kind of original e g reflective You will usually be using reflective art and flatbed scanners Select Scanning Mode The choice of scanning mode sets the bit depth or color depth used in sampling the image Typical modes include Bitmap or Line Art 1 bit black and white Grayscale or B amp W Photo O bit and RGB Color or Color Photo 24 bit Bitmap or Line Art 1 bit This category refers to originals that have only black and white values like an ink drawing Gray Scale 8 bit This category includes originals that have shades of gray ranging from black to white like pencil drawings RGB Color 24 bit This category includes all color originals EHE B Photoshop Manual
132. alette To edit a layer style double click on the F icon on the layer Layers Channels i Paths Multiply HJ Opacity 100 He Lock EL EHE Bl Photoshop Manual 08 03 49 Layer Mask Selections Channels saved selections and Layer Masks are all amp bit grayscale images White areas permit pixels to be seen Black areas hide pixels and gray areas partially mask pixels Layer masks are accessible from both the Layers and Channels palettes You see a thumbnail of the layer mask on the Layers palette to the right of the layer thumbnail and on the Channels palette when a layer that contains a mask is highlighted However unlike an alpha channel selection a layer mask can only be turned on or off for the layer with which it is associated Many of the things that can be done with layer masks can be achieved by manipulating the image itself The reason to use a Layer mask is to maintain maximum flexibility Creating a Layer Mask Click on the layer to which you want to add the mask Choose Layer dd Layer Mask and choose desired option If you want to base the mask on a selection you must create or load the selection before you go to dd Layer Mask OR Click on the Add Layer Mask icon at the bottom of the layers palette Note You cannot add a layer mask to the Background layer Note Any time that you have a selection active copy some pixels and choose Edit gt Paste Into you will automatically create a new lay
133. ally work best on rela tively dense meshes Try the different options The minimum and maximum dimensions can be changed and you can choose to turn off any of the directions that you do not want to be affected Select the Along Foints Normal option for inclined curved or any non orthogonal surfaces This will make disturbances take place perpendicular to the surface Applying the random disturbance to only the Z axis can when com bines with appropriate surface styles create a realistic modeling of ripples on water 92 08 03 Form Z Manual Lineal disturbances are always along the Z axis of the current ref erence plane Sine creates waves that pass through the selected point whereas Cosine generates a wave peak at the selected point Quick Perspective Charts Surface meshes can be used to quickly construct perspective charts Problem Create a perspective chart for a space or structure e g 52 x 48 x 20 feet high Process Open the file PerspectiveChart fmz Choose the 2D line modifier Choose the rectangle tool Draw the ground plane on the XY plane A 32 x 48 rectangle has been created Choose the 3D volume modifier Choose the Straight Line tool Set the Height e g 20 feet Click to form vertical planes along the sides of the base plane Activate the Perpendicular switch Choose Move and One Copy Move a copy of the ground plane vertically to the top of the verti cal planes Choose the Mesh tool
134. anager Reset Brushes Load Brushes Save Brushes Replace Brushes Assorted Brushes Calligraphic Brushes Drop Shadow Brushes Dry Media Brushes Faux Finish Brushes Natural Brushes 2 Natural Brushes Special Effect Brushes Square Brushes Thick Heavy Brushes Wet Media Brushes 08 03 29 E n Photoshop Manual Photoshop Retouching The following are some general recommendations for retouching an image in Photoshop Always work in the 100 percent view where one screen pixel equals one image pixel otherwise your screen display won t accurately rep resent the image data Work on a layer separate from the original image whenever possible to preserve access to the original data The original image will be altered when you merge the layere or flatten the image The human eye ie extremely good at seeing patterns and inconsis tencies so always pay attention to the image as a whole so as not to make changes that break overall patterns or qualities Clone Stamp Tool Use the Clone Stamp tool to repair images with more dramatic or high contrast flaws e g removing lettering from an image or to extend an image The Clone Stamp tool paints over the original image It takes a sample from one area of an image and applies it to another image or part of the same image Choose the Clone Stamp tool from the Toolbox or enter 9 Clone Stamp Options Opacity 100 PA Flow 100 PA Nf aligned Use All Laye
135. and Angle as desired If you are using a pressure sensitive tablet set the Size option to Fen Pressure Click on the Brush icon to close the Brush menu before using the tool Mode Set the Mode to Normal for most repair Source This description will focus on the Sampled option EHE B Photoshop Manual 08 03 31 Aligned Checking this option controls the relationship between the sampling point and cloning point When Aligned is checked the distance between the sampling and cloning points is maintained When it is unchecked it is not maintained Process Set the image display to 100 Move the cursor over the image area you want to sample from It is important that you choose a sample area that is as similar as possible to the color tone shade and value of the area to be repaired Hold down the Option Alt key and click to set the sample point Move the cursor to where you want to begin healing Click or click and drag to clone the sample Continuously resample unless the areas are very uniform Use a series of clicks to repair an area that contains variation Use the click and drag method only if the area to be repaired is rela tively uniform Make a copy of the image or the area to be repaired if you want to be able to return to the original image if you do not like the result Patch Tool The Fatch tool is similar to placing a patch over a damaged area Like the Healing Brush tool the patch tool also takes t
136. approach separates the lines from the white back ground Choose Select gt Color Range and select the white background Ad just the Fuzziness to capture all but the lines and click OK Choose Select gt Inverse With the black lines selected choose Layer gt New gt Layer via Copy or enter Command Control J to float the selected lines to a new layer Name the layer and Lock its Transparency Turn off the layer with the lines Activate the element layer Rename it if appropriate Select the white area surrounding the element with the Magic Wand tool Anti Aliased should be unchecked and contiguous checked before selection Adjust the Tolerance as needed Expand the selection by 1 or two pixels The selection should include half of the surrounding lines Hit the Delete key to delete the selection to remove the sur rounding white Check Preserve Transparency for the layer and with the foreground color set to White enter Option Alt Delete to fill the layer with white This will remove the lines from the layer Create a new layer above the lines layer and set its Mode to Multiply Name it as appropriate Link the three layers together and Save the file Make and save selections as needed Expand selections to include the associated lines Activate the color layer and using the saved selections fill each area with color The colors should be soft EHE Bl Photoshop Manual 08 03 75 Select the lines layer and choose
137. ate top source of fluted section Choose View gt Front and Fit column to window Turn on Grid and Ortho snap Choose Move tool with One Copy as modifier Click on source move and click to locate All sources have been created Skin Choose the skin tool and set its options Faceted Sources O Fathe 4 Centroid Based Close At Ends Of Open Paths Current Fosition Follow directions in the prompts palette Apply a light value Surface Style and Render the column C Mesh Options Options Object Type Smoothing Status Of Objects Construct Plain Mesh O Adjust To New Parameters O Construct Directly O Edit O Hide Controls O Snap Length Of Net 9 Same Points O Use Existing O New Points O Partially New Depth Of Net Use Control Line Intervals O Use Mesh Intervals Mesh Length U O At Intervals 4 0 O st Of Segments 10 O At Control Points Mesh Depth V O At Intervals 4 0 O Of Segments 10 O Per Segment O At Control Lines C Reset Cancel ok gt Form Z Manual 08 03 105 a a A C Mesh A mesh is an open or closed surface that is subdivided into three or four sided tiles Controlled Meshes C Meshes are three dimen sional objects generated from a set of control lines The C Mesh tool can be used to generate a C Mesh from selected control lines and later to edit
138. ates a selected object Column 2 The object name Column 3 Visibility Visible Ghostea Invisible Objects nm Com ED Column 4 Selectability Lock Unlock ode ww Column 5 Snapability Snap No Snap n eae Cop Purge gene Objects Management ighlight Picked Hold down Option Mac or Control Shift Win and click in the Ob jects palette to open the Objects dialog box Objects can be managed SS from this palette Refer to the illustration to the left Default Group Name Group Default Object Axes Location Object Centroid o Per Object Type le O Per Object Type O Center Of Gravity Center Of Gravity 19 O Average Of Points IS O Average Of Points O Center Of Bounding Volume O Center Of Bounding Volume Reset D f Cancel fox gt 24 08 03 LE Planes SE Plane Mame AT WE ER Form Z Manual Reference Planes The active Reference Plane is identified in the Graphics Window by the grid All drawing is done relative to the active reference plane The active reference plane is established by some combination of Window tools These tools allow the reference plane to be designated and manipulated Movement is constrained to the two dimensions of the active ref erence plane For example if the XY horizontal reference plane is active then all movement is constrained to X and Y coordinates you can only move left and right and f
139. bution of each light Click on Light Name at the top of the Lights palette to open the Lights dialog box Set the Ambient Light Intensity to O Editing Light Parameters Highlight the desired light name in the Lights dialog box and click on Edit or double click on a light s name in the Lights palette In either case the Light Farameters dialog box will open Make changes as desired Intensity setting can be greater than 100 Click OK 122 08 03 Controls fmz Cone Of Vision Form Z Manual Positioning Lights Lights can be positioned in three ways They can be located by coor dinates relative to the model by solar position and graphically If you want to see the location of the lights and or be able to move them graphically they must be made visible by clicking in the third column of the Lights palette When a black diamond is visible the light will be visible Coordinates Double click on the light s name in the Lights palette to open the Light Parameters dialog box Enter coordinates for the Location where the light source is and Center Of Interest direction the light is pointing Sun Settings Double click on the light s name in the Lights palette to open the Light Farameters dialog box Check Use Sun Settings and click on Sun Fosition to open the Sun dialog box The sun can be set by choosing a location for the site entering a Date amp Time or entering speci
140. by leaving Invert unchecked Experiment with the settings They can have a very dramatic affect If the lines have been made too thin to cover the edges of colors you might choose Image gt Adjust gt Contrast and increase the con trast to fatten the lines EHE B Photoshop Manual 08 03 85 Colorizing Grayscale Images You may choose to add color to a Grayscale image that has a full tonal range or one that is just Black and White like a line drawing This can be done in two ways that will produce slightly different results Approach 1 Change the mode of the Grayscale image to RGB color Choose Image gt Mode gt RGB Color Choose or specify the desired color as the Foreground color Make sure the layer containing the Grayscale image is active Choose Image gt Adjust gt Hue Saturation of create a Hue Saturation adjustment layer Click on Colorize in the dialogue box The foreground color will be ap plied to the active layer Blacks will stay black whites will stay white and all intermediate values will receive a corresponding percentage of the foreground color You can change the Hue buy moving the Hue slider Photoshop automatically applies the highest saturation of the foreground color therefore you will usually leave the saturation slider as is The Lightness slider is set to yield white whites If you want to intro duce an overall tint to the image move the lightness slider to the left Small movements will
141. cation Save a file created by an Application Specify the location for the file you are Saving Use Save As to Save a copy of a File with a new Name Open an existing File Document Rename an existing File Place a File within a Folder Make a copy of an existing File Delete a File Make a new Folder Name the new Folder Rename an existing Folder Display the contents of a Folder Delete a Folder Create a nested hierarchy of Files and Folders Display Files and Folders in List form Reorganize move Files and Folders Copy a File or Folder from your internal Hard Disk to a Zip Disk Copy a File or Folder from your internal Hard Disk to a CD and Burn the CD Copy a File or Folder from a Zip Disk or DCD to your internal Hard Disk Install a printer driver Print a file document Specify page size orientation and print quality for printing 6 08 03 Digital Tools For Architecture KEYBOARD SHORTCUTS Operation Macintosh OS X Windows XP Save Command 9 Control S Undo Command Z Control Z Redo Shift 8 Command Z Copy Command C Control C Cut Command X Control X Paste Command V Control Z Contextual Menus Control Mouse Down Right Click Select Click Click Select Sequence Click First gt Shift Click Last Click First gt Shift Click Last Select All Command A Control A Deselect Command Click Item Find Command F Control F Icon Infor
142. ce detail It is one of Photoshop s most important filters and is better than other Blur filters because it can be set to precise values and uses the Gaussian Bell Curve to determine blur distribution The view must be set to 100 to take advantage of the full image preview provided with the Gaussian Blur dialog box When blurring to remove moire patterns or other flaws view each color channel individually before blurring Moire patterns and flaws often exist only on one or two channels and blurring only those channels can preserve more detail Set the Gaussian Blur radius at 1 0 to 2 0 pixels A setting of 1 5 will work for most scanning applications If this does not work choose Undo and try the next alternative Downsample Scan the image at twice the final desired resolution e g 300 spi Select Image gt Image Size Click to Constrain proportions Click to Resample Image Set Interpolation to Bicubic Enter target resolution in the Resolution field e g 150 spi Click OK or press return This should solve the problem if the previous two methods have not 22 08 03 M EB Photoshop Manual Cropping When you crop an image you are selecting the portion of the image that is to be kept Initial cropping removes excess image area to reduce the working file size Final cropping sets an image s dimensions and proportions based on its planned use eoo lg 02 RawScan tif 30 Gray Click on the Crop tool in the T
143. ch as apply ing filters filling etc The area outside is protected or masked from these operations Selections are not associated with a layer Any selection can be used with any layer To make a selection you need to see those aspects of the drawing that are required to guide you in locating and drawing the selection Once a selection has been made it can be saved so that it can be recalled and used again Selections are saved as Alpha Channels and appear in the Channels palette A Photoshop file can contain up to 24 channels saved selections Note Four channels are already in use in the RGB mode Keep this limit in mind as you plan your selections Selections that have com plex shapes and those that establish major planes and are likely to be adjusted repeatedly should be saved first Other selections can be created used and then discarded Note that every channel increases the size of the file so be judicious when adding channels Use any combination of the selection tools to create the desired selections There is always more than one way to make a selection so if you know a more efficient process share it with others Note Selections can be converted to paths and saved in that way to increase the number of saved selections Paths can be converted back to selections at any time Before beginning to make a selection enlarge the portion of the image that will be referenced to facilitate drawing the selection accurately
144. cide with the axis of rotation However a point may lay on the axis You can adjust the angle of revolution after creating an object by choosing the Edit Controle tool found to the right of the Pick tool Click on the revolved object and an arrow will appear Double click on the arrow and move the mouse to change the angle of rota tion Click to set the angle Click on the object to hide the arrow If an object does not appear appropriately after completing the re volve try reversing ite direction by choosing the Reverse Direction tool and clicking on the revolved object Setting the number of facete to four for Facetted objects can pro duce very complex rectangular forms Facetted Options 84 08 03 Form Z Manual Revolved Object Edit Model Type amp Facetted Q Smooth Revolution Angle 360 r Facetted Options nny amp Ofsteps 16 Totaly O Join Adjacent Coplanar Faces i Triangulate i ooth Options Construct As Construct As Nurbz legree Length Source Options Cap Start Cap End E Plain Object E Join Adjacent Coplanar Faces will create a single face from revolved segments that are perpendicular to the axis Triangulate will triangulate non planar faces generated by the revolu tion Adjust Open Ends To Axis will trim an open source shape that crosses the Axis at the Axis or extend one that falls sho
145. ck Continue to hold the Shift key and click to step to the next element in the stack Where you click in the Graphice Window after the first click is insignificant Release the Shift key after the desired object is selected Click one last time to complete the selection drop the object desig nation Select By Choose Edit gt Select By to open a dialog box that allows you to choose objects based on a number of criteria This is a very powerful selection tool that should be considered as you build your model Selection Criteria Modeling Selection Criteria Modeling Geometry Paribas 0000 Topology Types Facetted 2 Smooth Solid O Model Types Surface Solid C Of Faces Surface Min 4 Closed Wires Open Wire Max 50 Point Object No Topology Mixed O Object Types Plain Object Cube Cone Cylinder Sphere Torus Spherical Object v Metaform 4 Composite Curve Spline i M Apply To Unghosted O Apply To Ghosted a a Reset Cancel Ex gt Surface Style M Smooth Shading Smoothing Off O Smoothing On Smooth All Smooth By Y Smoothing Angle C Face Smoothing C3 st Of Sides Per Face a Shadows O Not Casting Y Layer 9 Casting O Not Receiving 9 Receiving Layer 1 M Rendering Backdrop Is No
146. ck Scale To Fit Media Plot Print Type Choose Window Contents Justification As desired Other Parameters As desired Fage Setup Choose Fage Setup and set the appropriate page size and orientation e g Letter amp Portrait Fage Preview Click on Fage Preview to check your decisions Choose Print from the bottom of the Plot Print Setup dialog window 56 08 03 Form Z Manual Printing Window Contents To Scale This process should be used when you want print an orthographic view that is visible within the Graphics Window to a scale on a specific sheet of paper Choose Display gt Image Options Check Use Custom Size Check By Size And Resolution Uncheck Maintain Proportions Uncheck Maximize Window In Screen The dimensions of the Graphics Window are provided in pixels at the top of the Image Options dialog box e 9 480 wide by 615 high Translate these into inches and enter them for the height and width e g 4 60 wide by 6 15 high Or enter any pair of dimen sions that have the same proportions e g 9 6 by 12 3 Enter the desired resolution Use 300 dpi as a standard and downsample to 150 in Photoshop Close the Image Options dialog box Choose Display gt and the desired display scale e g 1 4 The desired model view must fit within the graphics window If the view is larger than the graphics window you must either choose a smaller display scale or enlarge the graphics window Turn on desired
147. color Click on the Gradient shown in the Options palette to open the Gradient Editor Choose and edit the gradient as desired The Foreground to Transparent gradient is the best for lay ering transparent washes Transparency and Dither should be checked Checking Reverse changes the direction of the gradient a gradi ent that goes from yellow to transparent will go from trans parent to yellow Select a Foreground color from the Color or Swatches palettes Fosition the cursor where you want the wash to begin and click and drag to establish the direction and length of the gradation Re lease the mouse and the gradation will be created Note Holding down the shift key constrains the direction of the gra dient to vertical Horizontal or 45 Use many layers of gradations and fills to create the final hue and value for each area Applying gradations from different directions can control the sense of highlight and variation within an area 36 08 03 O E B Photoshop Manual Use many different hues to build the final color Use layers of warm hues to warm an area or cool hues to cool it Use complimentary hues to darken values more quickly and or reduce the chroma Avoid using greys and browns that tend to make the image muddy Actions n action is a recorded sequence of menu commands tool operations or other image editing functions that can be played back upon command An action can save many key strokes and mouse clicks
148. d be more appropriate because the printer can use the data Intensity 3 o Bringing analog information into the digital world requires decisions as to the intensity and frequency of the sampling These decisions affect both the quality and quantity of the information The goal is to be efficient to effectively represent the analog world without generating unnecessary data Bitmapped Image An image presents a flat field containing areas of various value and or color intensity If a series of lines were drawn across the image and the height of the line above the image represented the relative value and or color intensity of the area beneath it the set of lines would define an undulating plane Each of the lines would be an intensity versus time plot where intensity represented the value and or color of an area and time represented sampling frequency across the image from side to side olo oloJo E 0j0 0 0 Lt 0 bh _ 399 er r So Rese eae o sc ell lo Jo e e The series of samples along the lines can be translated into a grid that would cover the image The grid is called a raster grid and each square within the grid is called a pixel picture element and rep resente one sample When an image is digitized an intensity value sample is entered for each square of the grid This numeric data can then be translated into values and colors for representation on a computer sc
149. d by holding down the Option Mac or Control Shift Win keys before clicking on the item Graphics Window The graphics window occupies the large central area of the screen It is where all the drawing and visualization activities occur Window Tools Window Tools are located in the bottom margin of the graphics window The Window Tools palette containing the same tools has been placed to the right of the Modeling Tools These tools control the environment of the graphics window Note The Window Tools and Modeling Tools palette will not look like the ones illustrated until they are customized as described later Modeling Tools The Modeling Tools are located down the left side of the screen Tool sets can be torn off Note Tool icons containing red marks have dialog boxes associated with them that can be accessed by holding down the Option Mac or Control Shift Win keys before clicking on the icon or by double clicking on the icon Floating Palettes All palettes are opened from the Palettes menu Open each palette and decide where you want it to be placed Close all but the palettes shown on the next page Form Z Manual ICO nnn formeZ File Edit Window Heights Views Display Options Palettes Help 4 Tue 08 19 AM 000 Untitled1 fmz 1 Model o0 Views frame 1 1 Axon O Ekol Wess E i E E ON eo iS C AEREA Aa o0 Prompts O Coordinates O
150. d by lights Surface Render Illumination Surface Render illumination is based only on the light that is desig nated as the Sun Adjusting the Shading Range and Shadow Intensity in the Modeling Display Options dialog box only affects the Surface Render dis play mode Choose Display gt Display Options to open the Model ing Display Options dialog box An increase in the Shading Range percentage will make the dark est surfaces darker and the lightest surfaces lighter it will increase the value range The shadows are not affected The default settings are 50 A decrease in the Shadow Intensity percentage will darken the shade and shadow values The default settings are 50 Adjust these two percentages to enhance the legibility of the forms in Surface Render mode as desired RenderZone Illumination RenderZone illumination can be based on multiple light sources The specification and location of the light sources will determine the overall illumination of the scene RenderZone renderings should employ a primary light that casts shadows and fill lights that add detail in shade and shadow areas In general fill lights should not cast shadows and should be set at a lower intensity than the primary light source Ambient Light The ambient light level in a RenderZone scene is controlled by Ambient Light Intensity This should be set to O to produce the fullest value range in RenderZone renderings and support evaluating the contri
151. d click on the supports above the clear story roof to remove the unwanted elements including the one within the roof Unghost the main lower roof Save the file 112 08 03 Form Z Manual Curved Plane Comparison A curved plane was created earlier using the C Mesh tool Similar techniques can be used to create a curved plane with the Skin and NURBZ tools However each of the tools will produce a slightly differ ent result as illustrated on this page The three curved surfaces are created from top to bottom with the Skin C Mesh and Nurbz tools Note that their shapes are different If the goal is to follow the set of generating lines e g beam lines the best tool to use is the C Mesh tool a skinsketch mz 1 Model 8 Bl Tame T T Below Aran Ee Prompts pS 5 Iz uma Wal Color 1 048 CMeshSketch fmz 1 Model gt gt 8 El Trame T V Below Arn TS PEER ite 5 m IDE RAZA Color mal se 2 1707 1a is NurbzSketchfmz 1 Model 8 Bl rame 1 1 Belov tiant O Prompts Coordinates 00 m5 totor Taal bal eme IT inb Uta Nor O faced Wall fmz 1 Model FS gt gt R wae KE WZ
152. d set tend to lighten and the fourth create light and special effects Mode settings determine how the base and blend colors combine to create the result color Base Color The original color in the image or existing on the layer s below Blend Color The color being applied or existing on the top layer Result Color The color produced after the blend has been applied The Normal Multiply and Screen modes are the most common in architectural presentations The following assume that the opacity is set at 100 Normal The blend color will completely cover the base color Multiply The brightness values of the base and blend colors com bine to create darker result colors Shades of gray darken base colors without changing their hue Lighter values darken the base colors less Screen The brightness values of the base and blend colors combine to create lighter result colors it is the opposite of the multiply mode Shades of gray lighten base colors without changing their hue Darker values lighten base colors less Note Modes and Opacity can be used together to create a greater range of results that using either alone 48 08 03 O E B Photoshop Manual Opacity Opacity settings are available for both brushes and layers When ap plied to layers they affect the interaction of the color on a layer with that on layers below When applied to a tool they affect the interac tion of the color on the active layer with that be
153. d the reso lution at which it will be produced Image Take our example of an image that is 12 by 20 in the model If the final image is to be rendered at 150 dpi with the image occupying an area of about 3 by 5 then the scanned image should be 3 x 150 by 5x 150 or 450 x 750 pixels Tile If you are creating a square tile to be used as a shader image map begin with the size of the tile in feet and an output resolution of 150 dpi 4 x 150 dpi x 4 x 150 dpi GOO x 600 pixel image Then adjust the pixel dimensione to the nearest lower power of 2 increment Le 52 64 128 256 512 1024 2048 4096 etc there fore 600 x 600 needs to be made 512x512 This would let the tile to be up to 2 square in a final rendering using 300 dpi output This could likely be reduced to a 256 x 256 pixel image Note A 128 x 126 pixel image will work for most tiles Format TIFF is an excellent choice because it ie available on both Mac and Win dows platforms and also works with all image editing page layout and most other programs 144 08 03 Form Z Manual Decal The decal tool allows you to place multiple surface styles on an object or surface Choose the Decal tool and click on an object The object must have at least one texture map control If it does not you will be prompted with a message to apply the defaults OK Note To apply decals to a surface it must be prepicked Click on the New button in the lower rig
154. d to cut it Attach Kind Per Topological Level O Selected Face To All Faces Draw a 1 by 2 surface using the Rectangle tool O Selected Face To Reference Plane Select the Attach tool and set its Options to Fer Topological Level gt Attach Type Entire Object gt Endpoint Of Segment O Object Part e Entire Object Set the Topological Level to Segment Adjust To Click on the rectangle and then click on the segment ending the arc egment Face Endpoint Of Segment O This should attach the rectangle to the end of the arc Note that Midpoint Of Segment O O where you click on the rectangle and arc will affect the end result Center Of Face e All Points O O Union the arc and rectangle together Scale O O Note You can also choose to extend the last segments of the arc Reset Cancel E However depending on the resolution of the arc and the length of the extension this may or may not create an acceptable result 68 08 03 Form Z Manual Adding A Circular Ends to Expanded Arcs amp Straight Lines The goal is to add a semicircular end to an expanded arc or straight Choose the 2D Surface Object Modifier Choose the Circle Center amp Radius tool Options Facetted and By Of Segments gt Set the number of segments based on the size of the circle and the angles at which other elements may intersect the end of the line or arc segments for 90 45 or no intersectio
155. d to make the symbol Open the Symbols palette and load the Library where the symbol will be located Set the symbol Level at the bottom of the Symbols palette to 1 Choose the Object or Group Topological level as appropriate Choose the Symbol Create tool and double click on it to open its dialog box Fick Origin is the default setting for Origin Handle Definition and will work in most instances Under Status of Picked Objects if you choose Replace With Instance the selected objects will be replaced with the symbol that you are creating If you choose Use Status Of Objects the selected ob jects will remain in the state defined by your Status Of Objects setting If you are defining a symbol from within a model that will contain the symbol then use the first setting If you are creating a symbol from a separate file then use the second setting Close the dialog box Zoom in to see the portion of the symbol that will allow you to pre cisely set the origin for the symbol The origin is the point relative to the symbol that will control its location when it is placed Use object snap to aid in the process when appropriate With the Symbol Create tool selected click on the point that will be the Origin Handle for the symbol A dialog box will open asking you to name the symbol Definition Name Enter a name and click OK The new symbol will appear in the Symbols palette Note Prepick objects to create multiple object symbols
156. drag a point to move it Click to select a point and then click and drag its handles to re shape the curve If the handles do not show click to select a point and then click on the point again and drag the handles out of the point Click to select the object and then click and drag a segment to reshape the segment Other Drawing Tools Pencil Tool The pencil tool allows freeform paths to be drawn freehand Smooth Tool This tool under the pencil tool will remove extraneous pointe in a path Simply select a path and trace over it with the smooth tool and it will decrease jagged areas InDesign Manual 08 04 21 TEXT 8 PATHS Text On A Path Click and hold on the text tool until the Type on a Fath tool pops out Using the tool click on a path and enter text directly Choose Type gt Type on a Fath for further options Other manipulations can be made using the previously mentioned panels such as Character Color Otroke etc Attach Text to Multiple Paths Create two or more paths Attach the text to the first path Click in the Link Box of the first path and click the chain link on the second path Repeat for subsequent paths Use Type gt Insert Break Character gt Column Break to define what moves to the next path Convert Text to Graphics Converting text to graphics enables the letters to be manipulated like any other path The process removes the ability to edit the text and makes the text readable a
157. duce finer resolution in limited areas Reduce the mesh dimensions and with the topological level set to face apply the mesh to a single mesh face Moving Mesh Elements Once a mesh has been created one or more of its individual points segments or faces can be moved rotated and or scaled For example to move an individual mesh cell make sure that the desired reference plane is active and that Grid Snap and the Perpen dicular Switch are appropriately set Set the topological level to face Select the Move tool and the Self modifier Select the face and move it to the desired location 90 08 03 Form Z Manual Meshes amp Object Construction A meshed surface can be used as a construction guide as an alter native to defining an arbitrary plane for a surface Set mesh dimensions and options to create a useful grid on the surface Set object snapping to facilitate use of the mesh Set Object Type modifier options to Perpendicular to Surface Construct the objects Since individual subdivisions are not seen in Shaded Render or RenderZone display modes they will not affect final rendering They can be turned off in Surface Render mode If the new object is joined with the existing object using Boolean op erations portions of the grid will be lost They can be replaced by meshing the surface again Quadratic Subdivision Tool Q Subz The Q Subz tool subdivides the faces of objects in a nonuniform fash ion based
158. e EHE B Photoshop Manual 08 03 73 CREATING ENTOURAGE ELEMENTS The collage approach that will be explored is based on rendering the architectural elements in the manner previously described using Structure Lines Value and Color layers The entourage elements will be placed above and below the architectural set The approach is more expressive than photographic The entourage ele ments are hand drawn to be appropriate for the archi tectural elements Preparing Entourage Elements The hand drawn entourage elements must be scanned The origi nal drawings should be at or larger than need in the final rendering Once the elements have been scanned and opened in Photoshop the next step is to clean them up and separate them from any existing environments if needed The last step in preparing the elements is to place them on a separate layer with a transparent surround Each entourage element should be in a separate Photoshop file whose mode e g RGB and resolution e g 150 spi matches that of the base architectural rendering If the resolutions do not match the size of the imported image will be set by the base architectural image For example if the base image is 150 spi and the imported image is 75 spi the imported image will appear half its original size its dimensions will be changed to create a resolution of 150 spi Make a 300 spi Grayscale scan of the black and white line drawing and save it in TIFF format
159. e Of Vision window to access a menu of items including display modes reset operations saving etc 18 08 03 Save Top View Name Plan Section AA Main Space Delete Bottom Reset 3 f Cancel ok gt View P View Name View Type Perspective Bl X 39 3 Y 67 11 13 Z 45 3 7 8 E Eye Point 4 N X lt xo enter Of Interest O Clip Hither Yon Hither 12 0 Yo 166 8 3 Spin Angle Perspective Parameters Focal Length 31 177 mm O Keep Vertical Lines Straight Form Z Manual View Management Hold down Option Mac or Control Shift Win and click in the Views palette to open the Views dialog box Viewe can be managed from this palette Refer to the illustration to the left Changing Assigned Views To change the view assigned to an existing name you first create the new view in the active Graphics Window Open the Views dialog box by holding down Option Mac or Control Shift Win and clicking in the Views palette Click on Save Type in the same name as that of the view you want to change Click OK and accept the replacement of the existing name The name now has the new view associated with it Click OK to exist the dialog box View Parameters Double click on a view s name to open the View Parameters dialog box The pa
160. e Paths To combine the contents of two paths you must activate the source path select the subpaths with the Component Selection tool copy the subpaths activate the destination path and paste the subpaths Convert Paths to Selections To convert a path into a selection activate the desired path and choose Make Selection form the Paths palette submenu The keyboard shortcut is Command Control Click on the Fath name Extending or Joining Paths To extend one or join two separate open paths you choose the Fen Tool Click on the end of an open path to activate the point Rubberband and click to add a point and extend the path Rubberband until the cursor is over the end point of another open path and click to join two paths The cursor will snap to the end point on the second path Fill amp Stroke Paths Fill Select the paths you want to fill Choose Fill Path from the Paths palette pop up menu Set the options and click OK Stroke Choose Stroke Fath from the Faths palette pop up menu Look at the tools that can be used to stroke a path Choose the tool you want to use to stroke the path and set its op tions Choose the foreground color you want to use Select the paths you want to stroke Choose Stroke Fath from the Faths palette pop up menu Choose the desired tool from the pop up menu 82 08 03 O E B Photoshop Manual Clipping Paths Photoshop images are always rectangular If you want to make an irre
161. e contains three types of tools Modifiers Operators and Primitives Modifiers Modifiers appear in turquoise and establish the context for the op eration of a tool Appropriate modifiers must be set before a tool will produce the desired results The three sets of modifier tools include Object Type Topological Level and Self Copy Operators Operators identify the action to be undertaken they generate or modify objects or their parts They include all the tools in black and magenta with the exception of the primitives Primitives Primitives are black operators that directly generate solids They do not need any other tool to work Primitives include the analytic parametric primitives and spheres Customizing Shortcuts Choose Edit gt Key Shortcuts to open the Key Shortcuts manager Highlight the function from the list on the left Click on Add Type in the Keyboard shortcut Click OK Project gt Window Tools gt Set View gt Set View Add O Project gt Window Tools gt Zoom gt Fit All Add F Project gt Window Tools gt Zoom gt Hand Add Spacebar Project gt Window Tools gt Zoom gt Reset Add X Project gt Window Tools gt Zoom gt Zoom In By Frame Add Z Project gt Window Tools gt Zoom gt Zoom In Incremental Ada Project gt Window Tools gt Zoom gt Zoom Out Incremental Add O Project gt Modeling gt Display gt Interactive Renderers gt Interactive Shaded Options Add J Project
162. e illustration to the left that shows the drawing that will be used in this example Once the drawing is made it must be scanned and saved as a TIFF image You do not need a resolution above 150 dpi and often 72 dpi is sufficient The scan may be black and white or color If you use color choose one that will be different from other colors used in form Z Create a new form Z file and define the drawing as the underlay Set the appropriate location and scale e g 1 10 Center Choose Top view or other appropriate orthographic view Creating Cones Turn off Grid Snap It will most likely interfere with the location of points Rename the default layer Cones and make it active Choose the Cone Parametric Primitive tool Choose Falettes gt Tool Options palette and leave open to enter dimensions before building each cone Choose the Preset icon Set Preset Radius X amp Y gt 1 Enter a height and choose a Surface Style so that cones along adjacent paths will have different colors Build cones by clicking at intersections Change height and color as needed Note The heights of the cones can be edited by clicking on one with the Query tool and clicking on Edit Enter the desired height and Click OK to exit Form Z Manual 08 03 109 Tracing Points The Cone layer should be visible Create a new layer name it Roof and make it active check Set object snap to Point Choose 2D Surface Object Type Choose Surface
163. e it for use in other programs Defringe Anytime that you float a selection to a new layer or drag a partial layer into a larger image you should inspect the edges of the new layer If there is an obvious contrast between the edge pixels and their adjacent pixels you can blend them together by choosing Layer gt Matting gt Defringe This command replaces the pixels at the edge of a floating selection or image layer with pixels sampled from adjacent pixels inside the selection or image layer Inspect Edges of the layer Choose Layer gt Matting gt Defringe Leave Width at 1 and Click OK Inspect the edges Dusk Scene The assumption is that an overall wash is needed to create a middle value over the entire image This is the beginning of developing a dusk scene The color that is put over the image depends on the overall color scheme for the scene The approach that will be used is to create a new layer and apply the dusk value and color to that layer Create a new layer and name it Dusk Set a dark Foreground color by selecting a color from the Swatch Falette Make the Dusk layer the active Select everything but the visible sky area Choose the Gradient fill tool and set its options Wash on layers of color until the overall value has been achieved You may wish to create an even value over the whole drawing or one that lightens toward the center of interest top or bottom 72 08 03 O E B Photoshop Manual Ligh
164. e number can also help in keeping track of when a file was made and or its version For example O1 PineTree O10501 tif Each of these bits of information aids in finding remem bering and understanding the file s content and place in aprocess Being systematic about naming and orga nizing files is well worth the trouble in the long run Digital Tools For Architecture Developing Hierarchies Keeping your hard disk organized will not only make it easier for you to find things it will also speed up your systems performance That s because folders with hundreds of items take longer to open both on the desktop and from an applicatior s Open and Save As dialog boxes It s better to group your files in multiple folders and subfolders As a rough rule of thumb when the contents of a folder exceeds 20 items consider making a subfolder Another benefit of organizing files into hierarchical fold ers ie easier coping of appropriate sets of files For ex ample if you want to copy all the files associated with a single project you only have to copy the project folder Developing filing hierarchies in the computer is just like developing them in a filing cabinet For example you might have a draw for this studio In the draw you have folders for each project and in each folder you have the drawings for the project In the computer you do not have draws but you do have folders that can be put inside other folders to create a sim
165. e that can be used to align it with the scan ner Plan the number of scans that will be needed Allow some overlap between pieces Scan the pieces at an appropriate resolution making sure than the original is square with the scanner each time Open one of the pieces in Photoshop Choose Edit Canvas Size to open the dialog box Click to locate the original page in the matrix to identify how the page will grow Enter the dimensions for the new page Provide extra room The page can be cropped after assembly is completed Click OK to resize the canvas Open the file that contains another one of the pieces With both files open use the Move tool to drag the second piece into the window of the first piece Photoshop will create a new layer for the piece that you have moved to the original file Close the file of the second file The first file will now contain both pieces Go to the Layers palette and set the opacity for the new layer to about 60 The new layer was created above the original layer Setting the opacity to 60 will allow you to look through the top layer as you move it into position and see when the two are aligned Use the Move tool to drag the top layer into position over the bottom As you get close you may want to use the arrow keys to nudge the layer into position one pixel at a time Once the layer is in position collapse the layers by choosing Layer gt Flatten Image This puts all pieces on the Background layer
166. e that has internal peaks sink holes and or other condi tions in which a given contour appears more than once Build the site without moving the contours into position vertically Strategy Group contours that share the same elevation Select the contours in sequence Apply the Terrain Model tool Process Define the Underlay TerrainGroup tif 1 5 scale Locate define the Active reference plane To see an Underlay at a reference plane other than the basic world planes you must con struct an Arbitrary plane and use View gt Plane Projection gt Top Draw the site boundary Use grid Snap if helpful The site must be a closed 2D Surface and may contain holes The 2D Surface may be the face of an object Trace the contours with the Folyline tool with Grid Snap off The con tours can not end at or within the site boundary Note Contours must be planar and all contours and the site must lay on parallel planes Note Place contours beyond the site to continue slope past site boundary Group contours that are at the same elevation Set the Topological Level to Group Group selects Objects and Groups Select the contours in order from the lowest to the highest Note You can use Command Control A to select all objects and then deselect the site if the contours have been built in order from the lowest to the highest Set the Terrain Model tool options Choose Mesh Model Set Mesh Options Enter the mesh resolution X Y
167. e the appropriateness of the result and adjust as desired Layer Adjustments Select individual layers and make adjustments changing Mode and Opacity settings and filters For example reduce the Opacity of distant entourage elements e g trees and or add blur to background layers with the Gaussian Blur filter to simulate the Visual depth cue of Aerial Perspective Defringe layers as needed Defringe Inspect the edges of layers to see if there is an obvious contrast between the edge pixels and the adjacent interior pixels If a strong contrast exists it will create a hallow around the layer Make the layer active Choose Layer gt Matting gt Defringe Leave Width at 1 and Click OK Inspect the edges of the layer to see if the desired change has been made Adjust as desired This command replaces the pixels at the edge of an image layer with pixels sampled from adjacent interior pixels to eliminate any hallow effect 58 08 03 O E B Photoshop Manual Exporting The Image Once the image is finished it can be cropped to ite final size This should should be done because the images brought into the file may extend beyond the limite of the visible canvas Theses images are still all there and cropping will discard the portione beyond our view and make the file smaller Enter Command Control A to select the entire image and then choose Image Crop to crop the image at the limite of the can vas OR Choose the C
168. e to its surface and texture map it in the same manner described for the Color Map Note Only the image map for the Color shader needs to be in color The others may be gray scale images Form Z Manual 08 03 143 Creating Image Map Files When an image file is loaded to generate a texture map a bit map representation of the image is stored in memory For Color Transparency Reflection and Bump maps this representation is always a square bit map whose dimensions are an increment of the power of 2 i e 52 64 128 256 512 etc If the image does not fit one of these increments it is scaled to the next larg er increment If the image is not square each of its dimensions is scaled independently with the largest dimension controlling e g 640 x 480 1024 x 1024 Form Z image map display memory requirements are based on the size of the image using the following formula pixel dimension x pixel dimension x 3 x 1 33 Remember that pixel dimensions are rounded up see above e g 640 x ABO 1024 x 1024 x 5x 1 55 4090K Once calculated go to Edit gt Preferences gt Textures Cache Textures should be checked and Set To should be larger than the size of the image s in order for the image s to be displayed at full resolution Recommendations Choose the pixel dimensions of a texture map based on the area it occupies in the final rendered image To do this you must make some assumptions about the size of the final image an
169. ectability Locks and unlocks layers Column 5 Shining A circle indicates a light is shining Column 6 Shadows Arrow indicates that the light is casting shad ows Note Clicking in the header of a column changes the setting for all layers Note Only the distant light designated as the Sun affects the Sur face Render display mode Creating A Light Click in the space below the last name in the palette and a new light will be created with its standard name highlighted All lights cre ated in this way start as distant lights by default Type in a meaningful name and hit Return to save the view Click in an existing name to select it for editing Type in a new name and hit Return Click in the palette while pressing the Control Mac or Ctrl Alt Win and a new group will be created Click and drag a name into or out of a group or to a new location in the palette Light Management Hold down Option Mac or Control Shift Win and click in the Lights New Top E ET al a ume palette to open the Lights dialog box Lights can be managed from a E this palette Refer to the illustration to the left oe J C der Ea Note Ambient Light Intensity should be set to O O Show Color Highlight Picked Ambient Light Color Intensity 9 ij Default Light Name Light Default Group Name Light Group Reset C Cancel ok gt
170. een quality and file size and will be used for class assignments EHE B Photoshop Manual 08 03 61 Structure amp Lines Layers The Structure layer will contain only white pixels where the structure exists This will cover things that are put behind the structure e g sky ground trees ground etc The scanned line drawing starts on the background layer in Photo shop The Background layer does not support mode or opacity changes therefore the line drawing layer should be changed to a standard layer To change the Background layer into a layer with full capabilities Double Click on the layer name to open the New Layer dialog box name the layer set its specifications Mode Normal Opacity 100 and click OK Name the layer Structure and click OK Create The Lines Layer Zoom in on a representative area of lines Choose Select gt Color Range to open the Color Range dialog box Sample the white area and set the Fuzziness low e g 10 This will select all the white pixels in the image Click OK Choose Select Inverse to select the lines in the image If the rep resentative lines look appropriately chosen double click on the Hand tool to fit the image to the screen Choose Layer gt New gt Layer via Copy or Command Control J to float a copy of the selection the lines to a new layer Double Click on the new layer s name and rename it Lines Check All Lock to keep from painting on or moving the layer
171. enclosure or a seg ment outline or face of an existing 2D or 3D object The Axis may be the X Y or Z world axis X Y or Z plane axis or any line or segment Process Make the source shape relative to the axis of revolution The rela tionship between the axis and the source shape is as important as the shape itself It is best that they both lay on the same plane Select the Revolve tool Revolve Options Double Click on the revolve tool and set its parameters All choices f Options Display Resolution Status Of Objects except the status of objects are available to mod ify later IIR Tem Follow directione in the Prompte palette M Make changes in the Revolved Object Edit dialog box as desired Direction Counterclockwise HJ Facetted Options Click OK Of Steps 16 f Total 43 O Join Adjacent Coplanar Faces To edit the revolved object click on it again with the revolve tool The n i A 3 TUS E E AM Ones Esdr TAXE Revolve Object Edit dialog box will reopen The editing dialog box Y Cap Start M Cap End can also be accessed with the Query tool g Plain Object y Edit The Edit Controls tool can be used to edit the objects controls LJ Adjust To New Parameters Notes Open source shapes that touch the axis at both ends will create solid Cres Coe GN objecte Otherwise they create eurface objecte Closed source shapes cannot cross or have a segment coin
172. enerally re quire more processing time Hard Accelerated Same memory requirements as Soft shadows Supports all light types Transparent This option is only available for Raytraced shadows and slows down rendering time even if there are no transparent surfaces in the scene When chosen the option generates trans parent shadows when shining through transparent surfaces Note If Shadows is not chosen the illumination of a light source passes through objects If Shadows is chosen objects block il lumination from a light source Form Z Manual 08 03 125 Lighting For Orientation The following presents a strategy illuminating a model to enhance its illusion of three dimensionality lt supports the subtle exploration of surface illumination The goal is to illuminate surfaces with differ ent orientations to maximize differentiation This is accomplished through the selected use of a set of orthogonal lights These lights can be used by themselves or as fill lights Orthogonal Lights The set of lights will be created in its own model so they can be easily imported into other models Create a new model named Ortho Lights The model will contain noth ing else Create a light Group folder and name it Ortho Lights Create six distant lights Intensity for all lights is O The Center Of Interest for all lights is O O O Shadow casting turned off for all lights The Location and light Name Above O O 50 Z Bel
173. er with an unlinked Layer Mask This is the fastest way to create a layer mask Once created the mask can be linked to the layer Seeing A Layer Mask To see the layer mask displayed over the image Option Alt Shift Click on the Layer Mask thumbnail The mask will be shown in red Repeat to hide To change how the mask is displayed Option Alt Shift Double Click on the Layer Mask thumbnail and change the color To see only the Mask and not the image Option Alt Click on the Layer Mask thumbnail Repeat to hide To temporarily Remove Mask Effects Shift Click the layer mask thumbnail Repeat to restore 50 08 03 Layers o Muttply B Opacity 100 PF Lock EJ L d O E B Photoshop Manual Reshape A Layer Mask Choose the Faintbrush tool Choose a brush and set the tool e opacity Set the foreground and background colors to black and white by hit ting the D key Switch the foreground color to black or white as desired Click on the Layer mask thumbnail to make it active It will have a dark line around it Note To be sure which layer and layer mask ie active look at the Title Bar It will identify the active elements Layer Mask to the right of the name of the file Faint in the layer mask with any drawing tool Faint with black as the foreground color to hide pixels OR Faint with white as the foreground color to restore pixels OR Faint with gray as the foreground color to partially hide pixels
174. ers Delete Hidden Layers New Layer Set New Set From Linked Lock All Linked Layers Layer Properties Blending Options Merge Linked Merge Visible Flatten Image Palette Options O E B Photoshop Manual Layer Functions Layer Options The triangle in the upper right of the layers palette accesses the Layer Options pop up menue as illustrated to the left Many of these functions can be implemented within the layers palette itself as illus trated on the previous page and described below The layer options include functions that combine layers Merge Linked Merge Visible and Flatten Image Linking Layers Layers can be linked so that they move together This is achieved by clicking in the second column for a layer which makes a link symbol ap pear The layer is now linked with the currently active layer You may link multiple layers together Layer Locking At the top of the layers palette there are four locking icons Left to right they are Transparency Lock Prevents the editing of transparent pixels You may edit pixels that already contain information Image Lock It prevents the painting tools from modifying the image but not a layer s mask It also prevents moving the image Position Lock It prevents you from moving the contents of a layer it disables the move tool All Lock It locks everything Transparency Image amp Position Layer Shortcuts Across the bottom of the layer
175. ers before assigning them to the object This is checked by default Texture Map Controls ni X 8 0 Y 8 0 z s o O Flip EA Show Object Snap Show Mapping Type M Auto Preview Axis Plane Z XY Solid Textures Size 1 0 Texture Groups Current Group Pick By New Y 1011 gt Clear To Default Cancel Form Z Manual 08 03 137 Texture Mapping The recommended technique for scaling a pattern is to assign custom texture map parameters The example will use a simple grid surface style Color Shader Plain Color Hue O Saturation O Value 100 Bump Shader Grid Length 90 Height 90 Mortar 10 Background Amplitude 100 The default mapping is for a one foot square tile as illustrated to the left using a two foot square surface The goal is to double the scale of the pattern Open the Texture Map Options dialog box and make sure that Assign Custom and Edit are chosen With the Texture Map tool selected click on the object that you want to adjust The Texture Map Controls dialog box will open as shown below If the style is a wrapped procedure enter Texture Map Controls Show Object Snap I4 Show Mapping Type M Auto Preview Axis Plane Pick By 1011 gt v erone Gm Co
176. est Choose the Terrain tool and set its options The following options have been used in the example Interpolation XY Mesh Options 20 Triangulate Site Start Height 10 Set New Interval 10 Click on the site boundary to create the base site Name the default layer e g Site Boolean Shaping The problem is to add and subtract from an original site to create the platform or levels necessary to build a structure The assump tion is that you have a contour map that has been scanned The map includes the shape of the levels required the structure Create a new layer to build the elements that will be added to or sub tracted from the site Turn off the Site layer and trace the platforms needed by the struc ture using plan view Move the platforms vertically into position e 9 130 in the example Derive a 3D extrusion vertically up from each platform e g 50 These will be subtracted from the site and need to be taller than the site they must cut Convert the volume to a plain facetted object Define Arbitrary plane at top of volume Scale the top face of the volume to create the desired slope e g Uniform Scale Object Centroid 1 8 Difference the volume from the site Unghost the platform Derive a 3D extrusion vertically down from each platform e g 50 These will be added to the site and need to be deep enough to stay within the site volume Convert the volume to a plain facetted object
177. f desired Close the entourage file Move the entourage layers above or below the Structure layer by clicking and dragging it vertically in the layers palette Set the layers mode to Normal and check preserve transparency Moving Entourage Elements Select a entourage element s layer Choose the Move tool Click and drag to move the element Scaling Entourage Elements Highlight the layer that contains the entourage element Choose Edit gt Free Transform or Command Control T A box with handles will appear around the layer Hold down the shift key and scale the element with a corner handle of the transform box Hit Return to accept the transformation Move the people so their eyes are on the Horizon Line EHE B Photoshop Manual 08 03 55 Shading Entourage Elements Entourage elements such as people and trees often need some shad ing to give them form This can be done with some combination of fills gradations and the brush tool in combination with Mode and Opacity settings Activate the layer containing the element Preserve Transparency should be activated Ada fills using the fill action or gradations using the gradation tool Shading With The Brush Tool Select the brush tool Choose a soft edged brush of appropriate size Bigger is usually bet ter Choose Black as the Foreground color Set the Brush options to Multiply Set the Brush Opacity to control the degree of change e g 20 The higher the
178. f the publisher and the author Form Z Manual nnn CONTENTS Form Z Environment 7 Customizing Files ccce e 7 Organizing the Environment aa ete ees 7 Setting Work Parameters sisse 9 A enn 10 Setting amp Saving Preferences eese 10 Modeling Tools eter rete eot etos 11 Modeling Tools Expanded a seu inca ce Htc Ie eee 12 WiridOW TO0lo ie ree Rae ok oL eet 15 Form Z Keyboard Shortcuts eee tenes 14 CUSTOMIZING T0015 e tec nem eredi ee ed et 15 jj 7 M eS EUER 16 AA PR ER TERMS 16 Views Palette ccs e 17 Layers Paleta ioter three ener ere acid 19 Lights Falett8 ie et Ete te bea ae Ee HAC Sn 20 Outtaceotyle Pale s atque poco Ce eie ee ted 22 Prompts amp Coordinates Palettes see emm mee 23 Objects Paletler oir lts 23 Reference RES ca ii rens 24 PANGS Falete TT a ar cae T 24 Arbitrary Planes By Points eese 27 Using Underlays iia rr metet Er eed 20 Tracing Underlays At Different Levelo 0 00 esses 29 Loading Project Views Layers Lights Surface Styles amp Planes 30 RECOVEDY OUIALCGIES ae e a RELIER RCM eet o oa ifs 91 Form Z Objects 33 Wires Surfaces amp Solids eese 33 Model Types Facetted amp Smooth cece eae 33 Object Types Plain amp Parametric nanana 34 eid asiste pirita 34 Drawing Objects ocn ii da eid Sas 99 PC E ee eee 35 4 08 03 Form Z Manual Deleting OET airaa eut rmx iE wage dew ue RS Selecting Objecto ia e
179. face Triangulate Should be checked to eliminate warped surfaces Needed for boolean operations Adjust Direction Default Should be checked to correct line direction problems C Mesh Smoothing Options The length and depth options are specified independently These op tions only affect the generation of curves not their editing Tangents If you want the c mesh to pass through the points on the control lines choose one of the tangent choices The more dramatic sharper the curve that you are creating the deeper the tangent should be Adjust to New The Adjust To New only applies to control lines that have been curved before the mesh operation If Adjust To New is selected existing curved control lines are regenerated If un checked existing curved control lines are left alone Form Z Manual 08 03 107 EJ EJ Ej C Mesh Editing Both the parameters and controls of a c mesh can be edited Editing Parameters Choose the C Mesh tool and open its options dialog box Set the options to Adjust To New Farameters Change any parameters and click OK Click on the existing mesh to apply the new parameters Farameter editing can also be accomplished with the Query Tool Choose the Query tool Click on the existing C Mesh object Click on Edit and change parameters as desired Close the Query dialog boxes to apply the changes Editing Controls Choose the C Mesh tool and open its options dialog box Uncheck Adjust To New Parame
180. fic sun Altitude and Azimuth settings The sun s azimuth is its bearing in terms of the compass The default zero point is to the South as indicated by the From selection in the lower right corner of the dialog box The sun s altitude defines its height or the vertical angle its rays make with the horizontal ground plane Therefore a setting of 45 Azimuth and 45 Alti tude would put the sun from the Southwest at 45 Graphically After making the lights visible open the Edit Cone Of Vision window Command E Each light is represented by a black ball Its direction is represented by a line with an arrow You can click on the ball line or arrow and then move the mouse to move the element Click to locate the element The location of lights can also be changed in the drawing window by making them vis ible and using the Move tool Movement is constrained to parallel to the active reference plane unless the Ferpendicular Switch is selected Light Name e Y r4 Entry Sun Entry Fill sz arrival S Arrival Sun S Arrival wall Fill Arrival Ceiling Fill Light Group Attributes Name Entry Visible Shining Q Accurate Options Distant alloff Constant Options Locked Nov Shadows _ v Form Z Manual 08 03 123 Light Groups Lights can be put in groups Highlight the desired group name in
181. ft Moving The Reference Plane Vertically The simplest plane variations are those that are parallel to and aligned with the standard planes but moved at right angles to them For example a new plane may be set directly above the base plane to create a second level working plane Moving a plane up or down forward or back or left or right of one of the standard planes is a very useful function Choose the desired beginning plane Turn on Grid Snap Turn on the Ferpendicular Switch Choose the Move tool from the Reference Planes tools Click anywhere on the grid Move the mouse to move the plane Click when the desired location is achieved Save and name the new plane in the Planes palette if it is one you will use again To return to the XY base plane choose Reset in the Reference Planes tools 26 08 03 Form Z Manual Define Plane Perpendicular To The Active Plane Select the Define perpendicular Plane tool Click on one of the two axis laying on the plane The axis you click on will determined the axis of rotation for the plane If you click on the third axis you will get an error message Rotate Plane Planes can be rotated around one of their axis The simplest rotation keeps the rotated plane parallel to the base plane Rotating a plane would facilitate building orthogonal objects that are at some specific angle to the world grid Choose the Rotate tool from the Reference Flanes tools Click anywhere on the
182. g box and make choices as appropriate Check Find Dark amp Light Foints This will use the average of the dark est and lightest pixels in the image to set the shadow black and highlight white values Check Snap Neutral Midtones This adjusts the midtones of each channel to the target midtone set under Target Colors amp Clipping It will neutralize color casts when used with the Find Dark amp Light Points algorithm Target Colors amp Clipping allows you to set the colors and values used by the Algorithms Enter the following values Click in the Shadows box to open the Color Picker dialog box Enter R 20 G 20 B 20 and click OK Click in the Midtones box to open the Color Picker dialog box Enter R 128 G 126 B 128 and click OK Click in the Highlights box to open the Color Picker dialog box Enter R 240 G 240 B 240 and click OK Check Save As Defaults to save the values you just entered so you do not have to enter them again Click OK to close the dialog box Click OK to close the Levels dialog box Turn the visibility of the Adjustment Layer on and off to see the ef fect of your changes In the future you need only click on the Auto button when you open the Levels dialog box You can now adjust values with the sliders as described before if desired New Brush Rename Brush Delete Brush Text Only v Small Thumbnail Large Thumbnail Small List Large List Stroke Thumbnail Preset M
183. g in the model or the image itself If the image is not to be dis torted the image and surface must have the same proportions Create the surface to match the proportions of the image if the im age controls In the example an object measuring 1 2 wide by 20 high by 4 deep a was created Mapping Type O Flip i Horizontal Tiling Vertical Tiling Size 12 0 gt B4 Center J Mirror v Show Object Snap kac one bitis ock Size To None v v Show Mapping Type i None Y Auto Preview Solid Textures Size Axis Plane i Z XY Texture Groups i Current Group Scale With Object EJ Form Z Manual 08 03 141 Create a surface style that uses an image Double click on an existing surface style and rename the style Choose Image Map from the Color pop up menu Click on Options to open the Image Map Options dialog box Click on the Load button find and double click on the image The image and its specifications will appear in the dialog box Under Repetitions select 1 Times and Center for both Horizontally and Vertically Exit the dialog boxes The image should be wrapped around the style s cube Apply the image style to the appropriate face Set the Topological Level to Face choose the image style choose the Color tool and click on the face to assign the style Note The Color options must be set to Keep Surface Style Of Faces to be ab
184. ght of the surface Note The number of segments does not have to be the same for Length and Depth but the number of length and depth segments should be the same for both surfaces Smoothing Set the Smoothing Options Refer to previous discus sion Click OK to accept the C Mesh options and click in the window Double click to accept the mesh Repeat to create the second face 114 08 03 RUE SE 0 Haas ur I nO graced WalLfmz 1 Model EB A ly Z 5T BEAT SE mE a a PE kic T Dz Mac ed WalLfmz 1 Model El png RUE SE E Bc e epe Fx 1 01 D Form Z Manual Derive Surface Boundaries The creation of the surface that spans between the two faces re quires a path that matches the boundary of each face Choose the 2D Surface Derivative tool Double click on the tool to open ite optione dialog box Choose Boundary Of Surface Object and close the options dialog box With the topological level set to object click on the bounding edge of each of the faces with the 2D Surface derivative tool The surfaces will be ghosted and paths matching their boundaries will be created Open the Wire Frame Options dialog box and choose Show Direction and Show First Foint Verify the direction of both closed paths ie the same
185. gular shape appear in page layout programs you must create and use clipping paths A clipping path creates a silhouette Create and save a path Select Clipping Path from the Faths palette pop up menu In the dialog box that appears select the desired path from the Fath pop up menu Note If the path is not designated in this dialog box it will not be exported Set the Flatness Photoshop recommends a setting of 1 3 for 300 600 dpi output and 8 10 for 1200 to 2400 dpi output Try 5 as a standard all purpose setting Click OK The name of the path in the paths palette should now appear in outline form indicating that it is an active clipping path Choose File gt Save As Select the format Clipping paths are supported by Photoshop EPS TIFF and JPEG formats Page layout programs do not always recognize clipping paths in all these formats so check the pro gram you intend to use Freehand recognizes clipping paths for Photoshop EPS and TIFF format Click OK Use default settings and or choose the appropriate plat form Click OK Import the file in your page layout document e g Freehand It will appear as a silhouette EHE B Photoshop Manual 08 03 83 MISC TECHNIQUES scanning in Pieces It will be necessary to scan larger drawings that do not fit on the scanner in pieces This will require that the pieces be assembled in Fhotoshop In preparing to make the scan make sure that the original has a good straight edg
186. hat are used to visualize the curved surface during rendering and define the surface s facets if the object is converted to a plain facetted object For example a default cylinder will have eight dark vertical lines iso lines and sixteen light vertical lines facets In this case eight facets coincide with the eight iso lines this is not always the case The facets iso lines divide the vertical surface of the cylinder into 24 rectangles Iso Line Density The default setting of Medium produces the same iso line results as setting the Simple slider in the middle The pop up menu offers choices of High Medium and Low Point Density gt Of Segments Sets the number of segments that will be created over the length of the spline or arc The radius of a circle curve or arc should be considered when setting the number of segments the smaller the radius the fewer the number of segments Max Edge Length The length of the spline or arc is divided by the dimension entered to determine the number of segments The overall size of the shape should be considered the larger the shape the longer the segment 40 08 03 Form Z Manual Moving Objects Once constructed both facetted and smooth plain objects and parametric objects can be moved using the Translate Move tool when the topological level is set to object Topological Level The Topological Level modifier palette controls the aspect of an object an operation will affect
187. he texture lighting and shading of the area into account Choose the Patch tool from the Toolbox palette or enter J Patch Options rat sune Oven Curr E Patch This description will focus on the Source option Process Set the image display to 100 Select the Fatch tool and click and drag a line around the area to be patched The patch tool works like the Lasso tool Shift and Option Alt can be used to add or subtract from the selection respectively Any selection tools can be used prior to choosing the Patch tool to make the selection Be precise and efficient in defining the patch selection Selecting small areas will produce better results Choose Select gt Feather and set the size of the feather in pixels Click OK This is not required but may produce a smoother blend ing of the patch into the image 32 08 03 O E B Photoshop Manual Position the Fatch tool cursor within the patch selection and click and drag the selection over an area to define the patch When you release the mouse the patch will be applied to the location of the original selection You can drag the selection to a new location if the patch is not satisfactory Make a copy of the image or the area to be repaired if you want to be able to return to the original image if you do not like the result If you copy only the patch area make sure that you copy an area larger that the actual patch because the patch needs room to blend with the image
188. her layer select the object and drag the small box to the desired layer To create a new layer choose New Layer from the Layers panel menu Note that layers can be duplicated removed and have options edited from the same menu To name or rename a layer double click on ite name enter a new name and hit return To change the stacking order of a layer click and drag its name up or down in the list 00o Pages None A Master InDesign Manual 08 04 11 DOCUMENTS amp TEXT Document Pages The Fages panel is used to add subtract or change options to pages Itis also used to define and assign Master pages Adding Blank Pages Click on the Fages panel pull down menu and choose Insert Fages Set the desired options in the Insert Fages dialog box and click OK Duplicate A Page Click on the Fages panel click once on a page to select it and click duplicate page from the pull down menu Move A Page Click and drag a page thumbnail in the Fages panel to move the page to its desired location Remove A Page Click on the Fages panel click once on a page to select it and click delete page from the pull down menu Go To A Page Click on the Fages panel and double click on the page or select the page from the pull up navigator at the bottom of the window Master Pages A Master page is a set of specifications guides text and or graph ics associated with a name When you apply a Master page to a document s p
189. hoose the Edit Controls tool and set its options Click on the smooth object you want to manipulate It will change to controls edit mode and its controls will become visible in the form of points and arrows Click on a controlto activate the control and then click again on the control to select the control for movement Move the mouse to modify the object Click to apply the change Click to deactivate the control Click to exit edit mode Notes You can also Click and Drag a control to modify the object To drag the Height arrow of 3D extrusions 3D enclosures or 3D con vergences object horizontally hold the Option Mac or Ctrl Shift Win after the arrow is selected To reset the object to perpen dicular to the base plane hold the Control Mac or Ctrl Alt Win and click on the Height arrow For all types of 2D curves a control point can be inserted with the Edit Controls tool by holding the Control Mac or Ctrl Alt Win and clicking on the curve The Query tool can be used to edit the object parameters Form Z Manual 08 03 43 Editing Parametric Objects Farametric objects can be directly edited graphically with the Edit Controls and Edit Surface tools located to the right of the Pick tool Edit Controls Choose the Edit Controls tool and set its options Click on the parametric object you want to manipulate It will change to controls edit mode and its controls will become visible in the form of points and arrow
190. ht of the dialog box Enter a name as desired Click on Set Style in the lower left and choose a Surface Style from the existing styles Set parameters for the style as desired You can repeat the process to apply up to 32 decals per object Decals are rendered in reverse order Click and drag to change the order Decals Origin aa X 4 0 ivi 4 07 zi 4 0 Object Center Mapping T p Horizontal i Size 8 0 Size 8 0 d i B Center Mirror i 4 Center Mirror Q Infinite ji i a ef Lock Size To Square Tile y Times E Show Mapping Type Auto Preview Solid Texture Size 1 0 Axis Plane XY New Decal 1 O Color peon A O Reflection fen E REL opacity mz Bumps 4 Scale With Object Get Attributes Options 4 Layer Y Surface Style M Visibility d Locked 4 Snapable 4 Shadow Casting M Shadow Receiving Render Object As Wireframe M Line Width Render Object As Shaded Surface 4 Texture Map Controls Smooth Shading Radiosity Meshing 4 Wires And Facets cancer ok Form Z Manual 08 03 145 Rendering Attributes There are other tools available to assist in creating renderings and assigning object parameters The Get Attributes and Set At tributes tools are the Copy and Faste for object parameters By
191. iew that does not lay on the active reference plane you must set Object Snap to Foint Note Numeric entry can be used at any point in the process after the object has been selected Relative To Object Coordinate System An object can be rotated about one of its local Axis The axis are cen tered on the centroid of the object When multiple objects are picked the axis of the first object picked controls the movement Set Option Click on object and move the mouse to rotate Click or enter angle to complete the process Repeat Last Transformation When this tool is chosen it repeats the most recently executed geo metric transformation Mirror Reflect Options Options Copy Options O Dynamic 9 About A Point O About A Segment O About A Surface Plane O Relative To Reference Plane O About Local Plane XY Plane gt YZ Plane gt ZX Plane Cet Coe 2 Mirror Reflect Options O Return To Self After Copy Multi Copy 9 Even Increment O Divide Distance Big Angle For Rotation Of Copies Cit Cone GD Form Z Manual 08 03 75 Mirroring Objects Rotates a point a segment an outline a face a complete object a group of objects or a hole volume relative to an axis of reflection You cannot mirror text The following will focus on the About A Foint Segment or Surface Plane options because they are the most con trollable About A Point Segment or Surface Plane To
192. ilar hierarchy Hierarchy Example Begin by creating folders for major categories of work One of the folders should be for this course Within that folder there are other folders for each project that contain folders and files as outlined below Note In the example below the words Folder and File take the place of the small icons that will appear before the file and folder names Folder Arch 131 Folder O1_VisualCues Folder O1 Working File KitchenScan tif File KitchenAdjust psd File KitchenSize psd File wbenedic_visual fhmx File Kitchen tif Folder O2_ShapeGeneration Folder O3_Hierarchy Folder O4_FormSpace Folder O5 Representation Folder OG ReDux Problem Prevention There are some things that you can do to minimize the possibility of problems The following recommendations will help make computing a more positive experience Surge Protection Get a good surge protector because a sudden spike in the electrical current can damage the computer Also plug your peripherals into the surge protector Virus Protection Purchase and install virus protection software Set it so that it scans all disks including Zip disks Periodically scan your internal hard disk Consistently using a virus protection program will protect your system from being corrupted by a computer virus Note You must keep the virus definitions updated This means going to the product s site on the Internet and downloading updates to insta
193. ill Choose the set you want the new action to be part of Set the Function Key s g F1 or F2 Click Record Execute the commands you want to record Choose Edit gt Fill Set Use to Foreground Color Set Mode to Normal Set Opacity to 10 Check Preserve Transparency Click OK Stop Recording click the square button at the bottom of the Actions palette To use the actions activate a layer or load a selection choose a fore ground color and press the F1 or F2 keys Continue pressing the keys to build the desired value or color Simple Fills Activate a layer and load or create a new selection as desired Select the desired color for the foreground color Press F1 to fill the layer or selection OR Press Option Delete to fill the layer or selection OR Choose the Bucket Tool set its options and click within the de sired area to fillit OR Choose Edit gt Fill set the options and click OK to fill the layer or selection 38 08 03 O E B Photoshop Manual EHE B Photoshop Manual 08 03 39 SELECTIONS Selections define the area of an image that will be af fected by a fill or other tool or operation Selections can be made using the marquee lasso polygon lasso or magic wand tools and or by identifying a Color Range A selection is displayed on the monitor with a moving dashed line marching ants called a selection marquee Only the area inside an active area is affected by image editing operations su
194. ind without loosing data You can instantly see before and after by turning on and off the adjustment layer You can vary the strength of the edit with the adjustment layer s opacity slider You can use the same adjustments in multiple images You can create edits to selective areas You can use adjustment layers in conjunction with apply modes The only reason for not using adjustment layers is when you are work ing with minimum RAM Creating Adjustment Layers Highlight the layer above which you want to locate the adjustment layer Click on the Adjustment Layer icon black white circle at the bottom of the Layers palette and choose the desired kind of adjustment layer e 9 Levels from the pop up menu An adjustment layer will be created above the active layer in the Layers palette and made active The dialogue box for the type of adjustment layer selected will automatically open Make the desired adjustments and click OK To name the new Adjustment Layer double click on the layer s name to highlight it and enter the desired name Controlling Adjustment Layers Change the opacity of an adjustment layer to change the intensity of the adjustment to the image To edit an adjustment layer double click on the adjustment layer icon left icon to reopen its dialog box Make any desired changes and click OK You can have as many adjustment layers as you want They will stack on top of each other and can each ca
195. ines Activate the Lines layer Lock transparency Choose Layer gt Effects gt Color Fill Choose the desired color Mode should be Normal and opacity 100 Click OK Paint The Lines Activate the Lines layer Lock transparency Choose a brush and set its opacity as desired Choose a color or sample a color from the rendering Faint the lines in the areas desired This approach allows lines to be treated differently in different areas EHE B Photoshop Manual 08 03 67 Sky amp Ground Once the Architectural elements have been developed and placed ina layer set it is time to create the sky and ground layers to establish the basic background Sky Create a new layer and name it sky The whole layer can be used for the sky Portions not used will be covered up by the structure ground and entourage elements Set its mode to Normal and its opacity to 100 Use the gradient tool to wash on the desired sky color Use the Cloud filter Ground Create a new layer and name it Ground It should be located above the sky layer Set its mode to Normal and its opacity to 100 Make a selection that includes the ground plane below the horizon line Fill the selection with White Lock the layer s transparency Use the gradient tool to develop the basic ground plane value and color Use paint tools and filters to enhance the plane 68 08 03 O E B Photoshop Manual EHE B Photoshop Manual 08 03 69 ADDI
196. ing Canvas Size Choose Image gt Canvas Size Choose the desired unit of measurement or percentage Enter the desired dimensions or percentage Move the location of the existing image in the Anchor gird to control the way the canvas grows by clicking in the desired grid cell Click OK Using the Crop Tool Enlarge the image window and or zoom our to see the image and its surrounding gray area Choose the Crop tool and draw a crop marque within the image area Drag any of the handles of the marque into the gray area to set new size Press return to crop If a layer other than the Background area is ac tive the added canvas area will be transparent MM B Photoshop Manual 08 03 25 IMAGE EDITING Sizing Images Images can be resized in page layout programs like Freehand and FageMaker However the documents will print faster and with fewer problems if images are placed into the page layout programs at their final size UJ The first choice when sizing an image in Photoshop is to keep the information constant The goalis to arrive at the final resolution without resampling the original data The all purpose target for final resolution ie 150 epi If the final image size ie to be emaller than the original image the origi nal image is scanned at a lower resolution in anticipation of the data density being compressed the resolution going up Image Size Pixel Dimensions 01M gt If the final i
197. ing Ratio 50 96 C Mesh Options Options Object Type Status Of Objects Length U Depth V None O O NURBS O O B Spline O O Bezier O O Broken Bezier O O Continuous Bezier O O Degree 2 2 Of Points 25 25 Quick Cubic Quick Quadratic Shallow Tangent Normal Tangent Deep Tangent Interval 2 0 2 0 00000 00000 a Adjust To New M Reset Cancel ok gt Form Z Manual Controlling Resolution Notice that the Mesh Length and Depth can be set independently Different settings can be used to respond to different degrees of complexity curvature The greater the curvature the smaller the interval or the larger the number of segmente At Intervals Defines the maximum mesh interval dimension It is a good choice when control line segments are roughly equal Of Segments Defines the number of segments into which the total length or depth ie divided Note that for Mesh Depth the number of divisions can be constrained to Fer Segment the distance between control lines At Control Points When checked the mesh is generated with the same pointe as in the control lines Note With At Control Points checked and Smoothing is set to None the C Mesh uses the control lines in their original shape Thie al lows more control over the form of the mesh C Mesh Object Type Open Ends Default Makes a one sided sur
198. ing created by the tool Opacity Examples 100 Opacity When applied to a layer the layer s colors completely cover those af any layers below When applied to a brush the brush color completely covers the existing colors 75 Opacity 75 of the blend color is mixed with 25 of the base color to determine the result color 50 Opacity A 50 complementary blend color will produce gray Note Modes and Opacity can be used together to create a greater range of results that using either alone Layer Fill Layer Fill provides greater control over layer opacity Reducing layer Opacity has the effect of reducing the image pixel opacity as well as any layer styles applied to the layer Reducing Fill opacity only reduc es the image pixel opacity while leaving any layer styles unchanged Layer Styles Layer styles are special affects that can be applied form one central dialog box Layer styles can be applied to any layer except the background layer and affect all the pixels on the layer Select the layer to which you want to apply the style Choose Layer gt Layer Styles or click on the F at the bottom of the layers menu Choose the effect you want from the pop up list The effects dialog box will appear Make changes to the Style s settings More than one style can be applied to a layer at the same time Click OK to close and apply the layer styles An F in a circle will be added to the right of the layer name in the layers p
199. ion for print ing divide the final printed image dimension by the original image dimension and multiply by 75 For example if the originalis 11 wide and the largest print is to be 22 then the scan resolution should be 22 11 x 75 150 api If 150 dpi is the target resolution scan at 300 spi scanned ink line should translate to 2 4 pixele on the screen after downsampling and include some gray pixels at ite edge Image Adjustment Adjustment the image to turn the background white and make the lines continuous with some gray at their edges Record all set tings so the process can be duplicated if necessary Begin by choosing Save As and giving the file another name to pre serve the original scan Zoom in on a representative area of lines Create a Levels Adjustment layer Move the Light and Dark sliders to make changes When the desired results have been achieved flatten the image by choosing Flatten Image from the Layers palette pop out menu Save the adjusted Image Touchup Some times there are gaps in lines or lines that you want to edit in some way Edit lines by using some combination of the Rubber Stamp and Brush tools Use a Brush tool with white to touchup the background instead of the eraser Save the file Crop amp Downsample Crop the image and or enlarge the canvas as desired Downsample as desired As the first exercise indicated 150 dpiis a resolution that provides a good compromise betw
200. ire width of the original analog image can be sampled one line at a time As the light source and CCD array moves across the image the light reflected by the image is directed to the CCDs producing charges that are sent to the A D converters for translation into binary data The quality of a particular scanner is dependent on the quality of the CCDs and the sensitivity of the A D converters The more expensive scanners tend to have higher quality CCDs and more sensitive A D converters EHE B Photoshop Manual 08 03 17 SCANNING amp CROPPING Scanning Recommendations Use Scanner s Optical Resolution The highest quality scans are achieved by scanning at the scanner s optical resolution CCDs per inch For example for a scanner with 300 CCDs per inch scan at 300 spi Therefore it is impor tant to know a scanner s optical resolution When scanning at resolutions other than the scanner s maximum optical resolution use even divisions of the scanner s maximum optical resolution e g 300 400 GOO 200 900 1200 Scan at 100 The highest quality scans are achieved by scanning at 100 because the scanner does not have to interpret what it sees When scanning at percentages other than 100 use even multiples or divisions e g 29 50 200 300 etc Adjust in Photoshop Scanner software is not as sophisticated as Photoshop s for making contrast color size cropping etc adjustments Therefore turn off all scanner i
201. is not available for smooth objects Build the 3D object Choose the Deform tool Double click on the tool to set its options Most facetted deformations work best with a mesh and some require a mesh Do not make the mesh too small for the scale of the object For the example use a 2 mesh Bounding Box The bounding box defines the area over which a deformation will be applied When an object is selected with the deform tool a bounding box appears Hold the Option key down Move the mouse over the edges of the bounding box the cursor will change shape You can change the shape of the bounding box by moving and rotating its elements Click when an appropriate icon appears Move the cursor to effect a change in the bounding box Click to complete the move Repeat to make other moves until the bounding box is shaped to the desired form Release the Option key Deforming the Object Move the cursor over the edges of the bounding box Its shape will change relative to how it will affect the deformation Click when the appropriate icon appears Move the mouse to affect the deformation Click to complete the distortion How a deformation works beyond its normal mode can be modified by holding down the Shift Control Option or Command keys Experi ment to see which distort functions respond to which keys vU Skin Options f Options Display Resolution Status Of Objects Model Type e Facetted O Smo
202. izontal Origin o o Vertical Origin 0 0 M Center O Display On Top Of Grid And Axis Select Underlay File Underlay File Will s Stuff 02 Bauhaus 160 Digital 02 Digital Tools 02 FormZ FZ Graphics Organic OrganicPlanScan tif o Reset Cancel Form Z Manual Using Underlays Form Z supports the placing of images as backgrounds or Underlays within a model The underlay or scanned image does not become part of the form Z file and therefore it must accompany the form Z file so that it can be referenced when the model is opened The TIFF file must be Grayscale Black amp White Photo Ite resolution can range from 72 to 300 spi Do not use a higher resolution than is needed for clarity in form Z Flace the TIFF file in the same folder that will be used to store the form Z file Open the form Z file Choose Windows Underlay to open the Underlay dialog box Choose to Show Underlay Choose to show In Projection Views Enter the Drawing e Scale Leave the Origin settings at O and Center checked This will place cen ter of the underlay image at the O O location of the world axis If Center is unchecked the upper left hand corner of the underlay will be placed at the O O point of the world axis Leave Display on Top of Grid unchecked Click on Select Underlay File This opens the standard Find File dialog box Find the prepared TIFF file Highlight the file name and choose Open or do
203. jects coincido eera bo aa bebe bibs 75 Scaling Objects Independent ScaleTool ooooooooooooommoo 76 Boolean Operations amp Insertions 77 Boolean pr o ance 77 MA eere et e tes 76 Strategies For Openings In Walls ccce 81 Vault Strategy osorno ab p OS ps 82 NA iaa Eo du tod 82 Revolve amp Sweep 83 Revolve Tool aie trie tha eee ee EP gc 83 WEEDS OEA 85 Strategy For Uniformly Sloped Volume 0 cece cece eee ees 87 Meshes 89 BONO stati eee A 89 eshes amp Object Construction cce 90 Quadratic Subdivision Tool Q Subz se 90 Realice MESH TOON 3 2 eme pin t ofa 90 OVING Mee ici rtr deine oder C edes 91 Denne BEOTIIG o ie ne eee O 91 DiStURDANCES 2 eoe tp RP EE Ded Ae SOAS ERE RR I 91 Quick Perspective Charts sss 92 Quick amp Dirty Trusses 93 Planar TUS entem e ree A RR YR ed eid 93 Volumetric USEE Seea ir id Ree eee 94 Surface Manipulations amp Object Deformation 95 Trimming amp Splitting 6 6 95 ur pr 97 Deriving 2D SurfaceObjecte ccce 90 Separating Volumes amp Parts Of Objects 0 ccc cece ees 99 o E De aden 100 Skin amp C Mesh 101 RIMMING o e tr ee d ere ede ob ape seb eds 101 Building A Fluted Column Example csse 103 A RTT 105 6 08 03 Form Z Manual NOIA Curved Plane Example o coca ee e e e e e ree 106 Clearstory A oid Medes VOR EIER eis 109 Curved Plane Comparison csse 112 Nonparallel Faces Example
204. justments needed Click in the center of a line at one of its ends to anchor the first point of the selection Move the mouse or pen to rubber band a straight line Click to anchor the other end of the segment Continue moving and clicking to define the selection Note The screen will automatically scroll to the edge of the window Note If at any time you want to cancel or exit the process of making a selection in mid stream simply press the Escape key esc The selection process will be canceled with no affect on the image EHE B Photoshop Manual 08 03 43 To close the selection join the open ends Click over the starting point when a small circle appears next to the cursor symbol OR Double Click while making the last new point to close the selection with a straight segment Switching from Polygon Lasso to Lasso Tool in Process As you are drawing with straight segments you can switch to free form tracing at any time When you arrive at the point that the Lasso tool is needed Click and hold down the mouse button Press the Option Mac or Alt Win key Begin dragging the mouse to create a freeform line When you arrive at the point that the Polygon Lasso tool is needed stop Release the key and mouse button Move the mouse to rubber band the line segment and continue with straight segments Note If you are drawing with the Lasso tool you can to switch to the Folygon Lasso tool When you get to the point where
205. k when the cross hairs snap to the desired point The object will be moved through space and the two points will coincide Note You can change the Object Snap setting between clicks For example a point may be snapped to the midpoint of a segment Note Moving an object maintains its orientation Moving s Reference Point Your first click when you move an object both selects the object and establishes a reference point on the active reference plane Object snap can be used to set the reference point so that it co incides with a point on the object If the reference point does not coincide with the reference plane copies will be moved vertically so that it does 72 08 03 Form Z Manual Self Copy Modifier Geometric transformations such as Move can be applied to the ob ject itself or you can make one or more copies and apply the transfor mation to the copies The following will explore the Self Copy modes using the Move transformation tool however they can be used with any of the geometric transformation tools One Copy Set the appropriate reference Plane Set the Topological Level to Object Set the Self Copy mode to One Copy Choose the Move tool Click on the object to select it and set its reference point Move the mouse to create a copy Click to locate the copy Continuous Copy Set the appropriate reference plane Set the Topological Level to Object Set the Self Copy mode to Continuous Copy Choose
206. lay Name the file Values tif Rendered Apply surface style as desired Choose RenderZone display Form Z Manual 08 03 53 Heo PRINTING The models drawings and views that have been created in form Z can be printed in a variety ways The following will describe a number of procedures based on different desired outcomes Basic Window Contents Printing This process should be used when the Graphics Window is in its nor mal working configuration with proportions that approximate those of the screen and you wish to print it as large as possible on a letter size sheet of paper Choose the desired saved View Turn on all desired model layers Turn on the appropriate lights Choose the Display Mode e g Display gt RenderZone to render the image Choose File gt Plot Print Setup Plot Print Setup Plot Scale 1 16 1 0 M Scale To Fit Media Scale To Fit Media Check Scale To Fit Media Plot Print Type X Justification Y Justification O Extents O Left Edge O Top Edge Window Contents 9 Center 0 Center Plot Print Type Window Contents O Dump Window O Right Edge O Bottom Edge O Dump Screen Justification Choose desired setting e g Center amp Center Image Options Page Options E Pot Axis Z eNmeAmpae Other Parameters In most cases these should be left Unchecked E Sarkgroand E They alter the nature of the output Experi
207. le to assign styles to individual faces Check the effect by switching to the RenderZone display mode The image will not be the correct size Click on the object containing the image style with the Texture map tool The Texture Map Controls dialog box on the previous page will open It shows the final settings used in the example Click on New under Texture Groups Enter a meaningful name e g Image and click OK Set the Axis Flane to Z XY Hold down the Option Control Shift and click on the face containing the image Click on the bottom edge first which will set the orien tation ofthe X axis and then another to set the Y axis Set the Mapping Type under Wrapped Textures to Flat and the XY grid will be placed on the face Set the Set Lock Size To to None Enter the dimensions of the surface in the Horizontal Tiling 12 and Vertical Tiling 20 Size boxes One should appear in the Tiles boxes if the proportions are correct Choose Center under both Horizontal Tiling and Vertical Tiling Check the affect of the changes by choosing Rendered for the preview window Click OK to complete the process Note For the Image map to be displayed accurately make sure that the size of the image in K Bytes is smaller than the texture cache Go to Edit gt Preferences gt Textures Cache Textures should be checked and Set To should be larger than the size of the image s in order for the image s to be displayed at full reso l
208. lick and drag to clone the eample Continuously resample unless the areae are very uniform Use a series of clicke to repair an area that contains variation Use the click and drag method only if the area to be repaired is rela tively uniform Make a copy of the image or the area to be repaired if you want to be able to return to the original image if you do not like the result Healing Brush Tool Use the Healing brush tool to repair images with subtle or detail flaws The Healing Brush tool does not paint over the original image but attempts to reconstruct the damaged area Choose the Healing Brush tool from the Toolbox palette or enter J Healing Brush Options Aligned Diameter E px Hardness 10x Spacing 78 i sel Angle lor Roundne ss fioox Size Off E Brush Choose the brush Click on the Brush icon or the triangle to open the Brush menu The triangle in the upper right accesses a pop up menu that contains options including how the brushes are displayed Set the diameter as desired Set hardness to 100 A hard edged brush will work best with the Healing Brush tool unless the area has a lot of noise e g film grain Spacing controls the distance between the brush marks in a stroke created by clicking and dragging O Zero percent produces a continuous smooth stroke The higher the percent the more the stroke becomes a line of individual dots Adjust Roundness
209. lick to locate the copy Additional copies will be generated based on the number entered in the options dialog box and the operation will be ended The relation ship between the original and first copy will be repeated between successive copies Divide Distance Choose the Move tool Click on the object to select it and set its reference point Move the mouse to create a copy Locate the first copy at the end of the sequence of copies that will be generated Click to locate the end copy Additional copies will be generated based on the number entered in the options dialog box and the operation will be ended N minus 1 copies will be placed between the original and end copy The additional copies will be evenly spaced between the original and end copy Big Angle For Rotation This options works with Divide Distance and the Rotation tool It determines which of the angles of any rotation ie used the short or long big distance around the circle Local Coordinates amp Centroids All form Z objects exist in 3D world space which has a global origin 0 0 0 of the world axis In addition form Z objects have local coordi nates which are relative to a local origin and coordinate axes They also have a centroid which is local The local coordinate axes and centroid of objects can be displayed by turning on the Show Axis and Show Centroid options respectively in the Wire Frame Options dialog box The local coordinate syste
210. ll on your computer This should be done at least once a month Utilities Purchase and install disk utilities software Scan your hard drive once a week Chances are that you will only find small problems but they can cause other problems over time if not repaired When a computer records data it writes the data anywhere on the disk that it can find space This may involve recording parts of a file in different places Utility programs usually have a disk defragmentation function It will reorganize the files on a disk so that they are grouped by kind and in the process assemble files into whole units This will speed up the operation of your hard disk Inspect and defragment your hard disk as recommended by the utility It is a good practice to backup all your files before you run the defragmentation function Digital Tools For Architecture 08 03 9 Stay Current Keep your system and applications software up to date Visit the web sites for current updates and download any that address problems you are having A good web site for the newest versions of Mac software is the Version Tracker Web site www versiontracker com It has links to the sites that can provide the downloads Make major changes at quarter breaks This is espe cially important when things are running fine You do not want to change the environment and risk possible side effects when you need the system to meet cur rent production needs always install new sof
211. llel tool to give thickness to the vaults Render and view Vault Strategy 2 Problem Make two intersecting passages Strategy Build and union two 3D Extrusions that define what will be the inside vol ume of the intersecting passages Build and union two 3D Extrusions that define what will be the outside volume of the intersecting passages Difference the inside volume from the outside volume Building The Passages Choose and elevation point of view work in a sectional view Draw the profile of the inside and outside volumes of the passage Choose the 2D Surface modifier and appropriate drawing tools Return to 3D view and derive 3D Extrusions from both profiles Choose a sectional point of view for the other passage and repeat the process Move the two sets into appropriate intersecting relationship Note The end and bottom faces of the inside volume must extend past or be on the exact same plane as the corresponding faces of the outside volume for the boolean operation to work Boolean Operations Union the two outside volumes Union the two inside volumes Difference the inside from the outside by clicking on the outside and then the inside volume Form Z Manual 08 03 83 nnn REVOLVE amp SWEEP Revolve Tool Form Z can make both Facetted Smooth and Nurbz forms with the Revolve tool Revolved objects are derived by sweeping a source shape around an axis Source shapes can be a 2D surface object 2D
212. llowing filters Choose Filter gt Brush Strokes gt Splatter or Spray Strokes Choose Filter gt Stylize Diffuse and run 8 or 9 times Choose Filter gt Distort gt Ripple Twirl or ZigZag Switch back to Standard mode Choose Select gt Inverse Hit delete Ghosting Ghosting is the obscuring of a portion of an image to be able to write over it or evoke a sense of looking through a transparent media Create a New Layer It is empty Select an area or activate a selection with the new layer active Fill the selection with 100 White or another color as desired Aajust the layer Opacity to achieve the desired affect FORM Z MANUAL Description of Selected Program Tools Functions amp Processes 2 08 03 Form Z Manual William R Benedict Architecture Department California Folytechnic State University 1 Grand Avenue San Luis Obispo CA 93407 Phone 805 756 5082 Fax 805 756 1500 Email wbenedic calpoly edu Web calpoly edu wbenedic 2003 William R Benedict amp El Corral Publications All Rights Reserved All materials contained within this publication have been reproduced with the permission of the copyright owner s and proper royalty fees have been paid by El Corral Bookstore No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise without the prior written permission o
213. log box is accessed by holding the Option Control Shift and clicking in the Surface Styles palette Color Shader Defines the color of a surface which may be uniform Yellow or varied Marble Reflection Shader Defines how much light is reflected from versus transmitted through a surface matte metal glass etc Transparency Shader Defines how transparent or opaque a surface is and how much light passes through it The transparency may be uniform or irregular Bump Shader Defines small surface variations that give a surface an irregular or indented appearance There is a pop up menu under each shader name in the Surface Style Farameters dialog box that contains the types of shaders avail able The shaders in the pop up menus are either Procedural or Precaptured Texture Maps Procedurals Fatterns generated from scratch based on a program or procedure Precaptured Texture Maps Patterns captured or generated in a bit mapped image editing program Photoshop These are the last item on the Color Transparency and Bump pop up menus Procedural shaders are further divided into Wrapped and Solid Shad ers Wrapped Shaders Wrapped shaders are denoted by a diamond Mac or check mark Win in the pop up list Wrapped texture shaders produce two dimensional patterns that are mapped onto surfac es of objects based on the settings in the Texture Map tool The settings that show in the Texture Map Options dialog box when Clear
214. lt the Texture Map tool assigns all the faces of an object to a single Group and therefore treats them all the same However there are times when different surface styles on different faces or the same surface style on different faces need to be mapped individually The Texture Map tool provides Texture Groups op tions to map textures to individual faces Create an object Assign different Surface Styles to different faces with the Color tool Set the Topological Level to Face choose the style choose the Color tool and click on the face to assign the style Note The Color options must be set to Keep Surface Style Of Faces to be able to assign styles to individual faces Open the Texture Map Options dialog box and choose Assign Custom and Edit and close the box With the Texture Map tool selected click on the object to open the Texture Map Controls dialog box If multiple styles have been assigned to the object one of the styles will be displayed in the surface style display in the lower left cor ner Under it will be the number of styles the object contains and which one is shown e g 1 of 3 You can also edit the displayed style by clicking on it to open the style parameters dialog box The goal is to individually adjust how styles are mapped on one or more faces Click on New under Texture Groups Enter a meaningful name e g South and click OK The new name will appear in Current Group pop up list and the object in
215. m and centroid are generated when an object is created based on the settings chosen in the Objects dialog box Choose Options gt Objects to open the dialog box The initial positions of the local axes can be changed through the Query tool and clicking on the object 74 08 03 Rotate Options Options Copy Options Relative To 9 Reference Plane Axis Through Click Point O Object Centroid O Object Origin O Object Coordinate System gt X Axis D Y Axis Z Axis Reset Cancel oc Rotate Options O Return To Self After Copy Multi Copy 9 Even Increment O Divide Distance Big Angle For Rotation Of Copies Form Z Manual Rotating Objects Rotates a point a segment an outline a face a complete object a group of objects or a hole volume around a point Relative To Reference Plane amp Click Point Choose the appropriate reference plane or orthographic view Set the Topological Level e g Object Set the Self Copy mode e g Self One Copy etc Choose the Rotate tool with options set to Click point Click on the object to select it Click to set the Center of rotation Click to set the Handle of rotation Move the mouse to rotate the object or copy Click to locate the object copy or copies as needed The operation is complete Note To rotate multiple elements they must be prepicked Note To rotate the object around a point in 3D v
216. mage adjustment options and use the scanner to capture the best raw data possible Scan amp Downsample Scan at a higher resolution and downsample with image editing soft ware to arrive at the final resolution Downsampling is a process that discards or averages original data causing some image softening and loss of detail but far less than adding data inter polation Downsampling reduces scanner noise and can be used to eliminate moire patterns Scan at twice the final target resolution or at the scanner s maximum optical resolution which ever is smaller but not less than 300 spi Make sure that the resolution is sufficient to ensure that any image changes will not require upsampling interpolation Target Resolution Suggestions Screen display 72 spi 300 dpi laser printer 120 spi 600 dpi laser printer 160 spi Color inkjet printer 150 to 300 spi Note The target resolution for all class print work is 150 spi 18 08 03 O E B Photoshop Manual Basic Scanning Sequence Clean the Glass Plate It is amazing how much a dirty piece of glass can affect the quality of your scan Dirt fingerprints white out and other kinds of smudges accumulate on a scanners glass The glass should be cleaned by dampening a soft cloth with an appropriate cleaning solution and gentle rubbing Never spray liquid cleaner directly on the glass because it will sooner or later leak into the electronics of the scanner Position the Image M
217. mage size is to be larger than the original scanned image Width 867 pixels Cane y the original image is scanned at a higher resolution in anticipation of Height 1224 pixels Maza the data density being spread out the resolution going down zBocementsize Choose Image gt Image Size Uncheck Resample Image to eliminate any change in image data Note that the Width Height and Resolution are linked and Constrain Proportions is checked and grayed out Height 48 96 picas Resolution 150 pixels inch m Y Constrain Proportions Width 34 68 f picas m E Resample Image Bicubic Select the units of measure e g inched pixels etc Enter the desired dimensions or percentage Enter one dimension Image Size Pixel Dimensions 101M QNIN and the other dimension changes to maintain the proportions Width 867 pixels fA of the image The resolution changes because the density of the Height 1224 pixels FX pixels in the image is being adjusted based on the new dimensions pens Note that the size of the file shown at the top of the Image Size o i o dialog box has not changed because the quantity of information Height 28 24 picas m 8 has not changed Resolution 260 1 pixels inch m Click on OK to apply the change Y Constrain Proportions E Resample Image Bicubic DownSampling UpSampling Changing only an image s resolution
218. makes a view visible in the graphics and edit cone of vision windows Column 6 Selectability Locke and unlocks views Note Clicking in the header of a column changes the setting for all views Create A View Choose or create the desired view in the Graphics window Click in the space below the last name in the palette and a new view will be created with its standard name highlighted The parameters for the view will match the current view in the Graphics window Type in a meaningful name and hit Return to save the view Click in an existing name to select it for editing Type in a new name and hit Return Click and drag aname to a new location in the palette Graphically Creating Views Choose Display gt and the view type you wish to create e g Ferspec tive Choose View gt Edit Cone Of Vision to open the Edit Cone Of Vision win dow The window contains three orthographic views of the model and a SD view The view is represented by an Eye Point and Center Of Interest con nected by a Line Of Sight Surrounding the Line Of Sight is a Cone Of Vision with near Hither and far Yon planes at its ends Click in an orthographic window to make it active To move any one of these elements click on the element move the mouse and click to end the movement The Window tools are visible along the bottom edge of the window Use them to adjust the view of the active window cell Click in the header of the Con
219. mation Command Print Command P Control P Trash Icon Command Delete Empty Trash Shift amp Command Delete Empty Locked Trash Option Click amp Hold Trash Icon gt Empty Trash Duplicate Icon Command D Close Window Command W Quit Application Command Q Eject Media Command E Cancel Process Esc Loosing Your Work The things your create on the computer are in elec tronic form and therefore are susceptible to injury and destruction from a number of sources There are some things that you can do to minimize the chances that you will loose what you have worked so hard to create The goal is to provide points of recovery that minimize the quantity of work that will have to be redone in the event of some problem Save Save Save The easiest and most effective thing that you can do is to save your work often Develop the habit of saving every fifteen minutes or whenever your have completed some portion of atask For example when you finish a paragraph or page save the document or when you finish drawing a shape save the document Before you print save the document If you stop to think or take a drink save the document If a problem occurs and you have saved recently the chances are that you can revert to that last saved version and continue from there as opposed to starting from the beginning Back It Up Back It Up Saving is only half the battle Disks crash all the time If you don t make regular backups
220. mbol Use this option to make global changes in a model Symbol Definition allows you to change the symbol Symbol Instance Edit Origin Rotation Scale X 20 0 1 000 p 1 000 Es ii M Relative To Reference Plane M Color Display Layer Display Detail Library Symbol Definition MO A 132 08 03 Form Z Manual Modifying an Instance amp Replacing a Symbol The third involves editing the original file or an exploded instance of the symbol You explode an instance of a symbol by clicking on it with the Explode Symbol tool This changes the symbol instance back into a set of objects This approach is most appropriate if you want to modify one instance and leave it as a unique set of objects However you can use this approach to modify a symbol in a library Once you have made the desired changes you create a new symbol from the objects with the Create Symbol tool and place it in the same library at the same level and with the same name as the existing symbol you want to modify This will edit the library by replacement This approach allows you to change any symbol qualities that you wish The result will be that any instance of the symbol used in a model linked to the library will be changed updated when the model is opened Editing a Symbol Library File The final approach is potentially the most powerful It gives you access to all a symbol s elements It can make cha
221. ment Layer Mask When you create an adjustment layer the layer includes a layer mask The application of the adjustment can be limited with the use of the mask Select the Adjustment Layer mask Faint on the mask to control the affect of the adjustment Clipping Group A layer can function as a mask for another layer or layers This is ac complished by creating a Clipping Group The bottommost layer of a clipping group clips limits the display of pixels of the layers above it Only pixels that overlap pixels on the base layer are visible Organize the layers so that the one you want to do the clipping is below those you want clipped Move the pointer over the line between the two layers Option Alt Click the line between the layers Two intersecting circles should appear before you click The top layer will be indented and the clipping layer s name will be underlined Repeat the above process to add other layers to the group Option Alt Click on the line to ungroup 52 08 03 O E B Photoshop Manual EHE B Photoshop Manual 08 03 53 BASIC COLLAGE RENDERING PROCESS The assumption is that you have created a view in form Z and want to add entourage elements in Photo shop The process will assume that the image coming from form Z is rendered in Grayscale and final image will be in grayscale Preparing The Form Z Image Open the view exported from form Z in Photoshop and save as a Pho toshop file e 9 E
222. ment with the set EA tings to learn their affect Page Preview Page Setup Print Fage Setup Choose Fage Setup and set the page size and orien 3e ons GEENS tation e g Letter amp Landscape Fage Freview Click on Fage Freview to check your decisions Adjust ae needed Frinting Choose Frint from the bottom of the Flot Print Setup dialog window This takes you to the standard print dialog box from which you can choose print 54 08 03 Image Options Image Size O Use Window Size 994 x 865 9 Use Custom Size O By Number Of Pixels Width 576 Height 720 9 By Size And Resolution Width 8 000 inches Height 10 000 inches Resolution Pixels Inch F O Maintain Proportions Image Color Depth 32 Bit Millions HJ O Maximize Window In Screen Cie Car GD Form Z Manual Matching Window To Paper This process should be used when the paper on which the image will be printed is the controlling factor The process requires that the pro portions of the Graphics Window be specified to match the printable area of the paper Choose the desired saved View Choose Display gt Image Options Note that the pixel dimensions at the top of the dialog box are the dimensions of the graphics window Check Use Custom Size Check By Size And Resolution Uncheck Maintain Proportions Uncheck Maximize Window In Screen Enter
223. mple en 3 Col d RenderZone Average Transparency U 0 Plain Color Brick Simple Brick Textured Checker Grid Polka Dots Stripes Wood Boards Checker Solid Marble Simple Marble Textured Mist Polka Dots Solid Streaks Wood Accurate Wood Simple 99999099 Background o Image Map Texture Map Options 6 Clear To Default Warn Before Clearing O Assign Custom AdjustTo New Edit Origin mm a Rotation x 0 0 ax or jY 0 0 O Object Center zn o o Wrapped Textures Mapping Type Horizontal Tiling o O Center 6 Size O Mirro j O Flip Vertical Tiling 1 0 Parametric izontal Tili Lock Size To Solid Textures i Size T 0 Cg E Scale With Object Form Z Manual 08 03 133 ajaja SURFACE STYLES A Surface Otyle is an image that is applied to a surface They are defined by four independently variable Shaders Color Reflection Transparency and Bumps Every surface style must include Color and Reflection and may include any combination of the other two shaders The four shaders are accessed by double clicking on an existing style in the Surface Styles palette clicking in an open area of the Surface Styles palette or choosing New or Edit in the Surface Styles dialog box The Surface Styles dia
224. n be a different kind of ad justment layer and or affect all or portions of the image When multiple adjustment layers are stacked the order will affect the final results If all adjustment layers are the same type stacking order makes no difference An Adjustment Layer affects all layers below it unless itis part of a clipping group Levels Channel Gray Input Levels 16 137 239 Ce x x Output Levels O 255 T F Preview Levels Input Levels 10 1 00 240 Load Save Auto Options Output Levels 0 255 cr F A Preview Levels Input Levels 23 1 00 255 Cancel Load Save Auto Output Levels 0 255 EL F Preview 08 03 27 E n Photoshop Manual Levels Adjustment Black amp White Images Click on the Adjustment Layer icon black white circle at the bottom of the Layers palette and choose Levels from the pop up menu Move the left and right sliders located under the histogram to po sition them under the ends of the histogram This will extend the value range of the image to the full value range Note Moving the Left Black triangle to the right will have a dramatic affect on images that appear milky Note Be careful about cutting off long taile Cut a little at a time e 9 25 Move the Midtone slider to adjust overall image brightness
225. n extends two lines to their point of intersection and trims them off leaving them separate Trim Pairs Of Segments Join extends two lines to their point of intersection and trims them off and joins them Note Where you Click to select the segments determines the por tions of the segments that will be retained after the trimming The Trim Lines tool also contains Fillet and Bevel options that can be applied when the lines are trimmed Insert Points The Insert Foint tool can be used to insert points along the boundary of an open or closed 2D Surface Fit Fillet Bevel Lines This tool can be used to round or bevel the intersection of two or more segments The operation can be applied at the Foint Segment Out line Face or Object topological level of 2D surface objects Set the desired topological level Set the tool options Click on the appropriate element s to apply the operation 2D Enclosure Options Options Status Of Objects 2D Enclosure Options Justification O Left Center O Right wan width CD Cani E Extrusion Convergence Options Options Status Of Objects Extrusion Convergence Options 9 Perpendicular To Reference Plane O Perpendicular To Surface Chess Cani 2 3D Enclosure Options Options Status Of Objects 3D Enclosure Options Justification O Left 9 Center O Right wallwidth ro Top Thickness Base Thickness 1 0 Top Open
226. n should look like the one illustrated Print and measure if desired The style is now ready to be applied to any brick wall The color can be changed without changing the dimensions The same dimensions can be used for Brick textured Predefined Material ategory Save As Material Apply Selected Material Form Z Manual 08 03 135 Concrete Block Double click on an existing surface style to edit the style or click to create a new surface style and enter a name Choose Plain Color from the Color shader pop up menu Click on color Options and set Hue to 30 Saturation to 5 and Value to 90 or as desired Choose Brick Simple from the Bump shader pop up menu Choose Bump gt Options and set the Length to 133 Height to 64 and Mortar to 3 The result is illustrated at 1 scale to the left Learning About Surface Styles Click on Predefined in the lower right in the Surface Style Parameters dialog box The Predefined Material dialog box illustrated to the left will open which provides access to the predefined surface styles that come with form Z Choose a category from the pop up menu under Category and investigate the choices An excellent way to learn how the basic surface style parameters can be manipulated to achieve different affects is to choose one of these styles and examine its specifications in the Surface Style Parameters dialog box Find and double click on the style you wan
227. ncreasing both bit depth and sampling frequency can be seen in the illustration below Digital sampling will never exactly represent the analog but it can reach a point at which we cannot tell the difference 14 08 03 EE B Photoshop Manual Digital Quality As bit depth and sampling frequency increases digital quality and file size increases Finding an appropriate balance between file size and quality is a central concern Intensity and sampling decisions are based on human perception information needs and output requirements Human perception has limits and therefore quality does not need to exceed our ability to perceive the difference Information needs are based on what is needed to accurately rep resent the information For example a bit depth of one would produce maximum quality for an ink drawing because only black and white needs to be represented On the other hand a color image would re quire a greater bit depth to be able to represent all the visible colors P Output requirements take into consideration the final display of the data For example if the image is to be displayed on a computer screen then 72 samples per inch is appropriate because that is all a computer screen can display On the other hand if the final image is output to a COO dot per inch printer then a higher sampling rate woul
228. nd sample size you must double click on the eye dropper tool and select a Sample Size e g 3 x 3 Click within the area you want to select Marching ants appear to define the selection The selection can now be expanded using the Expand 1 Pixel action Command F 1 as desired Basic Selection Operations Saving A Selection Select the area Choose Select gt Save Selection Document The name of your current document is automatically displayed Channel New Name Type in a descriptive name that will help you remember its content Operation New Channel Click OK or press Return EHE B Photoshop Manual 08 03 41 Loading A Selection Saved selections can be activated at any time for manipulation and further adjustment Choose Select gt Load Selection Document The name of your current image is automatically dis played Channel Choose the channel name from the drop down menu Operation New Selection Click OK or press Return OR Drag the name of the channel you want to load over the Load Channel as Selection button at the bottom of the Channels palette icon on left The dashed marque will appear in the drawing window Dropping A Selection Enter Command Control D to drop a selection Delete A Saved Selection Channel Click the name of the channel you want to delete in the Channels palette Click the Trash icon at the bottom of the Channels palette Click Yes Revise a Saved Selection
229. nd tells the CMS what the color really looks like A target profile tells the CMS where the image is going so it can maintain the color in the image The range of color a device can reproduce is called the color gamut This is different for each devise Instead of constantly convert ing between color gamuts which degrades the image Photoshop provides a devise independent RGB working space For our purposes every image should be tagged with an embedded profile using one of Photoshop s built in RGB working spaces Monitor If you want the color on you monitor to be more accurate you must make a profile for your monitor Making a monitor profile works better if the light level in the room is low with no glare or reflections on your screen The color context within the room will also affect the color you see This includes what you are wearing Make your desktop pattern a neutral 50 neutral gray Finally the monitor should have been on and running for a couple of hours prior to creating the profile Choose Apple gt Control Panels gt Adobe Gamma For Windows Start gt Settings gt Control Panels gt Adobe Gamma or Program Files gt Common Files gt Adobe gt Calibration gt Adobe Gamma Check the Step By Step assistant and click Next Mac only Enter a Description which will be the profile s name Include a date e g Will s Monitor 8 29 01 Click Next on the Mac Adjust your monitor s Contrast to the maximum
230. nd the Insert Outline tool to divide faces with multi seg ment lines Form Z Manual 08 03 79 Insert Face Volume The Insert Face Volume modifier with a drawing tool inserte a set of faces in a face of a 9D object that results in a volume This volume can be positive extend out from the face or negative subtract itself from the object To insert a face volume relative to a face the face must prepicked and planar The direction of motion is always perpendicular to the surface The height of the insertion can be set in the heights menu rubber banded or entered with the keyboard Fositive heighte extend out from the eurface and negative heighte extend back into the surface The use of open lines produces stepped forms Closed shapes may be completely within or extend beyond the bound ary of the picked surface They cannot be completely outside the boundary of the face Negative volumes completely within the picked face subtract from the object volume Negative volumes that extend beyond the picked face add to the object volume Segments of closed shapes should not coincide with the bounding segmente of picked face when a negative volume is being cre ated when the inserted volume is being subtracted from the original If it does it will not produce the desired result Process Set the Topological level to face and pick the face Select the Insert Face Volume modifier Select the drawing tool e g Folyline Curve Arc
231. ndows Reset Cancel ok D 46 08 03 Interactive Shaded Options f Shaded Interactive Show Edges Show Object Color O Transparencies M Hide Ghosted M Objects M Layers O Textures Limit Size To 512 Pixels O Fog Distance From View Point 89 4 gt Distance From Hither 5o Color Background Mix 777797 77 50 loc Lights Unsupported Lights Ignore Hj Use Native Lights O Use Software Lights Highlight Edge Size 4 Pixels OpenGL Info Project Rendering Options OD All Windows C Reset Cancel D t 9 3 RenderZone Options Rendering Type f Full Z Buffer i f Options O Estimate Memory Usage O Set Imaae Size Geometry Scene Postprocess Appearance O Shadows All Opaque 34 M Texture Maps M Reflections Transparencies Bump Mapping Shader Antialiasing O Super Sampling Low TA 7 Illumination Light Intensity All Simple HJ Light Glow O Analysis Options gt Area Line Lights Approximate HR Project Rendering Options Save Image Off HJ Options gt Al Wind f Cancel ok D Form Z Manual Interactive OpenGL The Interactive display mode uses OpenCL and is the only display mode that will render the model as it is mo
232. ne a column or the ends of two expanded lines given two expanded lines pass through or fit to each other Select the B Split tool Options gt One Way or Two Way Split One Way The first object selected is split by the second re turning the intersection and difference of the first object Split Two Way The intersection and the difference of both objects are returned The selection order is irrelevant Click on the two objects The resultant shapes can be used as is or Unioned together Un needed parts can be deleted Create amp Expand Polygons The goal is to create a volume defined by multiple segments Use the Vector Line tool in coordination with appropriate Object Snaps to trace or create the polygon Expanding Polygons Choose the Parallel tool Options Single Parallel Surface gt Out positive or In negative gt Wall Offset Enter desired dimension gt Check On Same Plane Surface Objects Click on the polygon Square At A Point The goal is to create a square whose center is located at a point Choose the 2D Enclosure Object type modifier Options Center gt Wall Width set to the dimension of the de sired square Choose the Point tool Click to locate and create squares at desired points Note This same approach can be used to create columns The differ ence is that you use the 3D Enclosure Object Modifier and set or rubber band the desired height 70 08 03 Form Z Manual Rec
233. ne from the planes palette Choose View gt Plane Projection gt Top Do not use View gt Top Draw the objects Their bases will sit on the arbitrary plane 30 08 03 Form Z Manual Loading Project Views Layers Lights Sur face Styles amp Planes You can bring in the views layers lights surface styles and planes from an existing file The following is the general process Hold down Option Mac or Control Shift Win and click in the appro priate palette to open its dialog box Click on Load Project Views Navigate to find the source file Double click on the file name or highlight the name and click on Open Click OK The corresponding elements will be added to the file Form Z Manual 08 03 31 Recovery Strategies If you are going to build models you must have a set of basic recovery strategies and techniques Use Undo If you perform a function or use a tool and what you expected does not appear choose Undo Command Control Z This will remove whatever it is you did that may not be evident now but may cause problems later Escape You can exit any multi click process by hitting the esc key before the last click of the process You will be returned to where you were before you started clicking For example this works during both drawing and set view operations Tool Or Program Irregularities There will be times that the program or a tool does not respond or work as expected Save the file and Qui
234. nges across symbol levels when shared surface styles and layers are altered The changes will be reflected in a model linked to the library when the model is opened Open form Z and choose File gt Open to open the symbol library in form Z The file will have a zlb extension A new project is created using the name of the library file Open the Symbols palette Notice that the pop up menu at the top of the Symbols palette offers the choices of Edit Definition and Place Instance The first is for editing a symbol and the second is for placing a symbol within another symbol Choose highlight the symbol and level that you want to modify in the Symbols palette The symbol s file will appear in the Graphics window Modify the symbol file just as you would any model Save the changes to the particular symbol by clicking on another symbol in the Symbol palette Choose File gt Save to save the changes to the library and close the library file When you open a file that is linked to the library all instances of the modified symbol will be changed This is the best approach to making dynamic global changes vU Surface Style Parameters Name Brick RenderZone y Preview Color eem e e E Brick Simple O e Fl p Transparency mum DEREN i HU i Passes i Bump R e Brick Simple v i Predefined deem z O Shader Antialiasing Options Copy From p Si
235. nment to this configuration at any time Photoshop File Edit Image Layer Select Filter View Window Help 4 Wed 11 13 AM H Mode Normal ra Opacity 100 TW Flow 100 TW EA 620 Navigator 01 Test File psd 138 RGB 4 m 1 4 a 2 Pw IUS i SRS A SZ moe d as oa al El E T Doc 743K 0K 8 08 03 Window Documents gt Workspace Save Workspace Delete Workspace v Tools v Options Reset Palette Locations File Browser Will s Workspace v Navigator Info Color y Swatches Styles v History Actions Tool Presets v Layers Channels Paths Brushes Character Paragraph O E B Photoshop Manual Custom Work Environment Organize your work environment to support the type of projects that you will be doing The more consistent you keep your work environment the more efficiently you can work Photoshop provides the ability to save multiple custom work environments that are available from the Window menu as illustrated Open Photoshop and choose Window gt and open all toolbars and panels Organize the toolbars and panels to set where they will be located when opened and then close those you do not want open when you etart the program In the example below the Characte
236. ns 12 segments for 90 amp 30 intersections 24 segments for 90 45 30 15 intersections or smaller Set Object Snap to Midpoint Click on the Midpoint of the end segment Set Object Snap to Point Click on the end point of the end segment If the circle is not going to be used as a column Choose the Union tool Click on the expanded arc or line and the circle Ends Defined By Fitting Elements The goal is to fit the ends of two expanded lines to each other The assumption is that two lines ending at the same point have been expanded as appropriate Choose the Extend tool Options Segment gt To Segment Click on pairs of segments to fit them to each other The segments must potentially intersect for the tool to work If an arc is being fitted to a straight line a point will need to be in serted in the end segment of the straight line and moved to coincide with a corresponding point on the arc Choose the Insert Foint tool Set Object Snap to Segment Click on the end segment of the expanded straight line Set the topological Level to Point Set Object Snap to Foint Choose the Move tool and Self as the Self Copy modifier Set Wire Frame display options to Show Points Zoom in close Click on the point to be moved point on the end of the straight line Click on the destination point point on the arc Form Z Manual 08 03 69 Columns amp Ends Defined By Intersection The goal is to defi
237. ns match those of the Design Choose the appropriate object snap option Change as needed Click to trace the portions of the design needed to create the desired element Make the Design layer Invisible Use the appropriate construction strategy to build the 2D surfaces Refer to the section entitled 2D Construction Otrategies that fol lows Move 2D Surfaces Move finished 2D surfaces to the Form layer Activate the Form layer Check Choose the Layer tool Click on the 2D Surface footprint Create 3D Volumes The next step is to turn the 2D surface into a 3D solid volume Choose the 3D Extrusion Derivative tool Make sure that Grid snap is on and set as desired e g one foot Click on a 2D shape and Rubber band the appropriate height Click to end the process Turn off the visibility of the Form layer and make the next 2D surface Moving 3D Objects Vertically Refer to the Move Copy Rotate Scale amp Mirror section Changing Object Height Use the Edit Controls tool to change the height of an extruded ob ject Form Z Manual 08 03 65 Model Base The model base will consist of an element that is large enough to con tain the structure and a larger element that provides the context Site Create a new layer and name it Site Make it Active check Choose the 3D Extrusion Object Modifier Choose the Circle Center amp Radius tool Options Facetted Display Resolution Detailed Point Density Of Segmen
238. nt Set Option Click on object and move the mouse to scale Click or enter angle to complete the process Scale By Absolute Value Set the Topological Level e g Object Set the Self Copy mode e g Self or One Copy Choose the Independent Scale tool Set Scale options to Scale By Absolute Value Click on the object to select it Enter the desired dimensions in the dialog box Click OK to apply the changes Note Scaling by absolute value will always be about the centroid of the object Boolean Split Options f Options Status Of Objects 9 One Way O Two Way f Reset gt Cancel ok gt Status Of Objects M Global Operand Status O Keep Ghost O Delete New Object Status 9 Object Per Volume O Single Object f Reset gt Cancel gt sx Form Z Manual 08 03 77 BOOLEAN OPERATIONS amp INSERTIONS Boolean Operations The basic Boolean operations include Union Difference Intersection and Split Union Combines two objects into one The selection order is irrelevant Difference Subtracts the shared portion of one object from another The first object selected is cut by the second object selected Intersection Preserves the shared portion of two objects The selection order is irrelevant Split One Way The first object selected is split by the second returning the inter section and ditference of the first object
239. nt of origin Choose a view that allows you to see the points to be used to estab lish the arbitrary plane Set the Topological level to Point Choose the Define Arbitrary Plane tool Click on the first point This establishes a positive point along the X axis Click on the second point This locates the origin 0 0 0 point of the arbitrary plane Click to on the third point This establishes the angle of the plane and the direction of the positive Y axis The result is that you have located the X Y quadrant of the grid Save the plane in the planes palette if it is one that you may use again Note When defining Arbitrary planes with Segments or Faces the first segment clicked on will be on the X axis Local Axis When the Topological Level is set to Object the Define Ar bitrary Plane tool defines a plane based on the object s local axis To see the local axis choose it in the Wire Frame display options Viewing Relative to Arbitrary Planes To see a Top view relative to an arbitrary reference plane make the arbitrary plane active and select Views gt Plane Projection gt XY Top When an arbitrary plane is defined the top view will always look straight down on the plane Note that other Plane Projection orthographic views are also avail able 28 08 03 Underlay M Show Underlay O In 3D Views Match Image Size To Underlay Size In Projection Views Scale 1 8 1 0 o Hor
240. ntry psa Choose Image gt Mode gt Grayscale to convert the image to grayscale Save the change Adjust the values using Levels as needed Double click on the name Background in the Layers palette Rename the layer Otructure Lock the layer s transparency Select the sky area of the Structure layer using the Magic Wand tool Hold the shift key to select multiple areas Refer to the Photoshop Manual section named Magic Wand Selections in the Selections chapter Hit the delete key to remove the sky area A checker board pattern will appear indicating a transparent area Save the file Adjusting Image Values Examine the image for surfaces whose values need to be adjusted to enhance the illusion of 3D form and depth Changing surfaces with flat values to ones with gradations is the most powerful changes that you can make Use gradations to enhance edge contrast Select areas that you plan to adjust using the Magic Wand tool Adjust the Magic Wand Tolerance to control what is selected e g set it to 10 Refer to the Photoshop Manual section named Magic Wand Selections in the Selections chapter Save selections that you may want to return to again Especially ones that will be given gradations Refer to the Photoshop Manual section named Basic Selection Operations in the Selections chapter Load and fill selections with flat values or gradations to enhance the illusion of 3D form and depth For e
241. nywhere because it is no longer related to an installed font it is simply a path To convert text to graphics select the text or text block and choose Type gt Create Outlines Choose Object gt Compound Paths gt Release to break letters apart InDesign Manual LE Pathfinder a Pe w Le a InDesign Manual 08 04 23 TOOLS amp TECHNIQUES Scissors Tool The Scissors can be used to cut curved or straight lines of varying widths Choose the scissors tool and click where break is desired Open paths must be cut twice to separate pieces Path Operations Pathfinder The path operations include Add Subtract Intersect and Exclude Overlap Choose Window gt Pathfinder to open the panel con taining the operations Add Two or more paths are added together to form one path Subtract The path in front is subtracted from the path or paths behind Minus back is opposite Intersect The shared area of two or more overlapping paths is retained as a path Exclude Overlap Faths are created that define the unshared areas of two or more closed paths These shapes are combined into one path To use the path operations Draw the paths Organize the pathe in relationship to each other Adjust their stacking order if needed Select the paths Click on the path operation icon Tiling InDesign can create very large pages as well as standard size sheets To print larger pages InDesign provides a tiling func
242. of Trim the two end segments of the line will be trimmed to their point of intersection With the option of Join the last point on the line is moved to and joined with the first point The line must have a minimum of three segments With the option of Connect a new segment connects the last and first points of the line The line must have a minimum of three segments 58 08 03 Form Z Manual Connect Lines The tool connects two open 2D surfaces lines With the default option of Connect Segments the open end nearest the click point on the first segment is connected to the open end nearest the click point on the second segment An error will occur if you click near the closed end of a segment The Connect Lines option requires the topological level be set to Object and creates a new segment between the last point of the first line and the first point of the second line Where you click is not significant but the line direction is significant The Close Line Sequence option closes two open line with a new straight segment Join Lines With the default option of Join two lines with coincident ends or ends within 1 of each other are joined by clicking on the two lines The topological level must be set to Object and both lines must have the same direction The points of Arcs and splines must be coincident there is no toler ance Trim Lines The tool has many options The default options of Trim Fairs Of Segments Ope
243. og box Find and double click on the style you want to examine to have it ap pear in the Surface Style Parameters dialog box Form Z Manual 08 03 23 00 Prompts Rectangle vi AC First Corner Point x y z 4 0 24 0 0 O w Second Corner Point x y z 27 0 8 0 0 0 MT y Prompts amp Coordinates Palettes The Prompts palette provides tool use instructions After a tool is chosen the Prompte palette identifies the first step As each step ie completed the next appears Hold down Option Mac or Control Shift Win and click in the Prompts or Coordinates palette to open the Project Working Unite dialog box Refer to the illustration to the left The Base Unit selec tion establishes the assumed unit when using keyboard entry without typing in the unite i Coordinates The Prompts palette can be used to enter dimensions coordinates degrees etc with the keyboard Any highlighted entry can be made with the keyboard Enter Tab to move to the first entry X and enter the dimension e g 9 Enter Tab to move to the second coordinate Y and enter the dimension e g 9 Enter Tab to move to the third coordinate Z and enter the dimension e g 9 Enter Return to complete the entry Objects Palette Each object that you construct is listed in the Objects palette t There are three columns in the Objects palette Object 3 je Column 1 Selection A check indic
244. og box The op tions are different for each modifier Once the options have been set click OK Drawing Tool Select the drawing tool that will be used to create the object Hold down the Option Control Shift and click on the tool or double click on the tool to open ite options dialog box e g Spline Arc Options Options The Options tab provides the ability to specify the Model Type It also duplicates the choices concerning the object s relationship to the ref erence plane or surface that are available in the Object Type options dialog box shown above A change in one will affect the other Simple Display Resolution By default the Simple option is checked and the slider is set to the middle of the bar As the slider is moved left or right both the iso lines for smooth objects and facets for facetted objects decrease or increase respectively Detailed Display Resolution Facetted If you choose to create a facetted model the Facetted Options will control the resolution of the model Changes in the setting must be made before drawing the object because they cannot be edited later The number of segments should be kept to a minimum for file size and overall efficiency Choose the option that provides the desired control Any combination of the facet options can be selected The most re strictive of the options chosen will control the resultant number of facets By Of Facets Sets the number of segments that will be created
245. ol and click and drag to create the text block Text Entry If you have just created a text block you can start typing imme diately If a text block already exists choose the Text tool click within the text block and begin typing Linking amp Unlinking Text Blocks Links flow text between an overflowing text block and another text block or object and can be within or across multiple pages Click in the Link Box with the red plus sign and a chain link will ap pear Click inside another text block or shape to flow text To break the text flow link double click in the link box Text Inside Paths A closed path like a text block can contain text To put text into a closed path you can have an existing text block or a closed path Click on the closed path with the text tool The text tool will be come active and text can be entered and or pasted in directly The shape is now a text block Text Block Stroke 4 Fill You can apply a color stroke and or fill to an existing text block Select the object with the pick tool and apply attribues as if the block were a closed shape or graphic Text can also be colored separately by prepicking the desired items To remove the assigned stroke or fill select the text block and click the appropriate square with red slash in the color panel InDesign Manual 08 04 13 Text Block Transformation You can apply Rotate Skew Scale and other transformations to a text block Choose
246. on Macintosh OS X Windows XP Save Command 9 Control S Undo Command Z Control Z Redo Shift amp Command Z Copy Command C Control C Cut Command X Control X Faste Command V Control Z Contextual Menus Control Mouse Down Right Click Cancel Current Operation Esc Esc Select Click Click Select All Command A Control A Select Layer Contents Command Click Layer Name Control Click Layer Name Deselect Drop Selection Command D Control D Reset Default Colors D D Switch Foreground amp X X Background Colors Print Command P Control P Hand Tool Opacebar Spacebar Fit To Screen View Command O Control O Double Click Hana Tool Double Click Hand Tool 100 View Actual Pixels Zoom In or Out Option amp Command O Double Click Zoom Tool Command or Alt amp Control O Double Click Zoom Tool Control or Fill Screen View Cycle Clear Selection F repeat to step through cycle Delete F repeat to step through cycle Backspace Fill Selection or layer with Foreground Color Fill Selection or layer with Background Color Option Delete Command Delete Alt Backspace Control Backspace Duplicate Layer or Selection Free Transform Command J Command T Control J Control T 10 08 03 Toolbox Keyboard Shortcuts are noted in parenthesis Rectangular amp Oval Marquees M Standard Polygon amp Magnetic Lasso
247. on Tool B Hand Tool H double click to view epread Fill Apply Color Gradient or None View mode InDesign Manual Customizing Workspace After the workepace has been customized to suit your work pat terne i e panels grouped opened closed arranged etc the cus tom layout can be saved for future use Choose Window gt Workepace gt Save Workspace Different workspaces may be used for different users or varied for appropriate tasks Customizing the Toolbar The default toolbar can be changed between a double row vertical column a single row vertical column and a single row horizontal column by double clicking the top grey bar The Panels have been arranged to create an environment supportive of the types of work that a beginning architecture student is likely to confront Explore the panels in different groupings to create a workspace that works well for you Direct selection Tool A Type Tool T Line Tool Rectangle Tool M Scale Tool 9 Free Transform Tool E Gradient Tool G Scissors Tool C Zoom Tool Z Stroke X Note triangle symbol next to a tool indicates there are addi tional tools in the tool set as listed Click on the triangle to see and select the tools InDesign Manual E InDesign Keyboard Shortcuts Operation Macintosh OS X Windows XP Save Command 9 Control 9 Undo Command Z Control Z
248. on the shape of the face This is different from the Mesh tool which superimposes defined rectangular meshes on faces The default settings for the Q Subz tool are illustrated to the left With the topological level is set to Object and Smoothing checked the tool will subdivide all surfaces and round the object Adjust the Curvature slider to control the degree of rounding The Maximum Segment Length option sets the maximum length of a mesh segment the mesh process stops subdividing when all segments are equal to or smaller than this length The Maximum of Subdivisions option will affect the number of subdi visions to the point that the Maximum Segment Length value is met Vary these two options to get a sense of their relationship You can affect selected surfaces of an object by prepicking the faces and then applying the Q Subz tool Note The triangulate option for the tool will create a smoother form than using the Triangulate tool after the mesh has been created Reduce Mesh Tool The reduce mesh tool works opposite from the mesh tools it can be seen as amesh resolution optimization tool Note Options gt Working Units gt Angle Options gt Counterclockwise must be chosen for the tool to work Form Z Manual 08 03 91 Moving Meshes The Move Mesh tool provides ways that you can deform meshed surfaces Each of the ways depends on a profile to control the shape of the movement Choose Falettes gt Profiles to open
249. oolbox or press the C key Click and drag inside the image window to draw a rectangle around the portion of the image you want to keep Drag a handle to resize the crop boundary Press Shift while dragging a corner handle to resize it proportionally Drag outeide the perimeter of the crop boundary to rotate the rect angle Press Shift while dragging to rotate in 15 increments Drag the origin to change its location It defines the center of ro tation Drag inside the perimeter of the crop boundary to move the rectangle INE Click on the Check mark or press Return Enter to crop the image Click on the X mark or press Esc to abandon cancel the operation m Doc 1 97M 1 97M Crop Options There two states of the options bar associated with the crop tool The top bar appears when you select the crop tool and the second ap pears after you have drawn the crop boundary rectangle width Height Resohtion pixel nch E f Front mage Char Wek Cobr EJ opacity 5x J E Perspective Width Height Resolution The Width Height and Resolution boxes allow you to crop an image to a specific size and resolution in one step Cropped Area e Delete Hide Enter the desired Height and Width As you draw the crop boundary its proportions will be constrained to match those established by the entered height and width measurements Measurement units are specified in Edit gt Preferences gt Units amp Rulers En
250. opological Level must be set to select either a Segment or Face and the appropriate segments or faces must be picked prior to selecting the Extend tool PostPick Process Choose the Extend tool and set its options Follow the directions in the Prompts palette It takes one click to select a segment and two clicks to select a face The Extend tool can be used to extend a segment from a point a de fined distance or to extend a segment to another segment The two option setups for these functions are shown to the left Parallel Tool The Farallel tool is another derivative tool that can be used to gen erate parallel objects from existing objects The offset but parallel objects can be 2D surfaces or 3D solids as the options indicate The size and direction of the offset is controlled by option choices and entered dimensions Slab Offset applies to surfaces with less than 5 slope All other surfaces are considered walls Ferhaps its most common architectural uses are creating 3D vol umes wall floor etc from 2D planes and making solids hollow Single Farallel produces a surface object Double Farallel produces a solid object Farallel On Same Plane option has no effect on open shapes but does on closed shapes surface objects This should be checked if you are working in two dimensions offsetting a surface object on the same plane as the original surface object Note The Parallel tool will not work on Skins C Meshes or Nu
251. or dinate information as you draw Base Unit Choose Options gt Working Units and set the Base Unit to Feet This change makes feet the assumed unit when using keyboard entry without typing in the units Lights Double click on Light 1 to open the editing dialog box Rename the light Sun Set the light s Intensity to 150 Location to 40 80 1 20 and ite Center Of Interest to O O O Check Shadow and set to Hard Raytraced Create a new light named Sun Fill Intensity 30 Location 90 O 20 Center of Interest O O O and turn off shadows Click OK Hold down the Option Mac or Control Shift Win and click in Light palette to open the dialog box Set the Ambient Light to O Check Highlight Picked Click OK Layers Hold down the Option Mac or Control Shift Win and click in Layers palette to open the dialog box Check Highlight Picked Click OK Objects Hold down the Option Mac or Control Shift Win and click in Objects palette to open the dialog box Check Show Color and Highlight Picked Click OK Zoom Options Double click on the Zoom amp Fan icon in the Window Tools palette Choose Window Zoom By Corners Check Selected Entities Only Set Fit Border to 10 Click OK Snap Options Choose Snap Options from the Windows menu or double click on the Grid Snap Switch in the Window Tools palette Set the Grid Snap Module to 1 O Click OK Grid Snap Switch Make sure that the Grid Snap Switch is
252. or road use amp Use the Polyline tool to trace the center line of the path or road Double Click or hit E to end the tracing Axonometric View Use the 3D Extrusion derivative tool to make the path volume taller than the site Choose the boolean Split tool and set its options to One Way Click on the site then the path volume Faint the path and site volumes different colors Render the model The path road can be moved vertically for definition More Detail Delete the final path volume from the above exercise Unghost and delete the derived path volume Unghost and delete the original full contour model leaving the two parts Unghost the 2D path Plan View Create new contour lines to represent the path road more accurately For Example use a 1 O interval Build a Terrain Model for the path road e g Stepped Adjust the vertical location of the stepped model and its base Use the Trim Stitch tool to edit the ends to conform to the model as desired Form Z Manual 08 03 119 Building Site The problem is modify a portion of an existing site model to accom modate a structure Two approaches will be described The first uses boolean operations and the second insets a more detailed area within the larger model The assumption is that you have a contour map that has been scanned and will be used to create the site Trace the site contours and boundary Select the contours in order from the lowest to the high
253. or scan it directly it to Photoshop and save it in Photoshop format Open the file in Photoshop Choose Image gt Adjust gt Levels and make adjustments as needed to produce good line quality and a clean white background Chose Image gt Mode gt RGB Color Double click on the Background layer and give it a name that clearly identifies the entourage element Save the file in Photoshop format Once the entourage elements have prepared using one of the ap proaches described in the following save the elements in a file for future use In this way you can build a library of entourage elements for future renderings 74 08 03 O E B Photoshop Manual Two Layer Approach The two layer approach uses a Color and a drawing layer Select the white area surrounding the element with the Magic Wand tool Anti Aliased should be unchecked and contiguous checked before selection Adjust the Tolerance as needed Hit the Delete key to delete the selection to remove the sur rounding white Create a new layer called Color above the Lines layer and eet ite Mode to Multiply Link the two layere together and Save the file Make and save selections as needed Expand selections to include the associated lines Activate the Color layer and using the saved or created selections fill each area with color The colore should be soft When you are satisfied with the color scheme save the file Three Layer Approach The three layer
254. orward and back on a horizontal plane There are two exceptions to movement being constrained to the reference plane The first is when the third dimension of an object is being created The second is when the Ferpendicular Switch located in the Window palette is activated When activated it constrains move ment to perpendicular to the active reference plane The Grid Snap Switch snaps movement to the defined grid when it is active dark Its default has been set to active and the snap grid has been set to one foot Planes Palette The first step in constructing something is often the establishment of a reference plane upon which to build The Planes palette stores the settings for Reference Planes you define it records the location of the current reference plane Therefore before creating a name in the planes palette you must first create the desired reference plane Planes are saved to facilitate construction of a model Saving arbi trary planes in particular allows you to return to them as needed during construction without having to reenter their defining points edges or planes The Reference Plane tools are located in the Window Tools palette The standard reference grid orientations are specified with the Set Reference tools in the Window Falette These include the XY horizon tal and YZ and ZX vertical orientations plus the Arbitrary reference planes tool The highlighted or visible reference plane is the active plane
255. ot corrupted the file Everything goes White in RenderZone Is the clip Hither Yon function turned on le the location of the station point within a solid Insufficient Memory If you receive a message that there is not enough memory to execute the process e g rendering a display it is possible that a smooth ob ject is confusing the program Turn off some elements and try again Convert all objects or the offending object to Plain Facetted Form Z Manual 08 03 33 Beg FORM Z OBJECTS Form Z builds objects with differing attributes The following provides a way of sorting through these attributes and understanding how they interact Wires Surfaces amp Solids All form Z objects are either wires surfaces solids or surface ob jects Wires are open segments They do not show when rendering Their main purpose is to assist in the further creation of objects Surfaces are closed wires and can be flat or curved They show when rendering They have no depth like a plane in geometry Solids are three dimensional objects that are internally filled They show when rendering Solid objects are completely bounded by surfaces A true solid contains a volume and its mass properties can be calculated Surface objects are composed of one or more surfaces having no thickness They are hollow They show when rendering A surface volume is a double sided surface sheet of paper with the structural characteristics of a solid
256. oth Facetted Options lo Triangulate Smooth Options 2 Construct As Smooth Skin Construct As Nurbz Length U Degree 2 Depth V Degree 2 9 Skinning Along Paths Sources 4 Paths 4 9 Centroid Based O Boundary Based O Cross Skinning Sources 2 Of Paths Placement Type O By Anchor Points J Place Only 9 By Current Position Tolerance 0 0 1 2 O Cap Start O Cap End Reset Cancel Form Z Manual 08 03 101 Hea SKIN amp C MESH Skinning The process of skinning can be thought of as transforming a wire rep resentation of an object into a facetted or smooth representation A wire frame representation is a collection of lines that trace the edges of an object A facetted representation is a collection of bounded surfaces known as faces or facets that define the surface of an object A smooth representation is a curved surface Construction Recommendations The Skin tool is used to derive an object from a set of properly posi tioned sources and paths The following general recommendations will give you the greatest control over skinning operations and their resultant forms Paths Faths are the 2D lines along which source shapes are moved to define an object There must be a minimum of three paths Faths must be drawn or positioned exactly in their intended rela tionship to each other
257. ow double click on the Hand tool Proceed to make expand and use selections as appropriate Channels Many selections can be made in seconds and or will be used only a few times These selections do not need to be saved However many selections are more complex to make and will be used multiple times and should be saved to improve time efficiency and consis tency in the area that is being filled As described in the previous section of this syllabus saved selections become Channels Save a Selection Select the area Choose Select gt Save Selection Enter a descriptive name Click OK or press Return Load A Selection Choose Select gt Load Selection Choose the channel name from the drop down menu Click OK or press Return OR Drag the name of the channel you want to load over the Load Channel as Selection button at the bottom of the Channels palette icon on left 64 08 03 O E B Photoshop Manual Creating Surface Values The value layer will contain a grayscale value study The values are cre ated in two steps The first step creates a basic value structure and the second refines the structure Basic Value Structure Lock and turn off the Color layer Lock the Linee and Structure lay ers This will ensure that you do not accidently put values on the wrong layer Activate the Value layer Make and or load selections Selection tools should be set to Use All Layers Make Black the Foreground color
258. ow O O 50 Z East 50 0 O X West 50 0 O X South O 50 0 CY North O 5O O Y To import load the lights into a model Click on the Lights header in the Lights palette Click on Load Froject Lighte Locate the Ortho Lighte model file and Double click on its name to load the lighte into the new model Orientation Lighting Process Create the desired model and define name and save a view Set Ambient light to zero open the lights palette options and move the slider to the left Load the Ortho Lighte into the model Rename the folder and lighte as desired Turn on the three orthogonal lights that illuminate the major visible surfaces The lights should always include the Top light if daylight illumination is to be part of the scheme Example Plan Oblique West X South Y Above Z Set the intensity for each shining light to establish the overall level of illumination and create a clear value differentiation between surfaces Example Plan Oblique West X 40 South Y 80 Top Z 120 126 08 03 Form Z Manual Symbol Libraries Symbol Definitions Modeling lt No Symbol Libraries Loaded gt Info Overview New Save As Save A Copy As Load J Unload Sue z Display amp Modeling Drafting Edit Alphabetical Sorting Compact Library Delete Duplicate
259. palette are six icons that provide shortcuts to activating layer functions Click on the appropriate icon to add the function From left to right they are Add Layer Style Adds a Layer Style to the active layer based on your choice from a pop up menu Add Layer Mask Adds a Layer Mask to the selected layer or layer set Add Layer Set Adds a new Layer Set to the layers palette Add Adjustment Layer Adds an Adjustment Layer above the se lected layer based on your choice from a pop up menu Add Layer Adds a new Layer above the selected layer or set in the layers palette Delete Deletes the selected layer mask or set from the layers palette Rename A Layer Double click on the existing layer name and enter the new name Normal Disolve Darken Multply Cobr Burn Linear Burn Lighten Screen Cobr Dodge Linear Dodge Overlay Soft Light Hard Light Vivid Light Linear Light Pin Light Difference Exclusi n Hue Saturation Cobr Luminosity EHE B Photoshop Manual 08 03 47 Blend Modes Modes are available for both paint brushes and layers When applied to a layer they affect the interaction of the color on a layer with that on other layers below it When applied to a paint brush they affect the interaction of the color on the active layer with that being cre ated by the tool The layer mode pop up menu is shown to the left Note the groupings The second group of modes tend to darked an image the thir
260. pell checker 08 04 ooo Paragraph Styles No paragraph style Headings Main Body Text Numbers amp Info Subtitles Style Name BodyText General Basic Character Formats Advanced Character Formats Indents and Spacing Tabs Paragraph Rules Keep Options Hyphenation Justification Drop Caps and Nested Styles Character Color OpenType Features Underline Options Strikethrough Options Preview Basic Character Formats InDesign Manual Paragraph Styles Text can be eelected and ite format eet using the Character panel This approach to formatting text ie very inefficient and does not take advantage of one of the most powerful featuree of any page layout program which ie text etylee nDesign supports paragraph level text styles which means that a set of type specifications can be associated with a name that can be applied to a paragraph Once applied the paragraph takes on the specifications associated with the style A paragraph is a let ter or words between two paragraph breake returne nDesign also supports character level text styles which apply to only a selected amount of single characters Create A Style Select the appropriate styles panel Either Faragraph or Character Both function similarly The following will refer to a paragraph style only for clarity From the triangle pull down menu select New Faragraph Style A dialog box will appear for naming the style and setting various
261. ptions Wire Frame Options M Show Back Faces O Show Points Cameras Show Color O Show Key Points O Show View Camera Cones O Hide Ghosted O Show Marked Points Camera Size 30 Pixels V Objects Layers O Show Objects As Bounding Volume Smooth Objects O Show Face Normals Plain Text Objects M Facets C Use Face Color Outline Color E so Lines 79 meo Fill off ES Radiosity Displa 2D Surface Objects 3j ara Mm des x Show First Point Q Show Direction E E ect sSmoothness O Draw Mesh Ghosted Object Axes And Centroid O Override Text Smoothness EXE Native Graphics Se Outline Smoothness zx Redraw Size 30 Pixels Symbol Instance Objects is Lights O Show As Bounding Volume S d Interval o 250 O Show Light Color fV Show Direction Of Area Lights L3 Al Windows C All Windows Rest Cancel ox D f Rest Cancel eer Hidden Line eS E Hidden Line display is the ideal output if you are going to use the SS print as a base for freehand drawing It provides only those lines that 2 Include Open Shapes would be visible from the given point of view It is an object display Show Transparent Objects hai e As Solid Surface mode that can be exported in illustrator format As Wire Frame _ Show Intersections nder Comman ntrol H O Hide Edges With Angle Greater Than 140 Render Co and Contro O Show Facets Of Smooth Objects Options H Save Image Off B Options gt P L All Wi
262. r Faragraph and Navigator Info palette sets will be closed prior to sav ing the environment The custom Photoshop work environment Wills Workspace shown below includes the Toolbox is on the left Options bar is along the top and three palette sets down the right side The top palette includes the Color Swatches and Styles panels the middle palette includes the Layers Channels and Paths panels and the bottom palette con tains the History Actions and Tool Presets panels Once configured choose Windows gt Save Workspace and name and save the workspace configuration It will then appear a a choice under Windows gt Workspace as shown in the illustration saes a o oeae NN id Helvetica I Medium M Photoshop File Edit Image Layer Select Filter View Window Help 4 Wed 11 43 AM bs H Mode Normal 3 Opacity 100 PA Fow 00x TW FA s 6020 cbr TT E Th Mire m vn wb A IT 100 T 100 Az 0 pt Co tor ANN 620 T 7 rrie r T T tor a tayers Cines Cras English USA E aaf Sharp E Normal Opacity 100 Ini OX ajata Fi 00x A History otions ToolPesets 0 w a EJ ia w Photoshop Manual Photoshop Keyboard Shortcuts 08 03 9 Operati
263. r dai ed es be Re EGER eds RESOUDION M OVING OVE sms otis ET PU SMx s dt RN vui E Editing Plain Facetted Objects eee eee Editing Plain Smooth Objects ccce Editing FarametricObjecte cec Query Tool Editing se Display Modes coo e eee ite n eos a e e ee ier Creating Views Creating Perspective VIEWS i c Exact Eye Level Perspectives csse Plans Sections amp Section Perspectives 0 eee Graphics Window Proportions c c Exporting Object IMAGES i xs sees eet oce eee Pb Exporting TIFF Images cesse Printing Basic Window Contents Printing see atching Window To Paper c c eects p reserving Window Proportions cssc ee cece Printing Window Contents To Scale ee Line Editing Derivatives Extend amp Attach Drawing 2D SUR ACES ici ree REO PIPER EY end line EAIVING Tovar e ve oer tes Derivatives isses mm Extend TOOL is tete ette eu EROR ctc oes aeree FaralleliTOOL s sto Ct RC OX TS Ce D CC oe uno PEL Line to Volume Model Building Process 2D Construction Strategies Geometric transformation MOVING Objects 4 bi zu eto elc e erede ue Self Copy MOND asic rir a orae cnr ee EROR exa eid Local Coordinates amp Centroids c sees Rotating Objecte sioe vied eave ee ee PE oor EERR wad E Yr Form Z Manual 08 03 5 Eee Repeat Last Transformation 0 0 0 cece eee cece eee neces 74 Mirroring Ob
264. r example the vibration of a horn creates corresponding changes in air pressure which in turn cause the ear drum to vibrate Each transfer strives to maintain the same analog pattern This goal is never completely achieved and therefore analog communication looses quality with each transfer The digital world is a one dimensional binary world of bits The essen tial quality possessed by digital information is that intensity varies in discrete steps with time The transfer of information in the digital world requires no translation because the information is always represented by identical binary patterns The result is that the quality of the information is con stant Comparing analog and digital information you can see that the es sential difference is that analog information is continuous and digital segmented or sampled A fundamental problem E is the transfer of infor 5 mation between the ana E log and digital worlds Time Digital Coding Digital information is coded in terms of intensity and time Intensity is a function of the number of bits and time is in terms of the fre quency of the sampling One bit intensity means that one bit of infor mation e g on off black white is recorded for each sample The quality and quantity of the encoded information can be increased by increasing the number of bits per sample to represent a greater dynamic range and subtlety and or by increasing the sampling fre quency The value of i
265. r your software Gather Information If a problem occurs the first thing you should do is make notes If you cannot identify the conditions under which the problem occurred it is unlikely that someone can help you or that you can diagnose the problem Read and record any Alert Box messages Identify and record exactly what you did just before the problem Restart and try to replicate the problem Record any recent changes you have made to you com puter software and or hardware Fix Sequence The following presents the order in which basic fixes should be used They go from the least to the most time consuming Run Disk Utilities Software Reinstall Program Disconnect Peripherals Reinstall System Get Help Depending on the problem the following list of sources may be able to provide assistance Refer to the application s built in help Refer to the Applicatior s user manual Use the index to find the specific area to read Check any Read Me files that came with the software Check with your classmates and teacher to see if they have experienced a similar problem Call the computer department at El Corral Book Store and see if they have had experience with the problem Digital Tools For Architecture 08 03 11 Refer to the application s web site for technical sup port Check Web sites that may be able to provide some help The Complete Conflict Compendium Web page www quillserv com www c3 c3 html Ted
266. rameters for a view can be edited in this dialog box Refer to the illustration to the left Graphically Locating Lights Create a new light as previously described Make the light visible by clicking in the Visibility column A diamond will appear in the column and the light will appear in the graphics window Choose View gt Edit Cone Of Vision to open the Edit Cone Of Vision win dow The window contains three orthographic views of the model and a 3D view A Distant light is represented by a Location and Center Of Interest arrow connected by a line To move any one of these elements click on the element move the mouse and click to end the movement The Window tools are visible along the bottom edge of the window Use them to adjust the view of the active window cell Click in the header of the Cone Of Vision window to access a menu of items including display modes reset operations saving etc Layers Vegetation x7 Building Second Floor First Floor Layer f Top Vegetation 7 Building Second Floor First Floor f Group Bottom Delete Hd Edit Copy f Active Load Project Layers O Draw In Order Shown Draw Active Last O Paste On Active Layer Show Color M Highlight Picked Default Layer Name Layer Default Group Name Layer Group
267. rbzs if the surface intersects itself folds back on itself Examine a surface as you make changes to ensure that you have not folded the surface back on itself Attach Options Attach Kind 9 Per Topological Level O Selected Face To All Faces O Selected Face To Reference Plane Attach Type O Object Part Entire Object Adjust To Segment Face Endpoint Of Segment 9 Midpoint Of Segment O Center Of Face All Points Scale OOGOO OO Cet Coe E Form Z Manual 08 03 61 a a E Attach Tool This is a relative geometric transformation where objects or parts of objects are attached to other objects The result can be quite dramatic Select the desired topological level e g Face Segment Point Select Self from the Self Copy modifier tools Select the Attach Tool Set the tool s options Follow the directions in the Prompts palette Note Where you Click will affect the end result for some settings Selected Face To Reference Plane This option can be used to place a selected face exactly on the active reference plane Set the active reference plane Set tool options to Selected Face To Reference Plane Select Attachment Type Set Adjust To gt Face to Endpoint of Segment Midpoint of Segment or Center of Face Close the options and click to define the face and then the location point on the active reference plane considering the chosen Adjust To gt Face option
268. rcent which can be greater that 100 Falloff How light intensity is affected by distance is controlled by the Falloff option Constant Light intensity stays constant regardless of the distance from the light Linear Light intensity decreases linearly with distance Good first choice Square Light intensity decreases exponentially with distance 124 08 03 Form Z Manual Distant Light A Distant light has a constant intensity that is applied uniformly throughout its parallel light rays Point Custom Area amp Line Lights The Radius controls the distance Point Custom Area and Line light rays reach ina scene The greater the radius the farther the light will reach The intensity of the light at a given distance is based on the type of Falloff chosen Cone amp Projector The Center Of Interest controls the distance Cone and projector light rays reach in a scene The greater the distance the center of interest is from the origin of the light the farther the light will reach The intensity of the light at a given distance is based on the type of Falloff chosen Shadows Shadow settings are set for each light in a scene Soft Mapped Very memory intensive Point and Custom lights have the highest memory requirements Cone and Projector lights pro duce the best shadow quality Each additional light casting Soft shadows further increases memory requirements Hard Raytraced Minimal memory required but they g
269. reen or printer ofe Pictures that are encoded and stored in this way are known as bit mapped images or raster graphics Programs that produce and ma nipulate this type of image are called paint or image editing programs e g Photoshop E EB Photoshop Manual 08 03 15 Sampling Images The size of the raster grid sampling frequency defines the resolution of the scan Scanning resolution is identified as Samples Fer Inch Spi Therefore a raster grid that contains 300 squares per inch would produce a 300 spi scan The bit depth of the grid determines the intensity range for each pix el For example a bit depth of one would be able to capture only black and white images Achieving completely smooth looking gradations of tone requires amp bits per sample which can represent 256 discrete values of gray Color requires at least 24 bits per sample because it needs amp bits each for red green and blue the primary colors of light In a 24 bit scan there are 256 possible values of red 256 of green and 256 of blue resulting in a total of 16 777 216 2 to the 24th power possible colors In the illustration below the intensity or bit depth increases vertically and frequency increases horizontally 16 08 03 O E B Photoshop Manual Resolution Terminology There is considerable confusion over the correct terms to use when identifying resolution or frequency The most common terms are spi
270. rop or Cancel Click on the check mark to crop the image Click on the X or press esc to abandon the operation Note Regardless of the shape or rotation of the crop boundary it will come out as an orthogonal rectangle Grids amp Guides Grids and guides can be used to assist in drawing a crop boundary because the Crop tool will snap to both Choose Edit gt Preferences gt Guides amp Grids to set the color style and frequency Choose Edit gt Preferences gt Units amp Rulers to set working units Note You can double click on a ruler to open the Units amp Rulers pref erences panel Choose View gt Show gt Grid Choose View gt Snap To gt Grid Choose View gt Show gt Rulers Choose View gt Show gt Guides Click in the rulers and drag guides into the image area Hold down the Shift key to snap guides to the ruler ticks To move a guide select the Move tool position the pointer over the guide the pointer turns into a double headed arrow and click and drag the guide To remove a guide drag it outside the image window Choose View gt Clear Guides to remove all guides To lock guides choose View gt Lock guides 24 08 03 O E B Photoshop Manual Canvas Size In Photoshop images layers containing pixels or text lay on a can vas So far in our exercises the image and the canvas have been the same size The canvas size can be changed using either Canvas Size or the Crop tool Us
271. rop tool and crop the image to the desired size Note Images should be at their final size and resolution before im porting them into a page layout program Choose File gt Save As Name the file e g Approach tif and save it to the folder containing the Freehand layout Choose the format Images used in Freehand should be in TIFF format Choose to Flatten the image and Exclude Alpha Channels Exclude Non Image Data if Clipping Paths are not being used Click OK or press Return EHE B Photoshop Manual 08 03 59 COLOR RENDERING PROCESS The following will describe an approach to creating ar chitectural renderings based on work by Scott Lockard The approach combines hand and digital techniques to create stunning color design presentation drawings The general philosophy is that color and light can re place detail to evoke an sense of reality to communi cate a qualitative sense of place The approach mixes media to efficiently create images that support the design process The following provides a base for your exploration and elaboration Line Drawing The first step is to create a line drawing This can range from a quick freehand sketch to tracing a perspective framework provided by a 3 D modeling program like Form Z The drawing can include all entourage elements people trees cars etc that are desired or these can be added later All drawings should be in ink on white paper to best support scanning White tr
272. ropriateness of the result and adjust as desired Note Noise Amount varies from 1 to 999 An Amount setting of 3 or 4 ie a good place to start Distribution should be set Gaussian distribution for greater randomness If Monochromatic is checked then the noise only lightens or darkens pixels without changing their hue This should be checked for Grayscale renderings Note The noise reaches it maximum at 255 Settings above 255 increase the color variation in the noise Noise Grain Blur Sharpen Activate the desired layer and make a copy Rename the new layer Activate the new layer and make or load a selection if you want to ap ply the filter to a portion of the layer Choose Filter gt Noise gt Add Noise Amount 10 Gaussian Monochromatic EHE B Photoshop Manual 08 03 57 Choose Filter gt Blur gt Motion Blur Angle 45 Distance 8 Choose Filter gt Sharpen gt Unsharp Mask Amount 500 Radius 1 Threshold 1 Change the Mode and Opacity of the filtered layer Judge the appropriateness of the result and adjust as desired Graphic Pen Activate the desired layer and make a copy Rename the new layer Activate the new layer and make or load a selection if you want to ap ply the filter to a portion of the layer Choose Filter gt Sketch gt Graphic Fen Stroke length 5 Light Dark Balance 50 Stroke Dir Right Diag Change the Mode and Opacity of the filtered layer Mode Screen Opacity 30 Judg
273. rregular lines can be represented by a series of short straight segments Begin by enlarging the area that contains the selection If the area being selected is so large that filling the window still does not give enough detail you can take advantage of the automatic scrolling func tion when using the Folygon Lasso tool Enlarge a portion of the area being selected to give appropriate detail Click to locate points with the Folygon Lasso tool When you come to the edge of the window while using the Lasso tool Photoshop will au tomatically scroll the screen Once enough of the image is visible you can proceed to locate points Because the Folygon Lasso tool only locates point at clicks it can be used it to scroll the screen without affecting the selection This same process does not work when you are using the Lasso tool because as you scroll the image you are also extending the selection Using the Hand tool can solve this problem When you come near the edge of the window while using the Lasso tool stop movement and then press the Space Bar The Hand will appear While holding the Space Bar release the mouse and use the mouse to scroll the image When the image shows what you want to trace position the hand at the section point you left click and hold the mouse button release the Spacebar and proceed with tracing the selection Select the Folygon Lasso tool from the Lasso tool pop out menu Check the Options palette and make any ad
274. rs B Master Diameter Brush Choose the brush Click on the Brush icon or the triangle to open the Brush menu The triangle in the upper right accesses a pop up menu that contains options including how the brushes are displayed as illustrated above A soft edged brush will work best with the Clone Stamped tool Click on the Brush icon to close the Brush menu before using the tool Mode Set the Mode to Normal for most repair Opacity Set the Opacity to 100 for most cloning Flow Set Flow to 100 for most cloning Air Brush Leave turned off for most cloning Aligned Checking this option controls the relationship between the sampling point and cloning point When Aligned is checked the distance between the sampling and cloning points is maintained When it is unchecked it is not maintained Use All Layers Usually left unchecked so that sampling is only taken from the active layer Checking this option samples from all visible layers 30 08 03 9 Brush ey Mode Normal Source 9 Sampled Pattem v O E B Photoshop Manual Process Set the image display to 100 Move the cureor over the image area you want to eample from It is important that you choose a sample area that is as similar as possible to the color tone shade and value of the area to be repaired Hold down the Option Alt key and click to set the sample point Move the cursor to where you want to begin cloning Click or c
275. rs can be a source of frustration or a valuable aid Which role they fulfill is largely dependent on your patterns of interaction with them The specific hard ware you have the software you install and the way you use them creates a unique environment that will affect your experience The goal is for you to know and un derstand your unique environment so that you are in control The following is written in as general terms as possible so that it applies to both platforms Operating System Your operating system Mac or Windows provides the context GUI Graphical User Interface for all your ap plications Freehand to run It has a visual format and quality and a set of functions and operations that are available and supported by each application The first step in taking control of your environment ie to under stand the CUI and learn the names of its elemente and its functions and operations You should be able to per form the following operations If you do not know how to perform them you should consult your manual or do the tutorial that comes with the computer Know the basic componente of your hardware Know what and where your Frinter CD Zip Disk and Internal Hard Disk are and how they appear on the Desktop Know elements of the Desktop Know elements of Windows and their Controls Know basic Mouse skills Know what Files and Folders are Use the Help function Install an Application Install a Font Open an Appli
276. rt to the axis Smooth Options Cap Start Cap End will produce a solid object from a revolved object of less than 560 Sweep Options f Options Display Resolution Status Of Objects Model Type 9 Facetted O Smooth Facetted Options O Triangulate Non Planar Faces Type 9 Axial Sweep O Two Source Sweep O Two Path Sweep O Boundary Sweep Source Shape O Scale X 1 000 Y 1 000 Y Lock O Rotate 0 Total O Perpendicular To Plane O Preserve Height Alignment O Origin 9 Centroid O First Point M Cap Start M Cap End O Plain Object Y Edit O Adjust To New Parameters Reset f Cancel ox gt Form Z Manual 08 03 85 Sweeps The sweep tool creates objects by sweeping a source shape or shapes along a path or paths Axial Sweep The process starts by drawing a 2D object and a path for the sweep The object and path do not have to be on the same plane Make sure the topological level is set to object Select the Sweep tool and set its options Follow directions in the Prompts palette The Sweep Path Edit dialog box will appear Examine the options Note the ability to scale and rotate the source The relationship of the source shape to the path can be manipulated When you are satisfied click OK To edit the swept object click on it again with the Sweep tool The Sweep Fath Edit dialog bo
277. s Click on a control to activate the control and then click again on the control to select the control for movement Move the mouse to modify the object Click to apply the change Click to deactivate the control Click to exit edit mode Notes You can also Click and Drag a control to modify the object You can manipulate similar qualities of multiple objects with the Click and Click method Select all the objects with the pointer tool Select the Edit Controls tool Click on one of the objects Hold down the Shift key and select similar controls on the other objects you want to manipulate Release the shift key and click on one of the selected controls again Move the mouse to modify the objects Click to apply the change Edit Surfaces Choose the Edit Surface tool Click on the primitive you want to manipulate It will change to surface edit mode and alittle arrow will appear to indicate the available direction of a manipulation Move the mouse to modify the object If you do not want to move in the indicated direction click the mouse again without moving and move to a new location and click Click to apply the change Holding down the Control Mac or Control Alt Win key s after setting the point changes the radius throughout the cone during the move 44 08 03 Query Object Object 3 Object Type Extrusion C t i Model Type Smooth Display Resolution
278. s O 255 cr Load Auto LATER 7 al Preview Auto Color Correction Options r Algorithms O Enhance Monochromatic Contrast 9 Enhance Per Channel Contrast O Find Dark amp Light Colors Snap Neutral Midtones r Target Colors Clipping Shadows MN Clip 0 50 Midtones MN Highlights Clip 0 50 Save as defaults O E B Photoshop Manual Move the left and right sliders located under the histogram to position them under the ends of the Red histogram Repeat for Green and Blue Click OK when you are finished Note Be careful about cutting off long tails Cut a little at a time e g 25 Turn the visibility of the Adjustment Layer on and off to see the ef fect of your changes Double click on the Levels icon to make additional adjustment if needed Auto Color Adjustment The following will further improve the results that you get when us ing the Auto Color correction function found in both the Levels and Curves dialog boxes Click on the Adjustment Layer icon black white circle at the bottom of the Layers palette and choose Levels from the pop up menu There is an Auto button at the right side of the Levels dialog box The Options button below it accesses the Auto Color options Click on Options button to open the Auto Color Correction Options dialog box Click on the Options button to open the Auto Corrections dialo
279. s contents next week Make a copy of the file and only edit the copy 20 08 03 HP PrecisionScan Pro Image Size 3 3 MB O E B Photoshop Manual Scanning in 308 There are HP scanners located in 05 308 The following describes the process for their use Open Photoshop Choose File gt Import gt HP ScanJet Choose Scan gt Preferences Scanner Uncheck all preferences except Preview scan when scanner s scan button is pushed Click Apply Selection Area All unchecked Click Apply Text Image Output True Color Click Apply Controls Control ranges O bit File Creation Type Photoshop Click Apply Close the Preferences Choose Scan gt Preview or click on the left icon at the top of the HP PrecisionScan Pro window to create a preview scan Move the cursor within the preview image and click and drag to define the scan area Reshape the scan area as desired Note The dimensions of the scan area current output type and image size are shown at the bottom of the HP PrecisionScan Pro window Note Click the esc key to drop the current scan area marque Choose Output Type gt True Color Grayscale or Black amp White Your choice will be displayed at the bottom of the window Choose the desired resolution from the drop down menu at the top right of the window or enter the desired resolution in the box If the resolution choices are not visible choose Tools gt Resolution and or resize the
280. s to develop soft gradations on flat surfaces and more dramatic gradations on curved surfaces Always use Foreground to Transparent gradations set to alow opacity e g 20 Use a large soft edged paint brush set to a low opacity e 9 20 to further develop surface color and value richness variation and shape Mixing Hues The development of a surface s color and value should include the mix ing of many hues All hues should be applied with In choosing the set of hues to mix consider the following Use dark hues to darken and light hues to lighten Use complements to darken and reduce the chroma of a surface Make distant surfaces cooler than near surfaces Color Palette One strategy for developing a color scheme is to use a scanned pho tograph as the basis for color choices in a drawing Open the scanned image and the rendering Use the eye dropper tool to sample colors from the scanned image instead of choosing them from the color swatches Set Eyedropper options to different sample sizes 66 08 03 O E B Photoshop Manual Lines Layer The lines layer which only contains the lines can be used in several ways Turn Off Lines If you have carefully created your selections so that they are ex panded to extend to the middle or slightly past the center of the lines the lines layer can be turned off entirely Line Opacity Adjust the opacity of the lines layer to reduce their visual strength Color The L
281. se the Layer tool and select the appropriate Topological level Click on the elements that you want to send to the active layer Layer Management Hold down Option Mac or Control Shift Win and click in the Layers palette to open the Layers dialog box Layers can be managed from this palette Refer to the illustration to the left Note the paste On Active layer option When checked pasted elements will be assigned to the active layer When unchecked pasted elements will create and be assigned to the layers they create Layer Attributes Double click on a layer s name to open the Layer Attributes dialog box The attributes for the layer can be edited in this dialog box Refer to the illustration to the left 20 08 03 Form Z Manual EEE Lights Palette Lights are created to illuminate specific model views for presen tations or models for sun studies They are not saved with views but need to be turned on to illuminate the specific active view There are six columns in the Lights palette Column 1 A check indicates a selected light Column 2 Light Name Group amp Type The icon to the left of a light name identifies the type of light Clicking on a distant light icon changes it to the Sun represented by a negative distant light icon You can only have one Sun Exterior Light Y Interior Spots Column 3 Visibility A diamond makes a light visible in the graphics and edit cone of vision windows Column 4 Sel
282. sert Point Select the tool and click somewhere along a segment to insert a point The tool will work on any 2D or 3D object Insert Segment Click on two points or segments of the same face to insert a con necting segment The face does not have to be planar and there fore the tool can serve as a manual triangulation tool The tool will work on any 2D or 3D object The tool is most predictable when used in 3D views Prepick the plane if you want to insert the line in a particular face in orthographic view Insert Outline The Insert Outline modifier with a drawing tool inserts faces into a face The face can be a 2D surface or the face of a 3D object To insert an outline into a face the face must prepicked and planar If the inserted shape is to be open its ends must lie on distinct seg ments and or points The inserted open or closed shape must be completely contained within the boundaries of the face in which it is inserted Set the Topological level to face and pick the face Select the Insert Outline modifier Select the drawing tool e g Folyline Curve Arc Folygon or Circle Change to an orthographic view if desired Turn on snaps as desired Create the outline as the drawing tool requires Note After an outline has been created it ie automatically picked highlighted Double click away from the object to reverse the highlighted face Note Use the Insert Segment tool to divide surfaces with straight lines a
283. sh the object Choose Heights gt Custom and enter the depth of the truss member e g 4 Choose the 3D Enclosure derivative tool Double click on the tool and set its options Justification Center Wall Width As desired e g 4 Choose Perpendicular To Surface Click OK Click on the prism At this point the meshed prism can be edited using the Delete Geom etry Delete Topology and Insert Segments tools as desired e g to give it sloped ends Select all the elements Command Control A Choose the Join tool and click in the Graphics Window It is OK that the truss elements are converted to plain ob jects Note The truss can now be given a curve using the Deform tool Trim Split Options Options Status Of Objects First Object Both Objects With Line Trim O O Split O O Stitch Round Distance 2 0 Of Rounding Points 8 VY My a VU VY Reset Cancel ok Form Z Manual 08 03 95 SURFACE MANIPULATIONS amp OBJECT DEFORMATION Trimming amp Splitting The Trim Split and Stitch operations are to surfaces what Boolean operations are to solids Trim corresponds to Boolean Difference Split to Boolean Split and Stitch to Boolean Union The Trim Split and Stitch operations are designed to work with non planar surfaces because Boolean operations require planar surfaces Trim Split operations can be applied
284. t gt Cut Next se lect the closed path and choose Edit gt Faste Into The portion of the image shared by the closed path will appear in the closed path InDesign Manual 08 04 19 DRAWING Drawing Paths Faths are a fundamental element in creating illustrations in Inde sign A Fath is a line marked by control points You can change the nature of these points add and remove points and manipulate the shape of the path with the bezier control handles associated with the points Rectangles Ellipses amp Lines Click the Rectangle Ellipse or Line tool in the Tools panel Click and hold down the mouse to locate the first point Drag to draw the path Release the mouse to complete the path To draw a rectangle ellipse or line from its center hold down the Opt Alt key as you drag To draw a square or a circle hold down the Shift key while you drag Note You can draw rectangles with curved corners by choosing Object gt Corner Effects after drawing the shape Pen Tool The Fen tool is the most powerful and flexible drawing tool available in InDesign Learning how to use the Fen tool will make it easier to learn Fen tools in other programs such as Photoshop Choose the Fen tool and click to set a corner point Move the mouge and click to set additional points Click and drag to set and shape a curve point Hold the Opt Alt key to create a corner point Hold the Shift key to constrain the curve s handles to horizontal 45
285. t Backdrop O Is Backdrop E M Name Object Name HJ Which Contains 6 Object O Ignore Case Apply To Unghosted O Apply To Ghosted 38 08 03 Extrusion Convergence Options Extrusion Convergence Options Perpendicular To Reference Plane O Perpendicular To Surface f Reset Cancel ok gt Spline Arc Options f Options Display Resolution Model Type 9 Facetted O Smooth Extrusion Convergence Options O Perpendicular To Reference Plane O Perpendicular To Surface M Allow Intersecting Lines Allow Collinear Points f Reset Cancel ok gt Spline Arc Options O Simple 9 Detailed Edges And Iso Lines Iso Line Density Medium E Point Density O st Of Segments 48 9 Max Normal Deviation 10 O Max Edge Length 2 0 Facets M Max Of Facets Length 24 Depth 24 M Lock LJ Max Edge Length 2 0 M Max Normal Deviation 10 O Max Surface Deviation 0 1 Reset Cancel ok gt Form Z Manual Resolution The resolution of curved forms created with circle arc and spline tools and parametric primitives is controlled through the tool s options Object Type The resolution begins with the options for the Object Type modifier Double click on the modifier to open the options dial
286. t East View Elevation Command O Control O Left West View Elevation Command 9 Control 9 Back North View Elevation Command O Control O Front South View Elevation Command Control Form Z Manual 08 03 15 Customizing Tools EDEN To customize form Z s tools you choose Falettes gt Customize Tools gt to open the dialog box You can customize both the Modeling Tools Window Tools and Drafting Tools from this dialog box by choosing the corresponding Category at the top of the box p The current Tool Bar ie shown down the left side If you click on one of the tool icons in the bar ite palette will be shown at the top of the Tool Palettes box to the right The Tool Set box contains all the tools Double click on a Tool icon in the Tool Bar to rename a tool palette a Click and drag a Tool icon to modify the Tool Bar s organization A red a E line will appear between icons to indicate the location of the icon le when you release the mouse Add and remove palettes from the Tool Bar with the buttons below the bar Remove tools from a Tool Falette by selecting the tool and clicking on the Remove button below the palettes O Identify
287. t from Windows Creating the illusion of light coming from windows is a very effective addition to any dusk scene Select the windowe using any of the selections toole The rectangular marque and polygon selection tools usually work very well Once the window or windows are selected wash on warm light colors Reflected Light Once the windows have been filled with light the adjacent surfaces need to reflect the light emanating from the windowe Select the area of reflection Choose Select Feather and set Feather Radius to 5 or 4 This will create a soft edge on the reflection which will look more natural Click OK or press Return Choose the gradation tool and set ite optione Choose a color and apply the gradation The reflection should be strongest nearest ite source Painting Painting with the Brush tool can be used as a means for creating emphasis and detail at the end of the process For example a soft edged brush set at 40 can be used to add some detail and value to the trees people grass etc Activate the appropriate layer Turn on Preserve Transparency for the layer if you want to re strict painting to the area on the layer where pixele already exist Load the appropriate selection if desired Choose the Paint Brush tool a brush and an appropriate color or value Set the paint brush to a emall percentage and ite mode to Normal or Multiply Shade in response to the direction of the light in the imag
288. t has to be addressed when you work on duplicates is keeping track of which is the most current file and deciding when to trash files Dates and times are recorded when you save or make a new file which can help but part of the solution is to name the files carefully so that the name both identifies content and sequence g Cues 01 Undo The undo command Command Z Control Z is one that you should be familiar with and use to recover from mistakes as a matter of course There is one case in which using the undo command can potentially save you from creating a file that does not respond as your expect or becomes corrupted The case is when you do something and nothing seems to happen The chances are that something did happen but it was not what you expected and or you cannot see it If you proceed you may have created something that will cause you prob lems in the future Therefore if you do something that does not seem to work use the undo command to make sure that the operation is reversed before proceeding Many programs have multiple undos which can be used to experiment with a direction and then back out of the result This will work as long as the number of opera tions does not exceed the number of undos nnn Hierarchical Filing How you name and organize your files can make working with a computer much less frustrating It will not take very long before the number of files you have created exceeds your ability to
289. t key s after the first click to rotate CAUSE DDIENS without scaling Color Display When set to Definition Colors the surface styles as signed to the symbol will be brought into the model Layer Display When set to Active Layer the symbol will be placed as an instance on the active layer in the model Before you place the symbol with this setting make sure the appropriate layer is active When set to Definition Layers the symbol will generate and place itself on its construction layers These layers will be write pro tected Symbol Instance Edit 8 Edit Individually Q Edit Simultaneously Form Z Manual 08 03 131 Edit Manipulate A Placed Symbol There are four ways placed symbols can be edited and or manipulated These include Geometric Transformations the Edit Symbol tool replacing a symbol and editing the library file Geometric Transformational The Move Rotate and or Mirror tools can be used to change the symbol just as you would any other object Note that the Inde pendent Scale tool will not work The result will be a change in the selected symbol or symbols Edit Symbol Tool The Edit Symbol tool allows the modification of a symbol s parame ters The tool s dialog box allows two editing options Edit Indi vidually applies the editing to one symbol instance Edit Simulta neously edits multiple symbol instances and requires prepicking Detail allows you to change the level e g 1 2 3 of the sy
290. t the Insert Hole modifier Select the drawing tool e g Folyline Curve Arc Folygon or Circle Change to an orthographic view if desired Create the insertion shape as the drawing tool requires Rubber band or enter the height A hole will be cut Return to 5D view to see the hole if you are not drawing in the 3D view Note When working in an orthographic view positive dimensions move toward you and negative dimensione move away Moving a Hole A hole may be moved within a surface Set topological level to Hole Choose the desired Self Copy modifier and the Move tool Click on the hole and move your mouse to move the hole Click to set the new location Form Z Manual 08 03 81 Arbitrary Planes amp Insertions If the face you are using for the insertion ie parallel to one of the world axes then using one of the standard orthographic views will work very well If the face is at some angle then you may want to cre ate an arbitrary plane to support drawing precision The following is areminder of how to create an arbitrary plane Set the Topological Level of Foint Choose Define Arbitrary Plane tool from Window tools Click to locate a point on the plus X axis Click to set the 0 0 0 point Click to locate the direction of the plus Y axis The plane will be defined Save the plane if it will be used again Because the axis do not coincide with the world axis you may choose to change the settings in the Prompts or
291. t the program Restart the program and open the file If this does not work try restarting your computer Disappearing Forms If your model objects should disappear at some point Immediately use the undo function Command Control Z to back up to a pre vious command of operation before the event occurred Note When you save you loose the undo history if you have not set Undos to be saved with the file Fit Deselect everything Option Alt Tab and choose the Fit command Command Control F This will fit your entire model within the graphics window It is a good way to check the limits of your model If you cannot see anything or only a tiny spot you have made an element that is much larger than you expected that can affect what you see or how the model responds 32 08 03 Form Z Manual Copy amp Paste Problem models or files can be corrected by selecting the elements from the existing model that you know are correct copying them to the pasteboard opening a new file and pasting the elements into a new file Before pasting them into the new file you should open the Layers dia log box and uncheck Place On Active layer so that the elements and their layers will be brought into the new file Remember that the views layers lights surface styles and planes can be loaded from an existing file so that these are not lost The pro cess is described earlier Check the file after loading each one to make sure that it has n
292. t to examine to have it ap pear in the Surface Style Farameters dialog box Basic Scaling Recommendations The scaling that has been done so far has been to establish the pro portions of a pattern relative to the default one foot square tile There are times when you want the tile to cover a larger area The following provides basic scaling guidelines Length Height and Depth percentages entered in the Surface Style Farameters dialog box should not be greater than 200 and preferably kept under 100 to achieve the highest quality sharpest rendering in RenderZone Use the Length Height Depth and Mortar percentages entered in the Surface Style Parameters dialog box to proportionally scale the pattern relative to the default one foot square Enlarging the scale of a texture can be achieved by either increasing the percentage entered for Scale in the Surface Style Farame ters dialog box or increasing the Size dimensions entered in the Texture Map Options dialog box Of these two techniques it is better to use the Texture Map tool to enlarge the size of a pattern Either technique is equally good for making a pattern smaller 136 08 03 Texture Map Options 6 Clear To Default 4 Warn Before Clearing O Assign Custom AdjustTo New Edit Origin x 0 0 iv 0 0 Z 0 0 Wrapped Textures s Mapping type rizontal Tiling Flip Vertical
293. tangle Square At Any Angle The goal is to create a rectangle square and place it at an oblique angle using an existing segment or segments The assumption is that you have a rectangle orthogonal to the world axis and a segment at the desired oblique angle that ends at the point you want the center or corner of the rectangle Select the Attach tool Options Fer Topological Level gt Entire Object gt Endpoint Of Seg ment Set the Topological Level to Segment Click on the Square and Click on the line that sets its angle Where you click on the square and line will affect the end result This should move the square and place the end of one of the sides of the square at the end point of the line To put the center of the square at the end point of the line continue with the following Set the Topological Level to Object Choose the Move tool and the Set Copy modifier to Self Set Object Snap to Center of Face Click on the Rectangle square click on one of its segments Set Object Snap to Intersection or Endpoint Click to locate the square Circle At A Point Not On The Grid The goal is to create a circle whose center is located at a point that does not coincide with the grid Choose the 2D Surface Object Modifier Choose the Circle Center amp Radius tool Options Facetted and By Of Segments 6 or as appropriate Turn on Ortho Snap if you want the corresponding points of the circle to fall orthogonal to its center
294. te Calculate the appropriate Z dimension by adding the distance from the world XY plane to the floor level of the viewer if it is above the world XY plane or subtracting the distance from the world XY plane to the floor level of the viewer if it is below the world XY plane Making both Z dimensions equal will make the Line of Sight horizontal and therefore make the perspective a true one or two point perspective If they are set at different heighte the person is either looking up or down which creates a three point perspective Setting the Z dimensions is only necessary if you are trying to match the results of a traditional one or two point perspective If this is not desired you may wish to check the Keep Vertical Lines Straight choice at the bottom of the View Parameters dia log box to keep the resultant image from becoming a three point perspective when the Line of Sight is not horizontal Note You cannot use the Interactive display mode when Keep Ver tical Lines Straight is chosen Enter 60 as the Angle This defines the Cone of Vision which is typi cally assumed to be GO for eye level perspectives 60 is the angle that Reset Angle in the drop down menu enters Click OK to return to the Cone of Vision window Refine the perspective by manipulating the Cone of Vision elements in the Plan view only to preserve the Z dimensions that have been entered Save the view if desired and close the Cone of Vision window Form
295. te A New Surface Style Click in an open area of the Surface Styles palette The Surface Style Farameters dialog box will open as illustrated to the left Name the style and set its parameters Click OK Edit An Existing Surface Style Double click on one of the existing Surface Styles The Surface Style Farameters dialog box will open as illustrated to the left Change its name and edit its parameters Click OK Change An Object s Surface Style Set topological level to Object or surface as desired Select highlight the desired color in the Surface Styles palette Choose the Color paint brush tool Click on the object or surface you want to color Surface Style Management Hold down Option Mac or Control Shift Win and click in the Sur face Styles palette to open the Surface Styles dialog box Surface Styles can be managed from this palette Refer to the illustration to the left Learning How Styles Are Created Click on Predefined in the lower right in the Surface Style Parameters dialog box This will open the Surface Style Parameters dialog box This dialog box gives you access to the predefined surface styles that come with form Z Choose a category from the pop up menu under Category and investigate the choices An excellent way to learn how the surface style parameters can be manipulated to achieve different affects is to choose one of these styles and examine its specifications in the Surface Style Param eters dial
296. te Layer from Layer Commands Name the layer by adding Shadow to the original name With the Shadow layer selected Preserve Transparency checked and Black set as the foreground color enter Option Alt Delete to fill the layer s contente with the foreground color You can also use any other tools to adjust the layer e g Gradation Paint Brush 10 Fill Choose Edit Transform Distort You can now drag each corner of the box individually to reshape the shadow to lay on the ground at an angle that corresponds to other shadows in the image Hit Keturn to exit the transform function 70 08 03 O E B Photoshop Manual Adjust the transparency of the shadow layer and or paint on the layer to modify the quality of the shadow if desired Drag the Shadow layer below the entourage element s layer Link the two layers together so that they will move together or merge them to make a single layer Putting an Element Behind a Portion of a Structure At times you want to put something e g person behind a column or wall that is within the overall structure Once the element has been located scaled and colored it will cover the portion of the structure it should be behind e g a wall The assump tion is that the element is composed of multiple layers e g Lines and Color Create a new Layer Set name it appropriately and place all entourage element layers within the set Note Refer to the Photoshop Manual section named
297. ter the desired Height and Width choose the units e g pixels inch and enter a desired resolution After the crop boundary has been drawn and accepted Photoshop will crop the image and resample the data to produce the specified resolution Enter the desired Height and Width and leave the resolution blank After the crop boundary has been drawn and accepted Photo shop will crop the image and adjust the density frequency of the data to fill the image For example if the dimensions of the crop boundary are larger than the original image the data will be spread over the larger area resulting in a lower resolution Front Image Loads the size and resolution information form an im age that has just been cropped so that the next image can be cropped to the same size and resolution Both images must be open After cropping the first and pressing the Front Image but EHE B Photoshop Manual 08 03 23 ton make the second image active draw its crop boundary and press Return Enter Clear Clears Width Height and Resolution entries Shield Controls Shield cropped area Color and Opacity options control the presence and representation of the crop shield a translucent color that is placed over the area outside the crop boundary Ferspective Select this option to make the crop boundary handles move independently of each other Delete or Hide You can choose to permanently delete or temporarily hide the cropped portion of the image C
298. ters and Hide Controls Click OK and click on an existing mesh to enter editing mode All editing moves are relative to the active reference plane or perpendicular to it if the Ferpendicular Switch is selected Click on a Point or Length or Depth Segment Move the mouse to transform the mesh Click to anchor the transformation Double click in the window to end editing Press Control Control Alt to select a complete length or depth control line Press Shift to select a length control line Once selected it can be edited like a c curve Double click to exit line editing Press Option Control Shift to select the mesh net This moves all but end points Control editing can also be accomplished with the Edit Controls tool Select the Edit Controls tool Spacebar Commana click on the c mesh object to enter editing mode and proceed as described above 108 08 03 Form Z Manual Curved Plane Example Problem Create a three dimensionally undulating plane based on a sketch Summary Create a drawing with heights noted Create cones based on an underlay that define points in space Trace the points in space to create source shapes Use the C Mesh tool to derive the planes Underlay Create an orthographic drawing plan or elevation that contains the three dimensional information Two dimensions will be contained in the drawing and the third dimension will be noted relative to points lo cated by the drawing Refer to th
299. text you want to modify Use the Character panel or the Control Fallette to set the attri butes of the selected text e g Font Size Leading Align etc Note You must hit Return before leaving a panel for entered changes to be applied When the paragraph looks like you want it to look choose Redefine from the Faragraph Styles pull down menu The style will be redefined and all paragraphs assigned the style will change to exhibit the etyle e new specifications Kerning Range kerning adjusts the spacing of all letters Kern pairs by clicking between two letters and entering a value in the kerning field Importing Styles You can import styles that you have created in other InDesign files Click on the Paragraph Styles panel and choose Load Faragraph Styles from the pull down menu Navigate to find the InDesign document whose styles you want to import Click Open The styles will load and appear in the panel Note If you copy an object or text with a style and paste it into a new InDesign document the styles appear automatically in the second document InDesign Manual LE ooo 01 control panel pdf 01 control panel pdf 5 02 toolbar pdf 02 toolbar pdf 04 strokes pdf 5 6 03 palettes pdf 5 9 9 05 color pdf InDesign Manual 08 04 17 IMAGES Importing Images amp Graphics Choose File gt Place to begin the process Select the file and click Open or double click on the file name
300. the Move tool Click on the object to select it and set its reference point Move the mouse to create a copy Click to locate a copy Move the mouse to create another copy Click to locate the copy Continue until all desired copies have been located Move the mouse and double click to end the operation Repeat Copy Set the appropriate reference plane Set the Topological Level to Object Set the Self Copy mode to Repeat Copy Choose the Move tool Click on the object to select it and set its reference point Move the mouse to create a copy Click to locate a copy Move the mouse and click again anywhere in the window to locate another copy The relationship between the original and first copy will be repeat ed between successive copies Continue clicking anywhere within the window until all desired copies have been made Double click to end the operation Copy Options O Return To Self After Copy Multi Copy 9 Even Increment O Divide Distance Rio Ano ig Ang Of Copies 6 i Form Z Manual 08 03 73 Multi Copy Set the appropriate reference plane Set the Topological Level to Object Set the Self Copy mode to Multi Copy Double click on the Multi Copy mode and set its options or set them in the Copy Options tab in the transformation tool Even Increment Choose the Move tool Click on the object to select it and set its reference point Move the mouse to create a copy C
301. the Width and Height of the printable area of the paper For a letter size sheet of paper being printed on an inkjet printer the printable area can be assumed to be 8 by 10 Enter the dimensions to create a horizontal landscape or vertical portrait orientation Enter the desired resolution The default is 72 dpi which will show jaggies in RenderZone display Use 150 dpi as a standard Go higher only if the image will be enlarged Close the Image Options dialog box The active area of the Graphics Window will match the proportions that you have entered e g 8 to 10 If you are printing a perspective view choose the view from the Views Palette again If you are printing an orthographic or axonometric view you might choose Fit at this time Do not do this for perspective views You may have to turn off selected layere to allow the desired ele mente to fill the window Ae an alternative use the Zoom In By Frame tool to fill the window Turn on desired model layers and appropriate lights Choose the Display Mode e g Display gt RenderZone to render the image Choose File Flot Print Setup Scale To Fit Media Check Scale To Fit Media Plot Print Type Choose Window Contents Justification As desired Other Parameters As desired Fage Setup Choose Fage Setup and set the appropriate page size and orientation e g Letter amp Portrait Page Preview Click on Fage Preview to check your decisions Choose Print from
302. the object color directly The Swatchee panel etoree the colore that you develop for a proj ect To place a color in the Swatches panel specify the color and then click on the Ada To Swatches pull down The color may also be dragged into the swatches panel To apply a saved color to an object select an object and click on the desired color in the swatches panel The icon in the top left corner will determine whether color is applied to the stroke or fill of the object Reduce the size of the names in the Swatches Fanel using the pull down gt small name for managing long lists The Stroke panel adjusts the bounding line around an object Thick ness color joining alignment ends and dashes can be adjusted here for the desired effect Object Stacking Objects are stacked on the active or default layer in the same order that they are created This is apparent if the objects overlap as they are drawn To change the stacking order use the Object Menu gt Arrange gt Bring To Front Bring Forward Send Backward or Send to Back commands 08 04 Bl graphics a Bl images InDesign Manual Layers Panel Settings for the layers panel Eye Makes a layer visible or invisible Lock Locks and unlocks layers Fen Identifies the active drawing layer The layer containing a selected object is highlighted The object will highlight in the specified layer color To move an object to anot
303. the preview window will be dimmed Set the Axis Plane to Z XY Hold down the Option Control Shift and click on the edges of a face you want to make part of the texture group The face will be shown in Black and the mapping coordinates will be placed orthog onal to the plane Note The first edge picked will be parallel to the X axis When using Click Inside the edge closest to the click will be parallel to the X axis Note Holding down the Option Control Shift key s is not necessary if the planes are orthogonal Set the Mapping Type under Wrapped Textures to Flat and the XY grid will be placed on the face Make any adjustments to the Size of the tile and the location and ori entation of the grid The location and orientation can be accom plished graphically by clicking and dragging the axis The icon that appears indicates the kind of adjusted Check the affect of the changes by choosing Wire Frame Tiled or Rendered from the icon in the lower right corner of the preview window Form Z Manual 08 03 139 Texture Map Controls Wrapped Textures Mapping Type O Flip Horizontal Tiling tad Vertical Tiling sums ze 12 0 size 9 0 les 2 667 Tiles 4 81 Center O Mirror Center J Mirror i7 T T Sene 4 Show Object M Snap v Show Mapping Type dAutoPreview Solid Textures Size Axis Plane i ELE j Texture Groups M MM
304. the profiles palette This palette contains the default profiles The one highlighted is the one that will control the shape of the movement Select the desired profile and double click on the Move Mesh tool to open its options dialog box as illustrated Ferp To Base Foint This option will deform the mesh perpendicular to the plane containing the mesh There are three Movement Shapes From Fath requires you to first click on the mesh and then the path before moving the mesh Linear and From Fath options always move perpendicular to the reference plane You may make successive movements to the same plane You can move the mesh on the surface of a 3D Object Note When using Relative To Reference Plane and the ZX plane the ZX Reference Plane must intersect with the meshed surface by moving the ZX plane This is a bug Define Profiles Profiles are 2D open objects You can draw any 2D open object and define it as a profile with the Define profiles tool located to the left of the Move Mesh tool Profiles can be edited or deleted by clicking on them in the Profile palette while holding down the Option Control Shift keys This opens a dialog box Experiment with creating editing and deleting profiles Disturbances The Disturb tool is used to generate random and regular disturbances on meshed surfaces and objects Select and double click on the Dis turb tool to open its options dialog box Mesh a surface Random disturbances gener
305. their parameters e g a cube can be made taller by clicking and dragging its vertical arrow Parametric objects can also be modified by editing their surfaces Parametric objects are approximated by edges iso lines and facets in order to be displayed and viewed Analytic Primitives spheres cylinders cubes and cones are the ba sic parametric primitives Parametric objects also include parametric splines control curves c curves parametric derivatives controlled meshes c meshes nurbz patches controlled rounding smooth meshing metaformz and text Converting Objects Farametric objects can be converted to plain smooth objects or plain facetted objects Plain smooth objects can be converted into plain facetted objects You cannot convert objects in the other direc tion they can only get simpler Objects can be converted with the Convert Object tool Select the tool and click on the object Ite current status will be identified at the top of the dialog box and the conversion choices will be located at the bottom Select the desired Object and Model type and click OK The object will be converted You can also edit an object with the Query tool Form Z Manual 08 03 35 Drawing Objects The basic objects that form Z creates are 2D Surfaces 2D En closures 5D Extrusions 3D Convergences D Enclosures and 34D Analytic Primitives Talk To Yourself A good way to clarify what you want to draw and the settings needed to
306. tings Higher resolution images can accept higher levels of sharpening Click OK and save the file under a new name Suggested Starting Settings For Architectural Images Amount 100 Radius 1 Threshold 10 34 08 03 O E B Photoshop Manual MM E Photoshop Manual 08 03 35 FILLS amp ACTIONS Gradient Fills Apply gradient fills through a series of transparent layers This colorist approach of mixing many layers of various hues can produce a richness of hue and suggestion of the subtle variation in light and color that we experience in the visual world Gradient Tools There are five Gradient tools available in the Options palette The ones that we will use include Linear Shades from a starting point to the ending point in a straight line This is the most useful of the gradient tools Radial Shades from a starting point to the ending point in a circular pattern Angle Shades in a counterclockwise sweep around a starting point This supports the shading of cones Reflected Shades using symmetric linear gradients on either side of a starting point This supports the shading of cylinders Basic Process Activate a Layer and load or create a new selection as desired Choose the Gradient tool e g Linear Gradation Set the Mode e g Normal Set the Opacity e 9 20 Opacity controls how much of the blend color is put down each time The lower the setting the more passes it will take to build up the final
307. to something relatively small e g 1 Set the nudge distance under Translate By Value in the Pick Options dialog box Construct the required sources in exact relationship to the Faths Sources with different shapes will be blended together Foints on the sources must lay directly over corresponding points on the paths Use Object Snap to help in the construction These matching points are the anchor points for the paths and sources Note Anchor pointe are made visible by checking Show Points in the Wire Frame display options dialog box Adjust the number of points between corresponding portions of the paths and sources as needed Do this only if the form resulting from the form Z generated points does not work as expected or desired Set the Skin tool options Choose Facetted Choose Triangulate if you anticipate doing any derivative or boolean Operations Enter the number of Sources 1 minimum and Faths 3 minimum Choose Centroid or Boundary Based Centroid Based is better for freeform curved shapes Boundary Based is better for geomet rically regular and angular shapes Choose Current Position If you use object snap to place source points over path points the default setting should work Aajust the Tolerance if the tool will not work because of point placement Status of Objects Ghost Close the dialog box Follow the directions in the prompts palette The skin will be gen erated Form Z Manual 08 03 103
308. tool You can now click or click and drag to zoom in on objects Add the Opt Alt key to zoom out from objects Units Rulers Grid Guides amp Snaps Units rulers guides grids and snaps are used to support precision and consistency in drawing and page layout Units The default Units are set in the InDesign Units preferences Rulers Choose View gt Show Rulers or Command R to view or hide rulers You can drag the zero point marker from the upper left corner of the Document window to a new location on the pasteboara Double click the zero point to reset the page rulers Grid Choose View gt Document Grid to show or hide the grid The grids are set in the InDesign Grids preferences Choose View gt Snap to Grid to set the snap function A check mark is present when snapping is active Guides Choose View gt Show Guides to show or hide the guides Drag guides from the top or side rulers onto a page Drag a guide back to a ruler to delete it Choose View gt Snap to Guides to set the snap function A check mark is present when snapping is active Note Double click on a ruler for an exact location guide Guides can be selected moved and copied with the selection tool Guides can be locked via the view menu to prevent accidental editing EH BT Tint 100 gt Y None L Paper B o E Registration ll c 100 m o y 0 k 0 Bl c 0 m 100 y 0 k 0 E c 0 m o Y 100 k o Bl c 75 m s y 100 k 0
309. tool that can be used for facet ted smooth and parametric objects It also is a source of information about any object With the topological level set to object click on the object with the Query tool to open the Query Object dialog box Click Edit at the top right of the Query Object dialog box to open the object s Options dialog box as shown below From the Extrusion tab you can click on Source Options to open the object s Editing dialog shown bottom right OR From the Query Object dialog box click on Query Attributes at the bottom left of the box and make changes as desired From the Query Attributes dialog box you can click on Display Resolu tion to edit an object s resolution This will only be available if the object is a smooth object because you cannot edit the resolution of a facetted object Click OK to exit all dialog boxes after desired changes have been made Notes Hit the tab key to see changes after a text entry has been made When editing a size parameter the lock option forces all dimensions to change at the same time Extrusion Convergence Options O Simple O Detailed Edges And Iso Lines A Iso Line Density Medium E irPoint Densiy O Of Segments 4 Max Normal Deviation 10 O Max Edge Length 2 0 3 Facets amp Max Of Facets Length 24 Depth 24 IV
310. ts Form Z objects can be edited by moving their constituent parts e g faces The way objects can be transformed is dependent on the ob ject type plain or parametric and model type facetted or smooth Editing Plain Facetted Objects Once constructed the elements of plain facetted objects can be moved using the Translate Move tool and the appropriate Topologi cal Level Smooth objects can be converted facetted objects using the Convert tool Topological Level The Topological Level modifier palette controls the aspect of an object an operation will affect For example if Foint is chosen then only a point vertex will be selected and moved Active Reference Plane All movement is parallel to the active refer ence plane unless the Ferpendicular Switch is selected in which case the object will move perpendicular to the active reference plane Grid Snap It is usually desirable to turn on the Grid Snap Move A Face Segment Point or Hole Select Face Segment Point or Hole as the Topological Level modifier Select Self as the Self Copy modifier Note you can move copies of holes Select the Move tool Click to select the Face Segment Point or Hole Move the mouse to move the element Click the mouse to accept the move 42 08 03 Form Z Manual Bn Editing Plain Smooth Objects Directly generated and derivative smooth objects can be edited with the Edit Controls tool located to the right of the Pick tool C
311. ts 24 Grid Snap gt On Ortho Snap gt On Set Heights to desired negative dimension e g 6 Click at O O O Move the mouse along the plus X axis Enter the desired radius e g 64 in the Prompts palette and hit Return Convert it to a Plain Object with the Convert tool Click on it with the Query tool Choose Query Attributes and uncheck Casts Shadows Context Create a new layer and name it Context Make it Active check Choose the 3D Extrusion Object Modifier Choose the Circle Center amp Radius tool Options Facetted Display Resolution Detailed Point Density Of Segments 24 Grid Snap gt On Ortho Snap gt On Set Heights to desired negative dimension e g O Click at O O O Move the mouse along the plus X axis Enter the desired radius e g 300 in the Prompts palette and hit Return Convert it to a Plain Object with the Convert tool Click on it with the Query tool Choose Query Attributes and uncheck Casts Shadows Difference Choose the Boolean Difference tool Click on the Context and then the Site Make the Context layer invisible and Lock it Choose the Unghost tool Click on the ghosted Site object Note Once they are completed keep the Context and Site locked and turned off until needed for printing or display 66 08 03 Form Z Manual Form Z Manual 08 03 67 nnn 2D CONSTRUCTION STRATEGIES The goal is to start with 2D open wires and through a series of steps
312. tware between quarters It is a good idea to replace your system file periodically It can become corrupted and be the cause of all kinds of problems Do this between quarters When you replace the system do a clean install which means that the entire system is replaced not just updated By doing a clean install you will be sure that there are no lingering problems Once you have installed your system and software it is a good idea to copy the setup onto an external hard disk This backup of your system and software can be copied onto your internal hard drive as a quick way to start over fresh House Cleaning Your working environment can very quickly become clut tered with old files and unused applications It is a good idea to clean and organize after each project is com pleted Decide which files should be kept to document the final solution and delete the rest Rename and organize the files that should be kept and back them up on Zip disks for storage It is much easier to make these decisions while the project is fresh in your mind Do not clutter your environment with applications and games that you do not use They take up space and add to the complexity of your environment Remove anything that is not used regularly 10 08 03 Digital Tools For Architecture Extra Software The more software you install the greater the chance of some incompatibility occurring Don t add software just because it exists or sounds
313. uble click on its name to make it appear in the Underlay dialog box Click OK to close the Underlay dialog box To see the underlay you must not choose an orthographic view e g choose View Top If you want to move the location of the file relative to the grid you must choose Windows Underlay and change the O O coor dinates to affect the desired move Form Z Manual 08 03 29 Tracing Underlays At Different Levels If you want to trace an underlay in projection view and have the ele ments be created on a plane other than the world XY plane you must define and use an arbitrary plane and not just move a standard plane vertically The problem is to create arbitrary planes at different levels that are in registration with each other The solution is to create rectangular volumes and use them to define the location of the arbitrary planes Process Create a temporary rectangular object that is square with the grid whose top is at the appropriate level and whose Southwest lower left corner is at the O O point of the world axis This is important if you want the OO point of the arbitrary plane and the world axis to coincide to maintain the relationship between the different planes Set the topological level to point Select the Define Arbitrary plane tool from the window tools Click points to create the plane Save and name the plane e 9 PlusEight To use the arbitrary plane with an underlay Choose the arbitrary pla
314. ution 142 08 03 Form Z Manual Reflection Transparency amp Bump Maps Duplicate the first texture map object three times Create the styles defined below and apply them to the corresponding face of each object Inspect the results These can be combined in any combination Reflection Map Style Color Plain Color Any plain color but white 50 100 100 Reflection Matte Click on Options and load the same picture for Ambient Reflection and Glow Set Repetitions to 1 Times and Center for both Horizontally and Vertically Options Ambient Map and Factor to 50 Options Glow Map and Factor to 50 Transparency None Bump None Apply the style to its surface and texture map it in the same manner described for the Color Map Transparency Map Style Color Plain Color Any plain color but white 50 100 100 Reflection Matte Transparency Transparency Map Click on Options and load the same picture and Set Repetitions to 1 Times and Center for both Horizontally and Vertically Bump None Apply the style to its surface and texture map it in the same manner described for the Color Map Bump Map Style Color Plain Color Any plain color but white 50 100 100 Reflection Matte Transparency None Bump Bump Map Click on Options and load the same picture and Set Repetitions to 1 Times and Center for both Horizontally and Vertically Options Amplitude to 50 A negative goes in Apply the styl
315. ved This is a good choice for examining the form of the model during construction Note Check Transparencies to render traneparent objecte transparent Render Command Control J Options J RenderZone RenderZone is a raster display mode and the only mode besides RadioZity that can represent materials lighting reflection transpar ency etc To display and render shadows in RenderZone Shadows must be checked in RenderZone options and in Lights Options for applicable lights RenderZone rendering takes a long time To be able to define a portion of the window to be rendered open the Rendering options for Render Zone and check Set Image Size When you ask for RenderZone display you will be presented with a paint brush that can be used to define a rectangle of space within the graphics window to be rendered Pressing the ESC key will stop the rendering at any time Note Setting Rendering Type to Flat produces the fastest rendering method Note If RenderZone will not render because of lack of memory set the Smooth Objects option for RenderZone to Use Smooth Shading Render Command Control K Options K Form Z Manual 08 03 47 nan CREATING VIEWS Creating Perspective Views The following is the general recommended process for creating any perspective view Assume starting from the standard 30 60 Axonometric view Choose Views gt Edit Cone of Vision to open the Cone of Vision window
316. window to see them Click on the Disk icon to open the Save dialog box The final scan will be made and appear in Photoshop Choose File gt Save As in Photoshop give the file a name choose a format e g TIFF or Photoshop and save it to the User Files partition on your local hara drive Note The TIFF tif format works on both platforms and is sup ported by most image editing and page layout programs At this point you can proceed to edit the image or to make another scan Close the file and click on the HP PrecisionScan Pro window to make the next scan Quit the HP PrecisionScan Pro application when you are finished Open the files and edit them as desired Note If an image has been scanned by another program it may be necessary to open Photoshop first and then use File gt Open to open the file from within Photoshop EHE B Photoshop Manual 08 03 21 Reducing Moire Patterns When images are scanned from printed materials it is possible to create Moire patterns because of the interaction of the pattern of dots used to create the print and the pattern of data points created in the scan Three ways to solve the problem are described below Try them in the order they are presented Despeckle Choose Filter gt Noise gt Despeckle This will solve the problem about 70 of the time If it doesn t work choose Undo and try the next alternative Gaussian Blur This filter averages the colors of adjacent pixels to redu
317. x will reopen Sweeps Along Faces Draw the 2 or 3D closed object and the source shape or shapes Select the pick tool and in its pick options select Clicking Inside Boundaries Set Topological level to Face Open the Sweep dialog box and choose Axial Sweep Make sure that the scale is set to 1 0 in both X and Y fields under Source Shape Select the Sweep tool and click on the source shape and click within the desired face Move rotate scale etc the source shape as needed within the Sweep Edit window Unghost the elements as desired Note The Status of Objects can be set to Keep to eliminate the need to unghost the elements Click OK and render Repeat for other sources and or edit the sweep as required To edit the swept object click on it again with the Sweep tool 86 08 03 Form Z Manual Two Source Sweep Draw two different 2D objects and a path Open the Sweep dialog box and choose Two Source Sweep Click OK Follow directions in the Prompts palette To edit the swept object click on it again with the Sweep tool Two Path Sweep Draw a 2D object and two paths The paths should be drawn with the same direction Open the Sweep dialog box and choose Two Path Sweep Click OK Follow directions in the Prompts palette To edit the swept object click on it again with the Sweep tool Boundary Sweep Use only open source shapes They must contain a minimum of two segments and may not produce an object that
318. xample put a gradation on the ground plane Refer to the Photoshop Manual chapter named Fills amp Actions 54 08 03 O E B Photoshop Manual Choose Black as the foreground color set the tool s Mode to Multiply or Screen and the Opacity to a low value e g 10 to 20 Build up changes slowly The adding of values can be done on a layer above the structure layer Create a new layer and name it Values Make it active Set the Magic Wand to Use All Layers when selecting with the Value layer active Set the Mode of the Value layer to Multiply Adding Entourage Elements Before bringing in entourage elements it is advisable to locate the Horizon Line in the image Determine the eye height in the image e g and drag in a guideline to mark the Horizon Line This is the line on which people s eyes will be located Note You must make the Rulers visible to create guidelines The assumption is that you have prepared the entourage elements at an appropriate resolution and deleted their surrounds Open the entourage element file Size the entourage element window and place it so that both windows can be seen as required Choose the move tool With the entourage element window active click and drag the entou rage image over the rendering file and release when a box appears A new layer will be created that contains the entourage element The layer s name will be the same as it was in the original file Re name the layer i

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