Ms Tutorialworkbook v7 1

MicroStation/JTM
Tutorial Workbook
DAA004490-1/0004
Trademarks
AccuDraw, Bentley, the “B” Bentley logo, MDL, MicroStation, MicroStation
Modeler, MicroStation PowerDraft, MicroStation Review, MicroStation Vault,
QuickVision, SmartLine and TeamMate are registered trademarks of Bentley
Systems, Incorporated. MicroStation/J, MicroStation MasterPiece,
MicroStation SE and PowerScope are trademarks of Bentley Systems,
Incorporated.
Bentley SELECT is a service mark of Bentley Systems, Incorporated.
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Windows is a registered trademark and Win32s is a trademark of Microsoft

Corporation.
Other brands and product names are the trademarks of their respective owners.
Copyrights
1998 Bentley Systems, Incorporated.
MicroStation® 95 1995 Bentley Systems, Incorporated.
©1997 HMR Inc. All rights reserved.
MicroStation Image Manager ©1997 HMR Inc.
©1996 LCS/Telegraphics.
Portions of QuickVision are ©1993-1995 Criterion Software Ltd. and its licensors.
Portions of QuickVision were developed by the CAD Perfect Development

Laboratory.
Portions 1992-1997 Spotlight Graphics, Inc.
IGDS file formats 1987-1994 Intergraph Corporation.
Intergraph Raster File Formats 1994 Intergraph Corporation Used with

permission.
Portions 1992-1994 Summit Software Company.
Unpublished – rights reserved under the copyright laws of the United States and
other countries.
All rights reserved.
MicroStation/J Tutorial Workbook iii

iv MicroStation/J Tutorial Workbook
Table of Contents
1. Your First MicroStation Session

Tutorial Prerequisites _____________________________________1-1
MicroStation Basics _______________________________________1-2
Using the Mouse _______________________________________ 1-2
Screen Layout __________________________________________ 1-3
Window Controls _______________________________________ 1-3
Window Navigation _____________________________________ 1-4
Using Dialog Boxes and Settings Boxes ____________________ 1-5
Menus in dialog boxes and settings boxes __________________ 1-6
Controls _______________________________________________ 1-6
Exercise: Starting MicroStation ____________________________ 1-8
Exercise: Using a drawing tool____________________________ 1-10
Exercise: Placing line strings and circles____________________ 1-13
Exercise: Placing text____________________________________ 1-15
Exercise: Getting help ___________________________________ 1-16
Exercise: Deleting elements ______________________________ 1-18
Exercise: Using key-ins __________________________________ 1-19
Exercise: Saving a design file _____________________________ 1-21
Exercise: Ending the session _____________________________ 1-22
2. MicroStation Fundamentals
Exercise: Backing up a design file_________________________ 2-1
Exercise: Fitting the active design _________________________ 2-3
Exercise: “Windowing” areas of the design _________________ 2-4
Exercise: Zooming and panning __________________________ 2-6
Exercise: Interrupting a drawing tool to use a view control ___ 2-8
3. AccuDraw and Other Drafting Aids

Exercise: Use AccuDraw’s input focus _____________________ 3-2
Exercise: Use AccuDraw to develop a compass _____________ 3-4
4. Modifying a Design
Exercise: Modifying a design using multi-lines and a
custom line style____________________________________ 4-1
MicroStation/J Tutorial Workbook v

Table of Contents: Working with Cells
5. Working with Cells

Exercise: Working with Cells and Cell Libraries ______________5-1
6. Working With Reference Files

Exercise: Attaching, scaling, and moving a reference file ______6-2
Exercise: “Referencing” design changes_____________________6-5
7. Working in 3D
Prerequisites ____________________________________________ 7-1
Getting started in 3D _____________________________________ 7-2
Using AccuDraw in 3D design_____________________________ 7-8
Fixing the AccuDraw drawing plane _______________________7-8
AccuDraw Shortcuts _____________________________________7-10
Setting the Active Depth and the Display Depth______________ 7-14
Setting the Active Depth _________________________________7-14
Setting the Display Depth ________________________________7-18
Viewing a 3D design _____________________________________ 7-20
Display Depth __________________________________________7-21
Introduction to 3D modeling tools _________________________ 7-25
Creating more complex models____________________________ 7-50
Exercise: A 3D Project: Creating An Office Building __________7-73
Creating the building’s structure ___________________________ 7-74
Render the work in progress ______________________________ 7-97
Adding a staircase to the design ___________________________ 7-98
Creating the window walls________________________________ 7-124
Assessing your project results _____________________________7-133
8. Element Tags
Exercise: Attaching, reviewing, and editing tags______________8-2
Exercise: Creating a new tag set ___________________________8-4
Exercise: Selecting Tagged Elements _______________________8-6
Exercise: Reporting on tag data ___________________________8-8
vi MicroStation/J Tutorial Workbook

Table of Contents: Labeling a Design
9. Labeling a Design
Exercise: Dimensioning the exterior of a building ___________ 9-2
Exercise: Placing typical dimensions _______________________ 9-9
Exercise: Dimensioning the interior of a building ____________ 9-12
Exercise: Adding notes __________________________________ 9-17
Exercise: Using cells for labeling purposes _________________ 9-23
10.Automating Drawing Production

Exercise: Create the Drawing Components _________________ 10-1
Exercise: Compose the Drawing Sheet _____________________ 10-2
Exercise: Annotating the drawing _________________________ 10-8
Exercise: Modifying the drawing through the Sheet View _____ 10-9
Exercise: Manipulating the sheet view’s components _________ 10-10
11.Settings Groups and Custom Line Styles

Exercise: Creating a settings file and settings groups _________ 11-2
Exercise: Defining a Linear component with a standard line style11-3
Exercise: Defining a Linear component with a custom line style 11-5
Exercise: Defining other types of components ______________ 11-9
12.Lighting for Rendered Images

Introduction_____________________________________________12-1
Using Global Lighting ____________________________________12-1
Solar Lighting and Added Sky Light _______________________ 12-7
Creating a Lighting Setup with Source Lighting _______________12-11
Area Light Sources _______________________________________12-23
Using Multiple Lighting Setups _____________________________12-28
Attenuating Light Sources _________________________________12-31
13.Creating and Applying Material Definitions

Introduction_____________________________________________13-1
Defining Materials________________________________________13-2
Using Existing Material Definitions__________________________13-14
Multi-level Texture Interpolation ___________________________13-21
Procedural Textures ______________________________________13-22
MicroStation/J Tutorial Workbook vii

Table of Contents: Introduction to Radiosity Solving
14.Introduction to Radiosity Solving

Introduction ____________________________________________ 14-1
Radiosity and Ray Tracing ________________________________ 14-1
Working units __________________________________________14-3
Element and patch area __________________________________14-6
Maximum Element Subdivisions ___________________________14-8
Reflected light and patches _______________________________14-10
Samples per shot________________________________________14-14
Stopping Conditions _____________________________________ 14-15
Ray tracing with a radiosity solution _______________________14-18
Luminance and Illuminance ______________________________14-20
Querying the radiosity solution____________________________14-21
15.Animation Basics
Introduction ____________________________________________ 15-1
Creating Actors__________________________________________ 15-3
Manipulating Actors _____________________________________ 15-7
Hierarchical Motion ______________________________________ 15-9
Scripting Actors _________________________________________ 15-12
Editing a script _________________________________________15-15
Keyframe Animation _____________________________________ 15-16
Scripting keyframes _____________________________________15-17
Defining a Parameter ____________________________________ 15-19
Saving and Recording a Script _____________________________ 15-22
16.Animation Exercises and Examples

Introduction ____________________________________________ 16-1
Keyframe Velocity _______________________________________ 16-1
Keyframe Velocity and Deformation ________________________ 16-2
Previewing keyframes ___________________________________16-3
Further example ________________________________________16-6
Simple gears ___________________________________________16-8
Planetary gears _________________________________________16-12
Universal joint __________________________________________16-16
viii MicroStation/J Tutorial Workbook

Table of Contents: Tree View / Timeline Tutorial
Path Control and Camera Movement ________________________16-18

Defining paths _________________________________________ 16-18
Scripting cameras _______________________________________ 16-23
Target cells ____________________________________________ 16-27
Further examples _______________________________________ 16-27
Animating Materials and Lights _____________________________16-30
Scripting source lighting _________________________________ 16-34
Scripting materials ______________________________________ 16-35
Scripting an “animated” material __________________________ 16-38
Further example ________________________________________ 16-39
17.Tree View / Timeline Tutorial

Introduction_____________________________________________17-1
MicroStation/J Tutorial Workbook ix

x MicroStation/J Tutorial Workbook
Part I: MicroStation’s
Fundamental Tutorials
1 Your First MicroStation Session
This tutorial shows you how to start MicroStation and perform
some of its most basic operations. This chapter gets you into and
out of a MicroStation session.
This tutorial is structured as a series of exercises that are meant to

be performed consecutively. You will learn about:
• MicroStation Basics
• Starting MicroStation
• Using a drawing tool
• Placing line strings and circles
• Placing text
• Getting help
• Deleting elements
• Using key-ins
• Saving a design file
• Ending the session
Tutorial Prerequisites
This document assumes that you can do the following:
• Set up and start your computer system.
• Use the basic system commands to edit, copy, rename, and
delete files and directories.
• Use the basic features of Microsoft Windows (if applicable).
• Recognize fundamental MicroStation procedures and
terminology presented in “Getting Started” in Chapter 2 in the
Setup Guide.
• Use MicroStation’s On-line Help system to find additional
information on any term or procedure described.
✍ Before you work through this tutorial, you should register your
license. If you have not completed that process, you can still use
MicroStation, but upon starting your session you will have to click
the Bypass button in the License Information dialog box and wait
30 seconds.
MicroStation/J Tutorial Workbook 1-1

MicroStation Basics
✍ You must have the “Visualization and Learning tutorials” module

enabled during MicroStation installation in order to include the
tutorial dgn files in the delivery.
MicroStation Basics
Before you begin the exercises, you should review the following
information to familiarize yourself with the options and terms
used within MicroStation. For more details on the basics of
MicroStation, see “Getting Started” in Chapter 2 in the Setup
Guide.
Using the Mouse

The default mouse button assignments are as follows:
MicroStation button Invoked by

Data Left button
Tentative Left button-Right button chord
Reset Right button
Command Not available
Cursor 1 / 3D Data <Alt>-Left button
Cursor 2 / 3D Tentative <Alt>-Left button-Right button chord
Cursor 3-12 Not available
The defaults are appropriate for a two-button mouse. If you are

using a three-button mouse, you should change Tentative to use a
single button (rather than the two-button chord) for faster
operation.
1-2 MicroStation/J Tutorial Workbook

MicroStation Basics
Screen Layout
The application window is arranged by default as follows:
1
Menu bar
Your First MicroStation Session

Primary tool bar
Standard tool bar
Main tool bar
View window (1 of 8)
Tool Settings window
Status bar
Window Controls
MicroStation windows have a control menu that opens when you
press on the window menu button at the far left of the title bar.
The complete set of options is only available from a view
window. In other windows or dialog boxes there is a smaller set
of options.
All standard Windows items are listed in the control menu. Items
not available in MicroStation are grayed out and cannot be
chosen.

MicroStation Basics
Window Navigation
Views, tool boxes, dialog boxes, and settings boxes are displayed
graphically in windows. Windows contain controls that can be
operated graphically, by clicking or dragging, and controls that
can be operated or take input from the keyboard.
Primary and
Standard tool bars,
View window, Tool
Settings window
Design File Settings box
The window in which a keystroke will have an effect is said to

have the input focus. The title bar of the window that has the
input focus is highlighted. One way to give a window the input
focus is to click in the window.
You can also use the keyboard to move the input focus from one
window to another.

MicroStation Basics
Use these keys to “navigate” between windows:
1
Key Function
<Εsc> Moves input focus upward through the following window hierarchy:
• Primary tool bar

• Key-in window
• Tool Settings window
• AccuDraw window
If a window is closed, its level in the hierarchy is skipped. However,
once the Key-in window receives the focus, pressing <Esc> does not
move the focus to another window.
<Shift-Esc> Moves input focus downward through the window hierarchy. If a
window is closed, its level in the hierarchy is skipped.
<F6> or Moves input focus from one settings box (or the Primary tool bar) to
<Alt-Tab> the next. (If using Microsoft Windows, use <F6> only.)
<Shift-F6> or Same as <F6> but moves through the windows in the reverse order.
<Alt-Shift-Tab> (If using Microsoft Windows, use <Shift-F6> only.)
When the Key-in window has the input focus, the cursor in
the key-in area blinks.
➤ To move the input focus from one window to another

◆ Click in the desired window.
or
Press <Alt-F6> until the desired window’s title bar is
highlighted.
Using Dialog Boxes and Settings Boxes

MicroStation has dialog boxes for a variety of operations,
including opening and saving different types of files. For
example, the Open Design File dialog box is used to open a
design file. The Save Plot As dialog box is used to name and save
a plotfile you are creating.
A settings box is a dialog box that can be left open on the screen
while you work. Other dialog boxes must be closed before you
can go on to something else. The controls in both work the same
way, so the term “dialog box” can generally be assumed to
include settings boxes.

MicroStation Basics
Menus in dialog boxes and settings boxes

Many dialog boxes have pull-down menus from which you can
choose functions appropriate for the operations performed with
the dialog boxes. Dialog boxes used to select files to open,
import, attach, display, or run contain File and Directory menus.
File menu in dialog boxes used to open files

From the File menu, you can choose from among the last four
files opened with the dialog box. For example, the File menu in
the Open Design File dialog box contains items for up to four of
the most recently opened design files. (These same files also are
listed in, and can be opened from, the File menu in the
MicroStation window.) The File menu in the Run User Command
dialog box contains up to the last four user commands run. If no
files of the appropriate type have been opened, the File menu
contains the item, No File History.
Directory menu in dialog boxes used to open files

From the Directory menu, you can choose Select Configuration
Variable (see Configuration Variables in the MicroStation
File menu in Open Design Administrator’s Guide), Current Work Directory, or one of the
File dialog box. numbered (1, 2, 3, and so on) directories.
The current work directory is the directory that was the current
directory when you started MicroStation. Some users segregate
their projects by directory and start MicroStation in a particular
directory to work on that project. Choosing Current Work
Directory from the File menu displays the files in the directory in
which MicroStation was started in the dialog box.
The numbered directories include the directory or directories

specified in the configuration variable used by the dialog box and
up to four of the last directories used by the dialog box in the
current session.
Controls
Dialog boxes have the following types of controls:
• Buttons are areas that you click to start an operation. A button,
usually labeled “OK,” must be clicked to start the open or save
operation and dismiss (close) the dialog box.
• Check boxes are areas that you click to turn a setting on or off.
When on, a check box is filled with an “x.”

MicroStation Basics
• A field is an area into which you can key in text or numbers. In

a “non-modal” settings box (one that can remain open while
1
you work), what you key in has no effect until you press <Tab>
or <Enter> or otherwise move the input focus out of the field.
• List boxes are rectangular areas in which files, directories, or

other items are listed for selection or reference. When an item is
selected, it is displayed as light text on a dark background.
• Option menus are menus that pop down when you press on
the currently chosen menu item text.
• Radio buttons are either round diamond-shaped controls that
let you turn on one of several mutually exclusive items, just as
the buttons on a car radio allows you to tune in only one
station at a time. When off, a radio button is light gray and
appears to project upwards. When on, the radio button is dark
and appears to be depressed.
✍ The shape of the button is dependent on the windowing system.

Within a Windows environment, the radio buttons will be round.
Within a Motif environment, the radio buttons will be diamond
shaped.
If a button in a dialog box is outlined, it is the default button;

pressing the <Enter> key on the keyboard is the equivalent of
clicking that button with the mouse. For example, the OK button
in the Open Design File dialog box is the default button, so you
can press <Enter> rather than clicking the OK button to open the
selected file. You can also double-click the desired file in the Files
list box to open it, rather than selecting the file in the Files list box
and then clicking the OK button.

MicroStation Basics
Exercise: Starting MicroStation

This exercise covers starting MicroStation and introduces you to
some basic fundamentals.
➤ Start MicroStation (Windows)

1. Open the MicroStation program group in the Windows
Program Manager.
2. Double-click the MicroStation icon in the MicroStation
program group.
When MicroStation starts, the MicroStation Manager dialog
box is displayed.
MicroStation Manager
dialog box
➤ Create a design file

1. Open MicroStation Manager’s File menu by pointing at File in
the menu bar and clicking the Mouse button.
If you are using The Data button is

Mouse The mouse button
Tablet cursor See “Using the Mouse or
Digitizing Tablet” in Chapter 2
in the Setup Guide
2. From the File menu, choose New by clicking that menu item.
To click an item in a menu or a button means to point at it
and click the Mouse button.

MicroStation Basics
The Create Design File dialog box opens.
1
Create Design File
dialog box
3. Type the name for your new design file, mydesign, in the
Name field.
4. Click the OK button.
The Create Design File dialog box closes, and the MicroStation
Manager dialog box displays “mydesign.dgn” in the Name
field. The file is also selected (highlighted) in the Files list box.
MicroStation Manager
dialog box
5. Click OK.
6. The MicroStation Manager dialog box closes and the design
file “mydesign.dgn” opens.

MicroStation Basics
Your screen should look something like this:
MicroStation’s screen when “mydesign.dgn” is opened.
Exercise: Using a drawing tool

A MicroStation design is composed of elements, such as lines,
ellipses, and arcs.
➤ Place a line element with the Place Line tool

1. Point at the Place SmartLine tool in the Main tool box and
press and hold down the Data button. (On the mouse, Data is
the left button.)
The Place SmartLine tool is highlighted and additional,
connected tools branch off from the Place SmartLine tool.
2. As you continue to hold down the Data button, drag the
pointer toward the center of view window 1.
As you drag, a rectangular outline of the additional tools is
displayed.
3. Release the Data button.
The rectangular outline becomes the Linear Elements tool box,
which contains Place SmartLine and several more tools. You

MicroStation Basics
have torn the Linear Elements tool box from the Main tool
box.
1
4. In the Linear Elements tool box, point at the Place Line tool
(next to the Place SmartLine tool) and click (press and
release) the Data button.

The Place Line tool is now selected. There are several visible
effects: the tool name is displayed in the status bar, and the
title bar of the Tool Settings window now reads “Place Line.”
In the Main tool box, Place Line replaces Place SmartLine.
When you move the pointer into view window 1, the pointer
changes from an arrow to a crosshair.
5. Press and hold down the Data button as you move the pointer
in view window 1.
The pointer assumes the shape of an X. As you drag the
pointer, the line you are placing is dynamically displayed as
though it were a rubber band attached to the pointer. This
effect is called dynamic update or rubberbanding.
6. Release the Data button to place the line. If the line appears
jagged, don’t worry. The screen may not have enough dots
(pixels) to display this particular line without “jaggies.” When
you plot the line (as in the illustration), it will be straight.
Dragging the pointer to

place a line.
The pointer locations where you pressed and released the Data
button are called data points. These data points, labeled 1 and 2
in the above illustration, specify the endpoints of the line.
The Place Line tool is still selected, as indicated in the status bar.
The tool is “locked.” You can place additional lines simply by
repeating steps 5 and 6 above. Experienced users like to lock
tools as a means of increasing efficiency. (You can select tools
without locking them by double-clicking them: pointing at them
and clicking the Data button twice in quick succession.)
Let’s get back to placing elements. When you enter a series of

data points, one after the other, you can press (and release) the

MicroStation Basics
Data button to enter each one. You may find this drawing method
easier than dragging.
➤ Place a line by pressing the Data button to enter each

data point instead of dragging
1. Press (and release) the Data button to enter a data point in
view window 1.
The line you are placing is dynamically displayed as you
move the pointer.
2. Enter a second data point in view window 1 and place the
line.
Placing a second line.
Surprise! A new line is dynamically displayed as you move the

crosshair pointer. The dynamic line extends from the end of
the line you just placed.
If you were to enter another data point now, you would have two
connected lines. (They would be separate elements, but have a
common endpoint.)
Let’s say you want to start a new line at another location.
➤ Place a new line at another location

1. Press the Reset button. (On the mouse, Reset is the right
button.)
This is called entering a Reset or Resetting.
2. Enter a data point in view window 1.
3. Enter a second data point and place the line.
The Place Line tool is like most element placement tools in that,
when you use it, you enter a series of two or more data points.
• For entering each data point, you can choose between dragging
and pressing the Data button, and these techniques can be used
in combination.
• You can Reset to start an element at a different location.

MicroStation Basics
Now that you have learned these techniques, place some more
lines for practice, and then continue with the next exercise.
1
Exercise: Placing line strings and circles

You have just seen how easy it is to place a series of connected
line elements (that is, line elements with common end points)
with the Place Line tool. It is preferable, though, to place
connected line segments as a single line string so they can be
directly manipulated (copied, moved, deleted, and so on) as a
group. The Place SmartLine tool is used to place a line string.
Placing a line string with Place SmartLine is much like placing a

series of connected line elements. As you might expect, a data
point defines each vertex (corner) of the line string. The
difference is that you Reset to signal MicroStation that you are
finished defining the vertices.
➤ Place a line string

1. In the Linear Elements tool box, point at the Place SmartLine
tool and click the Data button.
The Place SmartLine tool is selected. The prompt in the status
bar reads “Place SmartLine > Enter first vertex.”
2. Enter a data point (press and release the Data button) in view
window 1 to define a vertex.
The first segment of the line string is dynamically displayed as
you move the crosshair pointer.
3. Enter several more data points to define additional vertices.
Placing vertices with the

Place Stream Line String tool
(steps 2 and 3).
4. Reset (press the right mouse button).

The line string is placed.
The Place SmartLine tool is one of the few tools with which you
cannot Reset to start over at a different location. This is because a

MicroStation Basics
line string can have many segments, and Resetting is how you
indicate to MicroStation that the line string is complete.
➤ Place a circle by its center

1. In the Main tool box, select the Place Circle tool.
2. Check in the Tool Settings window, whose title bar now reads
“Place Circle,” to make sure Method is set to Center.
(If Method is set to Edge or Diameter, then set it to Center by
pointing at the Method option menu and clicking the Data
button and then clicking Center.)
The prompt in the status bar reads “Place Circle By Center >
Identify Center Point.”
3. Enter a data point in view window 1 to define the center of
the circle. The pointer changes to crosshairs.
The circle is dynamically displayed as you move the crosshair
pointer.
4. Enter a data point to define the edge of the circle and place
the circle.
Placing a circle by its center.
There are other ways to place a circle — by drawing from edge to

edge, for instance, as you will see in a moment. In fact, there is
more than one way to place most element types.
➤ Place a circle by its edge

1. In the Tool Settings window, set Method to Edge. Point at the
Method option menu and click the Data button, and then click
Edge.
The prompt in the status bar is “Place Circle By Edge >
Identify Point on Circle”
2. Enter a data point (press and release the Data button) in view
window 1 to define a point on the edge of the circle.

MicroStation Basics
3. Enter a data point to define another point on the edge of the

circle.
1
Small squares mark the locations of both edge points. A circle
passing through both points and the location of the pointer is
dynamically displayed.

4. Enter a data point to define a third point on the edge of the
circle and place the circle.
Placing a circle by its edge.
Place some more circles. Try both dragging and pressing for
entering data points. Because the Edge Method setting requires
three data points, you cannot drag to enter them all.
Exercise: Placing text

Text can be used to annotate and label a design, to show part
numbers, to indicate geometric tolerancing, to display data
associated with graphical elements, to include instructions or
explanations for other members of a workgroup, and to relate
other information that cannot conveniently be conveyed
graphically.
➤ Place a text element

1. In the Main tool box, select the Place Text tool (its icon is the
letter “A”).
The Text Editor window opens.
2. In the Text Editor window, type the text you want to place.

MicroStation Basics
3. Move the pointer to where you want to place the text in view
window 1.
The text in the Text Editor window displays dynamically as
you move the pointer. (The text may be too large to fit in view
window 1, but it will all be placed.)
4. Enter a data point (press and release the Data button) to place
the text.
Placing text (step 4).
5. After pressing the Data button, a copy of the text is still

displayed. Pressing the Reset button clears the text.
Exercise: Getting help

MicroStation has an extensive on-line help system that features
hypertext links between topics. The system can be set to
provide help on each tool you select. You can browse help
topics and search for topic names. You can also print individual
help articles.
➤ Browse help topics

1. In the Standard tool bar under the main menu bar, click the “?”
(Help) icon.
or
From the Help menu, select Contents.

MicroStation Basics
The Help window opens through your browser, and the Table
of Contents is displayed. The Help window is divided into two
1
frames. The left frame or Table of Contents frame displays the
list of available topics. The right frame or Document Body
frame displays the text associated with the currently selected
topic.

2. In the Table of Contents window, click on the blue arrow
located to the left of the topic for which you need further
information.
A list of subtopics displays.
3. Click “Using MicroStation Manager.”
The associated help article displays. The article itself contains
hypertext.
➤ Find the right tool to construct a chamfer
1. In the Search field, type construct a chamfer.
2. Click the Search button.
A number of hits are displayed in the list box. The one titled
“Construct Chamfer” is the most likely candidate.

MicroStation Basics
3. In the list box, click “Construct Chamfer.

The help article on the Construct Chamfer tool is displayed in
the Document Body frame.
Tracking gives you help on each tool you select. For each new
tool you select, the help is automatically displayed in the Help
window.
➤ Turn on Tracking and get help on the next tool you will
use, Place Block.
1. From the Help menu, select Tracking.
Tracking is now enabled.
When tracking is on, the Help window displays information
about the tool you select.
2. In the Polygons tool box from the Main tool bar, select the
Place Block tool.
Help on Place Block is displayed in the Help window.
Exercise: Deleting elements

By now view window 1 is crowded with elements. Here is how to
get rid of some of them.
➤ Select a line and delete it

1. In the Main tool bar, select the Element Selection tool (its icon
is an arrow).
The pointer becomes an arrow with a circle at its tip.

MicroStation Basics
2. Select the line you want to delete by pointing at it and

pressing (and releasing) the Data button.
1
The line is bracketed with handles (small squares) to indicate
that it is selected. If you selected the wrong element (or didn’t
select any element), just try again.

3. In the Primary tool bar, select the Delete Element tool.
The line is deleted. The Element Selection tool is automatically
reselected.
✍ Rather than selecting the Delete Element tool, you can press the
<Del> key to delete the element.
If you delete the wrong element, you can undo the mistake.
➤ “Undelete” the line

◆ Press <Ctrl-Z> (“<Ctrl>” refers to MicroStation’s logical <Ctrl>
key. See “Using the PC Keyboard” in Chapter 2 in the Setup
Guide). (That is, while holding down the <Ctrl> key, press the
<Z> key.)
This is the same as choosing Undo from the Edit menu.
<Ctrl-Z> is the keyboard accelerator for that menu item.
The line is displayed where it was before it was deleted.
You can undo element placement, manipulation, and

modification operations. It is possible to undo multiple operations
in MicroStation. The first “undoable” operation is shown as part of
the Undo item in the Edit menu. Similarly, the first “redoable”
operation is shown as part of the Redo item in the same menu.
When you delete an element, the element remains in the design

file even though it is no longer part of the design and you cannot
see it.
Exercise: Using key-ins

You can select a tool by clicking it, and you can also select a tool
by entering a key-in in the Key-in window. To “key in” means to
type text in the Key-in window’s key-in field and press <Enter> or
clicking on the Key-in button Some MicroStation functions,
namely the set of utilities known as special key-ins, can be
activated only by key-in.

MicroStation Basics
➤ Open the Key-in window

◆ From the Utilities menu, choose Key-in. (This instruction is
shorthand for “Point at Utilities in the main menu bar; click the
Data button to post the menu; and click the Key-in item.)
When you use the keyboard, the text you type goes into the
window that has the input focus. The title bar of the window
that has the input focus title is highlighted.
If a settings box has the input focus when you want to enter a
key-in in the Key-in window, you must first give the Key-in
window the input focus. To do this, press <Esc> or click in the
Key-in window.
The MicroStation key-in language is composed of a hierarchy of

English keywords. For example, keying in PLACE CIRCLE
CENTER CONSTRAINED selects the Place Circle tool and sets
the tool’s Method to Center; PLACE CIRCLE EDGE
CONSTRAINED, the Place Circle tool with Method set to Edge;
and DELETE ELEMENT, the Delete Element tool. The key-in used
to select each tool is shown in the User’s Guide.
✓ A powerful feature of Key-ins is the ability of the MicroStation

software to recognize and complete commands. For example, if
you key-in ACC and hit the space bar, the rest of ACCUDRAW will
be filled in on the text line.
✓ You can abbreviate key-ins — for example, PLACE CIRCLE

CENTER CONSTRAINED can be abbreviated to PLA CI C C and
PLACE CIRCLE EDGE CONSTRAINED to PLA CI E C. (You can
shorten the key-in by omitting letters at the ends of words as long
as the abbreviation is unique, so MicroStation understands which
key-in you are abbreviating.) You don’t need to use uppercase
letters.

MicroStation Basics
➤ Select Place Circle and set its Method to Center with a

key-in
1
◆ With the input focus in the Key-in window, key in pla ci c c
(type the text and then press <Enter>).
The prompt in the status bar reads “Place Circle By Center >

Identify Center Point.”
✓ While the key-in area of the Key-in window has the input focus,
you can recall previous key-ins by pressing the <↑> key (up
arrow). Another way to recall a previous key-in is to select it in
the list box at the bottom of the window.
✍ Depending on the context, the instruction, “Key in…,” may mean

that text is to be keyed in fields in other windows, such as
settings boxes.
Exercise: Saving a design file

The standard Save and Save As items in MicroStation’s File menu
are used to save the active design file. For more information on
when these settings are enabled or disabled, see the User’s Guide.
➤ Save (and rename) the active design file

1. From the File menu, choose Save As.
The Save Design As dialog box opens. Choosing either Save
or save as has the same effect if the active design file is
mydesign.dgn.
2. In the Files field, key in a new filename.
The default extension for design files is “.dgn.”
3. Use the Directories list box to specify the destination
directory.
4. Use the Drives option menu to specify the destination disk
drive.
The file is saved. The MicroStation window’s title bar shows
the new filename.

MicroStation Basics
Exercise: Ending the session

➤ Exit MicroStation
◆ From the File menu, choose Exit.
or
In the Key-in window, key in EXIT.
or
In the Key-in window, key in QUIT.
or
Press <Alt-F4>. (“<Alt>” refers to MicroStation’s logical <Alt>
key. See “Using the PC Keyboard” in Chapter 2 in the Setup
Guide.)
OR
1. Press <Alt-F> .
2. Press <X>.
✍ <Alt-F> and <X> are mnemonic access characters. For more

information about these short-cuts, see “Operating menus with
the keyboard” in Chapter 2 in the Setup Guide.

2 MicroStation Fundamentals
This tutorial covers the fundamentals of using view controls to
navigate in your designs. It also gives you an idea of the “flow” of
MicroStation. For example, you will see how you can interrupt a
drawing tool to use a view control and then return to the drawing
tool at the point at which it was interrupted.

• Backing up a design file
• Fitting the active design
• “Windowing” areas of the design
• Zooming and panning
• Interrupting a drawing tool to use a view control
✍ In each exercise, it is assumed that you have just completed the

preceding exercise.
Exercise: Backing up a design file

This tutorial uses a copy of the design file, “office.dgn.” You will
rename the file to “off_bak.dgn” and work with the renamed file.
The original file remains unaltered so it can be used with a
subsequent tutorial.
➤ Open the design file “office.dgn”

1. From the File menu, choose Open.
The Open Design File dialog box opens.
2. In the Directories list box, select MicroStation’s
“\Workspace\projects\tutorials\intro\dgn” directory.
3. In the Files list box, select “office.dgn.”

Backing up a design file
View window 1 shows a receptionist’s desk in a lobby. The

design includes the floor plan of an entire floor of an office
building.
➤ Create the backup file

1. From the File menu, choose Save As.
The Save Design As dialog box opens.
Save Design As dialog box
2. In the Files field, key in off_bak.dgn.

The backup file “off_bak.dgn” is created and opened as the
active design file. Recall that the MicroStation window’s title
bar identifies the active design file.
✓ All the sample files supplied with MicroStation, including those

used with the Tutorial Workbook are “backed up” on the delivery
media. If you want to start over with one, reinstall the sample
files. (If there are any sample files that you do not want
overwritten during reinstallation, rename them or move them to
another directory.)

Fitting the active design
Exercise: Fitting the active design

As you move view windows about on the screen, the content of
the views stays the same. View controls are used to change the
part of the design displayed in each view. View controls are
located on the view control bar on the bottom border of each
View control bar
view window.
2
➤ Display the entire design in view window 1
1. Select the Fit View view control by clicking it in the window’s
view control bar.
MicroStation Fundamentals
The entire design is “fitted” in view window 1.
Notice that the Fit View view control remains selected.
2. In the center of the design, locate the receptionist’s desk in
the lobby. You will use this location later in this tutorial.
The pointer indicates the

location of the
receptionist’s desk.
✓ While using the view controls, if you “lose” the design and find
yourself looking at an empty view, use the Fit View view control
to locate your drawings.

“Windowing” areas of the design
Exercise: “Windowing” areas of the design

Use view window 1 to refer to the entire floor plan and open a
second view window to examine details. At the end of this
exercise, the two open view windows will look similar to this:
➤ Resize view window 1 and fit the entire design in it

1. Position the pointer over the lower right corner of view
window 1’s border.
When the pointer is precisely over the corner of the window
border, it becomes a diagonal double arrow.
2. When the pointer becomes a diagonal double arrow, press
(and hold down) the Data button, and drag the corner upward
and to the left until the view window occupies only the upper
left quadrant of the screen.
3. Re-select the Fit View view control to again display the entire
design in view window 1.
The design includes a border and reference lines that extend far
beyond the floor plan. There is no need to see these in their
entirety in view window 1.

“Windowing” areas of the design
➤ “Window” the area that contains the floor plan

1. Select the Window Area view control.
Window Area view is used to enlarge a part of the design to
fill an entire view window.
The pointer changes to a large “X.” In the Tool Settings
window, Apply to Window is set to (view window) 1.
2
2. Position the pointer inside view window 1 just above and to
the left of the floor plan. Then press (and release) the Data
button to enter a data point there.
As you move the pointer, a rectangular box indicating the area
to be fit is dynamically displayed.
2
Windowing the floor plan
(steps 2 and 3)
3. Position the pointer just below and to the right of the floor
plan, and again enter a data point.
The box disappears, and the defined area fills the view (to the
extent possible, given the difference between the shape of the
area you defined and the shape of the view window).
➤ Open another view window and display a detail of the

design in it
1. From the Window menu’s Open/Close sub-menu, choose
(view window) 2.
View window 2 opens.
2. Move and resize view window 2, by dragging it by its title bar
and dragging its resize borders, so that it fills the entire right
half of the screen.

Zooming and panning
The Window Area view control remains selected.

3. In the Tool Settings window, choose (view window) 2 from
the Apply to Window option menu.
4. Enter two data points in view window 1 to define the area
around the conference table in the upper left quadrant of the
floor plan. You can either press the Data button for each data
point or drag the pointer while holding down the Data button.
The defined area is displayed in view window 2.
5. Repeat step 4 to examine other details of the design (such as a
stairwell or work cubicle). The smaller the area you define in
view window 1, the greater the magnification in view
window 2.
6. Repeat step 4 to “window” the receptionist’s desk. The
receptionist’s desk is between two beams in the lower half of
the central lobby of the office building.
Exercise: Zooming and panning

The Zoom Out and Zoom In view controls also let you increase or
reduce the scale at which part of a design is displayed in a view.
The zoom controls have effects similar to a zoom lens on a
camera, magnifying or shrinking an image.
➤ Experiment with the Zoom Out and Zoom In view

controls
1. In the view control bar in the border of view window 2, select
the Zoom In view control (its icon is a + sign).
2. In view window 2, enter a data point in the center of the
typewriter on the receptionist’s desk.
When you zoom in or out, the point at which you enter the
data point becomes the view’s center. Therefore, the center of
the typewriter is displayed at the center of view window 2,
and the size of each element displayed in the view is doubled.
the Zoom Out view control (its icon is a – sign).
The size of the displayed elements is halved. That is, they are
sized as they were before you zoomed out.
4. Again select Zoom Out.
The size of the displayed elements is again halved.

Zooming and panning
➤ “Undo” and “redo” the last zoom operation

the View Previous view control (its icon is a curved arrow
pointing to the left).
View window 2 returns to its state prior to the last zoom
operation.
2
2. Select the View Next view control, which is located
immediately to the right of View Previous in the view control
bar.
View window 2 returns to its state prior to use of View
Previous.
A convenient way to change the part of the design displayed in a

view without changing the magnification is to dynamically pan
(like “zoom,” a camera metaphor) in a view.
✍ The dynamic panning procedure does not lend itself to step-by-

step description, so it is recommended that you review the next
procedure in its entirety before starting to perform it.
➤ Pan dynamically within View 2

1. Position the pointer near the center of view window 2.
2. Hold down the <Shift> key while you press and hold down
the Data button to define the anchor point. (You can then
release the <Shift> key, but keep the Data button depressed.)
The anchor point is a point in the view window, not a point in
the design. It is not displayed.
3. While keeping the Data button depressed, drag the pointer a
short distance directly to the right of the anchor point.
The design begins to pan (shift) in the direction you dragged
the pointer. The farther you drag the pointer from the anchor
point, the faster the panning occurs.
You also control the direction of the panning by dragging the
pointer. Imagine an arrow starting at the anchor point and
ending wherever you drag the pointer. Panning follows the
direction of the imaginary arrow, and the panning speed
increases with the length of the imaginary arrow.
Panning stops when you release the Data button.

Interrupting a drawing tool to use a view control
Exercise: Interrupting a drawing tool to use a view control

Suppose you wanted to draw a line diagonally across the floor
plan from the steel I-beam in the upper left corner to the I-beam
in the lower right corner. The I-beams are small relative to the
distance between them and are surrounded by other elements in
the design. If you had to draw the line in a single view, you
would not be able to accurately place the ends of the line on the
I-beams. With MicroStation, you can solve the problem by
interrupting your drawing to use the view controls.
➤ View a detail of the upper left I-beam in view window 2

and start to place a line
1. Use the Window Area view control to display in view window
2 a small rectangle containing the upper left corner of the
floor plan.
Windowing the upper left

corner of the floor plan
The I-beam is gray and is located at the intersection of the two

dashed, green lines just inside the corner of the floor plan. (If
you cannot see the I-beam, use the Zoom Out view control to
increase the portion of the design visible in view window 2.
When you find the I-beam, use the Zoom In view control to
increase the magnification again and to display the I-beam in
the center of the view window.)

2. In the Linear Elements tool box, select the Place Line tool.
3. Enter a data point at the intersection of the two green lines
that cross the I-beam.
The prompt in the status bar is “Enter end point.”
2
Starting the line at the
intersection of the two
green lines.
3
4. Move the pointer around in both view windows without

pressing the Data button.
As you move the pointer, MicroStation dynamically displays a
line from the I-beam to the pointer location. However, if you
position the pointer directly over a view window’s resize
border, the line no longer displays and the pointer becomes a
double arrow. Even though the Place Line tool is selected, you
can resize view windows, change settings, and use the view
controls.
➤ “Window” the lower right I-beam and finish placing the

line
1. Use the Window Area view control to display a small
rectangle containing the lower right corner of the floor plan in
view window 2.
While the Window Area view control is selected, the title of
the Tool Settings window is “Window Area.”
2. Reset. (Recall the Reset button is the right mouse button.)
The Window Area view control is de-selected, and the Place
Line tool is reselected. The tool’s settings are again shown in

the Tool Settings window, and the prompt in the status bar
again reads “Enter end point.”
3. Finish placing the line: Enter a data point at the intersection of
the two green lines over the I-beam in the lower right corner
of the floor plan.
Finishing the line.
➤ Undo placement of the line

◆ In the Standard tool bar, click the Undo icon (the icon looks
much like the View Previous.
The line disappears, and the message in the status bar reads
“Place Line > <Place Line> Undone.”
➤ (Optional) Save your work

◆ From the File menu, choose Save Settings.
✍ In the remaining tutorials, zooming and panning are not

specifically described within exercises or procedures. It is
assumed that you will zoom and pan as needed.

3 AccuDraw and Other Drafting Aids
Working with a mechanical engineering design, you will use
MicroStation’s most powerful drafting aid, AccuDraw. This aid
makes other tools you have previously used behave somewhat
differently. AccuDraw allows precise placement of drawing and
text elements as well as copies and mirrored copies of elements.
The tutorial is structured as a series of exercises that are meant to

be performed consecutively. You will learn to:
• Use AccuDraw’s input focus

• Use AccuDraw to develop a compass
preceding exercise.
If you have trouble

If you have trouble when you are going through the lesson, doing
one of the following usually helps:
• Reset, by pressing the Reset button. This is most useful when
you have trouble using a tool.
• Undo, by choosing Undo from the Edit menu, or by clicking the
Undo icon in the Standard tool bar below the main menu bar.
This is most helpful after you finish using a tool and realize that
you have made a mistake. Remember, MicroStation lets you
undo more than just the last operation.
• “Undo” a change made with a view control by choosing the
View Previous view control, located on the view control bar in
the bottom border of each view window. This is helpful if you
use a view control to zoom out or window an area and lose
your bearings.
W DO NOT RESET OR ENTER A DATA POINT UNTIL YOU ARE

TOLD TO DO SO.

Use AccuDraw’s input focus
Exercise: Use AccuDraw’s input focus

Observe AccuDraw’s response to specific movements of our
pointer as we place elements in the design file.
➤ Exercise AccuDraw’s input focus

1. Open the design file “clock.dgn” from the
A clock face appears. Each hour represents 30° of an arc, with
a half hour representing 15° of an arc.
2. Activate AccuDraw.
3. Select the Place Smartline tool.
4. Snap to the center of the clock hands and enter a data point.
5. Move your pointer toward the III.
Note AccuDraw’s focus is on the X field.
AccuDraw’s input focus set

to the X field.
6. Move your pointer toward the XII.

Use AccuDraw’s input focus
Now, the focus is on the Y field.

to the Y field.
3
AccuDraw and Other Drafting Aids
7. Move your pointer toward the I.
The focus remains on the Y field.
8. Move your pointer toward the half hour line between I and II.
This location is 45° from the intersection of the clock hands.
This represents the crossover point for the input focus.
Depending on where your pointer is located, the focus will be
on X or Y.

to the Y field at the 45 °
crossover point. Notice that a
slight movement of your
pointer toward the II will
index the pointer to the X
field and vice versa as you
move back toward the I.
9. Try moving the pointer around to various parts of the clock

face.
Can you predict where the focus will go as you move the
pointer around the screen?
10. Press Reset.
11. Deactivate AccuDraw by double clicking the window control
button in the upper left corner of the AccuDraw window.

Use AccuDraw to develop a compass
Exercise: Use AccuDraw to develop a compass

➤ Enter coordinate values with AccuDraw
1. Open the design file “compass.dgn” found in
2. Activate AccuDraw.
3. Select the Place Line tool.
4. Snap to the green point and enter a data point to accept for
the first point of the line.
5. Move the pointer to the right to index AccuDraw to the X
field.
6. Enter 0.75 in the X field of the AccuDraw window and press
<Enter>.
7. Enter a data point.
Make sure that the pointer remains close to the X axis so that
a horizontal line is placed.
8. Reset.
9. Repeat steps 3 through 7 three times to create the remaining
compass directions.
Make sure that, after you accept the tentative point, you move
the pointer in the direction of the line you are placing.
3
1
4
Placing line 1 by snapping to the compass center and using AccuDraw

to enter the X coordinate value.
Placing lines 2, 3 and 4 by snapping to the compass center and using
AccuDraw’s index function to place X and Y coordinate values.

➤ Continue developing the compass using AccuDraw

1. Select the Place Circle tool.
2. Snap to the center point of the compass and accept with a
data point.
3. Move the pointer to the right to index AccuDraw to the X
field.
AccuDraw’s appearance has changed. It now displays its Polar
coordinate system (distance and angle values) instead of its
Rectangular coordinate system (X and Y values). When
placing a circle it does not matter which coordinate system is
3
in use because the value you key into AccuDraw determines
the radius value of the circle.
4. Enter 1.00 in the Distance field of the AccuDraw window and
press <Enter>.

5. Move the pointer about the screen.
Notice that the Distance field remains constant but the Angle
field changes.
6. Enter a data point, and then reset.
7. Repeat steps 2 through 6, using a radius value of 1.75 for the
outer circle.
Placing the compass circles using AccuDraw to input the radius value. Note that
the second data point is placed at different locations for the two circles.

➤ Use the Mirror tool with AccuDraw

1. Select the Mirror tool and set Mirror About: to Line and Copy
to On.
2. Identify the diamond compass point with a data point.
3. Snap to the center of the compass and accept with a data
point.
4. Verify that AccuDraw is using its Polar coordinate mode.
Pressing the <spacebar> shifts between AccuDraw’s Polar and
Rectangular coordinate modes.
5. Move the pointer away from the center of the compass toward
the North East and enter 45 for the Angle.
6. Place a data point to place the new compass point, and then
reset.
Copying the diamond

compass point using
mirror about a line and
AccuDraw.
➤ Use the Copy tool with AccuDraw

1. Select the Copy tool.
2. Identify the diamond compass point to the right.
3. Move the pointer toward the center of the compass.
4. Verify that AccuDraw is using its Rectangular coordinate
mode.
<Enter>.

6. Enter a data point, and then reset.

7. Repeat steps 2 through 5 for the diamond compass point at
the top, using a value of 2.5 in the Y field of the AccuDraw
window.
Result of copying the

remaining diamond
compass points.
3
➤ Use AccuDraw’s distance and angle mode to place the
compass needle
2. Snap to the center of the compass and accept with a data
point.
3. Shift AccuDraw into its Polar coordinate mode.
4. Enter 1.50 in the Distance field of the AccuDraw window and
press <Enter>.
5. Enter 45 in the Angle field of the AccuDraw window and
enter a data point.
6. Reset.
Placing the compass pointer.

➤ Place Text using AccuDraw with an offset distance

1. Select the Place Text tool.
2. Enter N (for North) in the Text window.
3. Snap to the center of the compass.
W Do not enter data points in this exercise until you are instructed
to do so.
4. Verify that AccuDraw is using its Polar coordinate mode.

5. Press the <O> key to place the origin at this point.
6. Enter 1.50 in the Distance field and 90 in the Angle field of
the AccuDraw window.
7. Enter a data point to accept this location.
Placing the North

compass marker.
8. Return to the Text window and replace the N with a W.

9. Press the <Esc> key to return the focus to AccuDraw.
10. Move the pointer to the West.
11. Press the <spacebar> to switch to the Rectangular coordinate
mode.
12. Enter 1.5 for both the X and Y values.

Placing the West

compass marker.
3
14. Return to the Text window and replace the W with an S.
15. Press the <Esc> key to return the focus to AccuDraw.
16. Move the pointer to the South.
17. Enter 1.5 for both the X and Y values.
19. Reset.
Placing the South

compass marker.

➤ Rotate the AccuDraw drawing plane

1. Zoom in on the North East quadrant of the compass.
3. Snap to the endpoint of the compass needle. Do not accept
this point.
4. Press the <O> key to set the AccuDraw origin at this point.
5. Press the <R> key, and then the <Q> key.
Note what has happened to the AccuDraw compass. It now
rotates about the selected origin point to follow the pointer
movements.
6. Snap to endpoint of the North marker line.
Snapping to the compass

needle and rotating
AccuDraw’s Axis.
Snap here
Snapping to the North

marker line.

Note how the axes of the AccuDraw compass are aligned
now. The point location just entered established the X axis of
AccuDraw’s drawing plane.
8. Move the pointer back toward the compass needle.
<Enter>.
Note the alignment of the X axis.

10. Accept with a data point.
Drawing the first segment

of the arrowhead.
3
11. Move the pointer along AccuDraw’s X axis.
Notice that the Y value sets to 0.0000 as you move along the
index line.
<Enter>.
14. Press the <R> key, and then the <Q> key.
15. Snap to endpoint of the East marker line.
Snapping to the East

marker line.

Note how the axes of the AccuDraw compass are aligned

now. The point location just entered established the X axis of
AccuDraw’s drawing plane.
17. Move the pointer back toward the compass needle.
<Enter>.
Note the alignment of the X axis.
Drawing the second

segment of the arrowhead.
20. Reset.
21. Fit the view window.
The competed compass.

4 Modifying a Design
In this tutorial, you will use MicroStation’s basic features for
drawing 2D designs. After you create and open a new design file,
you will see how easily MicroStation’s line styles, tentative points,
and cells let you draw a simple architectural plan.

• Modifying a design using multi-lines and a custom line style

preceding exercise.
If you have trouble

If you have trouble when going through the lesson, doing one of
the following usually helps:
• Reset by pressing the Reset button. This is most helpful when
• Undo by choosing Undo from the Edit menu. This is most
helpful after you finish using a tool and realize you’ve made a
mistake. Remember MicroStation lets you undo more than just
the last operation.
• Undo a change made with a view control by clicking on the
View Previous tool located on the bottom of each view
window. This is helpful if you use a view control to zoom in or
out of an area and lose your bearings.
Exercise: Modifying a design using multi-lines and a custom line style

In this exercise, you will modify an existing design, finishing the
remodeling of an office by adding walls and a curved window.
The window is represented by a custom line style that has the
appearance of a multi-line and can be placed as a curve.
Although these elements contain much more information than
simple lines, you will see that it is no more difficult to place them.
Throughout this exercise, the entire design is displayed in view

window 1. Zoom in on details of the design in view window 3 to
facilitate snapping tentative points to elements. Move and resize
view window 3 whenever it covers something you need to see in
view window 1.

Modifying a design using multi-lines and a custom line style
➤ Open the design file “remodel.dgn”

The Open Design File dialog box opens. The active design file
is automatically selected in the Files list box, which has the
input focus.
2. Select the “\Workspace\projects\tutorials\intro\dgn”
directory.
3. Press <R>.
The design file “remodel.dgn” is selected in the Files list box.
4. Click the OK button or press <Enter>.
The file “remodel.dgn” is opened as the active file.
This design file contains only part of an architectural design. You

can fit the entire design into one view at a reasonable
magnification. The filled orange multi-lines in view window 1
represent the exterior wall of the building that will not be
changed.

➤ Delete part of an existing wall

1. From the Main tool bar, select the Modify Element tool and
tear off the tool box.
The Modify tool box opens.
2. Select the Partial Delete tool.
3. If you have not already done so, select the AccuDraw tool.
4. With the focus in the AccuDraw window, press <M>.
The Data Point Keyin settings box opens.
5. From the option menu, choose Absolute (xy=).
6. In the field, key in 6:9.5,9:0 and press <Enter>.
The multi-line that runs along the bottom of the design is to
be cut from this point to a point further to the left.
4
7. Key in 18:11,9:0 and press <Enter>.
A section of the multi-line is deleted.
Modifying a Design
➤ Place a new partition (interior wall)
1. In the Window menu’s Open/Close sub-menu, turn on view
window 3.
View window 3 opens and displays the magnified left end of
the orange multi-line near the upper right corner of view
window 1. The View Attribute Fill is on in view window 1, but
not in view window 3.
2. From the Settings menu, choose Manage.
The Select Settings settings box opens.
3. From the Group option menu, select “V40 - Multiline Styles.”

4. From the Component option menu, select the component

“Partition - Use with Tutorial.”
The multi-line defined as the “Partition” component becomes
the active multi-line style and the Place Multi-line tool is
selected. The prompt in the status bar is “Enter first point.”
5. In view window 3, snap a tentative point to the lower end of
the vertical line at the left end of the multi-line.
6. Enter a data point to accept the tentative point.
One end of the multi-line is placed. The multi-line
dynamically displays from that point to the pointer.
The contents of View 3

after step 6.
7. Use the Zoom In view control to display in view window 1 a

magnified view of the left end of the multi-line directly below
the filled multi-line in view window 3.
8. Reset to deselect the Zoom In view control.
9. In view window 1, snap a tentative point on the end of the
dashed, blue line that runs along the center of the multi-line.
10. Enter a data point to accept the tentative point.
The first partition is placed. Another multi-line segment
dynamically displays from the end of this segment to the
pointer. Do not Reset.
11. In the Window menu’s Open/Close sub-menu, turn off view 3.

12. Use the Fit View view control to fit view 1.
13. Enter a Reset to return to the placement of the multi-line.

➤ Continue placing partitions

1. In the Primary tool bar, select the Start AccuDraw tool.
2. With the focus in the AccuDraw window, press <P>.
The Data Point Keyin settings box opens. The <P> shortcut is
used for a single data point key-in.
3. From the option menu choose Absolute (xy=).
4. In the field, key in 6:10,9:0 and press <Enter>.
The Data Point Keyin settings box closes and another multi-
line segment is placed. The line’s length is constrained by the
9:0 (Y-axis measurement)
5. With focus now in the AccuDraw Tool Settings window,
change the AccuDraw window options from X and Y to
Distance and Angle by pressing <spacebar>.
4
If Distance and Angle are already set, pressing <spacebar>
changes the options back to X and Y.
6. Position the multi-line toward the top of the screen.
Modifying a Design
AccuDraw Polar
Coordinates
The AccuDraw setting box’s Angle field is 90°.

7. Press <Enter> to lock the multi-line segment at 90°.
8. With focus now in AccuDraw’s Distance field, key in 16.
The third and final partition is placed. The partition’s length is
constrained by the Distance field key-in of 16.

9. Enter a data point within view window 1 to accept the

constrained line.
10. Reset.
The three multi-line

partitions in place.
➤ Joining the multi-lines

1. From the Tools menu, choose Multi-line joints.
The Multi-line Joints tool box opens.
2. In the Multi-line Joints tool box, select the Construct Closed
Tee Joint tool.
The prompt in the status bar is “Identify element.”
3. Identify the orange multi-line in the lower right corner of
view window 1 by entering a data point on it.
4. Identify the right, vertical segment of the newly-placed multi-
line.
5. Accept the joint (by entering a data point).
The intersection of the two multi-lines is “cleaned up.”
6. Identify the orange multi-line in the lower left corner of view
window 1.
7. Identify the left, vertical segment of the newly-placed multi-
line.

8. Accept the joint.

The intersection of the two multi-lines is “cleaned up.”
Cleaning up the
multi-line joints.
4
✍ Leave this file open and continue to the next chapter.
Modifying a Design

5 Working with Cells
In this tutorial you will complete the remodeling project begun in
the previous chapter.

• Working with Cells and Cell Libraries

preceding exercise.
Exercise: Working with Cells and Cell Libraries

An office may require many identical representations of windows,
doors, fixtures, and pieces of furniture. Rather than draw the same
things over and over or copy them repeatedly, it is more efficient
to draw each item once, store it in a file, and place copies of the
drawing wherever needed.
MicroStation’s cells and cell libraries give you the ability to do

just that. A cell is a complex element composed of primary or
other complex elements (in effect, a small drawing) that can be
stored in a file, the cell library, for repeated use in one or many
designs.
To make the cells in a cell library available for use with a design
file, you associate the cell library with the design file by
“attaching” the library to the design file.
In this exercise, you will place cells in the design as though you
were placing a line or other element.

Working with Cells and Cell Libraries
➤ Select the “DR30RH” cell (from the remodel.cel library)

as the active placement cell (Active Cell)
1. From the Element menu, choose Cells.
The Cell Library settings box opens. The name and path of the
attached cell library are shown in the title bar.
2. Select the cell named “DR30RH” (a 3' 0" right-hand door).

An image of the cell is displayed to the right in the Cell Library
settings box. The cell comprises a door frame, an open door,
and the swing.
3. In the Active Cells section below the list box, click the
Placement button.
The name of the selected cell is displayed to the right of the
Placement button.
4. Close the Cell Library settings box or drag it out of the way.
➤ Place a door cell in the lower partition

1. From the Main tool bar, select the Place Active Cell tool.
The Cells tool box opens.
2. Tear off the Cell tool box.
3. Select the Place Active Cell tool.
In the Place Active Cell tool settings box, “DR30RH” is the
active cell.
As you move the pointer about the screen, the cell is
dynamically displayed. The cell’s origin, the point used to
position the cell in the design, is at the pointer.

4. Use the Zoom In view control to display a closely magnified

view of the lower left corner of the new partition multi-line in
view window 3.
5. Reset to deselect the view control.
6. Snap a tentative point to the inside corner of the multi-line.
Large cross hairs display at the corner and the cell is displayed
with its origin there. Do not accept the tentative point; it is for
reference.
7. Reopen the AccuDraw window (if necessary), by selecting the
Start AccuDraw tool in the Primary tool bar.
Working with Cells

8. Press the <O> key to locate the drawing plane origin at the
tentative point location.
9. In the AccuDraw window’s Distance field, key in 0:6.
10. Position the cell origin on the drawing plane x-axis.
11. Enter the data point.
5
Placing the door cell
in steps 6 through 11.
12. Reset.
The door cell is placed at an offset of six inches (1⁄2 foot) to
the right.
➤ Cut out the door opening

1. In the Multi-line Joints tool box, select the Cut All Component
Lines tool.
2. In the Status bar, change Snap mode to Intersection.

3. In view window 3, snap a tentative point to the door frame’s

left side, up from the intersection.
Snapping a tentative point

to the inside of the
door frame.
4. Snap a tentative point to the multi-line segment (between the

sides of the door).
5. Enter a data point to accept.
The multi-line is cut at the left edge of the door frame, and the
cut displays dynamically along the multi-line to the x-axis
position of the pointer.
6. If necessary, use the Zoom Out view control to include the
entire door cell in view window 3.
7. Snap a tentative point to the right end of the door frame.
You will know that you have snapped to the door frame when
the door frame highlights. If part of the multi-line highlights,
try again.
8. Accept the tentative point to end the cut.
Snapping to the right door

frame to end the cutting
in steps 7 and 8.
Once the action is complete, the Snap mode returns to

Keypoint my default.

➤ Begin placing the curtain wall (curved window and

mullions)
1. From the Primary tool bar’s Active Line Style option menu,
choose Custom.
The Line Styles settings box opens.
2. In the Line Styles settings box, double-click “{curtain}” (curtain
wall).
3. From the Main tool box, select the Place Arc tool.
The prompt in the status bar is “Identify First Arc Endpoint.”
Working with Cells

4. In the Tool settings box, set Method to Center.
5. Use the Zoom In view control to display a magnified view of
the left end of the upper right orange exterior wall in view
window 3.
7. Snap a tentative point where the vertical line at the end of the
multi-line intersects the two lines of the shape at the end of
the multi-line.
5
8. Accept the tentative point to place the first end of the arc.
A thin, dotted arc dynamically displays from the multi-line.
Snapping and accepting

a tentative point in View 3
in steps 9 and 10.
➤ Place the center and endpoint of the curtain wall arc

1. In the Key-in window, key in XY=7,9.
As you move the pointer about the screen, an arc and a
second radius line are displayed.
2. Use the Zoom In view control to display a magnified view of
the right end of the opposing exterior wall in view window 3.


4. Snap a tentative point where the vertical line at the end of the
multi-line intersects the two lines of the shape at the end of
the multi-line.
5. Accept the placement of the end of the arc.
4
Snapping and accepting
a tentative point in View 3 in
steps 4 and 5. 5
6. Close view window 3.
The remodeled office should look like this:
In the cell library attached to this design file, there are cells that
represent office furnishings. Now that you have completed this
lesson, for more practice placing cells, select other cells as the
Active Cell and place them in the office to furnish it.
➤ Place furniture in the new office

1. From the Settings menu’s, Level sub-menu, choose Display.
The Level Display settings box opens.
2. From the settings box’s Display menu, choose Level Names.

The settings box enlarges and displays controls for turning on

and off the display of levels by name.
Working with Cells

3. In the list box, select the level 54 FURNITURE.
In the Views column, the list box entry for the FURNITURE
level indicates its elements are displayed in all views except
5
view window 1.
4. Click the Active button.
This designates the FURNITURE level the Active Level. The
Active Level is the level on which new elements are placed —
the level in this particular design on which it is logical to place
furniture cells. Because the Active Level, by definition, is on
(displayed) in all views, you can now see the elements on the
FURNITURE level displayed in view window 1. Furniture is
already laid out in the office to the left of the new partition.

5. From the Element menu, choose Cells to open the Cell Library
settings box.
6. Browse through the cells in the cell library by selecting cell

names in the list box.
7. When you find a piece of furniture to place in the office, click
the Placement button while that cell is selected.
8. From the Main tool bar, select the Place Active Cell tool.
9. Position the cell in view window 1 and place it by entering a
data point.
10. Repeat steps 6 through 9 until the office is furnished to your
satisfaction.

6 Working With Reference Files
Working with a mechanical engineering design, you will use
some of MicroStation’s more advanced features for drawing 2D
designs.

• Attaching, scaling, and moving a reference file (see page 6-2).

• “Referencing” design changes (see page 6-5).

preceding exercise.
If you have trouble

• Reset, by pressing the Reset button. This is most helpful when
• Undo, by choosing Undo from the Edit menu. This is most
the last operation.
• “Undo” a change made with a view control by clicking on the
View Previous tool from the View Control bar along the bottom
of each view window. This is helpful if you use a view control
to zoom or window an area and lose your bearings.

Attaching, scaling, and moving a reference file
Exercise: Attaching, scaling, and moving a reference file

This exercise and the next involve reference files. Reference
files are MicroStation design files that can be attached to
(associated with) the active design and displayed for reference. As
reference files, they cannot be modified. Members of a
workgroup can attach each other’s design files as reference files
to assure consistency in their work.
➤ Attach “bordera.dgn” as a reference file to “office.dgn”

1. Open the design file “office.dgn” in MicroStation’s
“\Workspace\projects\tutorial\intro\dgn” directory.
2. Use the Fit View view control to fit the entire design in view
window 1.
3. From the File menu, choose Reference.
The Reference Files settings box opens.
4. From the Reference Files settings box’s Tools menu, choose
Attach.
The Preview Reference dialog box opens.

5. In the Files list box, select “bordera.dgn” and click the OK
button.
Another dialog box with “bordera.dgn” in its title bar opens.

6. Key in border in the Logical Name field. (Specifying a logical

name is essential if you are attaching the same reference file
more than once to the active design file.
Working With Reference Files

7. Key in architectural border in the Description field.
8. In the Saved Views list box, select the saved view “Border.”
In the Attachment Mode option menu, Saved View is
automatically chosen.
6
The saved view containing a border is now attached to the
pointer.
10. Enter a data point just above the exterior wall of the floor plan
to position the center of the reference file view.
The saved view in “bordera.dgn” is attached for reference to
the active design at a scale of 1:1. That is, something one
master unit long in the reference file appears one master unit
long in the active design file. At this scale, the border is too
small to contain the office design.

View window 1 should look similar to this:
➤ Scale the reference file “bordera.dgn”

1. Use the Zoom Out view control to zoom out from the center
of the office design.
Scale.
The reference file “bordera.dgn” is already selected in the
Reference Files settings box, so you are not prompted to
identify a reference file.
The Scale Reference File dialog box opens.
3. In the left field, key in 8 and press <Enter>.
As you move the pointer, a rectangle representing the scaled
reference file saved view dynamically displays.
4. Position the rectangle around the office design.
Now eight master units in the active design file are the same
length as one master unit in the reference file. The reference
file appears eight times larger. However, the office design is
not yet properly centered in the border.

“Referencing” design changes
➤ Move the reference file so that the design is centered in

the border
Move.
2. Enter a data point in the middle of the border to serve as an
origin (a “handle”) for moving the reference file.
As you move the pointer, a rectangle representing the
reference file saved view is dynamically displayed.
3. Enter a data point in the middle of the office design to
position the origin.

The reference file is moved the same distance and direction as
the origin.
4. If you are not satisfied with the location of the border, repeat
steps 1 through 3.
Exercise: “Referencing” design changes

This exercise is a simulation of “real world” design.
Think of yourself as a member of a team working on a building

design project. Your system is networked with other systems,
including personal computers and workstations, all running
MicroStation.
6
You are responsible for drawing the piping.
➤ Open your work file and attach a coworker’s file

1. Open the “piping.dgn” design file in MicroStation’s
The design is in 3D, but the 2D drawing principles you have
learned are sufficient for you to complete the lesson with
ease.
2. From the File menu, choose Reference.
The Reference Files settings box opens.
Attach.
4. Attach the “pumproom.dgn” design file coincidentally as a
reference file. Key in pump as the logical name. Be sure
Coincident is chosen from the Attachment Mode option menu.

5. Click on the OK button.

Note the revision balloon. The mechanical group has moved
the left pump, and the pump is no longer connected to your
piping.
6. Open view window 6 to take a look at the change from a
different perspective, then close that view.
“Pumproom.dgn” attached as a
reference file.
This situation is typical of concurrent design projects. Changes to

a design made by one designer often affect parts of the design for
which others designers are responsible. Reference files make
these situations easier to manage. Here you do not need to copy
the “pumproom.dgn” design file work into your design file
because you have attached it as a reference file.

➤ Reconnect the piping to the pump

1. In the Main tool box, select the Place Fence tool.
2. Drag a fence block around the pump, the piping above and
below it, and the disconnected piping to the left.

3. In the Fence tool box, select the Manipulate Fence Contents
tool.
You will use the Manipulate Fence Contents tool to move the
fence three feet (three grid points) to the right. The grid is
useful here because the design is aligned on the grid and Grid
Lock is on.
6
4. In the Manipulate Fence Contents settings box, choose Stretch
from the Operation option menu.
5. Enter a data point on any grid point to define the origin for
the move.
Connecting the piping

(steps 5 and 6).

6. Enter a data point on the third grid point to the right of the
first data point to define the distance and direction of the
move.
The piping stretches and connects to the pump on both sides,
updating the design. The pump is not affected because it is in
the reference file.
7. To better see the results, select the Place Fence tool to remove
the fence and then use the Update View view control to
update the view.
Connected piping.
The other designers on the team are now able to attach the
design file changes. See for yourself:
➤ Open a coworker’s design file and attach your file and

“pumproom.dgn” as reference files
1. Open the “strsteel.dgn” design file, which is also in
MicroStation’s “\Workspace\projects\tutorials\intro\dgn”
directory.
2. Coincidentally attach the “pumproom.dgn” design file as a
reference file. Key in pump as its logical name.
3. Coincidentally attach your piping design file (“piping.dgn”) as
a reference file. Key in piping as its logical name.
When the view updates, you can see that the pump and piping
are reconnected. All these design files can be attached as
reference files from any system in the network, be it a personal
computer, workstation, or VAX.

7 Working in 3D
In this chapter you will be introduced to the 3D capabilities of
MicroStation.
Prerequisites
In addition to the prerequisites listed in “Your First MicroStation
Session” on page 1-1, before you begin this chapter, you should
be able to do the following:
• Understand and use the 2D concepts presented in the User’s

Guide, Chapters 1 through 9.
• Read and understand the 3D concepts presented in the User’s
Guide, Chapter 10.
• Use AccuDraw in 2D.
• Complete many sequences of steps, making sure that you are
accurately entering the settings listed.
This chapter starts with a short series of exercises designed to
introduce key 3D features of MicroStation. Following this, an
extended set of exercises are presented stepping you through the
process of creating several 3D models using a variety of 3D tools
and techniques. Finally, there are a series of tutorials stepping you
through the various 3D visualization techniques.
In all the exercises, you must be very careful to use the exact
settings, plane orientations, and distances provided so that you
can accurately complete the 3D models.
In these exercises it is assumed that window scroll bars are turned

on.

Getting started in 3D
➤ To turn on window scroll bars

◆ From the Menu bar’s Window menu, select Scroll Bars.
A check mark next to the Scroll Bars item indicates that they
are on already. Selecting them again will toggle them off.
In this exercise you will create a 3D design and place some
elements in standard 3D views. You will discover why these
elements look different in the various views.
➤ Create a new 3D design file

1. Start MicroStation.
The MicroStation Manager dialog box opens.
2. From the File menu, choose New.
The Create Design File dialog box opens.
3. In the Seed File section, click the Select button.
The Select Seed File dialog box opens.
4. In the Files list box, select “seed3d.dgn”.
The “3d” in the filename indicates that it is a 3D seed file.
The Select Seed File dialog box closes.
6. In the Name field in the Create Design File dialog box, enter
the filename 3DLESS1.
7. Click the OK button or press <Enter>.
The Create Design File dialog box closes, and the new design
file’s name appears in the name field (with the default “.dgn”
extension).


The MicroStation Manager dialog box closes and the newly
created design file is opened, displaying a model of a cube.
Working in 3D
A new 3D file.
7
Notice that four viewing windows are open, showing the cube
from various directions — Top, Isometric, Front, and Right. Each
view is displaying the same model, but from different viewing
locations.
➤ Prepare the design for work

1. If necessary, open the Main tool bar (from the Tools menu’s
Main sub-menu, choose Main.)
2. Set the Active Level to 10.
3. Turn off all other levels in each views.
The existing graphics, which are on level 1, disappear.
4. From the Settings menu, choose AccuDraw.
The AccuDraw Settings box opens.

5. Check that Rotation is set to View, and Type is set to

Rectangular.
6. If necessary, in the Operation section, turn on Floating Origin,
Context Sensitivity, and Smart Key-ins — leaving Auto Point
Placement turned off.
7. Close the AccuDraw Settings box.
8. From the File menu, choose Save Settings.
To provide a starting position for the exercise, you will now place
an active point at the global origin of the design file.
➤ Place an active point at 0,0,0

1. Set the Active Line Weight to 10.
This will make the active point more visible on the screen.
2. In the Main tool bar’s Points tool box, select the Place Active
Point tool.
3. In the Primary tool bar, click the Start AccuDraw icon.
4. In any view, enter a tentative point (anywhere in the view).
5. Type <P> to open AccuDraw’s Data Point Key-in box.
6. If necessary, set the Data Point option menu to Absolute (xy=)
7. In the input field, key in 0 <Enter> (that is, the number 0,
followed by the Enter key).
The active point is placed at the design file’s Global Origin,
xy=0,0,0.
8. Use the Fit View view control to fit each view.
✍ You can use the alternate key-in XY= via the Key-in window to
place an element at an exact place in the design cube.
For the first part of the exercise, you will place the word “Top” in
the Top view.
➤ Place the word “Top” in the Top view

1. If necessary, set the Active Color to Green (2).
4. In the Main tool bar’s Text tool box, select the Place Text tool.

5. Check that Method is set to By Origin, in the Tool Settings

window.
6. Set Justification to Left Bottom.
7. In the Text Editor, type “Top.”
8. In the Top view, snap to the active point.
9. Accept to place the text.
10. Enter a Reset to clear the Text Editor.
Each view is fitted to show the text.
Working in 3D
Views showing the text. 7
Examining the word “Top” in the design

In the previous procedure, the text was placed in a Top view. The
text was placed parallel to the view or screen, which, in a Top
view, is aligned with the xy plane of the Design Cube.
In a 3D design file, the orientation of an element can be aligned

with any view. With AccuDraw’s Rotation set to View, elements

are placed parallel to the view being used to place them. For
example, with the text that you just placed:
• In the Top view (where it was placed), the text looks normal.
• In the Front view, the text appears to be a “line.” In a Front
view you look along the xy plane, in the y-direction.
• Imagine a sheet of transparent paper, with text on it. If you
looked at this sheet of paper, along its plane from the bottom
edge, text would appear as lines.
• In the Right view, the three letters are one behind the other and
again appear as a “line.” You are again looking along the xy
plane, but this time in the x-direction.
• In the Isometric view, the text is skewed but is still legible. In
an Isometric view, none of the planes of the other Standard
views is parallel to the screen.
➤ Place the word “Front” in the Front view

1. Set the Active Color to red.
3. In the Text Editor, type “Front.”
4. In the Front view, snap to the active point.
5. Accept.
The word “Front” is placed at the active point.
The word Front appears as a line in both the Top View and
the Right View. It appears normally in the Front View in which
it was placed.
➤ Place the word “Right” in the Right view

1. Set the Active Color to blue.
3. In the Text Editor, type “Right.”
4. In the Right view, snap to the active point.
5. Accept.

8. Close the Text Editor window.

Your screen should look like the figure below. All views
display the same words but from different directions.
Working in 3D
Views showing the text.
7
Because text is 2D, it appears as lines when viewed edge-on. The
four views are set up with different viewing directions, looking at
the same elements in the design. That is, simultaneously you can
see the three words from different directions. Words that are not
seen clearly from one direction are clearly visible when viewed
from another direction. In the Isometric view all three words are
both visible and legible.
Be sure that you understand the above. It is important to

understand what is being displayed on your screen, and why.

Using AccuDraw in 3D design

In the previous exercise, you used the views to place elements in
a particular orientation. While AccuDraw was active, its Rotation
was set to View. That is, the AccuDraw compass always aligned
itself to the view in which the screen pointer was located. To
demonstrate this feature, do the following exercise.
➤ Check AccuDraw’s rotation

1. Set the Active Color to Cyan (7).
3. In the Text Editor, type “ABC”.
4. In turn, move the screen pointer into each of the views
without entering a data point. Notice how the orientation of
the AccuDraw compass, along with the text, always aligns
itself to the current view.
5. Reset to clear the Text Editor.
This is just one feature of AccuDraw and 3D, that it can align its
drawing plane (compass) with the currently selected view. Now
you will learn about other features of AccuDraw that will assist
you in your 3D work.
Fixing the AccuDraw drawing plane

You have seen how AccuDraw aligns its drawing plane with the
current or active view. As well, AccuDraw lets you draw in any
view, while retaining any of the following drawing plane
orientations — Top, Front, or (right) Side. The following exercise
demonstrates this feature.
➤ Prepare for the exercise

1. Make level 12 the Active Level.
2. Turn off level 11 in all views.
The text disappears, leaving the active point displayed in each
view.
3. Make the Active Color Cyan (7).
5. From the Coordinate System Rotation option menu, choose
Top.

6. Click Close.
The AccuDraw Settings box closes.
With the AccuDraw Coordinate System Rotation set to Top, it will

not matter which view is used, the element will be placed as
though in a Top View.
➤ Place text in the Isometric View

2. In the Text Editor, type “Top”.
3. In the Isometric View, snap to the active point.
Notice that the AccuDraw compass is rotated, as is the text.
They are aligned with the Top View.
Using AccuDraw in this way you can work in a pictorial view,

such as the Isometric View, but still constrain the orientation of
elements to that of the Top View. Similarly, you can constrain
elements to the orientation of the Front or (right) Side views. The
Working in 3D
orientation of the AccuDraw drawing plane can be set in the
AccuDraw Settings box, as you did in the previous exercise. A
more convenient method, however, is to use AccuDraw Shortcuts
to change the orientation. This can be done interactively, as the
following exercise demonstrates.
➤ Use an AccuDraw Shortcut to rotate text to the Front

View orientation
7
1. Make the Active Color Violet (5).
3. In the Text Editor, type “Front”.
4. In the Isometric View, snap to the active point, without
entering a data point.
Notice that the word Front is in the same plane as the word
Top, placed previously. This is because AccuDraw’s rotation is
set to Top.
5. Type <F> (the letter “F” on the keyboard).
Notice that the AccuDraw compass and the text now rotate to
a Front View orientation.


Similarly, you can place text rotated to the Right View orientation
using the “S” AccuDraw Shortcut. Try this for yourself, following
the same procedure as above, but typing <S> instead of <F>.
AccuDraw Shortcuts
As in the preceding exercise, many of the following procedures
refer to typing in a single character to change the orientation of
the AccuDraw drawing plane. Also, you can select these settings
from the AccuDraw Shortcuts menu. This menu is accessible from
the AccuDraw Settings box, by clicking Shortcut Key-ins.
The AccuDraw Shortcuts menu.
Before continuing, you will place another active point at

xy=1000,1000,1000.
➤ Place a second active point at 1000, 1000, 1000

1. Make the Active Level 10 and turn off all other levels in all
views.
3. In the Main tool bar’s Points tool box, select the Place Active
Point tool.
4. In any view, enter a tentative point (anywhere in the view).
6. If necessary, set the Data Point option menu to Absolute
(xy=).
7. In the input field, key in 1000,1000,1000 <Enter>.
The active point is placed at xy=1000,1000,1000 in the design
file.
This second point is the diagonally opposite vertex of an
imaginary cube whose origin is at the global origin. When you

fit a view, the View volume changes so that all displayable

elements are visible.
In this case, each orthogonal view, when Fitted, displays the same
volume — the volume between the two active points. This is
useful when you start a 3D model. Simply place two active points
so that a Fit includes the entire volume in which you will work.
Then, as elements are placed, they appear in each orthogonal
view, saving you having to fit after each one.
Imaginary cube,
between two points.
Planar elements, like the text you placed earlier, are affected by
the view used to place them, or by the AccuDraw drawing plane
Working in 3D
setting.
➤ Place some other planar elements in 3D

1. Set the Active Color to red and the Active Line Weight to 1.
2. In the Main tool bar’s Polygons tool box, select the Place
Block tool.
3. In the Top View, enter the first data point of the rectangle.
7
4. Type <V> to change AccuDraw’s rotation to match the active
view.
5. In the Top View, enter a second data point to complete the
rectangle.
6. Change the Active Color to blue.
7. In the Main tool bar’s Ellipses tool box, select the Place Circle
tool.
8. In the Tool Settings window, verify that Method is set to
Center.
9. In the Front View, enter two data points to define the circle.
AccuDraw’s compass rotates to match the active view.
10. Change the Active Color to 2 (green).

Regular Polygon tool.
12. Check that Method is Inscribed and, in the Edges field, key
in 6.
13. In the Right View, enter two data points to define the
hexagon.
✍ Occasionally, you may need to fit the Isometric view to display all
of the elements. The Isometric view is inclined to the screen so
parts of the “imaginary” cube may not be in its view volume.
The design file after placing the planar elements.
Examining the elements just placed

Planar elements placed in one orthogonal view appear as “lines”
in the other orthogonal views. They are flat, 2D surfaces that
appear as “lines” when viewed edge-on. When placed with data
points, and with AccuDraw’s rotation set to View, their orientation
is parallel to the screen in the view in which they were placed. In
the Isometric view, all shapes are at least partially visible, which
makes it useful for “seeing” the model as you create it.

✍ If AccuDraw is not active, planar elements placed with data points

take the orientation of the view being used. That is, they are
placed parallel to the view, or screen. This is the same as having
AccuDraw’s rotation set to View.
➤ Place a rectangle in the Isometric view

1. Set the Active Color to 4 (yellow), and the Active Line Weight
to 4.
Block tool.
3. In the Isometric View, enter two data points to place the
rectangle.
Working in 3D
7
Views showing the polygon placed in the Isometric view.
Notice that the yellow rectangle, though skewed, is at least visible

in all other views. This shows again that the Isometric view does
not align with the other standard (orthogonal) views.

Setting the Active Depth and the Display Depth
➤ Delete the elements to get ready for the next exercise

◆ Use the Delete Element tool to delete all elements except the
two active points.

In this exercise you will learn how to set the Active Depth to
place elements at different depths in a view. You will then learn
how to adjust the Display Depth to view the elements separately.
Use the same design file as for the previous exercise.
3D-specific viewing tools are in the 3D View Control tool box.
➤ Open the 3D View Control tool box

◆ From the Tools menu’s View Control sub-menu, choose 3D.
The 3D View Control tool box opens.
Tools in the 3D View Control tool box, let you specify which part
of the design file appears in each view. Also, you can specify at
what depth, in each view, data points are placed by default.
Setting the Active Depth

Each view in a design file has an Active Depth. That is, the depth
in the view at which elements are placed by default.

1. Select the Fit View view control in any view.
2. Check that Center Active Depth is turned on in the tool
settings.
3. Use the Fit View view control to fit all views.
The two active points display in each view.
4. Use the Zoom Out view control to zoom out the Isometric
View (once at a Zoom Ratio of 2).
5. Check that Active Color is Yellow(4), and Active Line Weight
is 4.

➤ Place elements in the Top View

1. Set the Active Color to Red (3).
2. From the Main tool bar’s Polygons tool box, select the Place
Block tool.
3. In the Top View, enter two data points to place a block.
4. Change the Active Color to Green (2).
5. From the Main tool bar’s Ellipses tool box, select the Place
Circle tool.
6. With Method set to Center, in the Top view, enter two data
points to place a circle next to the block.
After placing the

block and the circle
Working in 3D
in the Top View.
7
Looking at the Front and Right views, notice that both elements
have been placed midway between the two active points. When
you Fitted the views, you specified that the Active Depth be
centered. That is, the active depth was set at the center of the
view’s depth, which is midway between the displayed points.

➤ Display the Active Depth value

1. In the 3D View Control tool box, select the Show Active Depth
view control.
2. Enter a data point in the Top View.
In the status bar, the message “View 1: Active
Depth=500.0000” appears. You know that the two active
points are placed at depths of 0 and 1000. Therefore, 500 is
exactly midway.
Now, change the active depth and place another element.
➤ Change the Active Depth and place more elements in the

Top View
1. In the 3D View Control tool box, select the Set Active Depth
view control.
2. Select the Top View (by entering a data point).
Graphics appear in the Isometric View, displaying part of the
viewing volume of the Top View, plus its Active Depth plane,
which is at the same level as the red block and green circle.
The Isometric View,

displaying the Top View’s
viewing volume and Active
Depth Plane.
3. Move the pointer in any view and notice that the Active Depth
plane moves with the pointer. The graphics may not be
readily visible in the other views, but the Isometric View
displays them clearly.
4. In any view, snap to the upper active point.
5. Accept to set the Active Depth at that point.
6. Set the Active Color to Yellow(4).

7. In the Top view, use the Place Block tool to place a rectangle
and the Place Circle tool to draw a circle. (Use data points
only to draw the elements).
The elements
displayed in the Top
and Front views.
Looking at these new elements

You can see, in the Front and Right views, that the yellow block
and circle lie in the plane of the upper active point. This is the
Active Depth plane that you defined prior to placing those
elements.
In the Top view, all of the elements appear to be together. In the
Working in 3D
Front and Right views, however, it is obvious that the yellow
elements, just drawn, are on a different plane.
Snapping to existing elements

In the preceding exercises, you placed the various elements with
data points. That is, you did not snap to existing elements in the
design. The Active Depth value is a default depth at which
elements are placed. If you snap to an existing element in the
7
design then the Active Depth value is ignored, and the depth of
the snap point is used. This feature will be used in later exercises.
✍ If you know the required Active Depth, you can use the AZ= key
in via the Key-in window (available from the Utilities menu). For
example, to set a view’s Active Depth to 500, key in AZ=500 and
select the view. You cannot set the Active Depth “outside” the
view’s Display Depth — specifying a value “in front” of the front
clipping plane or “behind” the back clipping plane sets the Active
Depth to the front or back clipping plane, respectively, and
causes “Active Depth set to Display Depth” to display in the Status
bar.

Setting the Display Depth

You have seen that the Set Active Depth view control lets you set
the default depth in a view at which data points fall. Another view
control, Set Display Depth, lets you view “slices” of the design, to
display only those elements you wish to see.
➤ Set the Top View’s Display Depth graphically

1. In the 3D View Control tool box, select the Set Display Depth
view control.
2. In the Top View, enter a data point.
Dynamics in each view display the Top view’s volume. The
pointer controls the location of the view’s front clipping plane
(the one nearest you in the Top View).
3. In the Front or Right view, enter a data point between the two
groups of elements to define the front clipping plane.
The pointer now controls the back clipping plane for the
selected view.
4. In the Front or Right view, enter a data point below the lower
group of (red and green) elements to define the back clipping
plane.
Setting the Display

Depth: Identify the view
(1) and then define the
front and back clipping
planes (2 and 3).
The Top view updates with only the red and green elements
(those on the lower plane) visible. Because the yellow

elements are in front of the front clipping plane, outside the

view’s Display Depth, they are not displayed.
5. Use the Zoom Out view control to zoom out the Front View
(once).
6. Repeat steps 2–4, this time setting the front clipping plane
above the yellow elements, and the back clipping plane
between the two groups (use the zoomed out Front View to
set the upper limit).
The Top view updates with only the yellow elements plus the
upper active point visible. In this case, the red and green
elements are behind the back clipping plane and are not
Working in 3D
displayed.
✍ When you know the range required for Display Depth, you can
use the alternate key-in DP= via the Key-in window. For example,
to set the Display Depth between 200 and 300, key in
DP=200,300 and select the view.
✍ While any view can be used to set the Active Depth or Display
7
Depth, it is most convenient to use an orthogonal view.
✍ Dynamics associated with the Set Active Depth and Set Display
Depth view controls are affected by the view volume. Whether or
not these dynamics appear on screen, the tools still function
normally. If necessary, increase a view’s Display Depth or
Window Area to make the dynamics visible.
Using the procedures demonstrated in the preceding exercise,

you can change the Active Depth and Display Depth in any view.
Also, you can check the Display Depth, and the Active Depth of
any view, with the Show Display Depth, and Show Active Depth
view controls. In each case, the values appear in the Status bar.

Viewing a 3D design
Viewing a 3D design
In this exercise, you will learn how to view a 3D design from any
location, looking in any direction. You will learn how the View
Rotation settings box, along with the Set Display Depth view
control, lets you view various items of your design in isolation.
In preparation, start MicroStation and open “vwlesson.dgn”. This

design file is shipped in MicroStation’s
Sample design file

“vwlesson.dgn”.
This design is saved with views 1 to 4 open, displaying the model

from the Top, Front, Right, and Isometric views. You are not
restricted to these, or other, standard views — the Rotate View
view control and the View Rotation settings box let you rotate
views to any orientation. Whereas the Window Area tool lets you
specify an area of interest, the Set Display Depth view controls let
you specify the depth that is displayed in each view.

Viewing a 3D design
Display Depth
By default, 3D views usually are set to display as wireframe
views. This lets you “see through” elements, which is useful
because you can see elements that are behind others.
However, particularly in a complex design, it can be hard to see

what you want to work on in a wireframe view that displays the
entire model. To view a limited part of the model, you can use
the Set Display Depth view control.
➤ Set the Display Depth in the Top view to isolate the blue
tanks
view control.
2. Enter a data point in the Top View.
3. In the Front or Right view, enter a data point above the
model, to set the front clipping plane.
4. In the Front or Right view, enter a second data point just
below the upper floor, so the blue tanks are included.
This second data point sets the back clipping plane.
Working in 3D
The Top View updates with the new Display Depth. The blue
tanks are clearly visible. Elements located below the tanks no
longer confuse the view.
Setting the display

depth in the Top View.
7
Identify the view (1)
and then the Front and
Back clipping planes
(2 and 3).
➤ Isolate the tanks in the Front view

view control.
2. Enter a data point in the Front view.
3. In the Top View, enter a data point below the blue tanks to
set the Front View’s front clipping plane.

Viewing a 3D design
4. In the Top View, enter a second data point above the blue
tanks to set the Front View’s back clipping plane.
The Front View updates with the new Display Depth. Again,
the blue tanks now are clearly visible.
Front view with

new Display Depth.
Setting the display depth
in the Front View
Identify the view (1) and
then the Front and Back
clipping planes (2 and 3).
Display Depth setting and the view control tools

When you use the Zoom In, Zoom Out, or Window Area view
controls, no change is made to the display depth of a view.
Similarly, if you use the Fit View view control, with Expand
Clipping Planes turned off, the display depth remains unchanged.
That is, the view is expanded to fit all displayable elements within
the current front and back clipping planes. When Expand
Clipping Planes is turned on, the Fit View view control also
expands the front and back clipping planes to fit all displayable
elements. By default, the Fit View view control has Expand
Clipping Planes turned on.
➤ Zoom In on the tanks

1. In the Top View, use the Zoom In view control to magnify the
blue tanks.
2. In the Front View, use the Window Area view control to
magnify the blue tanks.
The Top and Front

views magnified
(without change to
display depth).
3. In the Top View, use the Fit View view control to fit the view.

Viewing a 3D design
With the setting Expand Clipping Planes turned on, the

complete model is displayed.
4. In the tool settings, turn off Expand Clipping Planes.
5. In the Front View, use the Fit View view control to fit the
view.
The view is fitted, but the front and back clipping planes are
not adjusted.
6. In the tool settings, turn on Expand Clipping Planes.
7. Enter a data point in the Front View, or select the Fit View
view control.
The view is fitted, with the front and back clipping planes
adjusted to display the entire model.
Result of fitting the Front

View with Expand
Clipping Planes turned off
(left) and on (right).
Working in 3D
Rotated views and display depth
As well as working with standard views, you can set the Display
Depth in rotated (non-standard) views. Views may be rotated
graphically with the Rotate View view control, or with precision
via the View Rotation settings box. Here, you will use the
7
precision controls to rotate the view 45°.
➤ Rotate the front view 45o about the y-axis

1. In the 3D View Control tool box, select the Change View
Rotation tool.
The View Rotation settings box opens.
2. From the View option menu, choose 3.
The cube graphic in the settings box updates to reflect the
current orientation of the selected view and Front appears in
the Std. option menu.
3. In the Step field, enter 45.
4. From the Axis option menu, choose View.
5. Click (once) on the plus (+) arrow for the y-axis.

Viewing a 3D design
The cube graphic updates, showing the new orientation.
View Rotation Settings box,

set to rotate View 3 by 45°
about the view’s Y axis.
6. Click the Apply button.

View 3 is rotated to the orientation just defined in the View
Rotation settings box.
7. Close the View Rotation settings box.
8. Use the Fit View view control to fit View 3.
All elements are displayed in the view.
9. In View 3, use the Window Area tool to magnify the blue
tanks.
View 3 after rotating 45°

and magnifying the tanks.
➤ Set the Display Depth in the rotated view

1. In the 3D View Control tool box, choose the Set Display Depth
view control.
2. Select the rotated view (View 3).
The viewing volume of the selected view is indicated, where
possible, in the other views.
3. In the Top View, use the Window Area view control to
magnify the blue tanks.

Introduction to 3D modeling tools
4. In the Top view, set the front and back clipping planes to
include 2 of the blue tanks that are oriented at 45o.
On selecting the back clipping plane, view 3 updates to
display the defined volume.
Setting the display depth in

the rotated view
Identify the view (1) and
then the Front and Back
clipping planes (2 and 3).
✍ When using the Set Display Depth tool, sometimes the other views
do not display its dynamics because their view volume does not
encompass the volume of the view being manipulated. This can
be remedied by increasing the window area and/or the Display
Depth of the other views.
In addition to the View Rotation settings box and Display Depth
Working in 3D
tool, the Camera also changes the Display Depth.

In the preceding exercises, although you have been working in
3D, the tools for placing elements have been 2D. In the following
sections you will be introduced to the 3D modeling tools.
7
Unlike traditional surface modeling packages, MicroStation with
SmartSolids lets you start a design with basic “building block”
solids. From here you can unite, subtract, or intersect the solids,
then add the finishing touches such as fillets, chamfers and cuts.
Designs such as moldings can be created with the Shell Solid tool
which lets you hollow out a solid, to a defined wall thickness.
In this first exercise, you will learn how to start with simple solids
and, using various tools, create the bracket shown below. While
this would be very difficult to model using surface modeling

techniques, you will find that MicroStation and its SmartSolids

tools make the task simple.
Rendered image of
model bracket to be
constructed in the
exercise.
For this model, you will first create the underlying solids, two
slabs and a cylinder, and then a shape from which the
strengthening rib will be constructed. The holes will be cut next
followed by the rounding on the edges.
✍ In these following exercises, unless specified otherwise, the

AccuDraw compass mode referred to is rectangular. You can
press <Space> to toggle between Rectangular and Polar mode.

1. Create a new design file using the seed file “seed3d.dgn”.
Name the new design file “3Dtute1.dgn”.
This design file has view 1 to 4 open. They are Top, Isometric,
Front, and Right views respectively.
3. Turn off all other levels in all views.
Tool boxes containing the 3D SmartSolids modeling tools are

located in the 3D Main tool box.

➤ Open the 3D Main tool box

◆ From the Tools menu’s 3D Main sub-menu, choose 3D Main.
The 3D Main tool box opens.
Left Column Right Column

3D Primitives tool box 3D Construct tool box
3D Modify tool box 3D Utility tool box
For the purposes of this exercise, Master Units are assumed to be

millimeters. First, you will place two Active Points so that a fit will
display the volume in which the model will be constructed. For
the exercise, these will save you having to fit views after each
element is placed.
➤ Place two active points

2. In the Main tool bar’s Points tool box select the Place Active
Point tool.
Working in 3D
5. If necessary, set the Data Point option menu to Absolute (xy=)
6. In the input field, key in 0 <Enter>.
The active point is placed at the design file’s Global Origin,
xy=0,0,0.
8. In the input field, key in 65,65,65 <Enter>.
7
The active point is placed at xy=65,65,65.
To begin, you will place two slabs and a cylinder, which will form
the basic solids from which the finished model will be
constructed.
➤ Prepare to place the first slab

2. Make the Active Line Weight 1.
3. Float the 3D Primitives tool box, which is located at top left of
the 3D Main tool box.

4. In the 3D Primitives tool box, select the Place Slab tool.

5. From the Type option menu, choose Solid.
6. From the Axis menu, choose Drawing Z.
This constrains the slab to the design file coordinates, with the
slab’s height aligned with the Z axis of the design file.
7. Turn on Orthogonal.
8. Turn on Length and Width and, in the respective fields, key in
34.
9. Turn on Height and, in its field, key in 14.
➤ Place the first slab

1. In the key-in window, key in xy=15,15,20.
Sets the start point of the slab at coordinates x=15, y=15, z=20.
This is an alternative key-in method to that used with
AccuDraw’s Data Point Key-in box. In general, you will find
that AccuDraw provides quicker data point input to that of the
straight key-ins.
2. In the Top View, enter a data point anywhere along the right
side of the view.
Sets the Length of the slab.
3. In the Top View, enter a data point anywhere along the top
area of the view.
Sets the Width of the slab.

4. In the Front or Right Views, enter a data point anywhere along

the top area of the view.
Completes the slab by defining its height.
Placing the slab,

where all dimensions
are constrained.
Working in 3D
Where a number of identical slabs are to be placed, the foregoing
method is fine. Having defined the Length Width and Height, you
can place any number of these identical slabs. The same applies
where only one, or even two of the dimensions, changes. For
one-off slabs such as this, however, there is a more efficient
method in which you use AccuDraw.
7
➤ Prepare to place the first slab again, using AccuDraw
1. Use the Delete Element tool to delete the existing slab.
3. If necessary, in the Operation group, turn on Floating Origin,
Context Sensitivity and Smart Key-ins, while Auto Point
Placement should be turned off.
4. Close the Accudraw Settings box.
6. Turn off Length, Width, and Height.

➤ Using AccuDraw, place the first slab

1. In the Primary Tool bar, click the Start AccuDraw icon.
In the Place Slab tool settings, the Axis setting is Points
(AccuDraw).
2. Key in P.
AccuDraw’s Data Point Key-in window opens.
3. With the Data Point Key-in option set to Absolute (xy=), key
in 15,15,20 <Enter>.
AccuDraw’s compass appears at 15,15,20 in the view where
the pointer is located.
4. Type <T> to align AccuDraw’s drawing plane with the Top
View.
5. In the Isometric View, move the pointer in AccuDraw’s
positive X direction (the direction of the red tick on the
compass).
6. With the pointer indexed to AccuDraw’s X direction, key in 34
and enter a data point.
With the pointer indexed to AccuDraw’s X direction, input
focus is on AccuDraw’s X input field.
7. Still in the Isometric View, move the pointer up and to the left
until AccuDraw’s previous distance lock indicator displays,
Because both length and width are the same, the previous
distance lock saves you keying in the value.

Notice also that, after placing this third data point, AccuDraw’s
compass automatically rotates ready to define the slab’s
height.
8. Move the pointer upward to define the direction of the slab’s
height.
9. Key in 14, and enter a data point.
The slab is completed.
Next you will place a second slab abutting the first, with their top
faces adjacent. This second slab is 60mm long, 3mm wide, and
28mm deep, and located symmetrically about the center line of
the first slab.
Working in 3D
To construct this slab you will use another of AccuDraw’s
features, the Origin key-in <O>. This is used to set AccuDraw’s
origin at the tentative snap point. As you will see, you will snap to
the center of the existing slab, and place the first point of the new
slab relative to this point.
➤ Place the second slab
7
1. If necessary, reselect the Place Slab tool.
2. In the Isometric View, snap a tentative point to the midpoint
of the upper front edge of the slab, as shown — do not enter a
data point!
3. Type <O> (the letter “O” on the keyboard).

This sets AccuDraw’s origin at the tentative point location. The

compass, which appears at this origin, still is aligned with the
Top View.
4. Move the pointer in AccuDraw’s negative X direction.
5. With the pointer indexed to AccuDraw’s negative X direction
(opposite to the direction indicated by the red tick), key in 30
This is the first point of the new slab.
6. Move the pointer in AccuDraw’s positive X direction

7. With the pointer indexed to AccuDraw’s positive X direction,
key in 60 and enter a data point.
8. Move the pointer to the right, key in 3 and enter a data point.
9. Move the pointer downward, key in 28 and enter a data point.
Placing the second slab.
From the first point (1), move
the pointer right, indexed to
AccuDraw’s positive X
direction, key in 60 and enter
a data point (2).
Next, move the pointer right,
key in 3 and enter a data point
(3). Finally, move the pointer
downward, key in 28 and
enter a data point (4).
To complete this part of the exercise, you will place a cylinder at

the rear of the first slab. Again, you will use AccuDraw to input
the dimensions interactively.
➤ Place the cylinder

1. In the 3D Primitives tool box, select the Place Cylinder tool.
2. If necessary, set Type to Solid, and turn on Orthogonal
(leaving Radius and Height turned off).

3. In the Isometric View, snap to the center of the rear lower

edge of the first slab and accept with a data point.
AccuDraw’s compass appears at the snap point.
4. Move the pointer to the right, indexed to AccuDraw’s positive
X direction.
5. With the pointer indexed to AccuDraw’s positive X direction,
This sets the radius of the cylinder.
6. Move the pointer upward, key in 44 and enter a data point.
Placing the cylinder.

After snapping to the center of
the lower rear edge of the first
slab for the first point (1), move
the pointer right in AccuDraw’s
positive X direction, key in 9
and enter a data point (2).
Finally, move the pointer
upward, key in 44 and enter a
data point (3) to complete the
cylinder.
Working in 3D
To complete the basic “building blocks” of this model, you will
now place a shape that will form the template for the
strengthening rib. AccuDraw will be used, in the Isometric View,
to place the shape.
➤ Place the strengthening rib shape
7
1. In the Main tool box’s, Polygons tool box, select the Place
Shape tool.
2. In the Isometric View, snap to the center of the rear upper
edge of the first slab and accept with a data point.
AccuDraw’s compass appears at the snap point, still aligned
with the Top View (if not, type <T> to align it correctly).
3. Move the pointer toward the front of the slab, indexed to the
negative Y direction (opposite the green tick on the compass).

4. With the pointer indexed to AccuDraw’s negative Y direction,

Snap to the center of the

rear top edge of the first
slab for the first point (1).
With the pointer indexed to
AccuDraw’s negative Y
direction, key in 25 and
5. Type <S> to realign AccuDraw’s compass to the Side View.

6. Move the pointer upward, indexed to AccuDraw’s positive Y
direction (in line with the green tick).
7. With the pointer indexed to AccuDraw positive Y, key in 20
but do not enter a data point.
8. Move the pointer to the left, until AccuDraw’s previous
distance lock indicator displays and enter a data point.
Because you did not enter a data point after the 20 key-in,
AccuDraw still retains the previous distance (25).
Locating the 3rd data

point:
Left: Move the pointer
upward indexed to
AccuDraw’s Y direction
and key in 20.
Right. Move the pointer
to the left until the
previous distance lock
indicator appears and

9. In the tool settings, click Close Element to complete the

shape.
Snap to the center of the

upper rear edge of the slab
to complete the shape.
With the template for the rib in place, you will now convert it to a
solid, using the Thicken to Solid tool. Another tool, Extrude, could
also be used to create a solid from the shape. The advantage of
the Thicken to Solid tool, in this instance, is that it lets you thicken
both sides of the surface. The Extrude tool “thickens” in one
direction only, which would result in you having to reposition the
solid, to center it.
Working in 3D
➤ Create the rib
1. From the 3D Main tool box’s 3D Construct tool box select the
Thicken to Solid tool.
The 3D Construct tool box is located at top right of the 3D
Main tool box. The Thicken to Solid tool is located at the far
right of the 3D Construct tool box.
7
2. In the tool settings, Turn on Add To Both Sides.
3. Turn on Thickness and, in its field, key in 1.5.
The rib is to be a total of 3 mm thick, so you will thicken it 1.5
mm each side.
4. In any view, identify the rib’s triangular shape.
The shape is highlighted. Simultaneously, dynamic arrows
display in all views to show the direction and extent of the
thickening.

5. Accept to thicken the surface.
The model after

thickening the rib.
You now have the basics of the model. Currently, it consists of 4

individual solids. Using tools from the 3D Modify tool box, you
will now consolidate the separate solids into a single unit, and
then add the finishing touches. Again, with the aid of AccuDraw,
you can work entirely in the Isometric View.
➤ Prepare for completion of the model

1. From the 3D Main tool box, float the 3D Modify tool box,
which is located bottom left of the 3D Main tool box.
2. Expand the Isometric View to fill the screen.
3. Use the Fit View view control to Fit the Isometric View.
First, using the Construct Union tool, you will consolidate the
individual solids.
➤ Unite the slabs into a single entity

1. In the 3D Modify tool box, select the Construct Union tool.
2. Identify one of the slabs.
The slab highlights.
3. Identify the remaining slab.
Both slabs now are highlighted.

4. Accept (away from the model).

The slabs are united.
Uniting the two slabs.

Left: Identify both slabs
(1 and 2).
Right: Accept to create
the union (3).
You can use this method to unite two or more solids, by

individually selecting the elements. Alternatively, you can use the
Element Selection tool to first select the elements in one step, as
shown below.
➤ Unite the remaining solids
Working in 3D
1. In the Main tool box, select the Element Selection tool.
2. Place a selection fence to envelope all elements of the model.
Handles appear on all elements, indicating that they are
selected.


The elements are united into a single solid.
Left: Use the Element Selection tool to select all elements to be united (1 and 2).
Right: Select the Construct Union tool to effect the union.
With the model in its “raw” state, you can now start to add the
finishing touches. First, you will chamfer the rear edges of the
main body, back to the cylindrical section. To determine the
dimensions of the chamfer, you can use the Measure Distance
tool. The distances should be 8mm and 34mm, as shown.
➤ Construct the first chamfer

1. In the 3D Modify tool box, select the Chamfer Edges tool.
2. If necessary, click the lock icon to unlock the Distance 1 and 2
values.

3. In the Distance 1 field, key in 8.

5. Identify the rear left edge.
The selected edge highlights. Notice also, that as you move
the pointer over the model, the various edges highlight to
show you which edge would be selected with a data point.
6. Away from the model, to avoid selecting another edge, accept
with a data point.
The edge is chamfered.
Left: Identify the edge

to chamfer (1).
Right: Accept to
chamfer the edge (2).
Working in 3D
To construct the second chamfer, the dimensions will be the
same, but reversed. Rather than reverse the Distance 1 and 2
values, you can simply turn on Flip Direction.
➤ Chamfer the remaining rear edge
7
1. If necessary, reselect the Chamfer Edges tool.
Values for Distance 1 and 2 are retained from the previous
operation.
2. Turn on Flip Direction.
3. Identify the rear right edge.
The edge highlights.

4. Away from the model, accept to complete the chamfer.
Left: Identify the rear

right edge (1).
Right: Accept (2) to
complete the chamfer.
Two more chamfers are required on the lower left and right edges
at the front of the bracket. Dimensions for both these chamfers
are 8mm in the vertical direction and 20mm in the horizontal
direction.
➤ Construct the chamfers at the front of the bracket

1. If necessary, reselect the Chamfer Edges tool.
3. Leave the Distance 2 field as 8.
4. Identify the lower left and lower right edges of the bracket, as
shown.

5. Accept, away from the model, to construct the chamfers.
Accept, away from the

model (3), to complete the
two chamfers.
Before adding rounding to the various edges, 3 holes will be cut

in the bracket. A hole partway through the cylindrical lug, and
two attachment holes through the front face of the bracket. To cut
a hole in a solid, you first create a cutting profile. For this model,
all cutting profiles will be circles. Again, working in the Isometric
View, AccuDraw will be used to place the circles at the correct
orientation and location.
Working in 3D
➤ Create the cutting profiles for the attachment holes
1. If necessary, in the Primary tool bar, click the Start AccuDraw
icon.
2. In the Main tool box’s, Ellipses tool box, select the Place
Circle tool.
3. In the Tool Settings, set Method to Center.
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4. Turn on Diameter and, in its field, key in 5.
5. Snap to the front upper left corner of the bracket and, without
entering a data point, type <O>.
This sets AccuDraw’s origin at the snap point.
6. Type <F> to set AccuDraw’s drawing plane orientation to
Front.
7. Move the pointer in AccuDraw’s positive X direction and, still
without entering a data point, key in 7.
8. Move the pointer downward and again key in 7.
This locks the pointer at the correct location for the hole’s
center.

9. Enter a data point to place the circle.
Placing the hole cutting profile

(circle):
Snap to the front top corner (1)
and type <O>.
Move the pointer in the positive
X direction (2) and key in 7.
Move the pointer downward
(3) and key in 7.
Enter a data point (4) to place
the circle.
A similar procedure could be used to place the profile for the

opposite corner. A quicker option is to mirror copy the first circle.
Using AccuDraw, this also can be done in the Isometric View.
➤ Mirror copy the first hole profile

1. In the Main tool box’s, Manipulate tool box, select the Mirror
tool.
2. Set Mirror About to Vertical.
3. Turn on Make Copy.
4. Identify the existing circle.
5. With AccuDraw’s compass still set to Front, snap to the center
of the upper front edge of the bracket.
6. Accept to complete the mirror copy.
Mirror copying the first profile:

Identify the existing circle (1).
Snap to the center of the upper
front edge and accept (2).

The third circle (cutting profile) will be placed at the top of the
cylindrical lug.
➤ Place the third cutting profile

1. Select the Place Circle tool.
3. Snap to the center of the cylindrical lug at the top, but do not
enter a data point.
4. Type <T> to rotate AccuDraw’s compass to a Top orientation.
5. Accept to place the circle.
With the cutting profiles in place, you can now cut the holes in
the solid.
➤ Cut the attachment holes

1. In the 3D Modify tool box, select the Cut Solid tool.
2. Set Cut Direction to Both.
3. Set Cut Mode to Through.
4. Identify the solid.
Working in 3D
5. Identify the first circle at the front left of the bracket.
Graphics appear, showing the direction of the cut (in this case
forward and back because Both was selected).
6. Accept to create the cut.
Using the Cut Solid tool:
7
Left: Identify the solid
(1) and the cutting
profile (2). Graphics
display the direction of
the cut.
create the cut.
When you create a cut, you can change the tool settings prior to
accepting the construction. You will see this feature when you
create the second and third holes.
➤ Create the second hole

1. If necessary, reselect the Cut Solid tool.
The tool settings should be the same as for the previous hole.


3. Identify the second circle.
Graphics appear, showing the direction of the cut (again, both
forward and back because Both was selected).
4. In the tool settings, change Cut Direction to Forward.
The arrow depicting the Back direction disappears. Because
the template is on the face of the solid, the hole still will pass
completely through it.
5. Accept to create the hole.
For the hole in the cylindrical lug, you will set Cut Mode to
Define Depth, because it is a blind hole and does not pass
completely through the model.
➤ Create the third hole

1. If necessary, reselect the Cut Solid tool.
2. Set Cut Mode to Define Depth.
3. In the Cut Depth field, key in 35.
5. Identify the circle placed at the top of the cylindrical lug.
Notice that the Cut Direction arrow, which is set to Forward, is
pointing the wrong way (upward).
6. Set Cut Direction to Back.
The direction arrow changes to the correct direction.
Placing the blind hole

in the cylindrical lug:
(1) and the cutting
profile (2).
create the hole.

That completes the raw model of the bracket. All that remains is
to add the finishing touches — rounding the sharp edges. Before
doing that, however, you will use another tool to make some last
minute adjustments to the model. In this case, these adjustments
should be made prior to rounding the edges. If the edges were
filleted prior to the modification, then all faces joined by the
rounding would be included.
➤ Prepare to modify the model

1. From the Window menu, choose Tile.
2. Turn off level 2 in all views.
This turns off the display of the two active points, which are
no longer needed.
4. In the Right View, use the Window Area view control to
magnify the strengthening rib of the bracket.
During the following exercise, you will be able to use the various
views to assist in the modifications.
➤ Increase the depth of the strengthening rib
Working in 3D
1. In the 3D Modify tool box, select the Modify Solid tool.
2. Turn on distance and, in its field, key in 3.
4. As you move the pointer over the solid, notice that the various
faces highlight in a dashed line.
5. In the Top View, place the pointer over the top face of the rib,
7
so that it highlights.
6. Accept.
The selected face highlights in a heavier weight line.
Simultaneously, an arrow appears in each view, showing the
direction and extent of the modification.

7. With the arrow pointing upward from the face (the Right View
shows this most clearly), accept the modification.
The rib is increased in depth by 3 mm.
Modifying the rib:

Identify the solid (1),
and the face to be
modified (2). Accept (3)
to make the change.
As you can see, this tool lets you make changes such as this
without the need to go back and recreate parts of the model
manually. Similarly, you can adjust curved faces, such as that of
the cylindrical part of this model. Here, you will add 0.5 mm to
the radius of the outer face.

1. Use the Fit View view control to fit the Right View.
2. In the Top View, use the Window Area tool to magnify the
cylindrical section of the bracket.
This view will be used to check the modification.
➤ Increase the outer radius of the cylinder

1. Select the Modify Solid tool.
2. Check that Distance is turned on and, in its field, key in 0.5.
4. Identify the outer face of the cylindrical section of the bracket.
The outer face highlights in a heavier weight line.

5. In the Top View, move the pointer outward from the

identification point, to define the direction of the adjustment.
An arrow appears in each view, showing the direction and
extent of the modification. Because the amount of adjustment
is very small in this case, the arrow is hard to see.
6. Accept to complete the modification.
Modify the radius of the
cylindrical section.
Identify the solid (1) and the
outer face of the cylinder
(2). Move the pointer
outward from the
identification point on the
cylinder to define the
direction of the modification
and accept (3).
With the final adjustments made, you will now add the rounding
to the edges. This is done with the Fillet Edges tool. In completing
this task it may be necessary to magnify various parts of the
model to ensure that the correct edges are identified.
➤ Round the corners (edges) of the front plate
Working in 3D
1. In the 3D Modify tool box, select the Fillet Edges tool.
2. In the Radius field, key in 7.
3. Identify the first edge.
The solid highlights, with the selected edge further highlighted
in a heavier line weight.
4. In turn, identify each of the remaining 5 corners, as shown.
7
Notice as you move the pointer over the solid, edges highlight
interactively. Entering a data point selects the dynamically
highlighted edge. Selected edges remain highlighted in a
heavier weight line.

If you select an incorrect edge, a Reset will deselect it.
Identify the 6 edges (1 to 6).
5. Accept to fillet the selected edges.
After accepting (7) the

selected edges are filleted
(rounded).
➤ Fillet the vertical edges of the front plate

1. If necessary, reselect the Fillet Edges tool.
2. In the Radius field, key in 1.5.
3. Identify the two vertical edges where the front plate joins the
main body of the bracket.
The edges highlight.

4. Accept to fillet the edges.
Filleting the vertical edges:

Left: Identify the two edges
(1 and 2).
Right: Accept (3) to complete
the construction.
When you fillet the next edge you will learn about the Select
Tangent Edges setting, and how it can be used.
➤ Fillet the top edge of the bracket

1. If necessary, reselect the Fillet Edges tool.
2. Check that Radius is set to 1.5.
3. Check that Select Tangent Edges is turned off.
4. Identify the model.
Working in 3D
5. Without entering a data point, move the pointer over the
model. Notice that where an edge consists of a combination of
straights and curves, each section highlights individually.
6. Turn on Select Tangent Edges.
7. Notice now, as you move the pointer over the model, an edge
that includes a combination of straights and curves highlights
in its entirety.
7
8. Select either top edge of the main body of the bracket. Notice
that the selected edge, plus the rear edge of the front plate
through to the top edge on the other side, highlights.
9. Accept to fillet the edge.
Filleting the top edge:

Left: Identify the edge (1).
With Select Tangent Edges
turned on all edges joined
tangentially are selected.
Right: Accept (2) to create
the fillet.

Creating more complex models
Because the front plate edges, plus the two vertical edges, were
filleted first, it took one step only to fillet the remaining edges. To
complete the model, fillet the edges of the rib, the edge where
the cylinder and rib join the main body, and the top edges of the
cylindrical section. The top edges of the cylinder will require a
0.75 mm radius.

In the previous example, you used simple solids as a basis for the
model. You can use this method as a way to commence even
more complex models.
To demonstrate this, the next exercise shows you how to create

the model shown below — a tap handle. During construction you
will be introduced to another of the SmartSolids tools, Shell Solid.
Rendered images showing views from above (left) and below (right) the
model to be constructed in this exercise.
With this model, you will start with a 3D primitive solid, a cone.
You will then remove various sections with the Cut Solid tool.
After filleting some edges, you will then “hollow out” the model
from below, using the Shell Solid tool.

Front, and Right views respectively.


millimeters.
First you will construct the cone that forms the base of this model.
Because this model is based on a single solid, there is no need to
place active points to ensure that the same volume is displayed in
each view. After placing the cone, fitting each view will suffice.
➤ Prepare to place the cone

1. In the 3D Primitives tool box, select the Place Cone tool.
The 3D Primitives tool box is located top left of the 3D Main
tool box.
2. Set Type to Solid.
3. Set Axis to Drawing Z.
5. Turn on Top Radius and, in its field, key in 20.
6. Turn on Base Radius and, in its field, key in 25.
8. In the Isometric View, identify the lower left front vertex of
Working in 3D
the cube.
This vertex is at xy=0,0,0 (the Global Origin) of the file.
9. Move the pointer upward in the Isometric view and enter a
second data point.
7

11. Turn off level 1 in each view.

Level 1 contains the default cube graphics.
Views displaying the cone.
✍ You can use any view to draw elements. We are using the
Isometric View because it usually gives a better idea of the overall
model. During the exercise, you will use this view and others,
where appropriate.
Next, a partial cut will be placed in the top. The profile is a 16

mm diameter circle.
➤ Place the circular profile

1. In the Ellipses tool box, select the Place Circle tool.
2. Set Method to Center.
5. In the Isometric View, snap to the top center of the cone.
Use the Front and Right views to confirm that you have
snapped to the correct location.
6. Type <O> to set AccuDraw’s origin at the snap point.
7. If necessary, press <T> to rotate AccuDraw’s drawing plane to
the Top orientation.

Snap to the top center of

the cone to place the
circle (1).
Using the circle as a cutting profile, you will now create the cut-
out.
➤ Create the cut-out

2. Set Cut Direction to Back.
3. Set Cut Mode to Define Depth.
4. In the Cut Depth field, key in 5.
5. If necessary, turn off Keep Profile.
Working in 3D
6. Identify the cone
The cone highlights.
7. Identify the circle
The circle highlights. An arrow displays, showing the direction
and extent of the cut.
7
Placing the cut-out:
(1) and the profile (2).
the cut.
You will now apply a 2 mm x 5 mm chamfer to the lower edge of

the cut.

➤ Chamfer the cut-out edge

1. In the 3D Modify tool box, select the Chamfer Edges tool.
2. Click the lock symbol to unlock the Distance 1 and Distance 2
parameters.
5. In the Isometric View, identify the lower edge of the cut-out.
The solid highlights, with the selected edge further highlighted
in a heavier line style.
6. Accept to create the chamfer.
Chamfering the
cut-out:
Left: Identify the lower
edge (1).
complete the chamfer.
Cutting the square spigot hole is next. This will be done with a 6
mm square cutting profile, placed at the center of the solid.
➤ Create the square cutting profile

1. In the Polygons tool box, select the Place Block tool.
2. In the Top view, snap to the center of the cone, but do not
enter a data point.
3. Press <O> to set AccuDraw’s drawing plane origin at the snap
point.
4. Move the pointer upward, indexed to AccuDraw’s Y direction
and, without entering a data point, key in 3.
5. Move the pointer to the left, key in 3, followed by a data
point.
This establishes the first point of the block.
6. Move the pointer to the right, indexed to AccuDraw’s X
direction, and, without entering a data point, key in 6.

7. Move the pointer downward, key in 6, followed by a data

point.
This completes the block.
Placing the block:
Left: (1) Snap to center
of the cone and press
<O>. (2) Move pointer
upward and key in 3.
(3) Move pointer left,
key in 3 and enter a
data point.
Right (4) Move pointer
right and key in 6. (5)
Move pointer down,
key in 6 and enter a
data point.
Using the block that you just placed, you will place a square hole
through the center of the solid.
➤ Create the square spigot hole

Working in 3D
The solid highlights.
5. Identify the square cutting profile.
7
The block highlights. Arrows display, showing that the cut will
be in both directions.
6. Accept to complete the cut.
Creating the square

spigot hole:
(1) and the cutting
profile (2).
create the cut.
Before completing the basic solid, by cutting out the finger grips,
you will place 1.5 mm rounding on the top outer edge. Doing it

now lets you complete the operation in a single step. Later,

because of the cutouts, this edge will be divided into several
sections.
➤ Round the top outer edge of the tap

3. Identify the top outer edge of the model.
4. Accept to fillet the edge.
Rounding the top edge:

Left: Identify the top
outer edge (1).
Right: Accept to fillet the
edge (2).
To complete the basic solid, you will now create the cut outs for
the tap’s finger grips.
➤ Draw the first cutting profile for the finger grips

4. In the Top View, snap to the outer edge of the solid (on the
right side).
Snap to the outer edge of

the solid (on the right side).
You will now create a polar array of this circle to complete the
drawing of the cutting profiles.

➤ Create a polar array of the circle

1. In the Manipulate tool box, select the Construct Array tool.
2. Set Array Type to Polar.
3. In the Items field, key in 5.
4. In the Delta Angle field, key in 72.
5. Turn on Rotate Items.
6. Identify the circle.
7. In the Top View, snap to the center of the solid.
8. Accept to create the polar array.
Creating the array:

Left: In the Top View
identify the circle (1), and
snap to the centerline (2).
Right: Accept (3) to create
the polar array.
Working in 3D
With the cutting profiles in place, you will now create the cutouts
in the solid.
➤ Cut out the finger grips

7
4. Check that Keep Profile is turned off.
5. In any view, identify the solid.
6. Identify any one of the circular cutting profiles.
The profile highlights.

8. Repeat steps 5 to 7 for each of the remaining four cutting

profiles.
Creating the first finger grip:

Above Left: Identify the solid
(1) and the cutting profile
(2).
Above Right: Accept (3) to
create the cut.
Below: After completing the
remaining four cuts.
With the basic solid of the tap handle completed, it is time to add
the finishing touches. First, you will hollow out the under side,
leaving a wall thickness of 1.5 mm. For this operation, you will
use the Shell Solid tool.
➤ Hollow out the model, leaving a 1.5 mm wall thickness

1. In the 3D Construct tool box, select the Shell Solid tool.
2. In the Shell Thickness field, key in 1.5.
3. Leave Shell Outward turned off.
If Shell Outward was turned on, the wall thickness would be
added to the outside of the current model. We want to remove
material from the model, leaving a 1.5 mm wall thickness.
4. Identify the base solid.
5. Move the pointer over the model until the entire lower face
highlights (in a dashed line) and enter a data point.
The lower face remains highlighted in a heavier weight line.

6. Accept (away from the model, so as not to select another

face).
Material is removed from the underside of the solid, leaving
the specified wall thickness.
Shelling out the model.

Left: Identify the solid (1) and
the face to remove (2).
Right: Accept to remove the
face and material (3).
Next, you need to add 1.5 mm fillets to the edges around the
finger grips. In wireframe display, you may find that this model is
a little confusing and hard to determine outside edges from inside
edges. A solution is to change the display mode to a rendered
image or hidden line view.
➤ Change the Isometric View to Hidden Line display mode
Working in 3D
1. In the Isometric View window’s border, select the Change
View Display Mode view control.
2. Check that View is set to 2.
3. From the Display Mode option menu, choose Hidden Line.
The view updates in Hidden Line display mode. The view
window’s title changes to “Isometric View (cached)”.
Depending on your system, this may take a few seconds as
7
the view is cached.
Isometric View with Display

Mode set to Hidden Line.
With the display mode set to hidden line, it is much easier to

select the correct edges for filleting.

➤ Fillet the finger grip edges

3. If necessary, turn on Select Tangent Edges.
4. In turn, identify each of the edges of the finger grips.
Filleting the finger

grip edges
Left: Identify the edges
(1 to 5).
Right: Accept to complete
the fillets (6).
To complete this model, add 1 mm fillets to the circular edge on

the top of the tap handle, and around the bottom outer edge.
➤ Add the finishing fillets

3. Check that Select Tangent Edges is turned on.
4. Identify the top circular edge.
5. Identify the lower outer edge.
Adding the final fillets to

the model
Left: Identify the two
edges (1 and 2). Right:
Accept to create the
fillets (3).

Converting 2D elements to 3D
As part of constructing an earlier model, you created a solid from
a 2D shape, using the Thicken to Solid tool. Other tools also are
available to create 3D solids from planar shapes. These
techniques will be demonstrated in the following exercise in
which you will construct the model shown below.
✍ Unless specified otherwise, the AccuDraw compass mode referred

to is rectangular. You can press <Space> to toggle between
Rectangular and Polar mode.
Rendered image of model

to be constructed in this
exercise
Working in 3D
To construct this model, you are first going to draw plan, front
and side elevations. These will be simple shapes, ignoring the
radii at the vertices, which you can add later as fillets. The shapes
will form the profiles that you will use to create the finished solid.
7
To give you more practice at using AccuDraw in 3D, you will be
working entirely in the Isometric View.

Front, and Right views respectively. The default cube appears
in each view.
2. Close the Top, Front, and Right views (views 1, 3, and 4).
3. Enlarge the Isometric View to fill the screen.
4. Use the Pan View view control to pan the cube graphics to
approximately the center of the view.


6. If necessary, in the Primary tool bar, click the Start AccuDraw
icon.

millimeters.
Your first task is to draw the plan and elevation elements. You
will draw them in the Isometric View, using AccuDraw to provide
the correct orientation.
For reference, the illustration below shows the dimensions for the
plan and elevations.
First, you will draw the plan view of the model, which is a 50 mm
square with a 12 mm diameter hole in the center.

➤ Draw the 50 mm square

2. Identify the lower left front vertex of the cube.
This vertex is at xy=0,0,0 (the Global Origin) of the file.
3. Type <T> to rotate AccuDraw’s compass to the Top
orientation.
4. Move the pointer upward to the right and, with it indexed to
AccuDraw’s X direction, key in 50 (do not enter a data point).
5. Now move the pointer to the left, key in 50 and enter a data
point.
6. Use the Fit View view control to fit the view.
7. Either delete the cube graphics or turn off level 1 in the view.
Level 1 contains the cube graphics.
➤ Draw the 12 mm circle in the center of the square

Working in 3D
4. Use Center snap to snap to the center of the square.
6. Reset to finish.
7
Isometric view showing
the square and circle.
With the plan completed, you will now construct the side
elevation, using the Place Shape tool. AccuDraw will be used to
correctly orientate the shape.

➤ Prepare to draw the side elevation

1. Use the Zoom Out view control, with Zoom Ratio set to 2, to
zoom out the Isometric View once.
2. Use the Pan View view control to pan the plan elements to the
bottom of the view.
➤ Draw the shape

1. In the Main tool box’s Polygons tool box, select the Place
Orthogonal Shape tool.
2. Identify the vertex at the right in the view for the first point.
3. Type <S> to rotate AccuDraw’s compass to the Side
orientation.
4. Identify the vertex at the top in the view for the second point.
Because it is an orthogonal shape, it is kept aligned correctly
to AccuDraw’s axes.
6. Move the pointer to the right, key in 10 and enter a data

point.
8. Move the pointer right, until AccuDraw’s previous distance
indicator appears and enter a data point.

When the previous distance indicator appears, AccuDraw’s Y

field displays 30, verifying that it is the same distance as the
previous point.
9. Move the pointer downward, until AccuDraw’s previous

distance indicator again appears and enter a data point.
10. Identify the right vertex of the square to set the next point.
11. Again identify the right vertex of the square to complete the
shape.
Working in 3D
After placing the shape
forming the side
elevation.
7
You could use a similar technique for drawing the front elevation
of the model. However, it is very similar to the side elevation, so
you will make use of the existing element by rotating a copy of it,
and then modify it. Again, AccuDraw will ensure that the axis of
rotation is in the correct orientation.
➤ Create a rotated copy of the side elevation

1. In the Main tool box’s Manipulate tool box, select the Rotate
tool.
2. Set Method to Active Angle and, in its field, key in 90.

4. Identify the side elevation shape.

5. Type <T> to rotate AccuDraw’s compass to the Top
orientation.
6. Snap to the center of the circle.
7. Accept to complete the rotated copy.
8. Reset to finish.
➤ Modify the copied element

1. In the Main tool box’s Modify tool box, select the Modify
Element tool.
2. Identify the right vertex where the top section meets the
horizontal base section. Notice that AccuDraw’s compass
aligns itself with the plane of the element.
3. Move the pointer to the left and, with it indexed to
AccuDraw’s negative X direction, key in 3, without entering a
data point.
4. Move the pointer downward, key in 5, and enter a data point.
5. Reset to finish.
6. Identify the equivalent vertex on the left side.

7. Move the pointer downward and, with it indexed to

AccuDraw’s negative X direction, key in 5, without entering a
data point.
8. Move the pointer to the right, key in 3, and enter a data point.
9. Reset to finish.
With the outside border of the front elevation placed, you will
now place the two circles representing the horizontal holes in the
model.
➤ Place the circles

1. In the Main tool box’s Ellipses tool box, select the Place Circle
tool.
4. Snap to the top center of the front elevation shape, without
6. Type <F> to rotate AccuDraw’s compass to the Front
Working in 3D
orientation.
AccuDraw’s negative Y direction, key in 12 and enter a data
point.
8. In the Diameter field, key in 6.
9. Snap to the bottom center of the front elevation shape,
without entering a data point.
7
11. Move the pointer upward and, with it indexed to AccuDraw’s
Y direction, key in 6 and enter a data point.
You will now group the circles to their associated shape. Later,
these will form the holes in the solid.
➤ Group the front elevation elements

1. In the Main tool box’s Groups tool box, select the Group Hole
tool.
2. Identify the front elevation shape.
3. In turn, identify the two circles within the shape.
4. Accept to group the elements.

5. Reset to finish.
The completed plan, front

and side elevations.
With the profiles completed, you can now commence the

conversion to a 3D solid. First, the Extrude tool will convert the
front and side profiles into separate solids. These will then be
combined.
➤ Extrude the front profile

1. In the 3D Construct tool box, select the Extrude tool.
2. Identify the front profile (containing the two holes).
Notice as you move the pointer, the profile is extruded into a
3D element.
3. Snap to the opposite edge of the plan profile to define the
extent of the extrusion.
4. Accept to complete the extrusion.
Extrude the front

profile:
Left: Identify the
profile (1).
Right: Snap to the
opposite edge of the
top profile to define
the extent of the
extrusion (2).
➤ Extrude the side profile

1. If necessary, reselect the Extrude tool.
2. Identify the side profile.
3. Snap to the opposite edge of the plan profile to define the
extent of the extrusion.

4. Accept to complete the extrusion.
Extrude the side

profile:
Left: Identify the
profile (1).
Right: Snap to the
opposite edge of the
top profile to define
the extent of the
extrusion (2).
With the profiles extruded into solids, you can now create a
combined solid from them.
➤ Create a solid at the intersection of the two extrusions

1. In the 3D Modify tool box, select the Construct Intersection
tool.
2. Identify either extrusion.
The extrusion highlights.
3. Identify the other extrusion.
Working in 3D
The second extrusion highlights.
4. Accept.
A single solid is created at the common intersection of the two
extrusions.
Construct a single
solid from the 2
7
extruded solids:
Left: Identify each of
the extrusions (1 and
2).
the single solid.
With the side and front extrusions combined, you will now use
the circle in the plan profile to create the vertical hole in the solid.
➤ Create the vertical hole through the solid



5. Identify the circle at the center of the square plan profile.
The circle highlights.
Using the 2D elevations in this way, the model is almost

complete. To complete it, you will now add 2 mm fillets to the
straight edges of the solid and 0.5 mm radius fillets to the five
circular openings (four openings in the sides and the opening on
the top).
➤ Prepare to add the fillets

1. Select the Rotate View view control in the view border.
2. If necessary, set Method to Dynamic.
3. Turn on Dynamic Display.
4. Enter a data point in the center of the view.
5. Move the pointer to rotate the view so that all edges of the
model can be more easily seen and selected.
The model rotated to allow for

easier selection of all edges.
Each edge could be filleted individually. In the following

procedure, however, the number of steps is reduced by selecting
the edges in groups.
➤ Begin adding 2mm fillets to the edges

3. Identify the first horizontal edge of the model as shown below
(with the figure 1).
The solid highlights along with the selected edge.

4. In turn, identify the remaining 7 horizontal edges as shown (in

any order).
5. Accept away from the model to fillet the selected edges.
Left: Identify the edges to

fillet (1)
selected edges (2).
➤ Continue adding fillets

1. If necessary reselect the Fillet Edges tool.
2. If necessary, turn on Select Tangent Edges.
3. Identify the first vertical edge of the model as shown below
(with the figure 1).
The solid along with the selected edge, plus others
tangentially connected, are highlighted.
Working in 3D
4. In turn, identify the remaining 5 vertical edges as shown
below (in any order).
Left: Identify the first

vertical edge (1), followed
7
by the remaining 5 edges.
selected edges.
6. Identify the top edge of the model.

The solid along with the selected edge, plus others
tangentially connected, are highlighted.
7. Select the remaining 2 (upper) edges as shown.

Left: Identify the top edge

(1), followed by the
remaining 2 edges.
edges.
Finally, the hole openings will be completed with 0.5 mm fillets.
➤ Fillet the hole openings

1. If necessary reselect the Fillet Edges tool.
3. Identify the edge around the top opening.
The solid, along with the selected edge, highlights.
4. In turn, identify the remaining 4 upper hole openings (as
shown).
That completes the construction of this model.

A 3D Project: Creating An Office Building
Exercise: A 3D Project: Creating An Office Building

In the previous exercises you learned how to use the 3D design
capabilities of MicroStation. In this set of exercises you will
complete a 3D design project using MicroStation. You will use
MicroStation’s 2D and 3D tools to construct a simple two story
office building complete with foundation, glass walls, and
stairways.
A key part of this exercise is the continual use of MicroStation’s

AccuDraw feature. For additional information about AccuDraw,
see the User’s Guide. This powerful feature enables you to design
in 3D using nothing but a pictorial view. Throughout these
exercises you will see how AccuDraw provides a significant
degree of freedom in viewing as well as placing elements in the
design.
Below is an illustration of the building you will be working on.

Note the labels used to describe the building’s major components
referenced in the following exercises.
Working in 3D
7
The focus of this exercise, a 2 story office building. Note the various architectural
features to be constructed using a variety of MicroStation tools.

Creating the building’s structure

Key to any new building design is its underlying structural
elements. In this exercise you will be creating the basic structure
of the building, figuratively, from the ground up. Before you can
begin the process, you need to set up a new design file. In
addition to setting the working units to useful settings for an
architectural project, you will set up a single isometric view in
which to work, using AccuDraw to place elements at their correct
orientation.
➤ Create a new design file and set the working units

1. Create a new design called “3dmodela.dgn.” Use the seed file
“seed3d.dgn.”
In each view, the default cube design is visible.
2. From the Settings menu, choose Design File…
The Design File Settings settings box opens.
3. In the Category list box, select Working Units.
4. Set the Master Units to feet ('), the Sub Units to inches (").
5. Set the Inches Per Feet resolution to 12, and the Positional
Units Per Inch to 8000.
The working units for this

project is set to typical
architectural values as shown.
6. Click OK.
The Design File Settings box closes and an Alert box opens
warning you about the effects of changing the working units.
7. Click OK to accept the changes to the working units.

➤ Prepare the file for the exercise

1. Close all view windows except view 2, the Isometric view.
2. In the Window menu, select Arrange.
The single window should now fill the available space.
3. Set the Active Level to 2, and the Active Color to Green (2).
4. Turn off all other levels.
The cube graphics disappear. They are on level 1.
6. Check that Rotation is set to View, and Type is set to
Rectangular.
7. If necessary, in the Operation section, turn on Floating Origin,
Context Sensitivity, and Smart Key-ins — leaving Auto Point
Placement turned off.
8. Close the AccuDraw Settings box.
9. If necessary, open the 3D Main tool bar.
Select Tools > 3D Main > 3D Main.
Working in 3D
10. From the 3D Main tool box, float the 3D Primitives tool box.
The 3D Primitives tool box is located top left of the 3D Main
tool bar.
To commence this project, you will construct the first column

footing. This will comprise a 3D slab. At the outset you don’t
7
know whether the view is zoomed in or out enough, but the slab
still can be drawn and the view fitted at the completion of the
slab.
➤ Create the first column footing

2. Check that Type is set to Solid, and Axis is set to Points
(AccuDraw).
3. If necessary, turn on Orthogonal.
4. Turn on Length and Width and, in their fields, key in 8.

6. In the Isometric View, snap a tentative point anywhere in the

view (do not enter a data point).
8. With the Data Point option menu set to Absolute (xy=), in the
input field, key in 0 <Enter>.
The first point of the slab is placed at xy=0,0,0.
9. Type <T> to set AccuDraw’s drawing plant to Top.
10. Move the pointer to the right, indexed to AccuDraw’s X
direction, and enter a data point.
11. Move the pointer upward to the left and enter a second data
point.
12. Move the pointer downward below the first point to set the
slab’s “height” dimension and enter a data point.
Notice that AccuDraw’s compass has rotated automatically to a
side orientation for placement of this last data point.

The view updates to display the entire slab. It is 8 feet long, 8
feet wide, and 2 feet high, with its top left front vertex at
xy=0,0,0.
In the above exercise you used a combination of tool settings,

coordinate data input (to set the first point at xy=0,0,0) and
AccuDraw to create the footer.
In the next exercise we will construct the remaining footers

needed to support the entire office building.
➤ Create the footing array

1. From the Main tool bar’s Manipulate tool box, select the
Construct Array tool.
2. Set Array Type to Rectangular.
3. Check that Active Angle is set to 0.
4. In the Rows field, key in 3.
5. In the Columns field, key in 4.
6. In the Row Spacing, key in -30.
Working in 3D
7. In the Column Spacing key in 30.
8. Identify the footing slab previously created.
The slab highlights.
9. Accept the array.
7
The array of footers appears in the Isometric view.
Now would be a good time to save the settings in the file, by

choosing Save Settings from the File Menu.

With the column footings complete, in the next exercise you will
place a wall footing. This is designed to support the vertical walls
of the building’s exterior. Again, you will use the Place Slab tool.
➤ Create the first wall footing

1. Use the Window Area view control to zoom in on four
adjacent column footings at the left in the view.
Isometric view zoomed in

on the four lower footers.

3. Check that Type is set to Solid, Axis is set to Points
(AccuDraw), and Orthogonal is turned on.
4. Turn off Length, Width and Height.
5. Starting with the lowest footing displayed in the view, snap to
its left upper corner (as it appears in the view) without
6. Type <O> to set AccuDraw’s compass at the tentative snap
point.
7. Type <T> to set AccuDraw’s drawing plane to Top.
8. Move the pointer to the right and, with it indexed to

AccuDraw’s X direction, type 2 and enter a data point.
The compass moves 2 feet to the right. This action locates the
first corner of the wall footing slab. You are now prompted for
the length of the slab. This will be generated using
AccuDraw’s index axis feature.


The length of the slab is now fixed to 3 feet. A dynamic
rectangle displays ready for setting the width.
10. Snap to the nearest corner of the next column to the left, and
accept.
The top of the slab is now defined. All that remains is to set its
depth.
11. Snap to a lower corner of the column (or any other column)
and accept.
Working in 3D
That completes the first wall footing, which is located along the
7
left (West) edge of the building. Note how you used existing
column footings to define two of the three dimensions of the new
wall footing.
In the next exercise, you will create the wall footing for the rear
(North) edge of the building. Because the footing is not
symmetrical about the column footing, you cannot merely rotate
copy the wall footing just created. However, by using the Mirror
tool, it is possible to rotate and copy to the new location with the
correct offset.
➤ Using Mirror to create a rear wall footing

1. In the Manipulate tool box, select the Mirror tool.
2. Set Mirror About to Line.


4. Identify the wall footing slab just created.
You are prompted to enter the first point on the mirror line
axis.
5. Snap to the upper left (Northwest) corner of the first column
footing, and accept.
A dynamic copy of the wall footing appears.
6. Snap to the diagonally opposite corner at the top of the same
column footing, and accept.
This defines a diagonal across the footing’s top face. The wall
footing is mirror copied about this line to the correct location.
7. Reset to finish.
Mirror copying the wall

footing.
Now, you will copy the wall footings along each edge of the
building. To complete this task you will first copy the existing
wall footings to fill in the gaps along the North and West edges.
You will then mirror copy these to create wall footings for the
opposite edges.
➤ Complete the wall footings for the North and West edges
2. In the Manipulate tool box select the Copy tool.
3. Identify the rear (North) wall footing just created.
The wall footing highlights.
AccuDraw’s X axis (the red axis), type 30 and enter a data
point.
The wall footing is copied.

5. Still with the pointer indexed to AccuDraw’s X axis, move it

further right, until the previous distance lock indicator
appears, and enter a data point.
The wall footing is copied a second time.
6. Reset to finish.
The North edge of the building’s foundation is now complete.
Copying the wall footings

for the North edge.
7. Identify the wall footing on the West edge.
Working in 3D
The footing highlights.
8. Move the pointer down to the right, keeping it indexed to the
negative Y direction, until the previous distance lock indicator
appears, then enter a data point.
The footing is copied.
9. Reset to finish.
7
Copying the wall footings
for the West edge.
With two edges of the foundation complete, all that remains is to

duplicate the North and West side wall footings to complete the
South and East side of the building. You could use the Mirror tool
to mirror and copy the West footings to the East, and the North
footings to the South. However, because the building is

symmetrical about a diagonal line running from the Southwest

corner (lower left) to the Northeast corner (upper right) of the
foundation columns, you can also use the Rotate Element tool to
complete the foundation.
First, draw a construction line that you can use to define the pivot
point for the rotation.
➤ Draw the construction line

1. In the Main tool bar’s Linear Elements tool box, select the
Place Line tool.
2. Snap to and accept the outer corner of the Northeast column
footing.
This is the first point for the line.
3. Snap to and accept the outer corner of the Southwest column
footing.
4. That completes the required line.
5. Reset to finish.
Drawing the
construction line.
➤ Select the footings and rotate copies to complete the wall

footings
1. In the Main tool bar, select the Element Selection tool.
2. Identify the wall foundation slabs along the North (rear) and
West (left) edge of the building. Use <Ctrl> data point to select
each slab. Do not select the column foundations.
3. In the Main tool bar’s Manipulate tool box, select the Rotate
tool.


5. If necessary, turn on Make Copy.
6. Snap to the center of the construction line.
7. Accept to copy and rotate the selected elements.
The south and east wall foundation appears.
8. Reset to finish.
9. In the Main tool bar, select the Element Selection tool and
enter a data point away from any elements.
This cancels the selection set.
Copying (and
rotating) the existing
wall footings.
Working in 3D
For the moment, do not delete the construction line. You can
make use of it in the next part of the construction.
With the foundation footing in place, you will now create the
7
actual foundation wall, which is a short wall that wraps around
the entire building, but is not solid. A separate floor slab will sit
on top of this foundation wall. To construct the foundation wall,
you will first create its plan profile and then extrude it.
First you will draw a 90 x 60 block, with its start point at the
center of the top face of the Southwest column footing (the first
footing drawn). Because this element is a 3D slab, you cannot use
Center snap to locate the center of the face. It would snap to the
center of the slab, both horizontally and vertically. You could use
AccuDraw to precisely locate the start point. Another option, that
you will use here, is to make use of the existing construction line,
after first modifying it.

➤ Modify the construction line to form a diagonal on the

top face of the Southwest column footing
1. In the Main tool bar’s Modify tool box, select the Modify
Element tool.
2. Snap to the Northeast end of the line, and accept.
The identified end of the line is now attached to the pointer.
3. Snap to the corner, on the top face of the Southwest corner
column footing, diagonally opposite the other end of the line.
4. Accept to complete the modification.
Modifying the
construction line.
You can use this line, snapping to its center point, to define the
center of the footing’s top face.
➤ Create the inner edge of the foundation wall profile

1. Set the Active Level to 3 and the Active Color to 4 (yellow).
Block tool.
3. Snap to the center of the construction line on the column
footing and accept.
AccuDraw’s compass still should be aligned to the Top view.
AccuDraw’s X direction, type 90, but do not enter a data
point.
The dynamic block locks to 90 feet along the front edge of the
building.
5. Move the pointer (and the dynamic block) up (towards the
rear of the building), type 60 and enter a data point.

The block is completed.

6. As it is no longer required, use the Delete Element tool to
delete the construction line.
Placing the block.
Copying the inner edge parallel, will create the outer edge of the
wall.
➤ Create the outer edge of the foundation wall profile

1. In the Main tool bar’s Manipulate tool box, select the Move
Parallel tool.
Working in 3D
2. Turn on Distance and, in its field, key in 1.0.
4. Identify the previously created yellow block with a data point.
5. Move the pointer to the outside of the highlighted block and
enter a data point.
A new block is created one foot larger than the selected block.
7
6. Reset to finish.
You will use the two blocks to create the foundation wall. After
extruding the outer block, you will use the inner block to cut a
hole through the new solid.
➤ Use Extrude and Cut Solid tools to create the foundation

wall
1. In the 3D Main tool bar’s 3D Construct tool box, select the
Extrude tool.
2. If necessary, set Type to Solid and turn on Orthogonal.
3. Turn on Distance and, in its field, key in 2:6.
4. Identify the foundation wall outer block profile created in the
previous procedure.

5. Move the pointer upward, to define the direction of the

extrusion (upward), and enter a data point.
The extruded solid is created.
Extruding the block.
6. In the 3D Main tool bar’s 3D Modify tool box, select the Cut
Solid tool.
7. If necessary, set Cut Direction to Both, and Cut Mode to
Through.
8. Identify the extruded solid.
9. Identify the inner block.
Arrows appear, displaying the direction of the cut (both ways).
Creating the cut.
With the foundation wall in place, next comes the first floor slab.
In this exercise, the Place Slab tool will be used to cap the
foundation wall just created.
➤ Create the first floor slab

1. Set the Active Level to 4, and turn off level 2 (the column and
wall footings).
3. Identify the upper Northwest (outer) corner of the foundation
wall.

Defines the starting point.
4. Identify the upper Northeast (outer) corner of the foundation

wall.
This sets the length of the slab (the back edge of the first floor
slab).
5. Identify the Southeast (outer) corner of the foundation wall.

Defines the slab’s width.
6. Move the pointer upward, above the foundation wall, type 0:8
(the thickness of the slab) and enter a data point.
Working in 3D
The first floor slab is complete.
7
Next, the columns will be constructed.

➤ Create the building’s columns

1. Set the Active Level to 5 and the Active Color to Green (2).
2. Use the Window Area view control to zoom in on the
Northwest corner of the foundation wall.

4. Set Type to Solid
5. Set Axis to Points (AccuDraw)
7. At the Northwest corner, snap to the lower inside corner of
the foundation wall and accept.
A dynamic circle appears representing the column radius. Its
radius is controlled by the pointer.
8. If necessary, type <T> to set the AccuDraw drawing plane to

the top plane.
The pointer now controls the height of the cylinder and the
AccuDraw compass is displayed in the front orientation.

10. Move the pointer upward, type 29:2 and enter a data point.
This first column can be used, with the Construct Array tool to fill
in the remaining columns. Settings for this tool are the same as
those used earlier.
➤ Create the remaining columns

1. In the Manipulate tool box, select the Construct Array tool.
2. Set Array Type to Rectangular, and Active Angle to 0.
3. In the Rows field, key in 3.
4. In the Columns field, key in 4.
Working in 3D
5. In the Row Spacing field, key in -30.
6. In the Column Spacing field, key in 30.
7. With focus in any AccuDraw field, type <T> to ensure that
AccuDraw is set to the Top orientation.
The Construct Array tool uses the drawing plane orientation
to establish its construction plane.

8. Identify the column just created.

The Construct Array tool

quickly creates the
remaining columns of
the building.
In the next procedure we will be using a combination of tentative

points and AccuDraw’s Set Origin feature to construct the second
floor. To successfully complete this procedure, pay close attention
to the placement of the data points. In many instances, you will
need to perform more than one operation prior to actually
One problem with working in the Isometric view is that of

overlapping elements, especially in a busy design. In the case of
this building, the columns all line up to make it hard to
distinguish between the individual columns. To alleviate this you
can rotate the view. In an earlier tutorial, you used the View
Rotation settings box to rotate a view. Here, you will use another
view rotation tool that lets you rotate views interactively.
➤ Dynamically rotate the view

1. In the View control bar, select the Rotate View view control.
2. Set Method to Dynamic.
3. If necessary, turn off Dynamic Display.
4. Identify the center of the view with a data point.
The dynamic view cube appears.

5. Move the pointer a little to the right, to rotate the cube a few
degrees, and enter a data point.
The view updates with the new rotated orientation.
6. Now, in the Rotate View tool settings, turn on Dynamic
Display.
7. Again, enter a data point in the center of the view.
8. Now, as you move the pointer, you can see the model
“rotate”.
9. When you are happy with the rotation, and can see all the
columns clearly, enter a data point to fix the view at that
orientation.
10. Use the Fit View view control to fit the rotated view.
The rotated view, with

all columns clearly
visible.
Working in 3D
With the columns visibly separated in the view, the next task will
be made much easier.
➤ Prepare to create the second floor slab outline

1. Set the Active Level to 6, and turn off levels 3 and 4.
7
Only the columns should be visible in the view.
Shape tool.
➤ Place the shape

1. Snap to the top center of the Northwest column. Do not enter
a data point.
3. Type <S> to change AccuDraw’s drawing plane to the side
orientation.


AccuDraw’s negative Y direction, type 13 and enter a data
point.
This establishes the elevation of the second floor, 13 feet
below the top of the column.
Establishing the first

point of the shape.
5. Type <T> to change AccuDraw’s drawing plane to the top

orientation.
6. Type <Z> to lock the Z axis at 0 (the height of the first data
point).
7. Snap to the center of the Northeast column and accept.
With the Z value locked, the element stays at the same height.
8. Type <Z> to lock the Z axis again.
9. Snap to the center of the Southeast column and accept.
This being the third point establishes the plane of the shape
so no more Z locking is necessary.
10. Snap to the center of the column to the left of the Southeast
column and accept.
11. Move the pointer toward the column directly North of the
previous data point. With it indexed to AccuDraw’s negative Y
direction, move the pointer until the previous distance index
mark appears, and enter a data point.
Because the distance between all of the columns is the same,
this distance represents the center-to-center distance between
the two columns (30 feet). This index mark can be used also
for the next three data points at adjacent columns.
12. Move the pointer West until the previous distance index mark
appears and enter a data point, then South until the mark

appears (data point), then West again until the mark appears
13. In the Tool Settings window, click on the Close Element
button to close the shape.
Placing the second floor

slab requires the
combined use of shortcut
key-ins, precision data
and snaps, to properly
position the slab 13 feet
down from the top of the
column.
Working in 3D
Using the shape just placed, you will now extrude it to create the
slab.
➤ Extrude the second floor slab

2. Set Type to Solid, and turn on Orthogonal.
7
3. Turn on Distance and, in its field, key in :8 (to specify an 8
inch slab).
4. Identify the shape just placed in the previous procedure.
5. Move the pointer downward, so the extruded surface drops
below the shape, and enter a data point.
The second floor slab is created.
With the second floor complete, next you will create the roof
slab. This will be an 8 inch slab and be located at the top of the
columns.
➤ Create the roof

1. Set the Active Level to 7 and turn off level 6.
2. Set the Active Color to 6 (orange).


7. Turn on Height and, in its field, key in :8.
8. Identify the top center of the Northwest corner column.
9. Identify the top center of any column along the East edge of
the building.
This defines the length of the slab. The orientation of the slab
is defined by the Axis setting, which, in this case, is
constrained to the design file axis (Drawing Z).
10. Identify the top center of any column along the South edge of
the building.
This defines the width.
11. Move the pointer downward so the dynamic slab appears
below the established top surface and enter a data point.
The roof slab placed at

the top of the columns.
Currently, the roof slab is at the same height as the top of the
columns. Before continuing, move it up so that its upper surface
is 2 inches above the columns.

➤ Move the roof slab 2 inches upward

1. In the Manipulate tool box, select the Move tool.
2. Identify the roof slab.
3. Type <S> to set AccuDraw’s drawing plane to the Side
orientation.
Y (green) axis, type :2 and enter a data point.
This moves the slab up two inches above the columns so they
do not protrude through to the top of the roof slab.
5. Reset to finish.
With the roof slab established, it is time to create the roof fascia.
For this you will first create two blocks. These will be used
together as a template and extruded to form the fascia.
➤ Create the first fascia profile block

1. Turn off level 5.
Only the roof slab should be visible.
2. Set the Active Color to Blue (1).
Working in 3D
4. Snap to the top of the Northwest roof corner and type <O>,
Sets AccuDraw’s origin at the snap point.
Y axis, type :10 and enter a data point.
7
Sets the start point of the block 10 inches above. Currently,
the block is orientated vertically (in AccuDraw’s Side drawing
plane).
6. Type <T> to change AccuDraw’s drawing plane to the Top.

The block also rotates to the Top orientation.
7. Type <Z> to lock the Z axis.
This ensures that the second point of the block is constrained
to the same height as the first (10 inches above the roof slab).

8. Snap to the southeast corner of the roof and accept.

The block is completed.
This block will now be copied parallel to create the second part
of the fascia profile.
➤ Create the second fascia profile block

1. In the Manipulate tool box, select the Move Parallel tool.
2. Turn on Distance and, in its field, key in :10.
4. Identify the first fascia block.
5. Move the pointer outside the block and accept.
The copied block is placed 10 inches outside the original.
6. Reset to finish.
These blocks will now be grouped to form the fascia profile.
➤ Complete the fascia profile

1. In the Main tool box’s Groups tool box, select the Group Holes
tool.
2. Identify the outermost block just created.
The block highlights.
3. Identify the innermost block just created.
The block highlights along with the first block.
4. Accept, away from any elements, the combination of the two
blocks.
5. Reset to finish.
➤ Extrude the fascia

1. From the 3D Construct tool box select the Extrude tool.
2. If necessary, set Type to Solid and turn on Orthogonal.
3. If necessary, turn off any other settings.
4. Identify the fascia footprint created in the previous procedure.
The AccuDraw compass appears in the view oriented along
the front plane. Note how the extrusion is orthogonal (at 90
degrees) to the footprint.
5. With focus in the AccuDraw window, move the pointer below
the fascia profile and type 5.

Render the work in progress
The input focus will automatically be on the X field.

Extrude is used to create a

solid from the complex
element created in the
previous exercise.
This completes the structural part of the building.
Working in 3D
Render the work in progress
Before continuing with its construction, a quick rendering of the
results is in order.
➤ Prepare to render the model

1. Turn on levels 2-7 in the Isometric view.
2. From the Isometric View Control bar, select the Fit tool.
7
3. From the Settings menu’s Rendering sub-menu, choose Global
Lighting.
The Global Lighting settings box opens.
4. If necessary, turn on Ambient and set its Intensity to 0.15.
5. If necessary, turn on Flashbulb and set its Intensity to 1.0.
6. Close the Global Lighting settings box.
7. From the File menu choose Save Settings.
8. From the Tools menu, Visualization Tools sub-menu, choose
Rendering tools.
The Rendering Tools tool box opens.

Adding a staircase to the design
➤ Render the model

1. In the Rendering Tools tool box, select the Render tool.
2. Check that Target is set to View, Render Mode to Phong, and
Shading Type to Normal.
3. Enter a data point in the working view.
After a few seconds, the building is rendered.
4. (Optional) Using the Rotate View tool from the view control
bar, change the point of view of the object and re-render.

With the building structure in place it is time to construct the
staircase. Consisting of a landing halfway between the first and
second floor and three sets of stairs, this exercise will use a
variety of tools and techniques to create a rather complex design
element. Pay close attention to the use of pointer movement and
selective data points to set the actual elements.

1. Set the Active Level to 8 and turn off all other levels except 4
and 6.
2. Update the view.
Only the first and second floor slabs should be visible.
3. Set the Active Color to Cyan (7).
4. Select the Rotate View view control.
5. From the Method option menu, choose Isometric.
To begin with, you will construct a construction line to use in

locating the landing and the steps.
➤ Draw the construction line

2. Snap to the midpoint of the top edge of the second floor
“notch” and accept with a data point. Take care to snap to the
top of the slab.
3. Type <S> to set AccuDraw’s compass to the side orientation.
4. Press the space bar to change the AccuDraw compass to Polar
coordinate mode.

5. In the AccuDraw window, set the input focus to Angle, and

type 37.5.
The dynamic line is constrained to 37.5° from its origin point.
6. Type <N> to invoke the Nearest tentative point snap.
AccuDraw provides a shortcut for this important snap mode.
7. Snap to the top of the first floor slab and accept with a data
point.
When you snap, AccuDraw calculates the intersection point of
the line with the slab surface.
8. Reset to finish.
Working in 3D
➤ Construct the landing slab
2. Snap to the midpoint of the construction line just placed,
7
3. Type <O> to set AccuDraw’s origin at this point.
4. Press the space bar to change AccuDraw’s coordinate mode to
rectangular (X, Y, Z).
5. Type <T> for top orientation.
6. Move the pointer downward to the left and, with it indexed to
AccuDraw’s negative X direction, type 13 (don’t enter a data
point).
7. Move the pointer upward to the left. Notice that it remains
locked at 13 feet in the negative X direction and that focus
now is in AccuDraw’s Y field.
8. Type :10 and enter a data point.
This sets the first point of the landing.


AccuDraw’s positive X direction, type 26 and enter a data
point.
This defines the length of the slab as 26 feet.
10. Move the pointer to the right, type 6 and enter a data point.
This defines the width of the slab as 6 feet.
11. Move the pointer downward, such that the slab protrudes
below the defined top face, type :6 and enter a data point.
The height of the slab is defined as 6 inches and the slab is
placed.
To create the top set of stairs again you will make use of the
construction line. First, however, it must be modified to suit.
➤ Modify the construction line

1. Turn on View 4, the Right view.
2. Use the Fit View view control to fit the Right view.
3. Use the Window Area view control to zoom in on the (cyan)
construction line and landing
4. In the Modify tool box, select the Extend Element to
Intersection tool.
5. Identify the construction line at a point above the landing.
The line highlights.
6. Identify the top surface of the landing slab.
The top surface highlights, and the construction line is
shortened to the intersection with the surface.

7. Accept to modify the construction line.
8. Close View 4.
You will need the Isometric view only to construct the steps.
A total of 10 steps will be placed between the landing and the

upper floor slab. To position the steps, you will first create
construction points. You will need 11 evenly spaced construction
points.
➤ Create the construction points

Working in 3D
2. Use the Window Area view control to zoom in on the
construction line and landing.
3. In the Points tool box, select the Construct Points Between
Data points tool.
4. Set Point Type to Element.
5. In the Points field, key in 11.
7
7. Snap to the upper end of the construction line, and accept
with a data point.
8. Snap to the lower end of the construction line, and accept
with a data point.
11 evenly spaced point elements are drawn on the
construction line.

9. Reset to finish.
10. Use the Delete Element tool to delete the construction line.
11. Set the Active Line Weight back to 0.
You will use the point elements to position the steps.
✍ As an alternative, you could have set the number of keypoints on

the construction line to 10, and use the keypoint snap to locate
the steps. The advantage with the points is that they are visible.
➤ Create the profile for the first step

2. In the Polygons tool box select the Place Block tool.
3. Snap to the second point from the bottom. Do not enter a data
point.
4. With the focus in AccuDraw’s window, type <O> to set
AccuDraw’s origin at the snap point.
5. If necessary, type <T> to rotate AccuDraw’s compass to top
orientation.
the negative X axis (opposite the red indicator), type 3 and
enter a data point.
Make sure that the pointer remains indexed to the negative X
axis as you enter the data point.
7. Move the pointer upward to the right and, with focus in
AccuDraw’s X field, type 6, without entering a data point.
8. Move the pointer to the left and type :10, followed by a data
point.

The top of the 6 foot by 10 inch step is completed.

9. Reset to finish.
Using this block as a profile, you will extrude the first step. To
make the step taper to a point at its base, you will use a Y scale
factor of zero.
➤ Extrude the step

Working in 3D
4. Turn on Y Scale and, in its field, key in 0.
This will bring the bottom of the projection to a point along
the axis of the step.
5. Use the Window Area view control to zoom in on the step
profile.
6. From the Snap mode option menu, in the Status bar, choose
7
Center.
7. Snap to the center of the step profile (the block) and accept
with a data point.
8. Move the pointer downward, beneath the step.
The block is extruded with the width diminishing to a point
(the lower edge).

9. With the pointer below the step, type 0:6 and enter a data
point.
The extruded step is constructed.
You can now copy this first step to the remaining 8 locations,
designated by the point elements (ignoring the first and last
points).
➤ Copy the remaining steps

1. Use the Zoom Out and Window Area view controls to display
all the point elements and the first step.
2. In the Manipulate tool box, select the Copy tool.
3. Snap to the midpoint of the top front edge of the step just
created and accept with a data point.
A copy of the step is attached to the pointer.
4. Snap to the next point element above the step and accept with
a data point.
The step is copied to the new location.
5. Repeat step 4 for the seven remaining steps.
6. Reset to finish.

To construct the lower stairs, you will copy the upper stairs, and
then scale them to the required length of 4 feet.
➤ Place a fence around the stairs

1. Turn off level 63 in the view.
The point elements disappear from the view.
2. Use the Zoom Out and Window Area view controls so that the
view displays the upper steps and the landing.
3. In the Fence tool box, select the Place Fence tool.
4. If necessary, set Fence Type to Block.
5. If necessary, set Fence Mode to Inside.
6. Enter data points above left and below right of the stairs to
place a fence that completely encloses them.
Working in 3D
➤ Use the fence to copy the stairs
2. Turn on Use Fence.
7
3. Snap to the midpoint of the top edge of the second floor
“notch” and accept with a data point. Take care to snap to the
top of the slab.
A copy of the fence outline is attached to the pointer.
4. Snap to the top of the landing at the front left corner (that is,
the Southwest corner), but do not enter a data point.
6. If necessary, type <T> to set AccuDraw’s compass to the Top
orientation.


AccuDraw’s X axis, type 3 and enter a data point.
The steps are copied to the lower level, aligned with the left
edge of the landing.
To scale these steps from their current length (6 feet) to their

correct length (4 feet) you will scale them using the 3 Points
method. This method can be used wherever the scale factor is
not an exact amount. In this case the scale factor is 4/6, or
0.6666 (repeating).
➤ Prepare to scale the lower stairs

2. Use the Window Area view control to zoom in on the lower
stairs.
3. If necessary start AccuDraw.
➤ Scale the lower stairs along the X axis

2. Enter data points above left and below right of the stairs to
place a fence that completely encloses them.
3. In the Manipulate tool box, select the Scale tool.

4. From the Method option menu, choose 3 Points.

5. Check that Proportional and Make Copy are turned off.

With Proportional turned off, the contents of the fence will be
scaled only in the direction of the data points. You will specify
that scaling is along the X axis only.
6. Turn on Use Fence with Inside as the fence option.
7. Identify the back left vertex of the bottom step.
8. Identify the back right vertex of the same step.

AccuDraw’s negative X axis, type 2 and enter a data point.
Working in 3D
The steps (inside the fence) are scaled from 6 feet to 4 feet
7
long.
10. Reset to finish.
11. Select the Place Fence tool to turn off the fence.
12. Use the Fit View and Window Area view controls to display
both stairways and the landing.

With the left set of lower stairs completed, you can mirror copy
them to create those on the right side. There is no need to open
another view, such as Top or Front, to do this. With AccuDraw set
to Top orientation, you can perform this operation in the
Isometric view.
➤ (Fence) Mirror copy the existing lower stairs to create

the second set
2. Place a fence around the lower set of stairs just created.
3. In the Fence tool box, select Manipulate Fence Contents.
4. Set Operation to Mirror.
5. Check that Fence Mode is set to Inside.
8. Snap to the midpoint of the landing and enter a data point to
accept.
The lower staircase is mirrored and copied.
9. Reset to finish.
With AccuDraw, the mirror

operation can be
performed in the Isometric
view.
Before continuing on to create the hand rails, please read the

following background information. The purpose of this exercise is
to show how you can use AccuDraw’s drawing plane orientation
in combination with locking one or two axes to precisely place
elements. The goal of this exercise is the placement of the
handrail around the stairs we just built.

This portion of the exercise can be accomplished using only the

Isometric view and unless otherwise noted, you should place
your data points there. However, to help check for proper
alignment, keep an eye on the other views as the hand rail is
placed.
➤ Prepare to place the handrail elements

This level will be used to place the initial elements that will be
used as guides for constructing the finished handrail.
2. Set the Active Color to Yellow (4).
3. Turn on Views 1,3, and 4.
4. From the Window menu, choose Tile.
5. In all views, turn off all levels except 4, 6, and 8.
6. In each of the orthogonal views, use the Fit View and Window
Area view controls to focus on the stairs.
7. In the Isometric view, use the Window Area view control to
zoom in on the right hand side lower steps and the landing.
8. If necessary, start AccuDraw.
Working in 3D
7
While the elements will be placed using the Isometric view, you
can monitor the placement in the orthogonal views (Top, Front,
and Right). During the course of the exercise, you may want to

zoom in closer in one or more views to simplify the selection of

snap points.
➤ Place the first upright construction line

2. In the Isometric view, snap to the right edge midpoint of the
bottom step, without entering a data point.
4. Type <F> to set AccuDraw’s orientation to Front.
AccuDraw’s X axis, type :2 and enter a data point.

Y axis, type 3:6 and enter a data point.
As all the uprights are the same length, you can copy this to place
the remaining construction center lines. You will be using
AccuDraw to position the line relative to existing elements in the
design. Each of the following copy procedures can be performed
in a continuous stream, but are broken into separate items here,
for clarity.
➤ Copy the first construction line to the front of the

landing
2. Identify the lower end of the line just placed.
3. On the top surface of the landing, snap to the front right
corner, without entering a data point.


AccuDraw’s X axis, type :2 (don’t enter a data point).
6. Type <O> to set AccuDraw’s origin to the new point.

7. Type <S> to set AccuDraw’s orientation to Side.
8. Move the pointer upward to the left and, with it indexed to
The line is copied.
Working in 3D
➤ Copy the upright to the back of the landing
1. With the copy tool still active, move the pointer upward to the
left and, with it indexed to AccuDraw’s X axis, press <Enter>,
This locks AccuDraw’s Y and Z fields to zero. Only the X
7
value may be changed.
2. Snap to the rear right corner of the landing, without entering a
data point.
Notice that the line remains offset from the snap point.
3. Type <O> to set AccuDraw’s origin at the snap point. That is,
at the offset snap point.

AccuDraw’s orientation still should be side, from the previous

copy operation.
4. Move the pointer downward to the right and, with it indexed
to AccuDraw’s negative X axis, type :5 and enter a data point.
The line is copied to a position 2 inches to the right of the
landing, and 5 inches in from the back edge.
5. Type <F> to change AccuDraw’s plane to the front orientation.
the negative X axis, press <Enter>.
7. Snap to the right edge of an upper stairway step (any of the
steps can be used), without entering a data point.
Notice that the line remains indexed to the X axis, because the
Y and Z values are locked at zero.
8. Type <O> to reset AccuDraw’s origin at the (offset) snap

point.
the X axis, type :2 and enter a data point.
Using the locking feature of AccuDraw, as shown in the

preceding exercise, lets you place points precisely, using existing
elements as reference points. As you have seen, this applies even
in a pictorial view such as Isometric.
This same locking feature will be used in the following exercises.

Try to work out how to place the following uprights prior to
following the exercise steps.
To complete the uprights for the right side of the stairways, you
need to copy one upright to a point 5 inches back from the edge
of the second floor slab, and 2 feet 3 inches in (toward the stairs)
from the right side corner of the notch. This allows space for the

column, which is on level 5. The final upright is to be placed at

the top of the stairs, offset 2 inches from right side of the stairs
and set back 5 inches from the edge of the second floor slab.
➤ Prepare to place the remaining right side uprights

1. In the Isometric view, use the view controls to display the top
stairs, the right side of the notch in the second floor slab, and
the upright at the bottom of the top steps.
The Isometric view ready

for copying the final two
uprights for the right side.
➤ Continue placing the uprights on the right side

Working in 3D
2. In any view, identify the lower end of a previously placed
upright.
3. In the Isometric view, snap to the right upper corner of the
notch, without entering a data point.
AccuDraw’s compass still should be front orientation.
7
AccuDraw’s negative X axis, type 2:3, without entering a data
point.
6. Type <O> to reset AccuDraw’s origin to the new snap point.

7. Type <T> to change AccuDraw’s orientation to top.
8. Move the pointer upward to the left and, with it indexed to
AccuDraw’s Y axis, type :5 and enter a data point.

The upright is placed.
9. Still in the Isometric view, move the pointer downward to the

left and, with it indexed to AccuDraw’s negative X axis, press
<Enter>.
10. Snap to the upright at the bottom of the upper stairway and
accept with a data point.
The upright is located in its correct location, aligned with the
lower upright.

Uprights for the left side of the lower right stairway can be placed
by mirror copying the two on the right side. Similarly, these can
be mirror copied to create the right side uprights for the lower left
stairway.
➤ Mirror copy the lower stairway uprights

1. In the Isometric view, use the view controls to focus on the
three stairways.
2. Element Selection tool.
3. In the Isometric view use the Element Selection tool to select
the uprights at either end of the lower stairway.
Handles appear on the two uprights.


7. In the Front view, snap to the center of any step in the lower
right stairway and accept with a data point.
The uprights are mirror copied. They remain as a selection set.
8. Again select the Mirror tool.

9. Still in the Front view, snap to the center of the landing and
accept with a data point.
The uprights are copied to the right side of the left lower
staircase.
Working in 3D
7
10. Enter a data point away from other elements to deselect the
uprights.
With the upright reference lines in place, you can use these to
construct the handrail reference lines. Later, these will be
converted to tubular elements. Start with the center section of the
lower stairs.
➤ Place the center handrail reference line

1. In the Linear Elements tool box, select the Place SmartLine
tool.
2. Check that Segment Type is set to Lines, and Vertex Type to
Sharp.
3. Check that Join Elements is turned on.

4. In turn, identify the tops of uprights forming the center

handrail, as shown below.
Placing the SmartLine by

identifying the uprights in
the order shown (1 - 4).
5. Reset to finish.
Similarly, the right hand side handrail reference line can be

constructed with a SmartLine.
➤ Place the right hand side handrail reference line

1. If necessary, reselect the Place SmartLine tool.
2. In turn, identify the tops of uprights forming the right hand
side handrail, as shown below.
Placing the SmartLine by

identifying the uprights in
the order shown (1 - 6).
3. Reset to finish.
Copies of these same SmartLines will be used to create the lower

handrails.

➤ Create the lower handrail reference lines

1. Use the Element Selection tool to select the two SmartLines.
3. In the Isometric View, enter a data point.
4. Type <F> to set AccuDraw’s compass to the front orientation.
5. Move the pointer downward and, with it indexed to the
negative Y axis, type 1:9 and enter a data point.
The SmartLines are copied 1 foot 9 inches below the originals.
Working in 3D
6. Enter a data point to deselect the elements.
7
With the skeleton of the handrails constructed, you will now
begin converting them to tubular solids. Cylinders will be used to
create the lower handrail, while the top handrail will be
constructed by extruding a circular section along the path formed
by the reference line.
You will use the Isometric view to construct the handrails, but
monitor the other views as a check as you place the various
elements.
➤ Construct the lower handrails

1. In the Isometric view, turn off all levels except level 62.
3. Set the Active Color to Violet (5).

4. Use the view controls to magnify the left side of the center
handrails.

6. Set Axis to Points (AccuDraw).
8. Turn on Radius and, in its field, key in :1.
The handrail is 1 inch radius.
9. Snap to the lower end of the (lower) reference line and accept
with a data point.
The first point of the cylinder is placed.
10. Snap to the opposite end of the reference line and accept with
a data point.
The cylinder is placed.
11. Repeat this procedure, to place a cylinder on each section of

the lower handrail reference line, for both the center handrail

and the right side. Use the Pan View view control to display
the required section of the handrail.
Isometric view after placing

cylinders on the lower
reference line.
To construct the top handrail, a different procedure is used. You

will first create a complex chain of the top reference line and its
two end uprights. This will be used as a path to extrude a circular
profile, and to ensure a clean join between the top handrail and
Working in 3D
the uprights at each end.
➤ Create complex chains for the top handrails

1. Use the Fit View view control to fit the Isometric view.
3. In the Isometric view, turn off level 9.
Level 9 contains the cylinders just placed.
7
This will make it easier to see the lines that are connected, to
check for errors.
5. In the Groups tool box, select the Create Complex Chain tool.
6. Set Method to Automatic.
7. Identify the upright (reference line) at the left end of the
center handrail.


The next connected element highlights. In this case it is the
SmartLine.
The upright, at the other end of the handrail, highlights.
The complex chain is created, and the line changes to red, the
active color.
11. Repeat the above steps for the top handrail on the right of the
stairs.
With the path lines defined, you will now draw a circle at the
beginning of each chained element, to be used as a profile.
➤ Draw the circular profile

2. Set the Active Color to Violet (5).
zoom in on the two uprights on the right.

5. Set Method to Center

6. Turn on Diameter and, in its field, key in :2.

7. Snap to the bottom of the right upright, without entering a
data point.
8. Type <T> to set AccuDraw’s drawing plane to top orientation.
9. Enter a data point to place the circle.
10. Snap to the bottom of the left upright and accept with a data
point.
The second circle is placed.
➤ Extrude the circles along their paths

1. In the 3D Construct tool box, select the Extrude Along Path
tool.
Working in 3D
2. Check that Defined By is set to Profile.
3. In the Isometric view, identify the upright on the right.
4. Identify the circle at the bottom of the selected upright.
Make sure that the circle highlights. If necessary, zoom in on
7
it.
The extrusion is displayed.
6. Accept again to complete the extrusion.
7. Repeat for the upright and circle on the left.
To complete this section of the handrail, place 2 inch diameter

cylinders at the remaining uprights.

➤ Place cylinders at the uprights

Settings should be the same as those used earlier. That is Axis
set to Points (AccuDraw), Orthogonal turned on, and Radius
turned on with a value of :1 (that is, 0.0833).
2. Identify (snap to and accept) the bottom of the upright on the
left.
3. Identify the top of the same upright.
The cylinder is placed.
4. Repeat steps 2 and 3 for the remaining uprights.
5. Turn off level 62 in the Isometric view.
The handrail reference lines disappear.
To create the handrail for the left side, a fence is put around the
handrail in the right, and a mirror copy made.
➤ Mirror copy the handrail on the right

3. Set Fence Type to shape.
4. In the Isometric View, enter data points to place a fence shape
around the handrail on the right.
Make sure that the handrail and uprights are completely
enclosed by the fence.
Placing the fence shape

around the handrail on
the left.

5. In the Fence tool box, select the Manipulate Fence Contents

tool.
6. Set operation to Mirror.
7. If necessary, set Fence Mode to Inside.
8. Turn on Make Copy
10. In the Top or Front view, snap to the center point of the
landing and accept with a data point.
The handrail is mirror copied to the left side.
Working in 3D
12. Select the Place Fence tool to turn off the fence.
With the knowledge gained from the previous exercises, you

should be able to construct the remaining sections of handrail,

Creating the window walls
and add an upright to the center section of handrail on the

landing. The diagram below shows the completed handrail.
The stairways and

handrail.
At this point you can turn on all of the levels and review your
design. A short rendering session is probably in order. Using the
Isometric view as a starting point, rotate the view and zoom in to
look at the details of the staircase and railings.

In this exercise we will be creating the components of the
window walls located on the exterior of the building. Each
window wall section is constructed of mullions that hold the
glass panels between the exterior columns of the building. You
will create the vertical, then the horizontal components. These
will then be incorporated into a single unit with the Construct
Union tool.
➤ Set up for window wall construction

1. Set the Active level to 10.
3. In all views turn off all other levels except levels 4 (first floor
slab) and 5 (columns).
5. If necessary, set view 2 back to Isometric.


zoom in on the upper left corner of the column bases
(northwest corner of building) and the first floor slab.
During this exercise feel free to navigate in the views for
better viewing of the work in progress.
➤ Create the first vertical mullion

2. Snap to the upper left corner of the first floor slab (the
northwest corner of slab). Be sure to identify the top surface
of the slab.
4. Type <T> to set the compass orientation to Top.
5. Move the pointer downward to the right and, with it indexed
to AccuDraw’s negative Y axis, type 3 without entering a data
point.
6. Move the pointer to the right, type :6 and enter a data point.
This defines the starting point of the slab.
Working in 3D
7
This defines the length of the slab.
8. Move the pointer to the right, type :2 and enter a data point.
This defines the width of the slab.
9. Type <F> to rotate AccuDraw’s compass to the Front
orientation.

10. Move the pointer upward, type 22 and enter a data point.
The vertical mullion (slab) is completed.
The vertical mullion in

place.
Next, you will copy this mullion 3 times at 8’ 71/3” between

centers. To do this, you will use AccuDraw’s data point key-in
dialog box. With this dialog box you can use key-ins that include
the pipe (|) parameter, which lets you specify that a value is
repeated multiple times. For additional information, see the User’s
Guide.
➤ Create remaining mullions between the first two

columns
2. In the Isometric view, identify the vertical mullion just placed.
3. Type <T> to set AccuDraw’s compass to the Top orientation.
4. Type <P> to open AccuDraw’s Data Point Keyin dialog box.
5. In the Data Point Keyin box’s input field, key in DL=0,-
8:7.3333|3.
This specifies that the element is copied in the negative Y
direction 8’ 71/3” three times.

6. Reset to finish.
The four vertical mullions

in place.
For the horizontal mullions, you will again use the Place Slab
tool.
➤ Prepare to create the horizontal mullions

1. Expand the Isometric view to fill the screen.
Working in 3D
2. In the Isometric view, turn off all other levels.
3. Use the Fit View and Window Area view controls to magnify
the lower ends of the vertical mullions.
4. In the 3D Primitives tool box, select the Place Slab tool. 7

7. Turn on Height and, in its field, key in :6.
8. Identify the front left corner of the northern most mullion.
This specifies the starting point of the slab.
9. Identify the front right corner of the same mullion.

This specifies the width of the mullion (slab).

10. Identify the back edge of the southern most vertical mullion.
This specifies the length of the mullion.
11. Move the pointer upward to specify that the mullion is

constructed upward from the base and accept with a data
point.
The first horizontal mullion is completed. The height of the
slab is taken from the tool settings of the Place Slab tool.
Copying this horizontal mullion vertically will create the

remaining two.
➤ Copy the horizontal mullion

1. In the Isometric view, identify the horizontal mullion.
2. Type <F> to set AccuDraw’s compass to Front orientation.
Y axis, type 13 and enter a data point.
The mullion is copied.

4. Again move the pointer upward and, with it still indexed to

AccuDraw’s Y axis, type 8:6 and enter a data point.
The mullion is copied to the top of the vertical mullions.
The window frame mullions

completed.
These mullions now can be united into a single element.
➤ Unite the vertical and horizontal mullions

1. Use the Element Selection tool to select all the mullions
(horizontal and vertical).
Working in 3D
The mullions are united into a single element.
With the window frame completed, you can now use the Copy,
Rotate, and Mirror Copy tools to create the remaining frames.
➤ Copy and rotate the first frame

1. In the Isometric view, turn on level 5.
7
Level 5 contains the columns.
2. In the Isometric view, use the Rotate View view control to
slightly rotate the view, to make the columns easily
discernible.

3. In the Manipulate tool box, select the Rotate tool.

6. Identify the existing window frame.
7. Type <T> to rotate AccuDraw’s compass to Top orientation.
8. Snap to the top center of the Northwest column.
9. Accept to create the rotated copy.
Making a rotated copy of

the first window frame.
➤ Sheath the North side of the building using copy

1. Use the Element Selection tool to select the window frame in
the Northern wall.
2. In the Manipulate tool box, select the Copy Element tool.
3. Identify the top center of the Northwest column.
Defines the start point of the copy.
4. Identify the top center of the adjacent column to the East in
the North wall.
The window is copied.
5. Identify the top center of the next column to the East in the
North wall.

The window is copied a second time.

6. Deselect the window.
➤ Sheath the West side of the building using copy

1. Use the Element Selection tool to select the window frame in
the Western wall.
2. In the Manipulate tool box, select the Copy Element tool.
Working in 3D
3. Identify the top center of the Northwest column.
Defines the start point of the copy.
4. Identify the top center of the adjacent column to the South in
the West wall.
The window is copied.
5. Deselect the window.
The remaining windows can be created from the existing

windows, using the Mirror tool.

➤ Place windows in the Southern wall

1. In the Isometric view, use the Element Selection tool to select
the three windows in the Northern wall.
3. Set Mirror About to Horizontal.
5. If necessary, type <T> to set AccuDraw’s compass to Top
orientation.
6. Snap to the center of any of the center row of columns
(running East West), and accept to complete the copy.
7. Deselect the windows.
➤ Place windows in the Eastern wall

1. In the Isometric view, use the Element Selection tool to select
the two windows in the Western wall.

5. Snap to the center of either center window in the North or

South wall and accept to complete the copy.
➤ View the completed model

1. Turn on Levels 1-10 in each view.
Working in 3D
This completes the basic construction of a simple office building.
During this series of exercises you learned how AccuDraw

interacts with a large variety of tools. In most cases, the work was
performed using the Isometric view alone. Additional design
elements are possible for inclusion in this project. Features like an
entrance vestibule, carpet, even a curved wall feature are
possible.
7
Assessing your project results
To illustrate just how far you can take this model, a detailed
version of this building project is included with MicroStation.
Open and compare it to your model. You should find that it
closely matches it but includes a variety of additional features just
mentioned (vestibule, curved wall, cubicle workstations).
➤ To open the sample 3D model

The Open Design File settings box opens.

2. Select the file “sampmod1.dgn” located in the

As you can see, MicroStation provides a wealth of tools for the

accurate creation of very complex architectural models. We hope
these exercises have helped to show you the efficiency that
MicroStation’s 3D features bring to the design process.

8 Element Tags
In this tutorial you will work with tags tools, create and define
tags and tag sets, select tagged elements, and create reports on
tag data.

• Attaching, reviewing, and editing tags (see page 8-2).
• Creating a new tag set (see page 8-4).
• Selecting Tagged Elements (see page 8-6).
• Reporting on tag data (see page 8-8).

preceding exercise.
➤ Open “tagset.dgn” and the Tags tool box

The Open Design File dialog box opens.
2. Select “tagset.dgn” located in MicroStation’s
“Tagset.dgn” is a residence floor plan with four levels.
4. From the Tools menu, choose Tool Boxes.
The Tool Boxes settings box opens.
5. In the list box, turn on Tags.
The Tags tool box opens.

Attaching, reviewing, and editing tags
Exercise: Attaching, reviewing, and editing tags

Tags can be attached to elements and have their values reviewed
or edited.
➤ Attach tags to elements

1. In the Tags tool box, select the Attach Tags tool.
A list of the design’s tag sets is displayed in the Tool Settings
window. (The window’s title bar now reads “Attach Tags.”)
2. In the Tool Settings window’s Tag Sets list box, select fixture.
3. Identify the ceiling fan in the first floor’s great room.
4. Accept the ceiling fan.
The Attach Tags [fixture] dialog box opens.
Attach Tags [fixture] dialog box
5. In the Attach Tags (fixture) dialog box’s list box, select

part_num.
6. In the Enter Part Number field, type F-1000-36.
7. Select fixture_code.
8. In the Enter Fixture Type code field, type FAN.
9. Select price.
10. In the Enter unit Price field, replace the default value by
selecting the text and typing 89.95.
11. Select project.
12. Click on the OK button.
The Attach Tags [fixture] dialog box closes and the pointer is
an “X” with the specified tag text values attached to the “X”
and dynamically displayed.
The display of a tag value is determined by the Attach Tags
[fixture] dialog box’s Display field. If the Display field’s check

Attaching, reviewing, and editing tags
box is on, the tag value displays. The part number and fixture
code values display, but the price and project do not display.
13. Position the pointer near the ceiling fan, and enter a data
point.
The fixture tag values are attached.
➤ Edit tag values

1. In the Tags tool box, select the Edit Tags tool.
2. In the Master bedroom on the second floor, identify part
number “FR-1546-12” below the ceiling fan.
3. Accept the part number.
The Edit Tags dialog box opens.
4. Select part_num.
5. Click the part_num Display check box to turn it off.
6. In the Enter Part Number field, replace the current value by
selecting the text and typing FR-1546-24.
7. Select price.
8. Click the price Display check box to turn it on.
9. In the Enter Unit Price field, select the current value and type
9.87.
10. Select project.
Element Tags
The new price value displays but the new part_num does not.
➤ Review tag values

1. In the Tags tool box, select the Review Tags tool.
2. On the first floor, identify the ceiling fan in the kitchen.
3. Accept the ceiling fan.
The Review Tags dialog box opens. The tag names and values 8
are displayed.
4. Click the OK button to close the Review Tags dialog box.
5. Near the kitchen’s ceiling fan, identify the switch element
(small triangle) by the sliding door.
6. Accept the switch element.
The Review Tags selection box opens.
7. Select the switch tag set.

Creating a new tag set

The Review Tags [switch] dialog box opens.
This selection method is useful if there is tag data from more
than one tag set attached to the element.
Exercise: Creating a new tag set

The exercise creates a tag set complete with tag names. Tag sets
are stored in the design file as type 66 elements.
➤ Create a tag set

1. From the Element menu’s Tags sub-menu, choose Define.
The Tag Sets settings box opens.
Tag Sets settings box
2. Below the Tag Sets list box, click the Add button.
The Tag Set Name dialog box opens.
3. In the Name field, key in Fire_line.
Tag Set Name dialog box The Tag Set Name closes and the tag set Fire_line appears in
the Sets list box in the Tag Sets dialog box.
5. Below the Tags list box, click on the Add button.

Creating a new tag set
The Define Tag dialog box opens.
Define Tag dialog box
6. In the Tag Name field, key in Pipe_size.

7. In the Prompt field, key in Enter pipe size:.
The Define Tag dialog box closes.
9. In the Tag Sets dialog box, below the Tags list box, click the
Add button.
10. Key in the following values:
In the Tag Name field, key in Length.
In the Prompt field, key in Enter length:.
11. From the Type option menu, choose Real.
Element Tags
The Define Tag dialog box closes.
13. Back in the Tag Sets dialog box, below the Tags list box, click
the Add button.
14. Key in the following values:
In the Tag Name field, key in Type.
In the Prompt field, key in Enter type:. 8
15. From the Type option menu, choose Character.
16. In the Default Tag Value field, key in Copper.

Selecting Tagged Elements
Exercise: Selecting Tagged Elements

In “tagset.dgn,” outlet and fixture tags have either an exterior or
an interior placement.
➤ Select outlet and fixture tags on the exterior of the

design
1. From the Edit menu, choose Select By Attributes.
The Select By Attributes settings box opens.
Select By Attributes settings box
2. Confirm that the three Mode options are set to Inclusive,

Selection, and On.
3. Click the Tags button.
The Select By Tags Settings box opens.
4. In the Tag list box, select outlet.type.
5. In the Operator list box, select equal to.
6. In the Expression field, key in EWO.

Selecting Tagged Elements
7. Click the Insert button.
Select By Tags
dialog box
The Criteria list box shows the newly defined search criterion,
and the default conjunctive clause, “And.”
8. Click the Or button.
The “And” changes to “Or.”
9. In the Tag list box, select fixture, fixture_code.
10. In the Operator list box, select “greater than or equal.”
11. In the Expression field, key in EWL.
12. Click the Insert button.
In the Criteria list box are two statements that are evaluated
with the “And” statement having precedence over the “Or”.
13. In the Select By dialog box, click the Execute button.
Element Tags
Outlets and fixtures that are on the outside of the building are
selected and displayed with handles.
14. Close the Select By settings box.
An alert box displays.

Reporting on tag data
Exercise: Reporting on tag data

A report on tag data is created by defining a tag report template
and then selecting the template file and generating the report.
The report created and generated in this exercise is based on the

selected exterior fixtures.
➤ Define the tag report template

1. From the Element menu’s Tags sub-menu, choose Generate
Templates.
The Generate Templates settings box opens.
Generate Templates settings box
2. From the Report On menu, choose Tagged Elements.

3. Make the following selections:
In the Tag Sets list box, select fixture.
In the Tags list box, select part_num.
4. Click the Add button.
5. In the Tags list box, select fixture_code.
7. Make the following selections:
Select price and click the Add button.
Select $file_pos and click the Add button.
8. In the Report File Name field, key in fixture.
The report file “fixture.rpt” is generated once the report is
executed.
9. From the Generate Templates setting box’s File Menu, choose
Save As.
The Save Template As dialog box opens.
10. In the Files field, key in fixture.
The file for the template will be “fixture.tmp.”

Reporting on tag data

12. Close the Generate Templates settings box.
➤ Generate a tag report file

1. From the Element menu’s Tags sub-menu, choose Generate
Reports.
The Generate Reports dialog box opens.
Generate Reports dialog box
2. In the Files list box, select fixture.tmp.

Element Tags
4. Click the Done button.
After a moment, the status bar prompt reads “Done
Generating Report.”
The report file “fixture.rpt” is written to MicroStation’s
“\Workspace\projects\examples\generic\out” directory. Use
a word processor or text editor to view this ASCII, comma
8
delimited, report file.

9 Labeling a Design
This tutorial uses the floor plan design, “floor.dgn,” in
“\Workspace\projects\tutorials\intro\dgn” directory to illustrate
dimensioning and labeling a design.
• Dimensioning the exterior of a building (see page 9-2).
• Placing typical dimensions (see page 9-9).
• Dimensioning the interior of a building (see page 9-12).
• Adding notes (see page 9-17).
• Using cells for labeling purposes (see page 9-23).

preceding exercise.
If you have trouble

• Reset, by pressing the Reset button. This is most helpful when
• Undo, by choosing Undo from the Edit menu. This is most
the last operation.
• “Undo” a change made with a view control by choosing View
Previous from the view controls. This is helpful if you use a
view control to zoom or window an area and lose your
perspective.
About “floor.dgn”
The design in “floor.dgn” is a simple office floor plan. View
window 3 is a fitted view that shows the entire plan.
A concrete slab that underlies the office building is represented

by a red rectangle on Level 3, “Slab.” The exterior walls are
yellow multi-lines on Level 1, “Exterior.” (The corner of the slab
outside the exterior wall is a patio.) The interior walls are multi-
lines with yellow and blue component lines on Level 2, “Drywall.”
Doors, jambs, and sweeps are placed on Levels 4, 5, and 6,
“Doors,” “Jambs,” and “Sweeps.”

Dimensioning the exterior of a building
Working units in “floor.dgn” are feet (') and inches ("). Points on
the grid are located one inch apart. Reference points on the grid
are one foot apart. The design is oriented geographically so that
the top of the screen is north, the bottom south, the right east,
and the left west.
Setting up views for dimensioning

As you dimension the design, refer to the illustrations for ideas on
how best to set up views showing the part of the design you need
to see at each step. You may find it convenient to fit the entire
design in one view and to window areas into a second view to
see detail. It may also be convenient at times to show details in
two views, enter a data point in one to position one end of a
dimension element, and enter a data point in the other to finish
the dimension.
It may help to refer to the first page of this chapter, where the
labeled design is shown. Finally, all the dimensions and notes you
will be adding are already in the design, but on level 63, which is
turned off (that is, not displayed) in all views.
Exercise: Dimensioning the exterior of a building

➤ Open “floor.dgn” and adjust settings for dimensioning
1. Open the design file “floor.dgn,” which is in MicroStation’s
2. From the Settings menu’s Locks sub-menu, choose Full.
Change (or confirm) these settings:
Grid Lock — off
Snap Lock — on
3. From the Element menu, choose Text.
The Text settings box opens.
4. In the Text settings box, change (or confirm) these settings:
Font — 3 - Engineering
Height — 0:9
Width — 0:6
5. From the Utilities menu, choose Key-in.
The Key-in window opens.
6. Set the Active Level to Dims (by keying in LV=DIMS).
7. Set the Active Color to cyan (7) (by keying in CO=7).
8. Set the Active Line Weight to 1 (by keying in WT=1).

➤ Set up for dimensioning

1. Set up a view in which the south masonry wall is displayed.
2. (Optional) If the Tool Settings window is not open, open it by
choosing Tool Settings from the Tools menu.
3. In the Main tool box, select the Dimension Element tool, and
tear off the Dimension tool box.
4. In the Dimension tool box, select the Dimension Size with
Arrows tool.
5. In the Tool Settings window, turn on Association Lock.
When you place dimensions, they will be associated with
elements in the design. If the elements are moved, the
dimensions will update to reflect the new distances between
the dimension endpoints.
➤ Dimension the south masonry wall

1. With the Dimension Size with Arrows tool selected, enter a
data point on the southwest (lower left) corner of the building
(preview with a tentative point).
The prompt in the status bar is “Define length of extension
line.”
2. Enter a data point about 10 feet to the south to define the
extension line length. The extension line extends from the
points being dimensioned to the dimension line.
The dimension is dynamically displayed.
3. Enter a data point on the south-southeast corner of the
building (preview with a tentative point). This indicates the
Labeling a Design
dimension endpoint. Be sure you snap to the multi-line that
represents the masonry walls.
The south masonry wall (21') is dimensioned.
4. Enter a data point on the southeast corner of the slab (preview
with a tentative point).
The south edge of the patio (21') is dimensioned.
5. Reset to place the dimensions.
9
line.”

➤ Dimension the south-east masonry wall and patio

1. Enter a data point about 10 feet east of the east masonry wall
to define the extension line direction and length.
The north-south dimension is dynamically displayed.
2. Enter a data point on the east-southeast corner of the building
The east edge of the patio (21’) is dimensioned.
3. Enter a data point on the northeast corner of the building
4. The east masonry wall (39’) is dimensioned.
Pause here and look closely at the dimension text. Is text

displayed or are boxes with “Xs” in them displayed? If the text
appears to be boxes, you can adjust the text size to display
appropriately. The size threshold above which MicroStation draws
text is a user preference.
➤ Set the preference so text is drawn (regardless of its size)

1. From the Workspace menu, choose Preferences.
The Preferences dialog box opens.
2. In the Category list box, select Text.
The controls for text display and editing preferences are
displayed.
Dimensioning patio 3. In the Smallest Text field, key in 0 (zero).

and east masonry wall. 4. Click the OK button.
The dimension text is displayed. (You may have to update the
view to see the text.)
✓ When working with designs containing a lot of text, you may find
it convenient to set the Smallest Text preference higher. That will
prevent MicroStation from taking the time to draw text that may
be too small to read.

➤ Dimension the south edge of the slab

1. In the Dimension tool box, select the Dimension Element tool.
This tool is the logical choice here because the concrete slab
is represented by a block.
Dimensioning south
edge of slab.
2. To identify the block, enter a data point on the segment that

represents the south edge of the slab. (Do not preview with a
tentative point. If the wrong element is selected, Reset until
the desired element is selected.)
The dimension is dynamically displayed.
3. Enter a data point about 3 feet south of the existing 21’
dimensions.
The south edge of the slab (42’) is dimensioned.
The Dimension Element tool remains selected.
➤ Dimension the east edge of the slab

1. Enter a data point to identify the block on the segment that
represents the east edge. (Do not preview with a tentative
point.)
Labeling a Design
2. Enter a data point about 3 feet east of the existing north-south
dimensions.
The east edge of the slab (60’) is dimensioned.
To dimension the diagonal (southeast) masonry wall, begin with

the portion from the south-southeast corner of the building to the
front doorway opening. Window as appropriate, and remember
there are more views available for your use. Consider opening
another view window with the Window menu’s Open/Close sub-
menu so you can see the south-southeast corner of the building
9
and each door jamb.
Dimensioning east edge

of slab.

➤ Dimension the diagonal masonry wall

1. In the Dimension tool box, select the Dimension Size with
Arrows tool.
2. Enter a data point on the south-southeast corner of the
building (preview with a tentative point).
3. Enter a data point about 5 feet to the southeast to define the
extension line length.
The dimension that is dynamically displayed is parallel to a
view’s x-axis (horizontal). You need the dimension to be
parallel to the southeast masonry wall.
4. From the Alignment option menu in the tool settings, choose
True.
The dynamic dimension now rotates about the first point as
you move the pointer.
5. Enter a data point on the southwest outer corner of the front
doorway opening (preview with a tentative point).
The dimension line is parallel to the wall. The dimension is
13'-2¼".
The Dimension Size with Arrows tool remains selected, and a
second dimension is dynamically displayed. Continue to
dimension the southeast masonry wall.
6. Enter a data point on the northeast outer corner of the front
doorway opening (preview with a tentative point).
The front doorway width dimension is 3'-4".

7. Enter a data point on the east-southeast corner of the building

The dimension is 13'-2 ¼".
Dimensioning along
southeast masonry wall.
➤ Dimension the southeast masonry wall in its entirety

1. Reset again.
The prompt in the status bar is “Select start of dimension.”
2. Enter a data point on the southern corner of the diagonal
Labeling a Design
masonry wall (preview with a tentative point).
3. Enter a data point to the southeast to define an extension line
length about 3 feet longer than the extension lines in the
previous dimensions.
4. Enter a data point on the northern corner of the diagonal
masonry wall (preview with a tentative point). 9

5. Reset to place the dimension (29’-8 ³/8").

6. Set Alignment back to View.
Dimensioning entire
southeast masonry wall.

Placing typical dimensions
Exercise: Placing typical dimensions

Typical dimensions are usually placed in the lower left corner of a
drawing, which is the southwest corner of this building.
➤ Dimension the masonry wall thickness

1. Reset until the Dimension Size with Arrows prompt in the
status bar is “Select start of dimension.”
2. Enter a data point on the outside southwest corner (preview
4. Enter a data point on the inside southwest corner (preview
5. Reset to place the dimension (1'-1 ¼").
Dimensioning masonry
wall thickness.
Labeling a Design
Next you will dimension the distance from the corner of a room
to the doorway, placing the dimension in the room near the
southwest corner of the building.

➤ Dimension the typical distance from room corner to

doorway
2. Enter a data point on the doorway opening at its corner, 1' to
the west of the northeast corner of the room (preview with a
tentative point).
4. Enter a data point on the northeast corner of the room
5. Reset to place the dimension (1').
Dimensioning typical
interior distance.
Next you will dimension the interior wall, placing the dimension
in the next room to the north.
➤ Dimension the interior wall thickness

status bar displays “Select start of dimension.”
2. From the Element menu, choose Dimensions.
The Dimension Settings settings box opens.
3. In the Category list box, select Extension Lines.

4. In the settings box, turn off Extension Lines to place

dimensions without extension lines.
Dimension Settings
settings box
5. Enter a data point on the southeast corner of the room

line.” Although the Adjust Dimension Line setting is off, you
still need to define the location of the dimension line.
6. Enter a data point about halfway between the south wall and
the door in the east wall to define the location of the
dimension line.
The dimension is dynamically displayed without
extension lines.
7. Enter a data point on the southwest corner of the central
Labeling a Design
reception area (preview with a tentative point). The reception
area is the central area of the floor plan onto which the office
doors open.
8. Reset to place the dimension (4").
The other typical dimension is the width of the entry hallway

between each partition and the adjacent doorway opening.
9
Dimensioning interior
partition thickness.

Dimensioning the interior of a building
➤ Dimension the width of the entry hallway

Dimensioning entry hallway.
2. In the Tool Settings box, set Alignment to True.

3. In the Dimension Settings box’s, Category list box, select
Extension Lines.
4. Turn on Extension Lines.
5. Enter a data point on the center line of the northernmost
partition between the entry hallway and the adjacent room at
its intersection with the southeast masonry wall (preview with
a tentative point).
6. Enter a data point about 3 feet northwest of the southeast
masonry wall to define the dimension line endpoint.
7. Enter a data point on the southeast masonry wall at the closest
point where it is broken for the front doorway (preview with a
tentative point).
8. Reset to place the dimension (1'-5").
9. Turn off Extension Lines in the Dimensions Settings box.
The notation “(TYP.)” is standard for typical dimensions. You will

annotate these dimensions in a later exercise.
Exercise: Dimensioning the interior of a building

Standard interior size dimensions are between center lines of
interior partitions. However, when an interior size is dimensioned
to an exterior wall, the dimension is to the interior face of the
exterior wall.

Begin placing interior dimensions in the room to the right (north)

of the entry hallway. You may want to open two views with high
magnification of the ends of the wall being dimensioned in order
to snap accurately to them.
Next you will dimension from the interior face of the southeast
masonry wall to the partition that represents the room’s northwest
wall.
➤ Dimension from the interior face of the masonry wall to

the room’s northwest wall
2. Enter a data point on the center line of the partition that
represents the room’s southwest wall at the partition’s
intersection with the southeast masonry wall (preview with a
tentative point).
3. Enter a data point approximately half the distance to the
northeast toward the east corner of the room.
represents the room’s northwest wall (preview with a tentative
point).
6. In the Tool Settings window, set Alignment back to View.
Labeling a Design
Dimensioning NW-SE
room size.
So far, dimension text has been automatically centered along

dimension lines. The Text Location setting in the Dimension
Placement settings box sets where dimension text is located. In
the next series of dimensions, you will need to manually place
some dimension text so it does not obscure other dimensions.

Now you will dimension the north-south size of each room,

proceeding northward to the north masonry wall. You might find
panning to be an easy way to move in the view for this procedure
because each data point is north of the previous one. There is no
need to Reset when you alternate between panning and using the
Dimension Size with Arrows tool.
➤ Dimension the north-south size of the three rooms

represents the south wall of the first rectangular room
proceeding northward (preview with a tentative point).
3. Enter a data point about 3 feet west of the east masonry wall
to define the dimension line endpoint.
represents the north wall of the room (preview with a
tentative point).
The north-south room dimension is 10'.
represents the north wall of the next room to the north
The north-south room dimension is also 10'.
6. In the Dimension Settings box’s Placement category, set
Location to Manual.
7. Enter a data point on the interior face of the north masonry
wall (preview with a tentative point).
The prompt in the status bar is “Place dimensioning text”, and
the dimension text (11'-10") is dynamically displayed for
positioning.
8. Enter a data point to position the dimension text a little south
of what would be automatic placement (center justified). This
positioning will prevent the east-west dimension you will
place later from overlaying the text.
Dimensioning north-south
room sizes. 9. Reset to place the dimensions.
Instead of using manual dimension text location, you could use

the Modify Element tool from the Main tool box to move the
dimension text after it is placed. However, the text will move only
along the axis in which it was placed.

There is space for the east-west dimension of the rectangular

rooms on the east side in the northernmost of the two rooms.
➤ Dimension the east-west size of the two rectangular

rooms on the east side of the building
1. In the Dimension Settings box, set Location back to
Automatic.
3. Enter a data point at the doorway on the center line of the
partition that represents the west wall of the room (preview
4. Enter a data point about 3 feet north of the doorway to define
the dimension line endpoint.
5. Enter a data point on the interior face of the east masonry wall
Dimensioning
east-west room size.
➤ Dimension the east-west sizes of the rooms in the north
Labeling a Design
end of the building, proceeding from east to west
2. Enter a data point on the intersection of the interior faces of
the north and east masonry walls (preview with a tentative
point).
3. Enter a data point about 3 feet south of the north masonry
wall to define the dimension line endpoint.
9
4. Enter a data point on the center line of the north-south

partition between the two rooms (preview with a tentative
point).
The east-west room dimension is 27'-9 ½".

5. Enter a data point on the interior face of the west masonry

The east-west room dimension is 12’.
Dimensioning east-west
room sizes.
➤ Dimension the north-south sizes of the rooms on the

west side of the building
2. Enter a data point on the intersection of the interior faces of
the north and west masonry walls (preview with a tentative
point).
3. Enter a data point about 3 feet east of the west masonry wall
to define the dimension line endpoint.
represents the south wall of the room in the northwest corner
of the building (preview with a tentative point).
The north-south room dimension is 27'-7 ½".
represents the south wall of the next room to the south
The north-south room dimension is 18'.
6. Enter a data point on the interior face of the south masonry
The north-south room dimension is 12'-2".
Dimensioning north-south
room sizes. With that, all plan dimensions necessary to construct the building
are placed.

Adding notes
Exercise: Adding notes

Next, you will add notes to the design as text elements. When
you are instructed to “type” text in the Text Editor window, do
not press <Enter> at the end of the text.
➤ Set the Active Level to Notes

2. In the Key-in window, key in LV=NOTES.
You placed the 1'-1¼" masonry wall thickness dimension near the
➤ Note the 1’-1 ¼" masonry wall thickness as typical

1. In the Main tool box, select the Place Text tool, and tear off
the Text tool box.
2. In the Text tool box, select the Place Text tool.
3. In the Text Editor window, Type (TYP.) and (do not press
<Enter>).
Text Editor window
The text is dynamically displayed at the Active Angle; if the

Active Angle is not 0°, in the Place Text Tool Settings window,
Labeling a Design
set the Active Angle to 0°.
4. Enter a data point to position the text below the dimension
text. Leave the Text Editor window open.
Annotating typical dimension.

9
While the Place Text tool is selected, the text “(TYP.)” is

dynamically displayed.

Adding notes
➤ Annotate the other typical dimensions

text “1'-0"” in the room in the southwest corner of the
building. Leave the Text Editor window open.
text “4"” in the next room to the north. Leave the Text Editor
window open.
3. In the Tool Settings window, set the Active Angle to 45°.
4. Enter a data point to position the rotated text below the
dimension text “1'-5"” adjacent to the entry hallway. Leave the
Text Editor window open.
5. In the Tool Settings window, set the Active Angle back to 0°.
Annotating the other

typical dimensions.
The room label notes will be violet and slightly larger and heavier
than the dimension text.
➤ Change the appropriate settings

2. Set the Active Color to violet (5) by keying in CO=5 in the
Key-in window.
3. Set the Active Line Weight to 1 by keying in WT=1 in the Key-
in window.
4. From the Element menu, choose Text.
The Text settings box opens.
5. In the Height field, key in 1 to set the Active Text Height to 1'.
6. In the Width field, key in :9 to set the Active Text Width to 9".
7. In the Line Spacing field, key in :6 to set the Active Line
Spacing to 6".

Adding notes
Suppose the “client” for this building project requires that the
rooms adjacent to the entry hallway and the room in the northeast
corner be numbered offices. To label the rooms, you can use
enter data fields as placeholders for future entry of office
numbers. Make the fields three characters long to allow space for
three digit office numbers.
➤ Place the enter data fields

1. In the Text Editor window, click the Reset button to clear the
text in the window.
2. Type Office _ _ _ in the Text Editor window. (Type a space
after “Office” and press the underscore key (<Shift-Hyphen>)
three times to enter the last three characters.)
The text is dynamically displayed.
3. Enter three data points in succession in the fitted view to place
the text in the numbered offices, starting with the office
southwest of the entry hallway and finishing with the office in
the northeast corner.
Labeling numbered offices. ➤ Label the other offices on the east side of the building
text in the window.
2. Type Kim in the Text Editor.
3. Enter a data point to position the text in the rectangular office
immediately north of the odd-shaped office on the east side of
the building.
Labeling a Design
text in the window.
5. Type Ray.
6. Enter a data point to position the text in the next office to the
Labeling other offices north.
on east side of building.
9

Adding notes
➤ Label the rooms on the west side of the building

text in the window.
2. Type Library in the Text Editor window.
3. Enter a data point to position the text in the library in the
northwest corner of the building.
text in the window.
5. Type Kitchen.
6. Enter a data point to position the text in the next room to the
south.
text in the window.
8. Type Storage.
9. Enter a data point to position the text in the room in the
➤ Label the central reception area

Labeling rooms text in the window.
on west
side of building.
Labeling the reception area.
2. Type Reception in the Text Editor, and then press <Enter>.

The insertion point moves to the second line in the window.
3. Type Area.
Because you typed more than just one line of text,
MicroStation will place the text as a text node.
4. Enter a data point to position the text node in the reception
area.

Adding notes
The text node is displayed with a small cross and a text node
identification number. These are useful when placing empty text
nodes that will be filled with text later.
➤ Turn display of text node numbers off in the fitted view

1. From the Settings menu, choose View Attributes to open the
View Attributes settings box.
View Attributes
settings box
2. Display the number of the fitted view from the View Number
option menu.
3. Turn off Text Nodes.
4. Click the Apply button.
At this point, the client tells you the office numbering scheme.
The odd-shaped offices, from west to east, are #101 and #102.
The office in the northeast corner of the building is #105.
Labeling a Design
➤ Fill in the enter data fields
1. In the Main tool bar, click on the Text tool, and tear off The
Text tool box.
2. Select the Auto Fill In Enter Data Fields tool.
If you closed the Text Editor window after placing the last
text, the window reopens.
3. Select the fitted view.
9
The text element in office 101 highlights (the oldest text

element in the view that has an enter data field). The enter
data field is denoted by a rectangle.
4. If necessary, in the Text Editor window, click the Reset button
to clear the text in the window.

Adding notes
5. Key in 101. (Remember that “key in” means to press <Enter>

after typing the text.)
The enter data field is filled in, meaning office 101 is properly
labeled. The text element, with enter data field, in office 102 is
highlighted. If you make any mistakes, complete step 6, and
then use the Fill In Single Enter Data Field tool to make
corrections.
6. Repeat steps 4 and 5 for office 102 and office 105.
7. Use the View Attributes settings box to turn off the display of
enter data field characters (underscores) in the fitted view.
The check button is labeled Data Fields.
Filling in office numbers.

Using cells for labeling purposes
Exercise: Using cells for labeling purposes

In this exercise, you will add a directional arrow to the design file.
The two cells used to construct the north arrow are stored in the
“sample2.cel” cell library (in the “\Workspace\system\cell”
directory).
➤ Attach “sample2.cel” to the design file and browse its

cells
1. From the Element menu, choose Cells.
The Cell Library settings box opens.
2. From the Cell Library settings box’s File menu, choose Attach.
The Attach Cell Library dialog box opens.
3. In the Files list box, select “sample2.cel.”
The cell library is attached and you are returned to the Cell
Library settings box.
5. In the list box, select the ARROW cell and look at the graphics
in the box to the right. Then repeat for the NORTH cell.
The ARROW cell is the arrowhead and the NORTH cell is used
to indicate direction. Leave the settings box open for the next
procedure.
Labeling a Design
Cell Library settings box

Using cells for labeling purposes
➤ Designate ARROW as the Active Cell for placement

1. In the Cell Library settings box, select ARROW.
2. Click the Placement button.
Now you will place the arrow east of the east masonry wall and
exterior dimensions so that the arrow points to the north.
➤ Rotate the ARROW cell 90° and place it

1. In the Main tool bar, select the Place Active Cell tool.
2. In the Tool Settings window, turn on Relative.
The tool description in the status bar is “Place Active Cell
Relative.”
3. In the Active Angle field, key in 90. In the X Scale field, key in
10.
4. This will make the cell point to the north.
5. Enter a data point to position the cell.
The Place Active Cell tool remains selected.
➤ Place the NORTH cell

1. From the Place Cell Tool Settings window, in the Active Cell
field, key in NORTH.
2. In the Active Angle field, key in 0. In the X Scale field, key
in 10.
3. Enter a data point on the midpoint of the arrowhead base
Constructing north (preview with a tentative point).
arrow.
The north arrow is in place.

10 Automating Drawing Production
In this tutorial, you will learn to do the following:
• Create the Drawing Components.
• Compose the Drawing Sheet.
• Annotating the drawing.
• Modifying the drawing through the Sheet View.
• Manipulating the sheet view’s components.
Exercise: Create the Drawing Components

In this exercise, you will create a saved view of the model’s
pictorial view.
➤ Create a saved view of the top view

1. Open the design file “bracket.dgn,” which is supplied in
MicroStation’s “\Workspace\projects\tutorials\intro\dgn”
directory.
2. In Window 2 rotate the wireframe image to a desirable
orientation for a hidden line image.
Alternately, you can select the Right Isometric view of the
object.
3. Use the Fit View view control to fit the Top view (Window 1).
4. From the Utilities menu, choose Saved Views.
The Saved Views settings box opens.
Saved Views settings box
5. In the Name field, key in PICT and press <Enter>.

Compose the Drawing Sheet
6. From the View option menu, choose 2.

7. In the Description field, key in: Pictorial view for sheet
8. Click the Save button.
The view is saved.
Exercise: Compose the Drawing Sheet

In this exercise you will use Drawing Composition to put the
finished drawing together by creating a drawing sheet in the
active design file.
➤ Create the sheet view

1. From the File menu, choose Drawing Composition.
The Drawing Composition settings box opens.
Drawing Composition
settings box
2. In the Sheet Parameters section of this settings box, verify

Sheet Location option menu is set to Sheet View.
The drawing sheet will be incorporated into the active design
file.
3. From the Tools menu in the Drawing Composition settings
box, choose Open Sheet View… and select View 4.
An alert asking if it is OK to turn the sheet annotation and
dimension levels (62 and 63) off in non-sheet views appears.
Accept the default of Yes.

View 4 clears and will now be used to hold the drawing sheet.
Note Window 4’s title now includes “Sheet View”.
4. From the Tools menu, choose Attach Border > Fitted.
The Attach Border File dialog box appears.
Attach Border File

dialog box
5. Navigate to “\Workspace\system\seed” and choose

“seed.sht”.
7. In the Attachment Parameters section of the Drawing
Composition settings box turn on the Save Full Path option
and enter the logical name “sheet”.
Optionally, add a comment in the Description field.
8. In Window 4 (the Sheet View) move the dynamic rectangle to
an appropriate location. Data point once to place the border.
Automating Drawing Production

Use Zoom Out view control to see the entire drawing sheet
rectangle.
The sheet border will appear. At this point the drawing sheet
is attached at a scale of 1 to 1 with the design units of the
active design.
9. Use the Fit View view control to fit the drawing sheet in
Window 4. 10

➤ Attach the model’s top view

1. In the View Parameters section of the Drawing Composition
settings box, set the Scale (Sheet:Model) to 1:4.
This sets the scale of all subsequent reference file attachments
to 1/4 scale where one inch of the drawing sheet equals four
inches of the model.
2. From the Tools menu’s Attach Standard sub-menu, choose
Top.
A dynamic rectangle representing the extents of the model in

the top view appears.
3. Enter a data point in the top left corner of the drawing sheet
to position the top view.

➤ Attach the front view

1. From the Tools menu’s Attach Folded sub-menu, choose
Orthogonal.
Folding the Top view to

attach the Front view.
You are prompted to select an element in the principal

reference file attachment.
2. In the top view that was just attached, identify an element.
A rectangle appears around the top attached view.
3. Identify the rectangle’s lower (horizontal) line.
Another rectangle appears, indicating the limits of the “folded”
attached view.1
4. Enter a data point to position the attached view below the top
view.
The front view (the top view rotated orthogonally) is attached.

5. Reset.
10
1. Technically, the model file is again referenced automatically, at the

same scale as the original attachment.

➤ Attach the right view

1. From the Tools menu’s Attach Folded sub-menu, again choose
Orthogonal.
2. In the newly created front attached view, identify an element.
As before, a rectangle appears around the attached view.
3. Identify the right side (vertical) line of the rectangle.
A rectangle appears, indicating the limits of the new “rotated”
view.1
4. Enter a data point to position the right view to the right of the
front view.
The right view (the front view rotated orthogonally) is
attached.
Folding the Front view to

attach the Right view.
5. Press reset.
➤ Attach the pictorial (right isometric) view

settings box select the Model (second) field of the Scale
(Sheet:Model) fields and key in 5.
The pictorial view will be attached to the drawing sheet at a
smaller scale than the orthographic views.
1. Technically, the model file is again referenced automatically, at the

same scale as the original attachment.

2. (Optional) Set the Margin (%) to 5.
When the reference file associated with the pictorial view is

attached, a smaller than normal frame of empty space is
created around the extents of the object.
settings box, turn on the Hidden Line Removal and Include
Hidden Lines check boxes.
All future view attachments will now be displayed as hidden
line images with dashed lines for hidden features.
4. From the Tools menu, choose Attach Saved View.
The Select Saved View dialog box opens, displaying the saved
views in the active design file.
5. From the list of views select “PICT.”

The Select Saved View dialog box closes. The saved view
“PICT” is attached to the sheet file. A rectangle at the cursor
shows the saved view’s boundary.
7. Enter a data point in the top right corner of the drawing sheet
to position the pictorial view.
After a short time the hidden line rendered image will appear
at the location selected.
10

Annotating the drawing
Exercise: Annotating the drawing

Now that you have the orthographic views of the design in place
and a pictorial image, it is time to begin the critical step of placing
dimensions and text notes on the drawing. This is accomplished
using only the Sheet View. The Drawing Composition facility
manages all aspects of this process.
The drawing sheet attached earlier is a ‘B’ size sheet set to quarter
scale. Because the drawing sheet corresponds one to one with the
plotter output (i.e., one inch of the drawing sheet represents one
inch of plotter paper), annotation text sizes and other drawing
related features can be specified in real units. For instance,
eighth-inch-tall text is entered as 0.125” in the Text settings box.
The same goes for all of the other text entries.
➤ Dimensioning the drawing

1. From the Element menu, choose Dimensions.
The Dimension settings box appears.
2. Under the Text list item, set the Orientation to In-line and the
Height/Width to 0.125.
3. (Optional) Under Terminators, from the Arrowhead option
menu, choose Closed.
This results in a more mechanical dimensioning style than the
default open arrowhead.
4. (Optional) Under Unit Format, turn on the Show Trailing
Zeros check box.
This adds to the mechanical style of dimension.
5. Close the Dimensions settings box.
6. Enlarge the Sheet View so it fills the entire view area.
7. Using Window Area, zoom in on the top orthographic view.
8. From the Dimension tool box, select Dimension Size with
Arrow.
9. Turn on the Association lock check box.

Modifying the drawing through the Sheet View
10. In the top orthographic projection on the sheet, snap to the

centerpoint of the upper left hole. Enter a data point to accept.
10
11
12
11. Place the extension line so the dimension will appear left of
the object and enter a data point.
12. Snap to the centerpoint of the large center hole.
A dimension of 3.9 will appear.
13. Place additional dimensions as needed.
For the purpose of this example, only the 3.9-inch dimension
is required.

Exercise: Modifying the drawing through the Sheet View
When activated, Drawing Composition provides the ability to
directly modify the model via the Sheet view. Instead of resorting
to one of the traditional views to make a change to the model,
you can now directly modify the model elements of the design.
Keep in mind, however, you cannot add elements to the model in
this manner.
In the following example, the previously created drawing sheet

will be the subject of a modification involving the movement of
the center bracket object.
10

Manipulating the sheet view’s components
➤ Modifying the model via the drawing

1. From the Manipulate tool box, select Move.
2. In the top orthographic projection of the Sheet View, identify
any element of the center brace (the component with the two
large holes).
3. Index the pointer to the -Y axis.
4. In the Y field of the AccuDraw window, key in 0.1.
The bracket object moves 0.1 meter down.
Because the 3.9 inch dimension was placed with the Association
Lock activated, this dimension will automatically update to 4.3.
Exercise: Manipulating the sheet view’s components

Drawing Composition provides a number of tools for performing
maintenance on the reference file attachments associated with the
sheet view.
➤ Synchronizing displayed views

1. In the example, note how the pictorial view of the design
does not reflect the movement of the center brace.
2. In the Drawing Composition settings box, select Tools menu >
Modify Hidden Line > Synchronize.
MicroStation begins to recalculate any sheet views in which
the hidden line option was turned on.
3. Note the repositioning of the center brace in the newly
recomputed hidden line view.
This concludes the lesson.

11 Settings Groups and Custom Line Styles
Once a settings group is created, a variety of different custom line
styles are available at the click of the Data button. This tutorial
shows you how to create a settings group.
You will create a settings file and define two settings groups. As
part of the process of defining a Linear component of one of the
settings groups, you will create a custom line style.

• Creating a settings file and settings groups (see page 11-2).

• Defining a Linear component with a standard line style (see
page 11-3).
• Defining a Linear component with a custom line style (see
page 11-5).
• Defining other types of components (see page 11-9).

preceding exercise.
➤ To prepare for the lesson

1. Create and open a 2D design file using the seed file
“\Workspace\system\seed\seed2d.dgn.”
2. Attach the cell library, “sample2.cel,” which is installed in
MicroStation’s “\Workspace\system\cell” directory.

Creating a settings file and settings groups
Exercise: Creating a settings file and settings groups

Suppose your company’s map standard segregates road
information into three components: paved road edges, unpaved
road edges, and road annotation. Suppose also the standard
segregates tree information into two components: tree lines and
individual deciduous trees.
In this case, a sensible approach is to create a settings file that

contains two settings groups: one consisting of settings for road
components and another consisting of settings for tree
components.
➤ Create a settings file, “mapping.stg”

1. From the Settings menu, choose Manage.
The Select Settings settings box opens.
2. From the Select Settings box’s File menu, choose Edit.
The Edit Settings settings box opens.
3. From the Edit Settings box’s File menu, choose New.
The Create New Settings File dialog box opens.
4. In the Files field, type mapping.stg.

The settings box’s title bar identifies the new settings file.

Defining a Linear component with a standard line style
You are now ready to begin creating settings groups, which will
be stored in your “mapping.stg” file.
11
➤ Create a group named Road
1. In the Edit menu’s Create sub-menu, choose Group.
Settings Groups and Custom Line Styles

A group named “Unnamed” is listed in the Group list box.
2. Press <Tab> until the field below the list box “Unnamed” is
highlighted.
3. Key in Road (replacing “Unnamed”) and press <Enter>.
➤ Create a group named Tree

1. From the Edit menu’s Create sub-menu, choose Group.
2. In the field below the list box, key in Tree (replacing
“Unnamed”) and press <Enter>.
Exercise: Defining a Linear component with a standard line style

Suppose the company standard calls for the edges of paved roads
to be placed with the Place Stream Line String tool on level 6, in
yellow (color 4), with the solid line style (0) and line weight 2.
➤ Create the Paved Edge component in the Road group

1. In the Group list box, select Road.
2. From the Edit menu’s Create sub-menu, choose Linear.
A component named “Unnamed” of type Linear is listed in the
Component list box.
3. Press the <Tab> key until “Unnamed” is highlighted in the
field below the Component list box.
4. In the field below the list box, key in Paved Edge (replacing
“Unnamed”) and press <Enter>.

Defining a Linear component with a standard line style
➤ Define the Paved Edge component

1. In the Component list box, double-click Paved Edge.
The Modify Paved Edge settings box opens.
2. Turn on Key-in and key in PLACE LSTRING CONSTRAINED
(the key-in for Place Stream Line String) in its field.
3. Turn on Level and key in 6 in its field.
4. Turn on Color and key in 4 in its field.
5. Turn on Style and key in 0 in its field.
6. Turn on Weight and key in 2 in its field.
7. Click the Save button to close the settings box and save the
settings.
The following table shows how the active settings change upon
selection of the Paved Edge component in the Select Settings
window:
Setting Changes to
Active Level 6
Active Color 4
Active Line Style 0
Active Line Weight 2
The Select Settings window is opened by choosing Manage from

the Settings menu.

Defining a Linear component with a custom line style
Exercise: Defining a Linear component with a custom line style
11
Suppose also that the standard calls for the edges of unpaved
roads to be placed with the Place Stream Line String tool on level
6, in red (color 3), as lines with a repeating pattern of two short
(length 1) and three long dashes (length 3). To add this
component, you will first define a simple custom line style. Then

you will define an Unpaved Edge component of the Road group
that uses the line style.
➤ Define a custom line style named Unpaved Edge

1. From the Primary tool bar’s Active Line Style option menu,
choose Edit.
The Line Style Editor settings box opens.
2. From the settings box’s File menu, choose Open.

The Open Line Style Library dialog box opens.
3. In the Files list box, select “lstyle.rsc.”


An expanded Line Style Editor settings box displays.
5. From the Edit menu’s Create sub-menu, choose Name.

6. In the field below the Name list box, key in Unpaved Edge to
replace “Unnamed.”
Next you will name, link, and define a stroke pattern component
for this line style.
➤ Create a stroke pattern and distinguish dash strokes

from alternating gap strokes
1. From the Edit menu’s Create sub-menu, choose Stroke Pattern.
2. In the field below the Components list box, key in Unpaved
Road Edge to replace “new stroke component.”
3. Select “Unpaved Edge” in the Styles list box and “Unpaved
Road Edge” in the Components list box.
4. From the Edit menu, choose Link to link the line style name to
the stroke pattern.
5. In the Stroke Pattern section of the settings box, click the Add
button 10 times.

Ten gray rectangles are displayed to represent each stroke,

including gaps. The first stroke is selected.
11
6. From the Stroke Type option menu, choose Dash.
7. Select the third stroke.
8. From the Stroke Type option menu, choose Dash.
9. Repeat steps 7-8 for the fifth, seventh, and ninth strokes.
➤ Set the length of the gap and dash strokes and save the
new line style definition
1. In the stroke pattern display, select the first stroke.
2. In the Length field (adjacent to the Length option menu), key
in:.1 ( 1⁄ 10 of an inch) and press <Enter>. This is the length
the stroke should be when it is plotted.
3. Repeat steps 1-2 for the next two strokes and all the gaps.
4. Select the fifth stroke.
5. In the Length field, key in:.3 ( 3 ⁄ 10 of an inch).
6. Repeat steps 4-5 for the seventh stroke.
7. From the settings box’s File menu, choose Save.
8. Close the Line Style Editor settings box, sink it, or move it out
of the way.
Since the Unpaved Edge line style has been created, you can now
add the Unpaved Edge component to the Roads group.

➤ Create and define the Unpaved Edge component in the

Road group
1. In the Edit Settings settings box, from the Edit menu’s Create
sub-menu, choose Linear.
A component named “Unnamed” of type Linear is listed in the
Component list box.
2. Press the <Tab> key until “Unnamed” is highlighted in the
field below the Component list box.
3. In the field below the list box, key in Unpaved Edge.
4. In the Component list box, double-click Unpaved Edge.
The Modify Unpaved Edge settings box opens.
in its field.
8. Turn on Style and choose Custom from its option menu.
The Select Line Style dialog box opens.
9. Select Unpaved Edge in the list box and click the OK button.
In the Modify Unpaved Edge settings box, “Unpaved Edge” is
shown as the (line) Style.
10. Turn on Line Style Scale.
settings.
This table shows how the active settings change upon selection of
the Unpaved Edge component in the Select Settings window:
Setting Changes to
Active Level 6
Active Color 3
Active Line Style Unpaved Edge

Defining other types of components
Exercise: Defining other types of components
11
Suppose the company standard for road annotation is to use blue,
unrotated text placed on level 2 in the WORKING font, and to set
the text to plot at 1 ⁄ 8 " high and wide.
➤ Create and define the Annotation component in the

Road group
1. From the Edit menu’s Create sub-menu in the Edit Settings
settings box, choose Text.
2. In the field below the Component list box, key in Annotation
(replacing “Unnamed”).
3. In the Component list box, double-click Annotation.
The Modify Annotation settings box opens.
4. Turn on Key-in and key in ICON (the key-in for Place Text) in
its field.
7. Turn on Font and click the Select button to the right of its
field.
The Select dialog box opens.
8. In the list box, select WORKING, and click the OK button.
The Select dialog box closes.
9. Turn on Angle and key in 0 (zero) in its field.
10. Turn on Use Paper Size and Height/Width.
11. From the Units option menu, choose " (inches).

12. In the Height and Width fields, key in 0.125.

settings.
All components of the Road group have been defined.
selection of the Paved Annotation component in the Select
Settings window (assuming the drawing scale is set to 1/8 = 1’):
Setting Changes to
Active Level 2
Active Color 1
Active Font WORKING
Active Angle 0°
Active Text Height 1:0
Active Text Width 1:0
Next you will add a deciduous tree cell component and a linear
tree line component to the Tree group you created in the first
exercise.
Suppose the company standard calls for deciduous trees to be

placed using the cell DECID, in white, with no rotation.
➤ Create and define the Deciduous component in the Tree

group
1. In the Group list box, select Tree.
settings box, choose Cell.
3. In the field below the list box, key in Deciduous (replacing
“Unnamed”).
4. In the Component list box, double-click Deciduous.
The Modify Deciduous settings box opens.
5. Turn on Key-in and key in PLACE CELL RELATIVE (a key-in
for a Place Active Cell option) in its field.
7. Turn on Color and key in 0 (zero) in its field.
8. Turn on Style and key in 0 (zero) in its field.
9. Turn on Weight and key in 0 (zero) in its field.

10. Turn on Angle and key in 0 (zero) in its field.
11
11. Turn on Cell and click the adjacent Select button.
The Select Cell dialog box opens.
12. In the list box, select DECID, and click the OK button. (DECID
is in the library “sample2.cel.”)

The Select Cell dialog box closes.
13. In the Modify Deciduous settings box, turn on Scale and
Apply Drawing Scale.
14. From the Cell Work Units option menu, choose Architectural.
settings.
This table shows how the active settings change upon selection of
the Deciduous component in the Select Settings window
(assuming the drawing scale is set to 1 ⁄8 " = 1' and the active
design file’s working units match those of the cell):
Setting Changes to
Active Level 1
Active Color 1
Active Line Style 0
Active Cell DECID (“sample2.cel”)
Active Angle 0°
Active Scale 96.0
✍ The color, line weight, and line style settings will only affect the
cell’s symbology if the cell was created as a point cell.

Suppose that the company standard calls for tree lines to be

placed as green line strings on level 11 with a weight of 2.
➤ Create and define the Treeline component in the Tree

group
settings box, choose Linear.
2. In the field below the Component list box, key in Treeline
(replacing “Unnamed”).
3. In the Component list box, double-click Treeline.
The Modify Treeline settings box opens.
in its field.
7. Turn on Style and choose Custom from the option menu to
the right of Style.
The Select Line Style dialog box opens.
8. In the list box, select “{Tree Line}” and click the OK button.
The Select Line Style dialog box closes.
9. In the Modify Treeline settings box, turn on Line Style Scale.
10. Turn on Weight and key in 2 in its field.
settings.

selection of the Treeline component in the Select Settings window
11
(assuming the drawing scale is set to 1 ⁄8 "=1’):
Setting Changes to

Active Level 11
Active Color 2
Active Line Style Treeline
Line Style Scale Factor 96

Part II: Visualization
Tutorials
12 Lighting for Rendered Images
This tutorial illustrates methods for setting up lighting
environments for images, both during design and for final images.
Introduction
Lighting can make the difference between an average image and
a truly photo-realistic image. You can use global lighting and
source lighting, individually or together, to illuminate your
models. Global lighting is controlled from the Global Lighting
settings box, while source lighting is provided by special light
source cells. These cells contain data fields, which specify the
various settings for the particular light source.
When rendering an image, all lighting information is taken from

the active design file only. Global lighting settings and any light
sources in attached reference files are ignored.
In the following tutorial, you will learn about the following:
• Using Global Lighting (see page 12-1)

• Creating a Lighting Setup with Source Lighting (see page 12-11)
• Area Light Sources (see page 12-23)
• Using Multiple Lighting Setups (see page 12-28)
• Attenuating Light Sources (see page 12-31)
✍ Sample design files used in this tutorial are installed in

MicroStation’s “…workspace\projects\tutorials\visualization\dgn”
directory. Files of the same name in
“…workspace\projects\examples\visualization\dgn” show the
expected outcome of the tutorial exercises.
Using Global Lighting

During the design process, rendered views can be required “on
the fly” for checking or discussion purposes. In these instances,
use MicroStation’s global lighting.

Flashbulb is a convenient type of lighting to use for everyday

rendering. To produce good working images, use Flashbulb in
conjunction with Ambient lighting. Whereas Flashbulb provides
lighting from the camera or eyepoint (like a camera’s flashbulb),
Ambient adds an overall lighting to all surfaces. Use Ambient to
add light to the very dark areas of an image. Use Solar, the third
global lighting option, to provide lighting from above.
When rendering a view, surface angles relative to the light source

and the viewer affect the way that they appear when rendered.
All similarly colored surfaces that are oriented at the same angle,
to the Flashbulb (and the viewer), will appear identical in color.
This is most noticeable in an isometric view containing a slab that
is aligned with the design cube axes. In an isometric view, three
sides of the slab (front, left, and top) are equally inclined to the
viewing direction, and the Flashbulb. The following exercise
demonstrates this.

1. From MicroStation’s
“…\workspace\projects\tutorials\visualization\dgn”
directory, open the design file “litex1.dgn.”
2. If necessary, make level 2 the Active Level, and turn off all
other levels in View 1.
3. If necessary, use the Rotate View view control to make view 1
an Isometric view.
5. If necessary, in the Tools menu’s Visualization Tools
sub-menu, turn on Rendering Tools to open the Rendering
Tools tool box.
Lighting.
The Global Lighting dialog box opens.
7. Turn on Ambient and, in its Intensity field, key in 0.20.
This provides some lighting to the dark areas.
8. Turn on Flashbulb and, in its Intensity field, key in 1.00.
9. If necessary, for both Ambient and Flashbulb, use the Color
button to set their colors to white.

10. If necessary, turn off Solar.

11. For future use, leave the Global Lighting dialog box open.
Global Lighting
12
settings box
Lighting for Rendered Images

➤ Render View 1
2. If necessary, in the Render settings window, from the Target
option Menu, choose View.
3. From the Render Mode option Menu, choose Ray Trace.
4. From the Shading Type option menu, choose Normal.
5. Enter a data point in View 1 to select it.
View 1 is ray traced.
Rendered Isometric view

of model. Lack of detail
is due to several surfaces
being inclined at the
same angle to the
Flashbulb light source.
In the image, there is a lack of detail with the flat surfaces, though
the rounded edges are plainly discernible. To improve the image,
use the Define Camera tool to slightly rotate the Isometric view.
This changes the surface angles relative to the view camera.

➤ Pan the Isometric view camera

1. In the Rendering Tools tool box, select the Define Camera
tool.
2. To select it as the camera view, enter a data point in View 1.
3. In the Define Camera settings window, from the Reference
Point option menu, choose Target.
4. If necessary turn off Continuous View Updates.
5. If the button adjacent to the two check boxes is labeled
“More,” click it.
The settings window expands to display more settings, and
the button’s label changes to “Hide.”
6. If necessary, turn on Controlled Movement.
7. In the Increment: Angle field, key in 10.
8. Click the Pan Horizontal icon.
9. In View 1, enter a data point at the middle right edge of the
view.
The view camera is rotated 10° to the right, which has the
effect of rotating the model 10° to the left.
Define Camera
settings window

➤ Render the rotated View 1

2. Select View 1.
View 1 is ray traced.
12
Rotated view shows

more detail of the flat
surfaces.
Rotating the view has improved the image, but further

improvement is needed. To accomplish this, use Solar, which
simulates light from the sun. Solar lighting settings let you
position the “sun.”
➤ Add Solar lighting

1. In the Global Lighting settings box, turn on Solar.
2. In the Intensity field, key in 0.5.
3. If necessary, turn on Solar Shadows.
4. Turn on Lock.
This ensures that the sun’s position is taken from the Solar
Vector Direction fields, rather than the Time and Location
values.
5. In the Altitude Angle field, key in 90.
This sets the sun to directly overhead. Note that the X, Y, and
Z vectors become 0,0, and 1, respectively.

6. Check that Add Sky Light to all Solar and Distant Lights is
turned off.
Global Lighting
settings box with Solar
lighting settings
displayed
7. If necessary, in the Rendering Tools tool box, select the

Render tool.
8. Select View 1.
Solar lighting has brightened the upper surfaces. The grooves

inside the model, however, are in shadow and still a little dull. If
this is a problem, turn off Solar Shadows. With these turned off,
the sun illuminates all surfaces facing it.
With Solar Shadows turned

on, the surfaces of the
grooves are in shade and not
illuminated by the “sun.”

➤ Turn off Solar Shadows

1. In the Global Lighting settings box, turn off Solar Shadows.
2. If necessary, re-select the Render tool.
3. Select View 1.
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With Solar Shadows disabled,
all horizontal surfaces facing

the “sun” are illuminated by
it. This is regardless of
whether or not, in reality,
they would be in shade.
For further practice, experiment by changing the settings in the

Global Lighting settings box, and see how the image is affected.
For example, you can relocate the sun by keying in Azimuth and
Altitude angles or turning off Lock and selecting Location and
Time options.
Using the global lighting settings in this way lets you quickly
create a lighting scene for producing general images of your
model. When final images are required, look at the source
lighting options, either alone or in conjunction with global
lighting.
Use Solar lighting with “Sky Light” when the model is of a

building or structure.
Solar Lighting and Added Sky Light

When ray tracing an exterior view, using Solar lighting can
produce shadows that appear too dark. In real life, even on a
bright sunny day, you normally can make out the objects hidden
in the shadows. This is due to atmospheric lighting, which is the
lighting from the sky in general, not just from the direction of the
Sun.
For example, on a clear day the sky is not uniformly lit, because
the light comes predominantly from the direction of the Sun, thus

producing darker, sharper shadows. Alternatively, on a cloudy

day, the sky is uniformly lit with softer, less pronounced shadows.
To simulate this atmospheric lighting, turn on “Add Sky Light to

all Solar and Distant Lights”. Use the “Cloudiness” and “Air
Quality (Turbidity)” to adjust the lighting.

“…\Workspace\projects\tutorials\visualization\dgn”
directory, open the design file “skylt.dgn.”
This design file has been saved with the saved view “sky1”
attached to View 1, which is the view that is used in this
exercise.
Lighting.
3. If necessary, turn off Ambient and Flashbulb lighting.
4. If necessary:
Turn on Solar and Solar Shadows.
Turn on Lock.
In the Azimuth field, key in 30.
In the Altitude Angle field, key in 50.
6. With Render Mode set to Ray Trace, enter a data point in
View 1.

Notice that the shadows are very dark, with nothing visible in
their region. In particular, the small green building, located in
front of the tall tower, is hidden completely by the shadows.
12
With no sky lighting, the
small building in front of the
tower is hidden in the
shadows of the taller

buildings.
To lighten the shadows and reveal the small building, turn on

Flashbulb lighting. This reveals detail, but looks unnatural
because the light does not produce shadows.
Flashbulb lighting reveals

the building hidden in
the shadows, but does not
look natural.
In this situation, use “Add Sky Light to all Solar and Distant
Lights.”
➤ Turn on Sky Light

1. In the Global Lighting dialog box, turn on Add Sky Light to all
Solar and Distant Lights.
2. Check that Cloudiness is set to zero.
3. From the Air Quality (Turbidity) option menu, choose
Industrial.
Selecting Industrial, sets the Air Quality (Turbidity) field to 5.

4. Turn on Jitter sky samples.
Add Sky Light to all Solar

and Distant Lights
settings, in the Global
Lighting settings box.
5. Check that Flashbulb is turned off.

View 1.
Notice this time, that the small building is visible in the shadows
of the larger building. Additionally, it has cast a shadow against
the larger building. Because the lighting is coming from all
directions of the sky (but concentrated in the direction of the Sun)
objects in the shadows also are illuminated. “Secondary” shadows
are cast by the light coming from directions other than the Sun.
The rendered image has a natural look.
Secondary shadows are

cast by the Sky Light.
With Sky Light, the small
building becomes visible
in the shadows.
On a cloudy day, sky lighting is more diffused and there is less

contrast. Shadows are not as distinct as on a clear day. You can
simulate this by inputting a value (between 0 and 1) in the
Cloudiness field.

Creating a Lighting Setup with Source Lighting
➤ Add Cloudiness to the image

1. In the Cloudiness field, key in 0.9.
View 1.
12
Notice that the shadows are less distinct because the lighting is
more evenly distributed across the “cloudy” sky.

With a “cloudy” sky, all
shadows are equally
intense.
This example shows an element that represents the ground. If a

model does not have a representation of the ground, turn on
Approximate Ground Reflection for Sky Light. This simulates the
reflection of Sky Light by the (non-existent) ground, to give a
more natural look to the model.

Use the source lighting options to place various types of light
sources in the design. They can simulate actual lighting
conditions, with light sources accurately located in the design.
Lighting for other cases will vary depending on the type and
shape of the model. Use the photographer’s standard lighting
setup to render an object such as the sample model. It consists of

three lights of varying intensity, as shown below. Using lights of

varying intensity also helps to add depth to an image.
Back Light
• intensity varies, depending on the
desired effect.
Photographer’s standard
lighting setup. Subject
Key Light Fill Light

• brightest light • lower intensity
• casts shadows • fills in dark spots
• casts no shadows
Camera
Obviously, the positioning of lights depends on the location of

the camera. In this exercise, you will place three point light
sources around the sample model. For this exercise, use the
design file “litex1.dgn.”

directory, open the design file “litex1.dgn.”
2. If necessary, turn on views 1 to 4 and, using the Rotate View
view control, set them up as Top, Isometric, Front, and Right,
respectively.
3. With the Active Level set as 2, turn on level 3 in all views.
zoom in on the model in the center of the square.
To begin, we need to set up the camera view.

➤ Turn on the camera in View 2

1. From the Settings menu, choose View Attributes.
The View Attributes dialog box opens.
2. If necessary, from the View Number option menu, choose 2.
3. Turn on Camera.
12
4. Click Apply.
This is an alternative method to the Define Camera tool for
turning on the camera in a view.

5. Close the View Attributes settings box.
Tutorial file ready for adding the lighting.
It is possible to guess approximately where the camera is located,

and in which direction it is pointing, but there is a better way.
You can draw a line that indicates the direction of the camera,
which you can use as a guide when locating the light sources. To
verify the position, use the Define Camera tool to display the
camera view cone.

➤ Place a guide line for light source placement

3. If necessary, start AccuDraw by selecting the Start AccuDraw
tool in the Primary tool bar.
4. In the Isometric (camera) view, enter a data point at the center
of the view.
5. In the AccuDraw settings box, lock X and Y to 0 and, in the Z
field, type 30.
6. Enter a data point (in any view) to complete the line.
8. Turn off level 63 in the camera view.
The guide line is not required in the camera view, which will
be rendered later.
4
6
Placing the camera view guide line.

➤ Verify the location of the guide line by turning on the

camera view cone
1. In the Rendering Tools tool box, select the Define Camera
tool.
2. If necessary, turn on Display View Cone.
12
3. Select View 2, to set it as the camera view.
The camera view cone appears in each of the other views.
4. If necessary, from the Projection option menu, choose Three
Point.

Top View verifies the
horizontal position.
Front and Right views verify

the vertical position.
Using the Camera View Cone to verify the location of the guide line.
As long as the guide line is reasonably close to the center line of

the View Cone, it is accurate enough for the light placement. In
the first instance, the key and fill lights are created on either side
of the camera viewing direction. To start with, they are placed at
about the level of the top of the model. Then the backing light
source is placed opposite the camera, behind and above the
model.

➤ Create the key light source

1. In the Rendering Tools tool box, select the Define Light tool.
2. In the Define Light settings window, from the Mode option
menu, choose Create.
3. From the Type option menu, choose Point Light.
4. In the settings window, check that:
On is enabled.
Intensity is set to 1.00.
Color is set to White.
Shadow is turned on.
5. In the Top view, enter a tentative point below the
(approximate) center of the model.
6. With the focus in the AccuDraw window, press <O> to set the
drawing plane origin at the tentative point location, and move
the pointer into the Front view.
7. If necessary, press <V> to orientate the AccuDraw compass to
the view orientation.

8. With the pointer indexed on the y-axis, move it until it is level

with the top of the model and enter a data point.
The light source is placed.
12
5
Creating the key light source.
✍ If the light source cell does not appear, turn on the view attribute
Constructions (for all views but the camera view). Light source
cells are construction class elements and are placed on level 1.
Next, create the back light, which has similar settings to that of
the key light, with the exception that Shadow is turned off.
➤ Create the back light source

1. In the Define Light settings window, turn off Shadow.
2. In the Top view, enter a tentative point at the extension of the
camera (guide) line, above and to the right of the model.
the pointer into the Front view.

4. With the pointer indexed on the y-axis, move it until it is

double the height of the model and enter a data point.
The light source is placed.
Creating the back light source.
Like the back light, the fill light source does not cast shadows. Its
Intensity setting will be changed to a lower value.
➤ Create the fill light source

1. In the Define Light settings window’s Intensity field, key in
0.6.
2. In the Top view, enter a tentative point to the left of the
model.

the pointer to the Front view.
4. With the pointer indexed on the y-axis, move it until it is at
the level of the top of the model and enter a data point.
12
2

4
Creating the fill light source.
With the light sources in place, render the camera view to see the
result. Before doing this, make sure that the Global Lighting
settings are correct. You can open the Global Lighting dialog box
directly from the Define Light settings window.
➤ Render the camera view

1. In the Define Light settings window, click the Global button.
2. Turn off Flashbulb and Solar.
3. If necessary, set the Ambient light color to white and, in its
Intensity field, key in 0.15.
4. Close the Global Lighting dialog box.


option menu, choose View.
7. From the Render Mode option menu, choose Ray Trace.
9. Enter a data point in the camera view.
After creating the three light sources and rendering the camera view.
So far, only Point light sources have been used. You can use a
Spot light source to add impact to an image. In the following
exercise, the key light source is replaced with a Spot light source.
First, delete the original key light source.
➤ Delete the key light source

menu, choose Modify.
3. From the Method option menu, choose Delete Light.
4. In the Top view, identify the key light, which is the light
source at the bottom of the view.

or
Click Scan to highlight the first light source. If necessary, enter
resets until the correct light source highlights.
An Alert box opens, asking if you are sure that you want to
12
delete the light source.
6. Click OK.
The light source is deleted.

✍ You can use the Scan button to locate light source cells whether
or not they are displayed in any view.
✍ If you use normal MicroStation tools to manipulate or delete light

sources, you may have to key in DEFINE LIGHTS before the
rendering process recognizes the modifications.
Next, you will create the Spot light source. Since Spot light
sources are directional, you will define both the position of the
light source and the target point.
➤ Create the replacement key light source and render the

camera view
menu, choose Create.
2. From the Type option menu, choose Spot Light.
3. If necessary, turn on Shadow.
4. Check that Intensity is set to 1.0.
5. Check that Cone Angle and Delta Angle are set to 30 and 5
respectively.
6. In the Top view, enter a tentative point below the
(approximate) center of the model.
the pointer into the Front or Right view.
8. With the pointer indexed on the y-axis, move it until it is two
or three times higher than the top of the model and enter a
data point.
This sets the location of the light source.
9. In the Top view, snap to the center of one of the horizontal
lines near the center of the model.

10. Accept.
The Spot light source is placed.
Creating the key light source as a Spot light source.
11. Use the Render tool to render the camera view to see the
effect from the Spot light source. Notice that the area
illuminated by the Spot light source is well defined. Just like
spotlights in real life, these computer Spot light sources can
focus one’s attention on a particular part of the model.
After changing the

key light source to a
Spot Light source.

Area Light Sources
Area Light Sources

In addition to the standard light source types of Point, Distant,
and Spot, MicroStation provides for Area light sources. These are
useful for creating lighting such as that produced by fluorescent
lights fitted with diffusers. Any polygonal shape can be used to
convert to an Area light source.
12
This exercise uses the sample design file “office2.dgn.” To this
model, you will add overhead office lighting, in the form of Area
light sources.

directory, open the design file, “office2.dgn.”
2. If necessary, open views 1 and 2.
4. In the list box, select the saved view, EX1.
5. From the Dest(ination) View option menu, choose View 1.
6. Click Attach.
7. If necessary, turn off the view attribute Constructions for
View 1.
This disables the display of light sources in View 1, which is
used to display the rendered images. Typically the light
sources themselves are not included in the rendered image,
just their light.
8. From the Settings menu’s Rendering sub-menu, choose View
Attributes.
The Rendering View Attributes settings box opens.
9. If necessary, turn on Shadows, Transparency, and Pattern/
Bump maps.
10. Click the All button.
11. From the Settings menu’s Rendering sub-menu, choose
General.
The Rendering Settings box opens.

Area Light Sources
12. If necessary, turn on Interpolate Textures, and Multilevel

Texture Interpolation.
13. Close the Rendering Settings and Rendering View Attributes
settings boxes.
To begin with, use Flashbulb and Ambient lighting to illuminate

the scene.
➤ Turn on Flashbulb and Ambient lighting

Lighting.
The Global Lighting settings box opens.
2. If necessary, turn on Ambient and, in its Intensity field, key in
0.15.
3. If necessary, turn on Flashbulb and, in its Intensity field, key
in 1.
4. If necessary, for both Ambient and Flashbulb, use the Color
button to set their colors to white.
5. Use the Render tool to ray trace View 1.
In this scene the image on the monitor “glows,” because its

material definition, pcscreen, has an Ambient setting of 5.
Although the controls in the Define Materials settings box show a
maximum of 1 for Ambient, you can key in larger values.
Normally, this would not be desirable, but in this case increasing
the Ambient setting produces the effect of an illuminated screen.

Area Light Sources
Because Flashbulb lighting does not generate shadows, the rest of

the scene is not natural looking.
12
Scene with Flashbulb,
and Ambient lighting

does not look natural
due to the absence of
any shadows.
To improve the image, you can create overhead lighting. This

design already has rectangles that are ready to be converted to
Area light sources.
➤ Create two Area light sources

1. If necessary, use the Rotate View view control to make View 2
an Isometric view.
2. Make level 2 the active level, and turn off all other levels in
View 2.
Only two red rectangles are displayed.
5. From the Mode option menu in the Define Light settings
window, choose Create.
6. From the Type option menu, choose Area Light.
7. In the settings window, check that:
On and Shadow are turned on.
Brightness is 100 (default).

Area Light Sources
Intensity is 1 (default).
Resolution is 256 (default).
Samples is 4 (default).
Attenuate is turned off (therefore Distance is ignored).
8. Identify one of the red rectangles in View 2.
The element highlights, and an arrow appears to indicate the
direction of the proposed Area light source.
9. If the arrow points upward instead of downward into the
room, turn on Reverse in the Define Light tool settings box.
This reverses the direction of the light source so that it shines
in the opposite direction to that indicated by the arrow. If the
arrow is pointing in the correct direction, make sure that
Reverse is turned off
If the arrow points in

the wrong direction,
turn on Reverse in the
Define Light settings
window.
10. Accept the light source.

The rectangle is converted to an Area light source.
11. Repeat steps 7-9 for the remaining rectangle.
With the two Area light sources created, check the difference that
has been made to the image. First, turn off Flashbulb lighting.
➤ Turn off Flashbulb lighting and ray trace View 1

1. If necessary, in the Define Light settings window, click the
Global button to reopen the Global Lighting settings box.
This is another way to open the Global Lighting settings box.
2. Turn off Flashbulb.
4. Use the Render tool to again Ray Trace View 1.

Area Light Sources
Now the image has a much more natural look. The shadows
produced by the Area light sources are soft and generally
indistinct, as if from typical fluorescent lighting.
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After adding Area

light sources, the
image looks much
more natural with
“soft” shadows.
Area light sources, when created from Primary class elements, and
when their location is present in the view, appear in the rendered
image. They are visible whether or not the levels containing the
elements used to create them are turned on. You can see this in
another saved view, EX2. When rendered, it displays one of the
Area light sources in this model. Area light sources created from

Using Multiple Lighting Setups
Construction class elements can be made “invisible” by turning off

the view attribute Constructions prior to rendering.
Rendered image of the

saved view EX2,
displaying one of the
Area light sources in
the ceiling.
To make the shadows smoother, you can increase the Samples

setting of the Area light sources. By default, Samples is set to 4.
Increasing this to 10 or 20, for example, will produce smoother
shadows at the expense of longer processing time. Normally, this
would be done only for the final images.

In the previous exercise, both the model and the light sources
were contained in the one design file. If a different lighting
environment was required, the lighting setup would have to be
modified. You can do this by deleting unwanted lights and adding
new lights. Alternatively, you can turn the lights on and off as
required.
A simpler method is to create one or more lighting files and attach

them to the model file(s) as reference files. Unlike material tables,
which are attached to each design file, lighting specifications are
read from the active design file only. Any lighting present in the
referenced files is ignored. Thus, several users can set up different
lighting environments for a design without corrupting other
configurations.
To illustrate this method, use the sample design file

“desklite.dgn,” which has the model file “office2.dgn” attached to
it as a reference file.


1. Open the design file “desklite.dgn,” which is installed in
MicroStation’s
“\Workspace\projects\tutorials\visualization\dgn” directory.
2. If necessary, open views 1 and 2, making View 1 a Top view.
12

5. In the list box, select the saved view, EX1.
7. Click the Attach button.
You will see that a desk lamp is included in this model. Source
lighting consists of a Point light source in the desk lamp.
➤ Render the saved View

◆ Use the Render tool to ray trace View 2.
The rendered view is very dark.
Looking at the image notice that only the point light source
present in “desklite.dgn,” the active design file, is illuminating the
model. Because the Area light sources are present in the reference
file only, they do not take any part in illuminating the scene.
Desklite.dgn has
lighting for the
monitor and desk
lamp only. Area light
sources are present in
the reference file only.
To correct this, you could create Area light sources in the active
design file. Easier still, the Area light sources (created in the
earlier exercise) could be copied from the reference file into the
active design file.

➤ Copy the Area light sources into the active design file
1. In the Top view, use the Zoom In view control to zoom in on
the two rectangles containing the Area light sources.
You should be able to see the enter data fields of the Area
Light sources that you placed in the previous exercise. If not,
make sure that levels 1 and 2 of the reference file are turned
on and that the view attribute Constructions is turned on.
View 1 (the Top View)

showing the two Area
light sources from the
reference file.
2. If necessary, in the Primary tool bar, select the Start AccuDraw

tool.
3. Select the Copy tool.
4. Identify one of the Area light sources (you can snap to the
enter data fields).
The Area light source highlights.
5. With AccuDraw’s X, Y, and Z fields all set to 0, enter a data
point to accept the copy.
6. Repeat steps 4 and 5, for the second Area light source.
7. So that the newly copied light sources are recognized by the
rendering process, key in DEFINE LIGHTS.
8. Again use the Render tool to ray trace View 2.
✍ The key-in DEFINE LIGHTS is required only if standard

MicroStation tools have been used to manipulate light sources,
after a view has been rendered in the current design session.
Lighting information is read into memory the first time that
rendering is used in a session. When the Define Lights tool is used
to manipulate light sources, no key-in is required.

Attenuating Light Sources
This time, the ray traced image again looks quite natural with soft
shadows from the overhead lighting and sharp shadows from the
bright desk lamp. The only remaining problem is the brightness
of the light from the desk lamp. It is too bright, and is washing
out detail in some of the carpet. On the desk, however, the
brightness is acceptable. Therefore, reducing the Intensity setting
of the light source will fix the carpet problem but make the
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lighting on the desk unacceptable. To solve this problem, use the
Attenuate source light setting.

With Area light sources,
the image again begins
to look natural. Light
from the desk lamp,
however is too bright on
the floor and is washing
out part of the image.

In reality, objects that are further away from a light source are not
lit as brightly as those that are in close proximity. In the sample
model, light from the Point light source in the desk lamp should
not appear as bright on the carpet as it does on the desk. To
simulate this effect, you can attenuate the light source.
➤ Attenuate the point light source

menu, choose Modify.
3. From the Method option menu, choose Edit Light.
4. Click the Scan button until the Point light source highlights.
The status bar displays “PNTLT” when the point light source is
identified.
5. In the Define Light settings window, turn on Attenuate.
6. If necessary, in the Distance field, key in 0.6.

This value specifies the distance at which the light source is

half its original brightness.
With the desk lamp attenuated, it is still bright at the desk level,
but much more subdued at floor level. Sharp shadows are still
apparent, but the carpet detail is not washed out.
With the desk lamp

attenuated, the carpet is
not washed out. The
sharper shadows from
the desk lamp are now
only just discernible.

13 Creating and Applying Material
Definitions
This tutorial illustrates methods for applying material definitions
to elements, and for creating your own material definitions.
Introduction
Material definitions add realism to computer-generated images of
3D models. When a model is rendered, instead of producing
simple colored surfaces, realistic textured surfaces are displayed.
Material definitions can be simply pattern maps, bump maps, or a
combination of the two. In addition, MicroStation supports
procedural textures, which provide a more sophisticated material
definition, particularly for solids.
Ray traced image of

the finished sample
design
“mattute1.dgn.”
In the following tutorial, you will learn about the following:
• Defining Materials (see page 13-2)

• Applying Materials (see page 13-12)
• Using Existing Material Definitions (see page 13-14)

Defining Materials
• Multi-level Texture Interpolation (see page 13-21)

• Procedural Textures (see page 13-22)
✍ A sample design file used in this tutorial, “mattute1.dgn,” is

installed in MicroStation’s
“Workspace\projects\tutorials\visualization\dgn” directory. A file
of the same name in
“Workspace\projects\examples\visualization\dgn” shows the
Defining Materials
Material definitions are stored in material palettes (“.pal” files),
while material assignments are stored in material assignment
tables (.mat files). To make use of material definitions, each
design file needs its own material assignment table. A single
material assignment table refers to one or more palette files for its
materials.
In the following exercises, you will define and apply material

definitions to elements in the sample design file “mattute1.dgn.”
Material definitions will be variations of those delivered with
MicroStation. To avoid altering the original versions, you will save
the new definitions in a separate material palette file. This
protects your work, as well as protecting others who may have
used the as-delivered definitions with their models.

1. Open the design file “mattute1.dgn,” which is installed in
MicroStation’s
“Workspace\projects\tutorials\visualization\dgn” directory.
The scene has one Distant light source for illumination, as
well as global Flashbulb and Ambient lighting.
2. If necessary, open views 1 through 4, and set them to be Top,
Isometric, Front, and Right, respectively.
3. If necessary, make level 10 the Active Level.
4. If necessary, turn off all other levels in each view.
6. If necessary, in the Tools menu’s Visualization Tools sub-
menu, turn on Rendering Tools to open the Rendering Tools
tool box.

Defining Materials
On level 10 is the pool and edging.
➤ Ray trace the isometric view

2. In the Render settings window, from the Target option menu,
choose View.
5. Select the Isometric view.
13
Creating and Applying Material Definitions
Rendered image of the
pool prior to applying
material definitions.
Obviously, the rendered view does not look much like the
original pool. In this exercise, you will create two materials to line
and edge the pool. These will be saved in a new palette file. You
will access the Define Materials settings box with the Apply
Material tool, MicroStation’s convenient tool for all material
operations.

Defining Materials
➤ Open the Define Materials settings box

1. In the Rendering Tools tool box, select the Apply Material tool.
Included on the right-hand side of the Apply Material settings
window is a material preview box.
2. Double-click the material preview box.
Double-clicking in the
material preview box opens
the Define Materials
settings box.
➤ Define the pool lining material

1. In the settings box’s Material Name field, key in Pool - lining.
On entering a name in the Material Name field, the Add
button becomes active.
2. If necessary, from the Map option menu in the lower right
quadrant of the settings box, choose Pattern.
3. Click Select.
The Select Pattern Map dialog box opens.
4. From MicroStation’s “system/materials/pattern” directory,
select the file, “tile03.jpg”.

Defining Materials
5. Click the Preview button, to view the image.
13
6. Click OK.
The dialog box closes and focus returns to the Define
Materials settings box. The name of the selected file appears
in the Map Name field. The material is displayed in the
preview box.
7. From the mapping option menu (located above the Select
button), choose Master Units.
This sets the units for the Size and Offset fields.
8. In both the Size X and the Size Y fields, key in 0.45.
The material preview updates after each setting is keyed in.
This sets the size of the pattern for applying to the material.
Each tile will be 0.45 x 0.45 (master units).
9. Turn on Base Color and Specular Color.
By default, both colors are white. Base Color is the underlying
color (tint) of the pattern map image and Specular Color is the
color of the specular highlights. When these are turned off,
the Active Color is used for the preview box. In the model, the
color of the element (to which the material is applied) is used.
10. If necessary, in the pattern Weight field, key in 1.
With settings less than 1, more of the underlying color of the
material is seen. This setting allows you to “tint” the color of
materials, by reducing the effect (Weight) of the Pattern Map
image.

Defining Materials
11. Click Add.

A list box entry for the material definition appears in the
Materials list.
The Define
Materials settings
box after adding
the new material
definition.
Before continuing, try reducing the Weight value, and note the
effect it has on the material. You can experiment with the settings,
without affecting the saved material, as long as you don’t click the
Replace button.
➤ Investigate the effect of the pattern Weight setting

1. Use the slider control to reduce the setting for Weight to 0,
and note the effect in the material preview box.
The pattern map disappears completely.
2. In the Weight field, key in 0.3.
The pattern appears very faintly.
3. Restore the Weight setting to 1.0, using the slider control.
The pattern appears clearly.
Varying the Weight setting controls how much of the pattern map is seen.
Values illustrated are 0 (left), 0.3 (center) and 1.0 (right).

Defining Materials
For the pool edging material, you can define a pattern map and a
bump map. Whereas the pool lining material is a smooth tile, the
edging material has ridges that are given a texture with a bump
map. A bump map is merely the same image as that for the
pattern map, or it can be a gray-scale version of the (colored)
pattern map. It produces a 3D texture effect when Phong shaded
or ray traced.
➤ Define the pattern map for the pool edging material

1. In the Material Name field, key in Pool - edging.
2. Click Select.
13
select the file “block01.jpg”.

4. Click OK.
Focus returns to the Define Materials settings box. The
material is displayed in the preview box.
5. Check that Base Color and Specular Color are still turned on
and set to white.
6. Check that the pattern Weight still is set to 1.
7. Check that the Map option menu still is set to Master Units.
8. In the Size Y field, key in 0.2.
This is to set the width (in Master Units) of the edging
material.
9. Check that Size X still is set to 0.45.
To this material definition, you can now add the bump map, to
give the material a 3D texture.
➤ Define the pool edging material bump map

1. From the Map option menu, choose Bump.
2. Click Select.
The Select Bump Map dialog box opens.
3. From MicroStation’s “system/materials/bump” directory, select
the file “block01b.jpg”.
This is a gray-scale image of the pattern map “block01b.jpg.”
Equally, you could also use the pattern map image as a bump
map.
4. Click OK.

Defining Materials
Focus returns to the Define Materials settings box. The

material is displayed in the preview box.
5. If necessary, set the bump Height value to 1.
This setting controls the height of “bumps” when rendered.
Higher values produce more texture in materials.
6. Click Add.
Materials list.
Again, before continuing, look at how the Height setting varies

the appearance of the material. Remember, do not click the
Replace button or you will overwrite your present material
definition.
➤ Investigate the effect of the bump Height setting

1. From the Display option menu, choose Rectangle.
2. In the Size X field, key in 1.
3. In the Size Y field, key in 1.
The material will be easier to see as you experiment.
4. Use the slider control to set the bump Height to 0, and note
the effect in the material preview box.
The material appears as it did with the pattern map only.
5. Now, use the slider control to set the bump Height to its the
maximum value, 20.
The texture appears very pronounced.
6. Turn on Invert.
In the texture, the ridges are now valleys, and vice-versa.
7. Turn off Invert.
8. Restore the Height setting to 1.0 using the slider control.

Defining Materials
9. In the Materials list box, select Pool - edging.

The settings return to those saved for the material.
Height 0 Height 1 Height 20 Height 20

inverted
13
Varying the bump Height setting changes the appearance of the material.
Turning on Invert reverses the ridges and valleys in the texture.

Unlike the tile used for the Pool - lining material, this material is
not square. It is good practice, therefore, to preview it to check
for any problems, such as orientation.
➤ Preview the pool edging material

1. If necessary, in the Isometric view, use the Window Area view
control to zoom in on the corner of the pool near the top of
the view.
2. Check that the Shading option menu, in the Define Materials
settings box, is set to Phong or RayTrace.
3. Click the Preview button.
4. In the Isometric view, identify one of the orange edge strips.
The element highlights.
5. Accept.
The element is rendered in the Isometric view. As well, the
Display setting for the preview box changes to Preview. A
copy of the rendered element appears in the preview box.

Defining Materials
Notice that the grooves are aligned at a 90° angle to the edge.
This can be changed so that they run parallel to the edge.
Close up preview shows

the edging material
incorrectly aligned
with the design.
➤ Edit the material

1. In the Map section’s Angle field, key in 90.
The material preview display (now showing the selected
element) updates. The Replace button is enabled.
2. Click Replace.
To be sure that the material is now correctly defined, again use

the Preview function.
➤ Preview the edited material

1. Click the Preview button.
2. In the Isometric view, identify one of the orange edge strips.
The element highlights.
3. Accept.
The element is rendered.
4. Identify the other orange strip in the view.

Defining Materials
5. Accept.
The element is rendered, and the preview box updates to
display the newly identified element.
Preview now shows the

edging material
correctly aligned with
the design.
13
➤ Save the material palette
1. From the Define Materials settings box’s File menu, choose
Save Palette As.
The Save Palette As dialog box opens.
2. In the Files field, key in tutemats.
By default, “.pal” will be appended to the filename.
3. Click OK.
The dialog box closes. Focus returns to the Define Materials
settings box.
✍ In these tutorials, the default directories are used for material

palette files and material table files. In practice, it is highly
recommended that you save any custom material palette files in a
directory outside the MicroStation directory structure. This avoids
possible problems with software upgrades deleting the old files.

Applying Materials
Applying Materials
You can assign materials to elements in the design by color and
level. Additionally, a definition can be attached as an attribute to
an element. When attached as an attribute, this overrides the color
and level criteria.
➤ Prepare to apply materials to the pool

1. In the Rendering Tools tool box, select the Apply Material
tool.
In the Apply Material settings window, the design file name
appears on the Table option menu. By default, the table is
given the same name as the design file, but with a “.mat”
extension.
By default, the
material table is given
the name of the design
file. When saved, it is
appended with “.mat”.
2. Click Palette Open.

The Open Palette File dialog box opens.
3. Select the palette file “tutemats.pal,” which was created in the
previous exercises.
4. Click OK.
The dialog box closes, and focus returns to the Apply Material
settings window. The name of the material palette file is on
the Palette option menu button. The name of the palette’s first
material displays on the Material option menu button, with the
material displayed in the preview box.

Applying Materials
5. If necessary, from the Method option menu, choose Assign

Color/Level.
6. From the Mode option menu, choose Apply Material.
You are ready now to apply the defined materials.
➤ Apply the pool edging

1. With Pool - edging displayed as the selected material, identify
one of the orange pool edging elements.
2. Accept.
13
An asterisk appears next to the material’s name on the
Material option menu button. This denotes that the material
has been used.

✍ Materials can be used more than once. The asterisk denotes only
that a material has been used at least once in the design.
➤ Apply the pool lining

1. From the Material option menu, choose Pool - lining.
The material name appears on the option menu button, and
the preview box updates to show the selected material.
2. Identify the violet pool sides or bottom.
3. Accept.
An asterisk appears next to the material’s name on the option
menu button.
➤ Save the material table

1. Click Table Save.
The Save Table As dialog box appears. By default the file
name is displayed as the design file, but with a “.mat”
extension (that is, “mattute1.mat”).
2. Click OK.

Using Existing Material Definitions
To check the progress, render the Isometric view. Before doing

this, check the rendering view attributes.
➤ Turn on the rendering view attributes

Attributes.
2. If necessary, turn on Shadows, Transparency, and Pattern/
Bump Maps.
3. Click All.
4. Close the Rendering View Attributes settings box.
➤ Render the Isometric view

2. In the Visualization tool box, select the Render tool.
option menu, choose View.
Ray traced image of

the pool after applying
the lining and edge
materials.

Often, existing material definitions are available in other material
palette files. You can use them directly from the existing palette,
or copied into a new palette file if they are to be modified. A

number of material palette files are supplied with MicroStation.

You can use them as is, or alter them to suit.
Save any customized palette files in a directory outside the

MicroStation directory structure to avoid the possibility of deleting
the custom files during a software upgrade. In the following
exercise, you will copy an existing definition into the custom
palette and then modify it.

1. If necessary, use the Fit View view control to fit each view.
13
2. Turn on level 11 in the Isometric view.
A blue rectangle appears in the pool.
➤ Select a water material

tool.
2. Click Palette Open.
The Open Palette File dialog box opens. By default, the names
of the sample palette files in MicroStation’s “materials”
directory are listed.
3. Use the controls in the dialog box to select the palette
“water.pal.”
4. Click OK.
The dialog closes and focus returns to the Apply Material
settings window.
5. From the Material option menu, choose “Water - pool”.
The selected material is displayed in the preview box.
Material preview box

shows the water
material to be opaque.
Looking at the material preview box, notice that the water is not
transparent. If so, you would see the Bentley logo through the
material. To correct this, without changing the existing material,

copy it to the customized palette created in the previous

exercises.
➤ Add water material to customized palette

1. In the Apply Material settings window, double-click the
material in the preview box.
The Define Materials settings box opens, with the palette file
“water.pal” loaded and the material “Water - pool” already
selected.
2. From the settings box’s File menu, choose Open Palette.
3. Use the controls in the dialog box to select the palette created
in the previous exercises, “tutemats.pal.”
4. Click OK.
The dialog closes and focus returns to the Define Materials
settings box. The Water - pool material remains displayed.
5. In the Material Name field, key in Pool - water.
Using a different name avoids possible conflicts with the
material in the “water.pal” palette.
6. Click Add.
Materials list.
✍ Use unique names for material definitions to counter problems

that may arise where two or more palettes, containing materials
having the same name, are used in a design. In these cases, the
first instance of the material becomes the one that is used for the
definition.
Now that the material has been added to the customized palette
file, under a new name, you can make modifications to its
definition. These changes do not affect the original Water - pool
material.
The material has a Transmit setting of zero. That is, no light is

transmitted through the material — it is opaque. To make the
water transparent, adjust the Transmit setting using the preview
box as a guide to how the material will look.
➤ Adjust the material’s settings

1. From the Shading option menu in the Define Materials settings
box, choose Ray Trace.
2. From the Display option menu, choose Sphere.

3. In the Materials list box, select Pool - water.

4. In the Transmit field, key in 0.80.
The preview box updates. The logo now can be seen through
the water.
With Transmit set to

0.8, the logo can be
seen through the water
material.
13
5. Click More Settings.

The More Material Settings box opens.
6. In the Reflect field, key in 0.1.
7. In the Refract field, key in 1.1.
8. Close the More Material Settings box.

9. In the Define Materials settings box, click Replace.
The new settings take effect.
10. From the settings box’s File menu, choose Save Palette.
11. Close the Define Materials settings box.
Now, you can apply the material to the element in the design.
➤ Apply the water material

1. In the Apply Material settings window, from the Palette option
menu, choose Tutemats.
2. From the Material option menu, choose Pool - water.
3. In any view, identify the blue rectangle.
4. Accept.
An asterisk appears next to the material’s name on the option
menu button.

➤ Render the Isometric view

Ray traced image showing

the newly applied Pool -
water material.
To properly check the appearance of the Pool - water material,

zoom in closer and render the view again.
➤ Check more closely the water material

1. Use the Window Area view control to zoom in on the pool.
2. Again use the Render tool to ray trace the Isometric view.
Looking at the image, the water is now transparent, and you can
see the refraction. Though the lines of the tiles are “bent” as they
disappear below the surface of the water, the image is not
photorealistic. Even though the surface of the water is disturbed,
the submerged tiles look perfect. In reality, these would appear
distorted due to refraction through the uneven surface of the
water.
You can add a bump map to the water material definition.

Refraction bends the
straight lines of the tiles
at the intersection with
the water.
Ray traced image
showing the newly
defined Pool - water
material. Although the water’s
surface is disturbed,
the submerged tiles are
incorrectly shown as
being “perfect.”

For the Pool - water material, the pattern map is “water01.jpg.”

(The filename can be found by checking the Pool - water material
in the Define Materials settings box.) For this material definition
there is no bump map assigned. Where there is no bump map
specified, you can use the same image file as that used for the
pattern map.
➤ Apply a bump map to the material

menu, choose tutemats.
13
3. From the Material option menu, choose “Pool - water”.
4. Double-click the material in the preview box.
The Define Materials settings box opens, with the palette file

open and the material selected.
5. From the Map option menu, choose Bump.
6. Click Select.
The Select Bump Map dialog box opens.
select the file “water01.jpg”.
8. Click OK.
The dialog box closes. Focus returns to the Define Materials
settings box.
9. If necessary, in the bump Height field, key in 1.0.
This setting controls the height of the bumps.
10. Click Replace.

12. Use the Render tool to ray trace the Isometric view.
As a result of adding the bump map, the lines in the tile
pattern are distorted by the refraction through the water.
The water material

definition, with a
bump map, gives a
more natural
appearance to the
rendered image.
Try changing the Height setting for the bump map and inspecting
the results by rendering the view. Don’t forget to click the
Replace button after changing the setting.
With the pool competed, the next step is to create the grass
material for the pool surrounds. For this, use the standard grass
material that is delivered with MicroStation. The material
assignment table will therefore refer to two palette files.
➤ Apply the grass material

1. In the Top view, turn on level 12.
2. Use the Fit View view control to fit the Top view.
A large green circle appears with the pool located at the
center.
tool.
4. In the Apply Material settings window, click the Palette Open
button.
The Open Palette File dialog opens.
5. From MicroStation’s “materials” directory, select the palette file
“backyard.pal”.
6. Click OK.
The dialog box closes, and the name of the selected palette
file appears on the Palette option menu button.
7. From the Material option menu, choose Grass.

Multi-level Texture Interpolation
8. In the Top view, identify the large green circle outside the
pool area.
9. Accept.
An asterisk appears next to the material name on the option
menu button.
Multi-level Texture Interpolation
13
Materials such as “grass” can look slightly unnatural when
rendered, particularly where the material disappears into the
distance. To correct this problem, a rendering option is provided
— Multilevel Texture Interpolation. With this option chosen, the

material image files (both pattern maps and bump maps) are pre-
filtered into a series of successively lower resolution maps when
the material is first referenced. These then are used to interpolate
to the nearest value for each pixel. This only applies for Phong
and ray traced images.

2. In the list box, select the saved view TUTE1.
3. From the Dest(ination) View option menu, choose 2.
4. Click Attach.
The view updates displaying the saved view.
5. Close the Saved Views settings box.
6. Use the Copy View view control in the 2D View Control tool
box (Tools menu/View Control) to copy view 2 to view 1.
Now, a comparison can be made between rendering with and

without Multi-level Texture Interpolation.
➤ Render the views

General.
The Rendering Settings box opens.
2. If necessary, in the Rendering Settings box turn off Multilevel
Texture Interpolation.

Procedural Textures

4. From the Render Mode option menu in the Render settings
window, choose Phong or Ray Trace.
5. Select View 1.
View 1 is rendered without Multi-level Texture Interpolation.
6. If necessary, in the Rendering Settings box, turn on Interpolate
Textures.
7. Turn on Multilevel Texture Interpolation.
(Both settings must be turned on for Multi-level Texture
Interpolation to be active.)
8. Select View 2.
View 2 is rendered with Multi-level Texture Interpolation.
Left: Multilevel Texture Interpolation OFF — Image appears “noisy”. Grass material
displays too much detail in the distance. Edging material is not well defined.
Right: Multilevel Texture Interpolation ON — As the grass material gets further from the
eyepoint, less and less detail is shown. Edging material is better defined.
Procedural Textures
In the previous exercises, two-dimensional images were used to
define the materials. During rendering, these images were applied
to the surfaces, similar to applying wallpaper to a wall. If the
pattern was too small, it was repeated or tiled on to the surface.
MicroStation has another form of material, that comes in both
two-dimensional and three-dimensional forms — procedural
textures. In fact, each procedural texture is an MDL application
that applies the material to the elements in the design. The
following exercise illustrates the use of a 3D procedural texture.

Procedural Textures

2. Turn off all other levels in View 2.
3. Use the Rotate View view control to make View 2 a Right
Isometric view.
View 2 displays a cube.
In the material palette, “proctext.pal,” use the sample marble
13
procedural texture for this cube. To avoid changing the sample,
copy it into the material palette created and used in previous
exercises.
➤ Make a copy of the material

tool.
The Define Materials settings box opens.
3. From the Display option menu, choose Cube.
For 3D procedural textures, the cube display is convenient for
viewing the material in three different planes.
4. From the Define Materials settings box’s File menu, choose
Open Palette.
The Open Palette File dialog box opens.
5. Use the controls in the dialog box to select the palette
“proctext.pal”.
6. Click OK.
7. In the Materials list box, select marble.
The selected material is displayed in the preview box, and the
settings are updated for the material.
8. From the settings box’s File menu, again choose Open Palette.
9. Use the controls in the dialog box to select the palette you
created in a previous exercise, “tutemats.pal.”
10. Click OK.
The Materials list box updates to display materials from the
selected palette. The marble material remains selected, and its
settings remain displayed.
11. In the Material Name field, key in Pool - statue.

Procedural Textures
12. Click Add.

Materials list.
Adding the
procedural
texture to the
tutorial palette.
Notice that when the material is a procedural texture, there are

additional items in the Map section of the Define Materials
settings box. For example, an extra field, Z, appears for the
Size and Offset settings. When a 3D procedural textures is
selected you can modify it along all three axes. Additionally,
the Edit button (lower right) is enabled when any procedural
texture is the selected material (this will be looked at later). If
one of the standard materials is selected, the Map area will
revert to the standard arrangement (no Z field for Size and
Offset, and the Edit button disabled).
➤ Apply the material to the cube and render the view

menu, choose Tutemats.
2. From the Material option menu, choose Pool - statue.
3. In View 2, identify the cube.
4. Accept.

Procedural Textures
6. If necessary, from the Render Mode option menu in the

Render settings window, choose Ray Trace.
7. Select View 2.
Adding the procedural

texture to the tutorial
palette.
13
Notice that the veins in the marble material meet correctly at the
edges. The material has been applied as a three-dimensional
substance, not as a two-dimensional image applied to each face.
Another advantage of using 3D procedural textures is that a solid
made up of several elements can have the material applied as
though it is a single element. In the next exercise the material will
be applied to the figure, which is created from a number of
elements, grouped as a cell.
➤ Apply the material to the figure

2. Turn off level 3 in View 2.
5. If necessary, from the Material option menu in the Apply
Material settings window, choose Pool - statue.
6. Identify any part of the figure in View 2.
7. Accept.

Procedural Textures
➤ Render the figure

1. Use the Window Area view control to zoom in on the figure in
View 2.
3. Select View 2.
Rendered view of the

marble figure.
The veins of the marble vary through the figure, because it is not
the same pattern map applied to the arms, legs, torso, and head.
It is one material applied to the whole figure.
➤ Complete the application of materials:

1. In View 2, turn on level 4.
3. Use the Window Area view control to zoom in to the figure
and birdbath in View 2.
5. If necessary, from the Material option menu in the Apply
Material settings window, choose Pool - statue.
6. Identify the red birdbath (being held by the figure).

Procedural Textures
7. Accept.
8. Again, use the Render tool to render View 2.
The complete figure

with birdbath.
13
To change the appearance of standard materials, you can change
the values in the Map section of the Define Materials settings box.
When using procedural textures you can change additional
parameters as well as the Size values. These may vary for each
procedural texture. You can access them using the Edit button in
the Map section of the Define Materials settings box.
➤ Edit the marble procedural texture

tool.
2. In the Apply Material settings window, double-click the
material preview box.
The Define Materials settings box opens with the material
selected.
3. In the Define Materials settings box, click Edit.
The Procedural Texture Values settings box opens.
Editable Procedural Texture

Values for the marble
material “Pool - statue.”
For this material, changes can be made to the Base and Vein
Color, of the marble. As well, the “level_of_detail” and

Procedural Textures
“vein_tightness” can be varied. As changes are made to the

values, the preview box in the Define Materials settings box
updates to reflect the changes. Try experimenting with the values
and, when you are happy with the result, click the Replace button
to save the new material.
With the setting “relative_coords” there are two values, 0 or 1.
• When set to 1, the material is calculated relative to the element

in the design. In an animated sequence, the material will move
with the element.
• When set to 0, the material is calculated relative to (0,0,0) in the
design cube. Here, an animated object will “slide” through the
material, which remains static. In the sequence, it will appear as
though the material is sliding across the element.
✍ To render the finished model, use the saved view FINISH.

14 Introduction to Radiosity Solving
Radiosity adds a new degree of realism to many rendered images,
particularly interior views. This tutorial introduces the basic
concepts of using radiosity.
Introduction
Radiosity solving provides a view independent solution of the
diffuse reflections between materials. It does not produce an
image as such, but the rendering processes can then use the
radiosity solution. Ray tracing, for example, can add the (view
dependent) specular highlights, reflections, and refraction.
Radiosity solving is generally best suited to architectural

applications, where (diffuse) reflections from walls and other
furnishings add to the overall lighting for the scene. Without
radiosity this reflected light is normally not taken into account.
Many of the decisions to be made in creating an image of a

design are subjective. Radiosity solving, in company with ray
tracing, provides a complementary set of tools for creating lifelike
images of designs.
In the following tutorial you will learn the basics of radiosity

solving with MicroStation and, in particular, the following:
• Radiosity and Ray Tracing (see page 14-1)

• Relating Light Source Brightness to the Real World (see
page 14-3)
• Patches, Elements, and Adaptive Subdivision (see page 14-4)
• Stopping Conditions (see page 14-15)
Radiosity and Ray Tracing

Not all computer models are suitable for use with radiosity
solving. Typically, radiosity has its biggest impact on interior
scenes, where reflection from walls and other furnishings add to
the overall lighting of the scene. In these instances, ray tracing
alone does not produce the same level of realism in the image.

Radiosity and Ray Tracing
In the following illustrations, the image on the left is ray traced

without a radiosity solution. To lighten the dark areas, the global
lighting’s Ambient value was set at 0.30. When the same model
was ray traced with a radiosity solution (no global ambient
lighting) the resulting image looks much more realistic. For
example, light reflecting off the walls partially illuminates the
floor under the table, and light reflected from the table illuminates
the lamp base. In the other image, none of this reflected light is
calculated.
Ray traced (no radiosity solution).
Ray traced with radiosity solution.
When the radiosity solution is used, reflected light is taken into account. For example, the
floor under the table is partially illuminated by the light reflected off the walls.

Relating Light Source Brightness to the Real World
Relating Light Source Brightness to the Real World

It is important to have some correlation between real world units
and those of the design file in which the model is created. When
you attempt to use radiosity solving on a design in which the
working units have not been defined, an information box
appears. This informs you that, in the absence of a recognized
name for the Master Units, feet will be used.
14
Radiosity solving uses the Brightness setting of light source cells
to calculate the amount of light energy. Typically, when the
Introduction to Radiosity Solving

Intensity setting is 1.0, then the Brightness setting can be related
to lumens. A light source having an Intensity of 1.0 and a
Brightness of 1000 produces 1000 lumens of light.
Working units
In order to render an image using a radiosity solution with the
appropriate brightness, the physical dimensions of the geometry
in the design must be expressed in real-world units. If the
working units of the design are meters, and the light source
brightness is in lumens, then the radiosity solution provides
illuminance in lux (lumens per square meter). If the working units
of the design are feet, illuminance is calculated in foot-candles
(lumens per square foot).
This unit information is used to render an image of the

appropriate brightness. The resulting image roughly matches a
real-world view of the given design and lighting, within the
limited absolute range of the display device.

Patches, Elements, and Adaptive Subdivision

Radiosity solving can be time consuming. It is important to
understand how the process progressively refines the solution.
Similarly, it is important to know how the various settings affect
processing times and image quality.

“\Workspace\projects\examples\visualization\dgn” directory,
open the design file “radios1.dgn.”
Only one light source is present in the model — a point light
source providing light from the table lamp.
Lighting.
3. If necessary, turn off Ambient, Flashbulb, and Solar lighting.
6. In the list box, select CAM1.
8. Click the Attach button.
View 2 updates to display the saved view.
9. Close the Saved Views settings box.
Radiosity.
The Radiosity settings box opens.
✍ Leave the Radiosity settings box open through the following

exercises.
Using the Radiosity settings box, you can control the quality and
processing time of a radiosity solution. First define the basic
settings for materials, lighting and display.
➤ Define Materials & Lighting settings

1. From the Radiosity settings box’s File menu, choose Reset
Default Settings, to set all values to the default.
2. Click the Materials & Lighting tab.

3. In the Material Usage group box, from the Material Receives

Light option menu, choose Always.
4. From the Receiver Reflects Light option menu, choose Always.
5. Turn off Illuminate Both Sides of Surfaces.
6. In the Lighting group box, from the Light Interpretation option
menu, choose Extended.
7. Turn on Process All Lights First.
(This forces the light energy from any and all light sources to
be processed first, before considering reflected light.)
✍ Turning off Illuminate Both Sides of Surfaces forces the solving

process to illuminate only that side of a surface with positive
surface normals (normals pointing outward from the surface).
This reduces processing time by ignoring the “dark” side of
14
surfaces. This design is set up with the surfaces correctly aligned.

Materials & Lighting
section of the Radiosity
settings box.
➤ Define Display settings

1. Click the Display tab.
2. In the Display Settings group box, turn on Ambient.

(This setting causes any remaining light energy to be applied,

as an ambient light approximation, to the image.)
3. If necessary, from the Final Display option menu, choose Ray
Trace.
Display section of the

Radiosity settings box.
Element and patch area

During processing, surfaces are first decomposed into a mesh of
triangles (controlled by the Stroke Tolerance setting). These
triangles are further subdivided into patches. Each patch is then
subdivided into one or more triangular elements. Where shadow
boundaries occur, further adaptive subdivision may occur to more
accurately display the shadows.
In this part of the exercise you will see how the settings for these
meshes affect image quality and processing time. The relationship
between the element size and the effect of adaptive subdivision is
illustrated.
➤ Define settings for stopping conditions, element and

patch areas
1. In the Radiosity settings box, click the Settings tab.
2. In the Radiosity Settings group box, in the Limit Number of
Shots field, key in 1.
(Only one shot will be used for this part of the exercise.)
3. In the Maximum Element Subdivisions field, key in 0.

(Initially, no (adaptive) element subdivision will be allowed.)

4. In the Initially Subdivide Until group box, in the Patch
Area <= field, key in 1.0.
5. In the Element Area <= field, key in 0.2.
Settings section of the

14
6. Click Solve Radiosity.
7. Select View 2.
With no adaptive subdivision at the

shadow boundaries, the triangular
shapes of the element mesh are
plainly visible in places.
With the Maximum Element Subdivision set at 0, elements are not

further subdivided at the shadow boundary. You can make
shadow boundaries more accurate by reducing the initial element
area.

➤ Reduce the element size

1. In the Initially Subdivide Until group box, in the Element
3. Select View 2.
4. Repeat the above steps, this time with Element Area <= set to
0.002.
Element Area <= 0.002
Element Area <= 0.02
As the size of the element mesh triangles is reduced, the shadow boundaries
appear more accurately defined.
Maximum Element Subdivisions

Notice that the processing time increases significantly when the
Element Area is reduced to 0.002. Still, the shadow boundaries
look jagged. Further decreases in the value will improve the
accuracy but increase processing time. This is because every
surface is treated equally, being subdivided into the smaller
element mesh.
For most of the image, however, there is no noticeable change in

the appearance. Only in the vicinity of the shadows is there a
significant difference. In other words, the smaller mesh is
required only at shadow boundaries. This is where you can use
the Maximum Element Subdivisions setting to allow for further
subdivision at shadow boundaries, leaving other surfaces as they
are.

➤ Set the Maximum Element Subdivisions

1. In the Initially Subdivide Until group box, in the Element
2. In the Radiosity Settings group box, in the Maximum Element
Subdivisions field, key in 2.
4. Select View 2.
Notice that the shadow boundaries are much better defined, even
with the element mesh size set to 0.2. This is because the
Maximum Element Subdivisions setting allows for further
subdivision of the element mesh at shadow boundaries.
14
Maximum Element
Subdivisions set to 2.

➤ Increase the Maximum Element Subdivisions to 5
1. In the Radiosity Settings group box, in the Maximum Element
Subdivisions field, key in 5.
3. Select View 2.
With this setting, you will see that the shadow boundary now is
smoothly defined. Increasing the value of the Maximum Element

Subdivisions setting improves the accuracy of shadow boundaries

without increasing processing time for other parts of the image.
Maximum Element
Subdivisions set to 5.
Reflected light and patches

So far, all illumination has been from the one light source in the
model. This was ensured by turning on Limit Number of Shots
and setting it to 1, along with turning on Process All Lights First.
Light received at (the vertices) of each triangle in the element
mesh determines the visibility of the model. The material
definition of the surface determines how much of the light energy
is absorbed, and how much is reflected.
Increasing the number of shots results in the calculation of the

amount of reflected light from these same mesh elements. This is
where patches come into the equation. The brightness of a patch
(as a light source) is calculated from the sum of the reflected light
values of each element contained within the patch. For each shot
of the radiosity solution, the light energy from the brightest patch
is used as the next light source.
➤ View the effects of reflected lighting from the brightest

patch
3. Select View 2.
In the resulting image, notice the illumination of the floor under

the table. Shadows cast by the table’s legs also can be seen. These

effects are the result of light energy reflected by the brightest

patch on the wall.
Shot number 2 adds

illumination from the
brightest patch on the wall
to the right. Part of the
floor below the table
is illuminated.
14
Looking at the shadows, it is obvious that the reflected light is
from a patch on the wall to the right of the image. During
processing, you can display the location of these patches.

➤ Turn on display of shooting patches
1. In the Radiosity settings box, click the Display tab.
2. Turn on Shooting Patch Highlighted.
3. From the Intermediate Display option menu, choose Smooth
Shaded.
4. In the Display Frequency field, key in 1.
This will cause the intermediate image to be displayed after
each shot.

After displaying the image, following the first shot, notice the blue
triangle that appears on the right side wall. This is the patch that
is shooting light for the next shot.
The shooting patch

(highlighted by the
white dashed line) for
the second shot.
Up to this point, the radiosity solution has been recalculated from

the start each time. We can retain the current calculations in
memory.
➤ Turn on Keep Database in Memory

1. In the Radiosity settings box’s File menu, turn on Keep
Database in Memory.
2. In the Display Settings group box, from the Intermediate
Display option menu, choose None.
This will disable the intermediate display.
Because the Intermediate Display has been disabled, only the

shooting patch appears, prior to the view being rendered.
Increasing the shots to three, you will see the effects of lighting
from the unshot patch that now is brightest. Because Keep
Database in Memory is on, the process will continue from the
previous shot, rather than starting with shot 1.
➤ View the effects of reflected light from the next patch



4. Select View 2.
Notice this time that the shot is from a patch on the wall to the
left of the view. When the view is rendered, you can see from the
shadows that the light has come from this patch.
Shot number 3 adds

illumination from the
brightest patch on the
wall to the left.
14
Letting the next shot process you will see that the brightest unshot
patch now is on the surface of the table.
➤ View the effects of reflected light from the next patch

3. Select View 2.
Shot number 4 adds

illumination from light
reflected from the table top.
This is shown, in
particular, by the
illumination of the
underside of the lamp base.

It can be seen that the lower region of the lamp base is now
illuminated. This illumination is provided by light energy reflected
from the table top.
Samples per shot

When you calculate the lighting for a patch, the size of the patch
directly affects the appearance of the image. Currently, the setting
of 1, for Patch Area <=, ensures that the surfaces are initially
subdivided so that the largest patch area is a maximum of 1
square master unit. To improve the accuracy of the reflected light
energy, you can reduce this value and create smaller patches but
increase processing time.
You can use another setting, Maximum Samples per Shot, to

improve the accuracy of the reflected light energy without
reducing the size of the patches. Increasing this value, allows
more samples to be taken for each patch. As a rule, the larger the
patch size, the more samples allowed. Using smaller patches, or
allowing more samples, results in softer, more natural shadows
from the reflected light energy.
➤ Change the Maximum Samples per Shot setting

1. From the Radiosity settings box’s File menu, choose Clear
Rendering Database.
An alert box appears, asking if you want to remove the
current rendering database from memory, including any
radiosity solution.
2. Click OK in the alert box.
3. In the Radiosity Settings group box, in the Maximum Samples
per Shot field, key in 4.

Stopping Conditions

5. Select View 2.
With Maximum Samples

per Shot set to 4, the
shadows from the reflected
light are softened.
14
Stopping Conditions

Two settings control radiosity processing times — Limit Number
of Shots and Min(imum) Illumination Threshold. When either of
these conditions is met, processing stops.
In the preceding exercises, the Limit Number of Shots setting has

controlled the radiosity calculations. In each case processing
terminated after the specified shot. In production environments,
the number of shots allowed would be far greater than used in
those exercises.
You do not have to wait until the final shot before seeing some
form of image. You can stop processing at any time by entering
Reset. This stops the radiosity calculations after the current shot,
and renders the selected view. When Keep Database in Memory
is on, you can resume the calculations from the last shot.
Additionally, you can specify that an Intermediate Display is
rendered at regular intervals.

1. From the Radiosity settings box’s File menu, choose Clear
Rendering Database.
An alert box appears, asking if you want to remove the
current rendering database from memory, including any
radiosity solution.

Stopping Conditions
2. Click OK in the alert box.

The current radiosity solution is deleted.
3. In the Radiosity Settings group box, turn off Limit Number of
Shots.
4. In the Min(imum) Illumination Threshold field, key in 0.25.
This will cause the calculations to stop when the remaining
light falls below 25% of the total light at the outset.
6. In the Display Settings group box, from the Intermediate
Display option menu, choose Smooth Shaded.
7. In the Display Frequency field, key in 5.
Leave all other settings as they were for the previous
exercise(s).
8. Check that Keep Database in Memory is on in the settings
box’s File menu.
10. Select View 2.
As processing progresses, notice the messages that appear in the

status bar at the bottom of the screen. Typically, the message
takes the form: “Radiosity Shot:2 energy: 5.062173 (unshot
46.695407;stop 25.000000)”. From these you can see how much
light is being processed for the shot, how much is remaining, and
what the stopping value is. In this case the stopping value is 25,
calculated as (0.25 x 100), where 100 is the light from the single
light source in the model.
When the process completes the fifth shot, View 2 will be smooth
shaded. Checking these intermediate displays (in this case, every

Stopping Conditions
fifth shot) can help you decide if you want to stop the process
early (with a Reset).
Third intermediate
display, after the 15th
shot, showing Smooth
Shaded image.
14
Letting processing continue until the stopping condition is met,
can be time consuming. The time it takes will depend on the
speed of your system. So that the radiosity solution does not have

to be recalculated in the future, you can save the resulting
database to disk and reload it into memory when required.
Remember that you can stop radiosity solving at any time by

Resetting. By setting a different stopping condition, you then can
use this solution to display shaded images of various views.
➤ Stop processing (early) in order to use the result

1. Reset to stop processing.
After the current shot is completed, the view is rendered. (If
you Reset during a shot whose number is a multiple of 5 [the
Display Frequency setting], a second Reset will be required.)
3. In the Radiosity Settings group box, turn on Limit Number of
Shots and, in its field, key in 0.
This will prevent further shots.
5. Select View 2.
The view is rendered using the final display option, which is
Ray Trace. Notice that the ray tracing of the view is faster than
normal, because the ray tracing process uses the radiosity
solution that is present in memory.

Stopping Conditions
Ray tracing with a radiosity solution

Once you have calculated a radiosity solution (with Keep
Database in Memory on), whether the processing was completed
or stopped prematurely, ray tracing of views is generally much
faster, since all the diffuse lighting has been performed and
shadows do not need to be computed. Because radiosity is not
view dependent, you can use the same solution for any ray traced
view. Ray tracing, on the other hand, adds the view-dependent
specular lighting effects, such as highlights and reflections. Once
the stopping conditions for radiosity solving have been met, the
selected view is rendered in the Final Display mode, which is set
in the Display Settings group box of the Display tab in the
With the radiosity solution still in memory, you can render other
views, using the radiosity solution. You do this by clicking Solve
Radiosity in the Radiosity settings box, or by using the Render tool
with Render Mode set to Radiosity. In either case the view is
rendered, using the Final Display render mode, which is set in the
Radiosity settings box’s Display settings tab.
✍ If the Render tool’s Render Mode is set to Ray Trace, the view is
ray traced without using the radiosity solution.
For the exercise, two other saved views are present in the active
design file.
➤ Attach the saved views

4. Click Attach.
7. Click Attach.

Stopping Conditions
➤ Render the saved views

2. In the Render settings window, check that Target is set to
View.
3. From the Render Mode option menu, choose Radiosity.
4. Check that Shading Type is set to Normal.
5. Select View 3.
View 3 is ray traced with radiosity.
6. Select View 4.
View 4 is ray traced with radiosity.
If you repeat this exercise with Render Mode set to Ray Trace, not
only will the image look different (no diffuse reflections), it will
14
take longer to ray trace.

Saved View CAM2, ray traced with radiosity. Saved View CAM3, ray traced with radiosity.
Saved View CAM3, ray traced without

radiosity. No diffuse reflections are displayed.

Stopping Conditions
Luminance and Illuminance

When you calculate a radiosity solution, you can set the
Intermediate Display and/or the Final Display to Luminance or
Illuminance. These settings provide “false color” displays of the
light reflected by surfaces (Luminance) and the light reaching
surfaces (Illuminance).
You can set Analytic Display to be either Grey Scale or Color.

When set to Color, the false color ranges from Red > Orange >
Yellow > Green > Blue, where red indicates the most light and
blue the least. With Grey Scale, white indicates the most light and
black the least.
➤ Display Luminance
2. From the Final Display option menu, choose Luminance.
3. From the Analytic Display option menu, choose Color.
5. Select View 2.
View 2 updates with the “false color” display, showing the
amount of light reflected by surfaces.
6. Repeat steps 3 to 5, with Analytic Display set to Grey Scale.
Grey Scale display of

Luminance.
➤ Display Illuminance
1. From the Final Display option menu, choose Illuminance.
2. From the Analytic Display option menu, choose Color.
4. Select View 2.

Stopping Conditions
View 2 updates with the “false color” display, showing the

amount of light reaching the surfaces.
5. Repeat steps 3 to 5, with Analytic Display set to Grey Scale.
Grey Scale display of

Illuminance.
14
Querying the radiosity solution

With a radiosity solution present in memory, you can display the
values for Luminance or Illuminance at a point on a surface. The
values displayed will be for the surface nearest the pointer
location in the view.
To query the radiosity solution, you can use the Query Radiosity
tool, in the Rendering Tools tool box, or click Query Radiosity in
the Radiosity settings box.
✍ The Query Radiosity button is enabled only when a radiosity

solution is present in memory.
➤ Display values for Luminance in View 2

1. In the Radiosity settings box, click Query Radiosity.
2. If necessary, in the Query Radiosity settings window, turn off
Continuous Updates.
3. From the Display option menu, choose Luminance.
4. Enter a data point in View 2.
In the status bar, the value for Luminance is displayed in
Lumens/Sq.M (Meters are the master units for this design).
Following this value are those for the separate RGB
components.
5. Enter further data points to display the Luminance in other
parts of the view.

Stopping Conditions
Similarly, you can query the radiosity solution with the Query
Radiosity tool in the Rendering Tools tool box.
➤ Use the Query Radiosity tool

1. In the Rendering Tools tool box, select the Query Radiosity
tool.
2. In the tool settings window, turn on Continuous Updates.
3. Enter a data point in View 2.
4. Move the screen pointer in the view and notice that the values
for Luminance update continuously as the pointer moves.
Similarly, you can display the values for Illuminance, by choosing

Illuminance as the Display option.

15 Animation Basics
This tutorial is set up as a number of consecutive exercises to
teach the basics of animation. Work through these exercises from
start to finish.
Introduction
In this tutorial, you will learn how to animate objects in a design.
Using a model of a windmill, you will learn about the following:
• Creating Actors (see page 15-3)

• Manipulating Actors (see page 15-7)
• Hierarchical Motion (see page 15-9)
• Scripting Actors (see page 15-12)
• Keyframe Animation (see page 15-16)
• Defining a Parameter (see page 15-19)
• Saving and Recording a Script (see page 15-22)
You will animate the blades of the windmill to rotate and its
complete top assembly to pivot from side to side.
Model of a windmill
contained in the design
“windmill.dgn” used in
this tutorial.

Introduction
You will learn how to

animate the blades to
rotate, and the whole
assembly to oscillate.
✍ The sample design file used in this tutorial, “windmill.dgn,” is

installed in MicroStation’s
“Workspace\projects\tutorials\visualization\dgn” directory. A file
of the same name in
“Workspace\projects\examples\visualization\dgn” shows the
➤ Prepare for the first exercise

“Workspace\projects\tutorials\visualization\dgn” directory,
open the design file “windmill.dgn.”
2. If necessary, turn on views 1 to 4, and make them Top,
Isometric, Front, and Right, respectively.
3. If necessary, make level 10 the Active Level.
6. From the Tools menu’s Visualization Tools sub-menu, choose
Animation Tools.
The Animation Tools tool frame opens.
Animation Tools tool frame

Creating Actors
Sample file
“windmill.dgn” ready for
first exercise.
Animation Basics
15
Creating Actors
When you create an actor for animation, a special cell is created
that is recognized by the animation process. You can create an
actor from one or more elements in a design. Elements that are
grouped in a cell, are treated as a single element. Where a group
of separate elements is required to form a single actor, you can
group them using the Element Selection tool.
When you create an actor, you can specify the ways in which the
actor can move. These settings are applied for parametric motion,
or when you use the Manipulate Actor tool.

Creating Actors
➤ Open the Animation Actors tool box

◆ In the Animation Tools tool frame, tear off the Animation
Actors tool box, which is the top left icon of the tool frame.
Opening the Animation

Actors tool box, from the
Animation Tools tool frame.
For this model, the first actor to define is the windmill’s blade
assembly. This part is made of a number of separate elements,
thus requiring them first to be grouped.
➤ Create an actor from the blades

zoom in close to the center spindle of the windmill blades.
2. In any of the other views, use the Element Selection tool to
select all the elements of the windmill blade assembly (that is,
all the elements visible in the view).
3. In the Animation Actors tool box, select the Create Actor tool.
4. In the Create Actor settings window Name field, key in
blades.
5. If necessary, from the Orientation option menu, choose
Design.
6. If necessary, turn off all the settings in the Move Along and
Scale Along sections.
7. In the Rotate About group box, turn on Y (and if necessary,
turn off X and Z).

Creating Actors
In the design, the blades are located such that the spindle is
aligned with the y-axis.
Animation Basics
8. In the Isometric view, with Center snap mode active, snap to
the center of the blades’ spindle.
A triad, attached to the pointer, indicates how the actor will be
allowed to move. The circle normal to the y-axis indicates
rotation about the y-axis.
9. Accept to define the actor’s origin. This defines the point
15
about which the blades will be allowed to rotate.
The status bar indicates that the actor is created.
Z
Defining the origin of the Y X
actor “Blades.” The triad
attached to the pointer
indicates that the actor can
rotate about the y-axis.

Creating Actors
➤ Prepare to create the second actor

Sample file
“windmill.dgn” ready
for creating the
second actor.
As with the blades of the windmill, the pump housing and wind
vane are constructed of several separate elements. Again, you
need to group them before creating the actor.
➤ Create an actor of the drive housing and vane assembly

zoom in close to the vertical center shaft at the bottom of the
housing.
2. In any of the other views, use the Element Selection tool to
select all the elements of the housing and vane.
3. Select the Create Actor tool.
4. In the Create Actor settings window’s Name field, key in vane.
5. If necessary, from the Orientation option menu, choose
Design.
6. In the Rotate About group box, turn on Z.
7. Turn off Y and make sure that X still is turned off.

Manipulating Actors
8. In the Isometric view, with Center snap mode active, snap to

the center of the vertical shaft at the bottom of the housing.
A triad, attached to the pointer, indicates how the actor will be
allowed to move. The circle normal to the z-axis indicates
rotation about the z-axis.
9. Accept to define the actor’s origin. This defines the point
about which the housing will be allowed to rotate.
The status bar indicates that the actor is created.
Animation Basics
Defining the origin of the
actor “Vane.” The triad
Z
attached to the pointer Y X
indicates that the actor can
rotate about the z-axis.
15
Manipulating Actors
Once an actor has been created, you can manipulate it with the
Manipulate Actor tool. When using this tool, the only movements
that are allowed are those that were defined when the actor was
created.

1. Turn on levels 10 and 11 (only) in each view.
The elements displayed are grouped in either the “Blades” or

“Vane” actor cell.
Using the Manipulate Actor settings window, you also can

highlight an actor prior to identifying it for manipulation.
➤ Test the actors’ range of motion

1. In the Animation Actors tool box, select the Manipulate Actor
tool.
2. In the Manipulate Actor settings window, select Vane (single
click).

Manipulating Actors
The actor “Vane” highlights in each view.

3. In the list box, double-click Blades.
This identifies the actor “Blades” as the actor to manipulate. It
highlights in each view. In the Manipulate Actor settings
window, Method is set to Rotate About Y.
4. Click the Method option menu to open it. Notice that only the
Rotate About Y option is enabled (the others being dimmed).
When the actor Blades was created, only the Rotate About Y
option was chosen.
Manipulate Actor settings window.

The Method option menu displays
allowable manipulations, which were
enabled when the actor was created
(others are dimmed).
5. In any view, move the pointer (without entering a data point),

and notice that the blades rotate as the pointer is moved.
Moving the pointer rotates

the blades.
6. In the Tool Settings box, double-click the actor Vane.

Actor “Vane” highlights in each view. In the Manipulate Actor
settings window, Method changes to Rotate About Z.
and notice that the vane assembly can rotate about the z-axis.

Hierarchical Motion
Actor Vane was created with only the Rotate About Z option.

the vane assembly.
Animation Basics
8. Reset.
✍ Alternatively, you can identify an actor by entering a data point

on any part of it.
Hierarchical Motion
15
In the previous exercise, you saw how you could individually
manipulate either of the actors. The problem is that the blades do
not remain connected to the vane assembly when it is rotated.
Another tool, Attach Actor, solves this problem. With this tool you
can attach one actor to another, such that the attached actor
remains connected to the “parent” when it (the parent) is
manipulated.
➤ Attach the blades to the vane assembly

1. In the Animation Actors tool box, select the Attach Actor tool.
2. In the Attach Actor settings window, double-click Blades.
This identifies the actor to attach.
3. In the Tool Settings box, double-click Vane.

Hierarchical Motion
This identifies the actor to which to attach the first actor.

The Attach Actor settings window updates, showing the
“parent” actor in red, with the “child” actor indented and
colored blue.
The Attach Actor settings

window, showing a list of
the available actors.
After attaching Blades to Vane, the settings

window updates with the attached actor
indented and colored blue. The “parent” actor
is displayed in red.
Having attached the blades to the vane assembly, the blades will
rotate with it and rotate correctly about their pivot point. As the
blades are swivelled with the vane assembly, the original y-axis
(about which the blades were set to rotate) swivels with them.
➤ Manipulate the actors

1. Select the Manipulate Actor tool.
2. In the Manipulate Actor settings window, double-click Vane.
The entire assembly highlights because the blades are now
attached to Vane.
and notice that the assembly (including the blades) rotates
about the z-axis.

the blades, along with the
vane assembly, because
they are now attached.

Hierarchical Motion
4. In the settings window, turn on Angle.

5. In the Angle field, key in 30.
6. Accept the rotation.
The assembly (blades and vane) rotate by 30° about the
z-axis.
Actors prior to
manipulation.
Animation Basics
After manipulation,
15
both actors have been
rotated 30°.
With hierarchical motion, when an actor is attached to another, it

moves with the “parent” actor. You can still manipulate the
attached actors independently. In this example, you can
manipulate the blades without affecting the vane assembly.
➤ Test the blades’ range of motion

1. Use the Fit View view control to fit the front and right views.
2. Select the Manipulate Actor tool.
3. In the Manipulate Actor settings window, turn off Angle.
4. Double-click Blades.
Only the blades are highlighted.
5. In the Front view, move the pointer to dynamically rotate the
blades.

Scripting Actors
The blades still rotate correctly about their pivot point.

6. Reset.
Scripting Actors
Before you can record an animation, you must script the actors to
define the required motion. This can be in the form of a formula
that describes the motion as a function of the frame number.
Alternatively, you can specify keyframes and the animation
process will interpolate the in-between frames. In the following
exercises you will script the blades of the windmill to spin, and
for the whole assembly to pivot from side to side.

◆ From the Utilities menu’s Render sub-menu, choose
Animation.
The Animation Producer settings box opens.
As actors are scripted, the script entries appear in the Animation

Producer settings box.
➤ Script the blades to spin

1. In the Animation Actors tool box, select the Script Actor tool.
2. In the Script Actor settings window, double-click Blades.
The Script Actor dialog box opens, displaying the Actor Name,
and the available settings. Here, only the Y Rotation setting is
enabled, which was defined when the actor Blades was
created.
3. In the Begin Frame and End Frame fields, key in 0 and 71
respectively.
This controls the frame interval during which the actor is
scripted. In this case it is for a total of 72 frames.
4. In the Y Rotation field, key in -5*frame.
This specifies that the actor will rotate 5° for every frame of
the movie and in 72 frames it will rotate a full 360°. The minus
sign causes the rotation in this case to be counterclockwise, as
required.

Scripting Actors
5. Click OK.
The Script Actor dialog box closes, and the script entry is
added to the open script in the Animation Producer settings
box.
✍ The variable frame (all lowercase) is one of a number of built-in

variables that can be used in scripting motion equations.
Animation Basics
Double-click the “Blades” actor
to open the Script Actor
dialog box.
15
After setting the script for the actor,
clicking the OK button closes the dialog
box and inserts the script entry into the
Animation Producer settings box.
Once actors have been scripted, their motion can be previewed

on screen. The appearance and method for previewing is
controlled in the Preview Settings box. As well, tools in the
Animation Preview tool box let you control the preview in a
similar fashion to the controls of a video recorder.

Scripting Actors
➤ Preview the motion of the blades

1. From the Animation Producer settings box’s Settings menu,
choose Preview.
The Preview Settings box opens.
2. In the Preview Settings box:
If necessary, turn on Clear View Between Frames.
If necessary, turn on Animated Elements.
Make sure all other settings are off.
Preview Settings box
3. Close the Preview Settings box.

4. From the Animation Producer settings box’s View option
menu, choose View 3 (the Front View).
5. If necessary, use the Fit View view control to fit View 3.
6. In the Animation Producer settings box, click the play (>>)
button at bottom left.
The blades rotate in the chosen view.
Previewing allows you to check that the animation is working

correctly. For example, you can check that the blades are rotating
in the correct direction. As the animation plays, the current frame
number displays in the frame field. You can key-in any frame
number and the current view will update to display that frame.
You can select another view via the View option menu. A better
alternative, to perform these and other previewing procedures, is
to use tools in the Animation Preview tool box.
Using the Animation Preview tools lets you quickly check the
motion in any view, as the following exercise will demonstrate.

Scripting Actors
➤ Preview the motion using the Animation Preview tools

1. In the Animation Tools tool frame, tear off the Animation
Preview tool box, which is the lower right icon of the tool
frame.
Animation Preview tool box.
2. In the Animation Preview tool box, select the Play Animation

tool.
Animation Basics
The blades rotate in the current view (as displayed in the
Animation Producer settings box).
3. Enter a data point in any other view.
The blades now rotate in the newly selected view. The
Animation Producer settings box updates to display the new
view number.
Similarly, you can use other tools from the Animation Preview
15
tool box, to rewind (play in reverse), go to a particular frame, go
to the first and go to the last frame.
Editing a script
If you make a mistake during scripting, you can edit the script
entry. Double-click the script entry in the Animation Producer
settings box to open the Edit Actor Script dialog box, to make
corrections.
➤ Edit the blades script

1. In the Animation Producer settings box, double-click the script
entry for BLADES.
The Edit Actor Script dialog box opens.
2. In the Y Rotation field, edit the entry to read -10*frame.
This will cause the blades to rotate 10° for every frame, or 2
complete revolutions in the specified 72 frames.
3. Click OK.
The dialog box closes.
If you preview the animation again, you will see that the blades
now spin for two revolutions in the 72 frames.

Keyframe Animation
Keyframe Animation
With the blades scripted, you can now script the vane assembly
(which includes the rotating blades as an attached actor). For this
part of the animation, you will script the actor(s) using keyframes.
You will animate the assembly so that it oscillates 40°.
➤ Create the first keyframe

choose KeyFrames.
The Animation KeyFrames settings box opens.
2. Click Create.
3. Identify the vane assembly.
The vane assembly, including the blades, highlights.
4. Accept.
The Create KeyFrame dialog box opens.
5. In the Name field, key in start.
6. In the Description field, key in starting position of animation.
7. Click OK.
The dialog box closes, and the keyframe appears in the
Animation KeyFrames settings box’s list. Leave the settings
box open to create and script the remaining keyframes.
After keying in keyframe

information in the Create KeyFrame
dialog box, clicking OK inserts the
keyframe into the Animation
KeyFrames list.
Next, you will create the midpoint keyframe. Before doing so,
move the assembly to its new position for the keyframe.

Keyframe Animation
➤ Move the assembly to the next keyframe position

1. In the Animation Actors tool box, select the Manipulate Actor
tool.
2. In the Manipulate Actor settings window, double-click Vane.
The entire assembly highlights including the blades.
3. Turn on Angle and, in its field, key in -40.
4. Accept the rotation.
The assembly (blades and vane) rotate -40° about the z-axis.
Animation Basics
After rotating the vane
assembly to its position
for the second
keyframe.
15
➤ Create the second keyframe
1. In the Animation KeyFrames settings box, click Create.
2. Identify the vane assembly.
The vane assembly, including the blades, highlights.
3. Accept.
The Create KeyFrame dialog box opens.
4. In the Name field, key in middle.
5. In the Description field, key in middle point of animation.
6. Click OK.
The dialog box closes, and the keyframe appears in the
Animation KeyFrames settings box’s list.
Scripting keyframes
Having created the keyframes, you must now script them into the
animation.

Keyframe Animation
➤ Script the first keyframe

1. In the Animation KeyFrames settings box, select the keyframe
START.
2. Click Script.
The Script KeyFrame dialog box opens.
3. In the Frame Number field, key in 0.
4. Click OK.
The dialog box closes and the script entry is added to the
open script in the Animation Producer settings box.
Clicking the Script button opens the
Script KeyFrame dialog box, in
which the scripting information is
entered.
Clicking OK closes the Script KeyFrame

dialog box, and the scripting information
for the keyframe is added to the list in the
➤ Script the second keyframe

1. In the Animation KeyFrames settings box, double-click
MIDDLE. (This is an alternate way to script a keyframe.)
This is the midpoint of the 72 frame animation.
3. From the Velocity option menu, choose Accelerate.
This will cause the actor to move with constant acceleration
from the previous keyframe to this one.

Defining a Parameter
4. Click OK.
The dialog box closes, and the script entry is added to the
For the final keyframe, the animation returns to the start position.
This allows the animation to be played back in a continuous loop,
without a jump back to the start position.
➤ Script the finishing keyframe

1. In the Animation KeyFrames settings box, double-click START.
Animation Basics
3. From the Velocity option menu choose Decelerate.
4. Click OK.
15
Animation Producer
settings box with all
script entries for the
parametric motion plus
the keyframes.
Now, when you preview the animation in the Isometric view, you
will see that the whole assembly oscillates from side to side, as
the blades rotate. Notice how the vane accelerates as it swings to
the middle point, and then “bounces” back, decelerating as it
returns to the starting point, while the blades rotate at a constant
speed.
In the foregoing exercises, the blades were animated by
specifying an amount of rotation for each frame. To calculate a
single revolution, 360° was divided by the total number of frames
in the animation (72) to give 5°. To double the number of
revolutions, the angle was changed to 10°. While this method

gives the correct result, it requires that the number of frames is

known. During the course of creating animations, you may find
that you have to adjust the number of frames. In this case you
would have to adjust the angle of rotation per frame, also. A
much simpler method is to define a parameter that is correct for
all cases, no matter how many frames are required.
For example, a parameter r1 can be defined to be the expression

360/maxFrame. The variable maxFrame is another of the built-in
variables that are available. It is equal to the total number of
frames in the sequence.
Therefore, in this example, to rotate the blades you simply script

them to rotate r1 for a single revolution, 2*r1 for two revolutions,
and so on.
➤ Define the parameter r1

choose Parameters.
The Animation Parameters settings box opens.
2. Click Create.
The Create Parameter dialog box opens.
3. In the Name field, key in r1.
4. In the Value field, key in 360/maxFrame.
Type the variable maxFrame, with upper and lower case,
exactly as shown.
5. In the Description field, key in rotation angle for single
revolution.
Descriptions are useful for choosing the correct parameter in a
complicated animation that has a number of parameters
defined.

6. Click OK.
The dialog box closes, and the parameter is inserted in the
Animation Parameters settings box’s list.
7. Close the Animation Parameters settings box.
Animation Basics
15
Having defined the parameter, you can now use it to script the
actor Blades.
➤ Edit the script entry for the Blades

1. In the Animation Producer settings box, double-click the Actor
script entry for BLADES.
The Edit Actor Script dialog box opens.
2. Select the Y Rotation field and highlight its contents.
3. In the field, key in -2*r1*frame.
This scripts the blades to rotate two complete revolutions. The
minus sign makes the revolution counterclockwise.
4. Click OK.
The dialog box closes.
Now you can control the number of revolutions, simply by

changing one figure, the r1 multiplier. This will apply, no matter
how many frames are required for the sequence.

Saving and Recording a Script

That completes the scripting for this animation sequence. Save the
open script to disk for later retrieval.
➤ Save the open script to disk

1. From the Animation Producer settings box’s File menu, choose
Save Script.
The Save Script As dialog box opens.
2. Use the controls in the Save Script As dialog box to select a
directory and filename for the script.
By default, the script is given the same name as the design
file, but with a “.msa” extension.
3. Click OK.
Scripts are saved as text files. During the animation process, the
script file is read to retrieve the animation instructions. If you
view the script with a text editor, such as the Windows Notepad
editor, you will see that the script is divided into two sections —
one for general settings and the other for script entries. In the
latter section, the entry for the actor Blades is followed by the
keyframe entries.
Viewing the
animation script
with a text editor
(Windows
Notepad).

With the scripting completed, all that remains is to record the

animation. Before doing this, set up a view for the recording. For
this example file, a camera view has been saved. The saved view
has other levels turned on that include more of the windmill’s
structure, and a surface to simulate the ground.
➤ Attach the saved view

2. In the list box, select the saved view CAM1.
Animation Basics
4. Click Attach.
The saved view is displayed in View 1.
➤ Record the script

1. In the Animation Preview tool box, select the Record Script
tool.
The Record Script dialog box opens.
15
2. If necessary, from the View option menu, choose 1.
3. If necessary, from the List Files of Type option menu, choose
JPEG (JFIF).
This sets the type of image files that will be created for the
sequence. Each frame will be a separate “.jpg” image.
4. Adjust other settings as desired.
These settings are similar to those for saving a rendered image
to disk.
5. In the File field, key in wmill000.
The number included in the file name will be incremented for
subsequent frames. The extension “.jpg” will be appended
automatically.
6. Click OK.
The dialog box closes, and the frames are rendered and saved
to disk. As each frame is completed, it is displayed in a
window.

The Record Script dialog box (left)

and the display window (above)
showing the frames as they are
processed.
Once the script is recorded, you can view the resulting animation
sequence exactly as you would a normal movie.
➤ View the sequence

1. From the Utilities menu’s Image sub-menu, choose Movies.
The Movies settings box opens.
2. From the settings box’s File menu, choose Load.
The Load Movie dialog box opens.
3. From the List Files of Type option menu, choose JPEG (JFIF)
Files [*.jpg].
4. In the Files list box, select the first frame of the sequence,
“wmill000.jpg.”
The sequence loads. The Movies settings box expands to
display the first frame.
5. Click the play (>) button.
Playback begins in the Movies settings box.

16 Animation Exercises and Examples
This tutorial builds on the basic animation tutorial in the previous
chapter. Further exercises are worked through and sample
animation files and scripts are discussed.
Introduction
MicroStation is delivered with a number of sample files in which
actors, parameters, and sometimes scripts, already have been
created. By examining these files, and working with them, you
can learn more about creating animations from your own designs.
In the following tutorials, you will learn about the following:
• Keyframe Velocity (see page 16-1)

• Keyframe Velocity and Deformation (see page 16-2)
• Parametric Motion Control (see page 16-8)
• Path Control and Camera Movement (see page 16-18)
• Animating Materials and Lights (see page 16-30)
Keyframe Velocity
When you define keyframes, the velocity setting affects the rate at
which the interpolation between frames is calculated. Choices are
Constant, Accelerate, Decelerate, Accelerate-Decelerate, and
Infinite. In the sample file, “dotrace.dgn,” the spheres have been
keyframed to move along parallel paths but with different velocity
settings. You will see that they start and finish at the same time
(frame number), but move with very different motions.

Keyframe Velocity and Deformation
➤ Open keyframe velocity sample file

“…\workspace\projects\examples\visualization\dgn”
directory, open the design file, “dotrace.dgn.”
tool.
The spheres move across the screen according to the defined
motion.
Start Half-way point Finish
Frame 0 Frame 19 Frame 39
Constant - moves with constant
velocity.
Accelerate - starts from rest,

moving with constant acceleration.
Decelerate - moves under

constant deceleration to finish at
rest.
Accelerate - Decelerate - starts
from rest, accelerates to half-way,
then decelerates to finish at rest.
Infinite - jumps instantaneously to
finish point.
Movement of animated objects using keyframe velocity options.

Using a combination of keyframes, scaling, and velocity settings,
you can simulate objects bouncing or springs compressing. Two
sample files show this combination to good effect.
For example, “teapot.dgn” demonstrates the combination of

velocity controls and scaling to represent an object falling and
bouncing back. In this file are three keyframes. They show the
teapot above the table (keyframe UP), at impact with the table
(keyframe ONTABLE), and compressed on the table (keyframe
COMPRESSED). With the keyframe COMPRESSED, the teapot is
scaled down in the z direction. Using these keyframes, along with
the appropriate velocity controls, the teapot’s bounce becomes
realistic.


“…workspace\projects\tutorials\visualization\dgn” directory,
open the design file, “teapot.dgn.”
2. If necessary, open the Animation Producer settings box by
choosing Render > Animation from the Utilities Menu.
3. From the settings box’s Settings menu, choose KeyFrames.
Animation Exercises and Examples

The Animation KeyFrames settings box opens, listing the
keyframes.
Previewing keyframes
You can view Keyframes using the Freeze button in the
Animation KeyFrames settings box. When you click Freeze, the
geometry in the file moves to the locations for the keyframe.
16
W geometry
Care should be taken that a “home” keyframe is created, so that
can be returned to original locations. That is, you
should create a keyframe of the geometry prior to moving it into
position for other keyframes.
➤ View the three keyframes

1. In the Animation KeyFrames settings box, select ONTABLE.
2. Still in the Animation KeyFrames settings box, click Freeze.
The view updates to show the teapot on the table.
3. Select COMPRESSED.
4. Click Freeze.
The view updates to show the teapot compressed on the
table.
5. Select UP.

6. Click Freeze.
The view updates to show the teapot above the table.
KeyFrame - UP KeyFrame - ONTABLE KeyFrame - COMPRESSED

Teapot above table. Teapot on table. Teapot compressed on table.
Using this method, you can render the keyframes to check that
the geometry is correctly located prior to scripting and recording.
To create an animation from the keyframes, first you have to
script them.
➤ Script the UP keyframe (the start point)

1. In the Animation KeyFrames settings box, select UP.
2. Click Script.
3. Check that Frame Number is set to 0.
4. Click OK.
The dialog box closes, and the script entry appears in the
✍ Alternatively, to open the Script KeyFrame dialog box, you can

double-click on the keyframe in the settings box.


Scripting a keyframe.
➤ Script the ONTABLE keyframe (point of impact)
16
2. Click Script.
The Script KeyFrame dialog box opens. By default, Frame
Number is incremented to 10.
4. Click OK.
➤ Script the COMPRESSED keyframe (teapot compressing

on table)
1. In the Animation KeyFrames settings box, select
COMPRESSED.
2. Click Script.
The Script KeyFrame dialog box opens. By default, Frame
Number is incremented by 10 from the previous keyframe.
3. From the Velocity option menu, choose Decelerate.

4. Click OK.
This completes the scripting of the teapot falling to the table and
compressing. To complete the scripting you have to repeat the
above procedures in reverse, to make the teapot rebound.
➤ Script the ONTABLE keyframe (as teapot springs back)

2. Click Script.
4. Click OK.
➤ Script the UP keyframe (returns teapot to start position)

1. In the Animation KeyFrames settings box, select UP.
2. Click Script.
3. From the Velocity option menu, choose Decelerate.
This will simulate the teapot slowing due to gravity.
4. Click OK.
That completes scripting of the keyframes. Prior to recording the

script, you can preview the animation by clicking the play (>>)
button in the Animation Producer settings box, or select the Play
Animation tool in the Animation Preview tool box.
Further example
A second sample file shows a more realistic application of
keyframe velocity and deformation techniques. This file,
“key2.dgn,” is installed in MicroStation’s
“…workspace\projects\examples\visualization\dgn” directory. It
is scripted, ready for previewing, or recording.

It contains two actors, Top and Spring, and two keyframes, UP

and DOWN, showing the assembly in its compressed and
uncompressed states.

16
Sample file “key2.dgn.”

Parametric Motion Control

Parametric motion control lets you apply a formula to an actor. As
well, you can define parameters that simplify the creation of
formulae. During the animation process, the formula determines
the position of the geometry, relative to the frame number.
Simple gears
Using the sample design file, “gears.dgn,” you will script a
sequence that shows the two geared wheels driven by a third
wheel via a connecting link.
“Gears.dgn,” in which
the two geared wheels
are driven by the third
wheel via a
connecting link.
➤ Prepare to script the actors

“…workspace\projects\tutorials\visualization\dgn,” directory,
open the design file, “gears.dgn.”
choosing Render > Animation from the Utilities menu.
3. If necessary, open the Animation Actors tool box.


choose Parameters.
The Animation Parameters settings box opens, displaying the
previously defined parameters.

Looking at the parameters:
v1 — the velocity of actor GEAR1 is defined as 360.0/

maxFrame. That is, the gear will rotate one complete revolution
during the animation (maxFrame is a built-in variable that
equals the highest frame number in the animation).
v2 — the velocity of actor GEAR2 is set to be the same as v1.
v3 — the velocity of actor GEAR3 is set to be twice v2. That is,

it rotates twice as fast as GEAR2. This is calculated by counting
the number of teeth in each of the gears (GEAR3 has only half
16
that of GEAR2).
In effect, scripting for each of these actors is simply a matter of
multiplying the appropriate velocity by the frame number. GEAR1
is the one exception. This actor has the link (actor LINK) attached
to it. In order for the link to be correctly aligned at all times, it

must be scripted to rotate in the reverse direction of its parent

actor.
LINK Actor GEAR1 has LINK

attached to it.
GEAR1
If actor GEAR1 is
rotated, then LINK
rotates with it.
Actor LINK must be

scripted to rotate in the
reverse direction to
remain correctly
oriented as GEAR1
rotates.
➤ Script GEAR1 and LINK

The Script Actor settings window displays a list of available
actors.
2. In the settings window, double-click GEAR1.
The Script Actor dialog box opens. By default the Begin Frame
value is set at 0.
3. In the End Frame field, key in 20.
4. In the Z Rotation field, key in v1*frame.
5. Click OK.

6. In the Script Actor settings window, double-click LINK.
7. In the Z Rotation field, key in -v1*frame.
8. Click OK.
The dialog box closes and the script entry is added to the

✍ Script entries are case-sensitive. If you see an error message such
as symbol “V1” not defined while entering a script, you may have
used incorrect case.
➤ Script the remaining gears

1. In the Script Actor settings window, double-click GEAR2.
The Script Actor dialog box opens.
2. If necessary, in the End Frame field, key in 20.
3. In the Z Rotation field, key in v2*frame.
4. Click OK.
5. In the Script Actor settings window, double-click GEAR3.
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6. In the X Rotation field, key in v3*frame.
7. Click OK.
Animation Producer
settings box, after
scripting all actors.
You can preview and/or record the script and play it back to
observe the motion. To create a longer sequence, with a smoother
and slower motion, change the End Frame values of the actor

script entries or scale the script (choose File menu/Scale Script in

the Animation Producer settings box).
➤ To edit the End Frame value

1. In the Animation Producer settings box, double-click the entry
for GEAR1.
3. Click OK.
4. Repeat steps 1 to 3 for the remaining actors.
You can also use simple equations to create quite complicated

motion, as shown in the following sample file.
Planetary gears
The next sample file, “plangear.dgn,” illustrates the complicated
motion in a planetary gear set. This file is ready for recording,
with all parameters defined, as well as actors created and scripted.

➤ Open the sample file

“…workspace\projects\examples\visualization\dgn”
directory, open the design file, “plangear.dgn.”

Model in sample
design file,
“plangear.dgn.”
With a model such as this, only one-third of a revolution is

required to simulate a complete revolution of the gears. During
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playback (with Loop turned on), the model will appear to rotate
continuously. The output shaft has three equally spaced planetary
gears driving it. When a third of a revolution has been completed,
the model will look identical to when it is in its starting position.
In this example, the input gear and each planetary gear has 12
teeth. The outer ring gear has 36 teeth. Each planetary gear,
therefore, must rotate three times, to make a complete circuit of
the outer ring gear. During this time, the input shaft must rotate
four times, made up of:
• One rotation to match the circuit that the planetary gears make
around the outer ring gear, plus;

• Three rotations to match the rotations of the planetary gears as

they circle around the outer gear ring.
Each planetary gear

rotates three times as it
completes a “circuit”
of the outer ring gear.
To match the planetary gears, the input shaft must complete four rotations,
for each complete circuit that the planetary gears make of the outer ring
gear. It must match the three rotations that the planetary gear makes as it
circles the outer ring gear, plus a fourth, to keep with the planetary gear as
it circles around the outer ring gear.
In this model, actors PLANET and BEARING have been copied to

create the remaining two planet gear assemblies. They were then
attached to the actor OUTPUT. Only one script entry is required
for each of PLANET and BEARING, and it is applied to all copies
of the actor.
To better understand how this sequence works, first inspect the

parameters that have been set. These are used in the scripting
equations for the actors.

➤ View the pre-set parameters

choosing Render > Animate from the Utilities menu.
2. From the settings box’s Settings menu, choose Parameters.
Animation
Parameters for
sample file

“plangear.dgn.”
Here, the last three parameters were developed from the first in
the list, vInput. In this first parameter:
360.0 * 4.0 — specifies the angle through which input shaft

rotates for a single rotation of the output shaft (four
revolutions).
/3.0 * maxFrame — only a third of a revolution of the output
is required, hence the total angle is divided by 3.0. It is also
divided by the built-in variable maxFrame to break the rotation
down into that for a single frame.
Referring parameters back to a common source reduces problems
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if changes ever have to be made. For example, to animate the
model for a full revolution requires only that the 3.0 divisor be
removed in the vInput parameter.
Notice in the scripting information for each of the actors that they
refer back to the parameters:
INPUT — vInput*frame
OUTPUT — vOutput*frame
PLANET — (vPlanet-vOutput)*frame
BEARNG — (vBearing-vOutput)*frame
When these equations are expanded:
INPUT = (4/3 * maxFrame) * frame

OUTPUT = (1/3 * maxFrame) * frame
PLANET = (-3/3 * maxFrame) * frame
BEARING = [(-20/35 * 3)/3 * maxFrame] * frame

Ignoring the common divisors and multipliers, it can be seen that,

for every four rotations of INPUT:
OUTPUT rotates one revolution.

PLANET rotates (in the reverse direction) three revolutions.
BEARING rotates (also in the reverse direction) 20/35 of the
three revolutions of PLANET (determined by the ratio of their
radii).
OUTPUT — rotates once for every four

rotations of INPUT.
BEARING — rotates 20/35 of that

Components of for PLANET (20/35 is the ratio of
“plangear.dgn,” their respective radii).
showing how they move
in the sequence. PLANET — rotates three times
for every rotation of OUTPUT.
INPUT — rotates four times for

every rotation of OUTPUT.
Outer ring remains stationary.
Universal joint
This example is contained in the sample file, “ujoint.dgn,” which
is installed in MicroStation’s
“…\workspace\projects\examples\visualization\dgn” directory.
It animates an assembly in which two parallel shafts are
connected, through universal joints, by an angled connecting
shaft. While the velocity of the input and output shafts are the
same, the connecting shaft moves at a non-uniform velocity. This

example can be hard to envision from written equations, but the

sequence makes it extremely obvious. It is a good example of
inputting a complex motion equation to produce the visual
simulation of the motion.

Model of assembly in sample file “ujoint.dgn.”
All actors, parameters, and scripting have been completed in this

file, ready for recording. While the first and third shafts rotate at a
constant rate, the connecting rod’s rotation is defined by the
relationship used to define the parameter angleConnect.
For this model, the following parameters are defined:
jointAngle — angle between the input shaft and the output
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shaft. In this model the angle between the connecting rod and
shafts at both ends is 60°.
vInOut — angle of rotation per frame, of the first and third
shafts, which rotate at the same rate, 360.0/maxFrame.
angleInOut — actual angle of rotation of the first and third
shafts, at any given frame. Defined as vInOut * frame. That
is, the rotation per frame, multiplied by the frame number.
angleConnect — the angle of rotation of the connecting rod,
calculated from the equation:
atan (tan (angleInOut)/cos(jointAngle))
When this sequence is recorded and played back, you will notice
the non-uniform rotation of the connecting rod, compared to the
input and output shafts, which rotate at a uniform rate.

Path Control and Camera Movement

You can script actors to move along a defined path. Likewise, you
can script cameras and their targets to move along defined paths.
In this way you can control both where a camera is located, and
where it is aimed.
Defining paths
To best learn how these features operate, work through the
following exercise, using the sample file, “defpath.dgn.”

“…workspace\projects\tutorials\visualization\dgn” directory,
open the design file, “defpath.dgn.”
This design should have views 1-4 open and oriented as Top,
Isometric, Front, and Right respectively. Levels 2 and 63
(only), should be turned on in each view (as shown below).
4. If necessary, open the Animation Actors tool box.
Sample design
“defpath.dgn.”

In this design the dashed line is the path around which you will
“throw” a boomerang. You will also script the boomerang,
parametrically, to spin as it moves around the path. For the
exercise, the boomerang actor is pre-defined, ready for use.
➤ Define the path for the actor

1. In the Top view, use the Window Area view control to zoom
in on the boomerang and the other end of the dashed line.

2. In the Animation Actors tool box, select the Define Actor Path
tool.
3. In the Define Actor Path settings window, double-click Brang.
The actor “Brang” highlights in each view.
4. Identify the other end of the path (dashed line).
5. Accept.
The Define Actor Path dialog box opens.
7. From the Velocity option menu, choose Constant.
8. Click OK.
The dialog box closes, and the script entry for the path is
added to the open script in the Animation Producer settings
box.
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4
“Brang” Defining the path for the actor

“Brang.”
To check that “Brang” has been attached correctly to the path

element, preview the motion.
➤ Preview the actor moving along the path

1. Use the Fit View view control to fit the Top view.
menu, choose View 1.


choose Preview.
The Preview Settings box opens.
4. In the Preview Settings box, turn off Clear View Between
Frames.
5. Turn on Animated Elements and Static Elements.
This ensures that both the animated element and the
stationary objects will display in the preview.
6. In the Animation Producer settings box, click the play button.
The actor moves around the defined path. Because the view is
not cleared between frames, you see the location of the actor
for each frame. This is useful for determining whether you
have defined sufficient steps to adequately animate the
motion, or to check for interference.
7. In the Preview Settings box, turn on Clear View Between
Frames.
8. Again, click the play button.
The actor moves around the defined path, this time with the
view cleared between each frame.
With Clear View Between

Frames turned off, each
frame is left displayed on
screen, until the next update.
With the boomerang’s path defined, the next task is to script it to

spin. You do this using parametric motion, where a formula
defines the amount of spin per frame.
➤ Script the boomerang

2. In the Script Actor settings window, double-click Brang.
The Script Actor dialog box opens.
4. In the Z Rotation field, key in 60*frame.

This will make the boomerang to rotate 60° per frame.

5. Click OK.
7The dialog box closes, and the script entry is added to the
6. Click the play button to preview the motion.
The boomerang spins as it moves around the path.

Double-click the actor
name to open the Script
Actor dialog box.
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Click the OK button to enter the
script entry in the Animation
With animations such as this, you may find it necessary to check

for clashes at various points in the sequence. You can do this
using the controls in the Animation Producer settings box, but
more flexibility is available with tools in the Animation Preview
tool box. Using these tools you can “freeze” the actors at any
frame in the sequence. With this tool, the actors move to their
positions for the selected frame number. Note that this is different
from previewing the motion, which is a display action only. After
previewing, when you update the view, it returns it to its original
state, with the actors in their original positions.

➤ Use the Freeze tool to check the animation

1. If necessary, open the Animation Preview tool box.
2. In the Animation Preview tool box, select the Freeze tool.
3. In the tool settings Current Frame Number field, key in 40
(press enter to complete the key-in).
The boomerang moves to its position for frame 40. This can
be seen in all views. Simultaneously, the Animation Producer
settings box updates to show frame 40 as the Preview frame.
4. Now, in the Current Frame Number field, key in 50.
The boomerang moves to its position for frame 50. This can
be seen in all views.
Using this method, you can quickly check for any interference.
✍ All actors are affected by the Freeze button, whether they are
visible in the view or not, and whether their level is displayed or
not.
Similarly, you can use the Animation Producer settings box to

freeze actors at particular frame numbers. Use this method to
return the geometry to its starting position.
➤ Return the geometry to the start position

1. In the Animation Producer settings box’s Preview field,
key in 0.
2. In the Animation Producer settings box, click the Freeze
button.
The boomerang moves back to the start position.
Other tools in the Animation Preview settings box let you quickly
examine the animation sequence in any view. Similarly, you can
step through the sequence frame by frame.
➤ Play the animation in different views

tool.
The animation plays in the selected view.
2. Enter data points in other views.
Entering data points in other views starts the animation
playing in the newly selected view. The View number updates
in the Animation Producer settings box.

➤ Step through the sequence

1. In the Animation Preview tool box, select the Preview Next
Frame tool.
2. In View 1, enter several data points.
The boomerang moves to the next frame number for each
data point.
3. In View 3, enter more data points.

For each data point, the boomerang moves to the next frame
number in the newly selected view.
Updating the views, returns the boomerang to its original

position. The preview tools are display only, no geometry is
moved. Only the Freeze tool moves the geometry to its position
for a selected frame.
In the previous example, you moved an object along a path. As

well you used parametric motion to animate the object as it
moved along the path. In the following exercise you will add a
camera view to the sequence.
Scripting cameras
You can script cameras to “film” the animation. Also, just like
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actors, you can script cameras to move along a path, while being
aimed at a target, which can be either stationary or moving.

1. Make level 1 the Active Level and, for each view, turn on the
display of levels 2, 62 and 63.
2. If necessary, turn on the view attribute Constructions for each
view.
4. In the Top view, use the Window Area view control to zoom
in on the area displaying the green circle, and the start of the
boomerang path.
➤ Create a camera
1. Open the Animation Cameras tool box.
You can do this by tearing it off the Animation Tools tool
frame (top right icon) or by selecting
Tools/Visualization Tools > Animation Cameras.

2. In the Animation Cameras tool box, select the Create

Animation Camera tool.
3. If necessary, from the Standard Lens option menu in the
Create Animation Camera settings window, choose Normal.
4. In the Cell Scale field, key in 30.
This makes the camera cell large enough to be readily visible.
The scale factor is dependent on the working units setup of
the design.
The camera cell is dynamically displayed.
5. Snap a tentative point to the center of the green circle at the
lower left of the Top view.
6. Accept.
The camera view cone is dynamically displayed, with the
target point attached to the pointer.
7. Snap a tentative point to the start point of the boomerang’s
path (the dashed line).
8. Accept.
The Create Camera dialog box opens.
9. In the Name field, key in cam1.
10. In the Description field, key in camera at start.
11. Click OK.
7
5 Creating the animation
camera.
Having created the camera, next you script it. This procedure tells
the animation process from which frame to view the action from
this camera.

➤ Script the camera

1. In the Animation Cameras tool box, select the Script Camera
tool.
2. In the Camera List, double-click Cam1.
The Script Camera dialog box opens.
3. If necessary, in the Begin Frame field, key in 0.00.
4. Click OK.

Double-click on the camera in the
camera list to open the Script
Camera dialog box.
Scripting the animation
camera.
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Now the camera is focused on the beginning of the boomerang’s
path from frame 1. That is, throughout the sequence, the camera
is aimed at the beginning of the path. In order to have the camera
follow the boomerang, you have to script the boomerang to be a
target.
➤ Script the boomerang as a camera target

1. In the Animation Cameras tool box, select the Script Target
tool.
2. In the tool settings Actor List, double-click Brang.
The Script Target dialog box opens.
3. If necessary, in the Begin Frame field, key in 0.

5. Click OK.
Scripting the camera

target.
➤ Preview the animation

2. Turn off all other levels in View 3.
menu, choose 3.
4. Click the play button.
Notice that view 3 becomes a camera view, displaying

perspective, and the camera now follows the path of the
boomerang as it flies around the scene.
For the final part of this exercise, define a path for the camera to
move along as it is “filming” the boomerang. The path already is
present in the design file, on level 61.
➤ Prepare to define the camera path

1. In the Top view, turn off levels 62 and 63.
2. In the Top view, turn on levels 1 and 61.
Along with the model, the camera and a large green arc,
which nearly circles the model, are visible.
You define a path for a camera the same way as for any other
actor.
➤ Define the camera path

1. In the Animation Actors tool box, select the Define Actor Path
tool.
2. In the Define Actor Path settings window, double-click Cam1.
The camera highlights.

3. Identify the arc at its endpoint (slightly to the left and above
the camera).
4. Accept the path.
The Define Actor Path dialog box opens.
5. If necessary, in the Begin Frame field, key in 0.
7. Click OK.

The dialog box closes, and a script entry is added to the open
script in the Animation Producer settings box.
Defining the end of path

for the camera.
Again, you can preview the animation. This time you will see that
the camera moves around the model as it follows the boomerang
in flight.
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✍ To record the animation, first turn on level 3, which contains a
shape representing the ground.
Target cells
Where there is no actor to use as a target for the camera, you can
create and script target cells using the Create Target and Script
Target tools in the Animation Cameras tool box. Targets are
special cells on which the active animation camera focuses during
a sequence.
Targets are useful also for creating walk-throughs. You can

control the direction of the camera by scripting a target for it to
follow.
Further examples
Two fully scripted examples incorporating animation cameras and
targets are contained in the design files, “hirise.dgn” and

“racecar.dgn,” both of which are installed in MicroStation’s

“…workspace\projects\examples\visualization\dgn” directory.
High rise building

In “hirise.dgn,” the thick yellow complex chain circling the
building is the camera path, while the single vertical line is the
path of a target.
Target path
Animation Producer settings box, displaying
script entries for sample design “hirise.dgn.”
Rendered image of the building in the sample

design “hirise.dgn,” showing paths for camera
(solid line) and target (dashed line). Camera path
Inspecting the script for this sequence, notice that the camera is
active from frame 0. The target also is scripted for the entire
sequence (frames 0-299). The path for the target, however, is
scripted for frames 99-299 only. That is, for the first 100 frames,
the camera moves along its path, focused on the stationary target.
From frame 99 (the 100th frame), the target moves (upward)
along its defined path. Thus, by the time the camera reaches the
end of its path, it is focused on the upper part of the building.
Racing car
In the “racecar.dgn” example, the car follows a path along the
road. Keyframes are used to turn the front wheels and steering
wheel, while the wheels’ rotation is controlled parametrically. The
default script, “racecar.msa,” shows the scene from the driver’s
viewpoint.

In all, three cameras have been created, as well as individual

scripts for each of the cameras. One of the scripts, “shiftcam.msa,”
incorporates all three cameras:
• one mounted on the car, and pointed forward to provide a

driver’s eye view — individual script “racecam.msa.”
• a ground level camera providing a spectator’s view at turn one
— individual script “crowdcam.msa.”

• a third camera providing views from above (a blimp or
helicopter) — individual script “skycam.msa.”
“Shiftcam.msa”
incorporates views from
all three cameras.
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Looking at the script entries in “shiftcam.msa,” the first camera,
CARCAM, is active beginning with frame 0. The second, CROWD,
viewed from the spectator’s viewpoint at the first turn, becomes
active at frame 40. At the same frame number, a target, BODY, is
scripted. Attached to the body of the car, it ensures that the
camera follows the racing car. The third camera, SKYCAM,
becomes active at frame 81 and again follows the target attached
to the car. The Velocity setting for each camera is Infinite, causing

Animating Materials and Lights
the sequence to cut directly from one camera to the next at the
specified frame number.
View from car Crowd view Skycam view

You can animate settings associated with material definitions, as
well as global and source lighting, but you must script each
setting individually. For example, if you want to change the color
and the brightness of a light source, you must script the two
settings separately. Similarly, you must script any material
definition settings separately. This allows you the flexibility to
change each setting at different points of the animation, if
required.
In the following exercises use the design, “animsets.dgn,” which

has the actor created and scripted. As well, most of the material
palette and assignments have been defined. In these exercises,
after assigning one of the materials, you then script the materials,
and the lighting.

directory, open the design file, “animsets.dgn.”
2. If necessary, open views 1 to 4, and rotate views 1 to 3 to be
Top, Isometric, and Front views respectively.
3. If necessary, make level 9 the Active Level, and turn on levels
10 to 13 in each view.

6. In the list box, select the saved view MOVIE.

8. Click Attach.
The saved view is displayed in View 4. This view will be used
for previewing and recording the animation.
Attributes.

10. Turn on Shadows, Transparency, and Pattern/Bump maps for
all views.
11. Close the Rendering View Attributes settings box.
Ray traced view of the

sample model used for the
exercises in animating
lights and materials.
16
This model is an advertising sign that oscillates through 90°. The
signboard is illuminated, from inside, by a single Area light source
that shines through the transparent front panel. To begin the
exercise, you add an image to the material definition for the front
panel.
You then animate this light, turning it on and off. Around the
edge of the sign is “fluorescent” lighting that is simulated, using
the edging material’s Ambient setting. You script this “lighting”
also to turn on and off, as well as to change color during the
animation. To complete the exercise, you script the image on the
front panel to be animated.
➤ Select a pattern map for the front panel of the sign

1. In the Rendering Tools tools box, select the Apply Material
tool.
2. From the Material option menu in the Apply Material settings
window, choose Sign-movie.


The Define Materials settings box opens.
4. From the settings box’s Shading option menu, choose Ray
Trace.
Because the material is transparent, ray tracing is the best
option for displaying it.
5. If necessary, from the Map option menu, choose Pattern.
6. Click Select.
7. If necessary, from the List Files of Type option menu, choose
JPEG (JFIF) [*.jpg].
8. Using the Directories list box, select MicroStation’s
“projects\examples\visualization\dgn” directory.
9. From the list of files, choose “ujoint01.jpg.”
10. Click OK.
The Select Pattern Map dialog box closes and focus returns to
the Define Materials settings box. The Replace button enables
because a change has been made to the material definition.
11. Click Replace.
13. Close the Define Materials settings box.

With the material definition changed, render view 4 again to see

how the change affects the image. Notice that now the sign has
an image of a mechanical model with universal joints.

Ray traced view of the
sample model with the
pattern map applied to
the “sign.”
Before continuing, preview the sequence to see how the sign will
move.
➤ Preview the animation
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The pre-defined script entries are displayed in the list box.
2. If necessary, from the View option menu, choose View 4.
3. Click the play button.
Animation Producer
settings box, displaying the
pre-defined script entries.
Notice that the sign remains stationary for a few frames, rotates
through 90°, then back to the starting position for the last few

frames. Looking at the script, you can see that this has been done
using two keyframes, START and ROT90.
Scripting source lighting

When you script settings for source lighting, each setting must be
scripted separately. For this example, script the sign’s internal
lighting to switch on and off.

1. From the Animation Tools tool frame float the Animation
Settings tool box (bottom left icon). Alternatively, select Tools/
Visualization Tools > Animation Settings.
2. In the Front view, turn on level 1 to display the enter data
fields of the Area light source.
These will make it much easier to identify the light source. If
they do not appear, turn on the view attribute Constructions
for the Front view (View 3).
Floating the Animation

Settings tool box.
First, script the light to turn on at the start. To do this you script
the intensity to change from 0 to 1 in the first 4 frames (frames 0
to 3).
➤ “Switch on” the light at the start

1. In the Animation Settings tool box, select the Animate Source
Lighting tool.
2. In the Front view, identify the Area light source.
The whole sign highlights because the Area light source is part
of the actor, SIGN.
The tool settings box displays the settings for “Light-316”, the
selected light source.
3. In the tool settings, in the Frame Number field, key in 0.
4. From the Interpolation option menu, choose Linear.

6. From the Setting option menu, choose Intensity.

7. In the Intensity field, key in 0.
Animate Source Lighting

Settings dialog box.

8. Accept the settings with a data point.
The script entry is added to the open script in the Animation
9. Repeat steps 2-8, but with Frame Number set to 3 and
Intensity set to 1.
This has scripted the light to be “off” at frame 0, and to power up

to full brightness by frame 3 (the 4th. frame). Next, turn it off at
the end of the animation.
➤ Script the sign’s light to turn off at the end

1. Again, as above, identify the Area light source.
16
3. If necessary, in the Intensity field, key in 1.
Intensity set to 0.
If you want to see the result at this stage you can record the
script. For a test recording like this, make the View Resolution a
small value (say 100 in the X Resolution field). The movie frames
will be small but rendering time for the frames is reduced. If you
record the script, make sure you set Shading to Ray Trace to get
the correct effects from the Area light source.
Scripting materials
If you checked your work so far you would have noticed that the
edging around the sign is very bright. This is due to the material
definition for the edging having an Ambient setting of 5, well

above “normal.” It is a simple way to give the effect of neon or

fluorescent lighting without using light sources.
Next, script the Ambient setting for the edging material so that it
too starts in the “off” position and turns “on” over 5 frames.
➤ Script the Ambient setting for the edging material at the

start
1. In the Animation Settings tool box, select the Animate
Materials tool.
5. In the Materials list select Sign-edging.
6. From the Setting option menu, choose Ambient.
7. In the Ambient field, key in 0.
Settings window for the

Animate Material Settings tool.

Ambient set to 5.
As you did with the lighting for the sign, you now do the reverse
to script the edging material’s Ambient setting back to 1 for the
end of the sequence.

➤ Script the Ambient settings for the edging material at the

end
1. If necessary, again select the Animate Materials tool.
5. In the Materials list, select Sign-edging.

6. From the Setting option menu, choose Ambient.
7. In the Ambient field, key in 5.
Ambient set to 0.
If you record the script at this stage, you will see the light for the
sign, plus the edging, go from dim to bright, the sign rotate
through 90° and back, and the lights dim again. As was
mentioned earlier, each setting for a light or a material has to be
scripted separately. Now, script the edging material to change
color.
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➤ Script color changes for the edging material
1. If necessary, again select the Animate Materials tool.
2. In the tool settings, In the Frame Number field, key in 0.
From the Velocity option menu, choose Constant.
In the Materials list select Sign-edging.
From the Setting option menu, choose Color.
When Color is chosen as the setting, a Color button appears.
This displays the current color of the material.
4. Click Color.
The Modify Color dialog box opens.
5. Use the controls in the dialog box to set the color to Blue (Red
0, Green 0, Blue 255 on the slider controls).
6. Click OK.

The Modify Color dialog box closes, and focus returns to the
tool settings box, where the Color button now is blue.
Clicking Color opens the Modify

Color dialog box.
8. Repeat steps 2-7 but with Frame Number set to 17 and Color
set to Red (Red 255, Green 0, Blue 0).
9. Again, repeat steps 2-7 with Frame Number set to 35 and
Color set to Blue (Red 0, Green 0, Blue 255).
This sets the color of the edging to be blue at the beginning,

changing to red by the halfway mark, and back to blue for the
finish. Only one more script entry is required, to “animate” the
universal joint that is displayed on the sign.
Scripting an “animated” material

Standard pattern maps are simply bitmapped images that are
applied to elements in a design. In the sample file, a rendered
image of the sample file, “ujoint.dgn,” is the pattern map that is
used for the sign material. In fact, this pattern map is frame 1 of
an animation sequence of that design. The remaining frames are
installed in the same directory. Their names include sequential
numbers.
You can use this sequence as a (moving) material in the current

design by specifying a Pattern Map increment. As there were 36

frames in the universal joint sequence, they will fit in exactly with
the open script.
➤ Animate the image on the sign

1. If necessary, select the Animate Materials tool.
3. In the Material list box, select Sign-movie.

4. From the Setting option menu, choose Pattern Map Increment.
5. If necessary, in the Pattern Map Increment field, key in 1.
That completes the scripting for this sequence. The script can
now be recorded. If you find that 36 frames does not provide
smooth enough motion, try scaling the script (choose Scale Script
from the Animation Producer settings box’s File menu). For
example, scale the script by a factor of 2.
Further example
Another example of this form of scripting is the sample design,
16
“poolanim.dgn,” which is installed in MicroStation’s
“\Workspace\projects\examples\visualization\dgn” directory.
Open this design and check the script entries in the Animation
Producer settings box. You will see that there are three entries for
frame 0, two entries for frame 14, and three entries for frame 29.
All entries apply to a single material, Water - trans, in the material
palette file, “poolanim.pal,” as shown below.
Frame
Setting Value
Number
0 Pattern X Size 1.00
Pattern Y Size 1.00
Pattern Angle 0
Pattern Y Size 1.05
Pattern Y Size 1.00
Pattern Angle 360

From this you can see that the pattern map is rotated through
360° during the course of the animation. At the same time, it is
scaled up between frames 0and 14, and then returned to its
original size by frame 29. The effect of these changes is to give
the water in the pool a realistic rippling effect.
✍ Ray tracing should be used to properly display the transparent

water material.
Ray traced image of the

pool in “poolanim.dgn.”

17 Tree View / Timeline Tutorial
This chapter introduces the Tree View and Timeline applications.
Introduction
Tree View and Timeline provide an alternative method for
reviewing and amending your animation scripts. Using Tree View,
you can quickly access all the components that may be animated.
Timeline lets you vary the beginning and end frames for the
various script entries, graphically. As changes are made, they are
reflected in the script entries of the Animation Producer settings
box. Similarly, any changes made via the Animation Producer
settings box are reflected in the Tree View and Timeline settings
boxes.
In the following exercises work with a sample design file

containing 3 cars that are scripted to travel around a race track.

“\Workspace\projects\tutorials\visualization\dgn” directory
open the design file “tvtltute.dgn”.
This design file has been saved with View 1, an Isometric
view, open. Levels 2 and 10 only, should be displayed.
2. From the Utilities menu’s Render sub-menu, choose
Animation.
The Animation Producer settings box opens.
Notice that the Animation Producer settings box has three “Path”
script entries, one for each of the cars in the design. The path

Introduction
element is located on level 63. Preview the animation to see how

they move around the track.
Isometric view showing the

track and the three cars.
➤ Preview the animation sequence

◆ In the Animation Producer settings box, click the Play button.
The three cars move around the track in unison.
You can vary the time taken for a car to complete a circuit by
changing the number of frames in which the path is traversed.
➤ Make the yellow car go faster

1. In the Animation Producers settings box, double click the Path
entry for “YCAR.”
The Edit Actor Path dialog box opens.
3. Click OK.
The script entry in the Animation Producer settings box
updates accordingly.

Introduction
4. Click the Play button.

The three cars move around the track, but this time the yellow
car completes the circuit far ahead of the other two. It finishes
at frame 30, while the remaining cars finish at frame 50.
Look now at another way to adjust animation scripts — using

Tree View and Timeline.

choose Tree View.
The Animator Tree View settings box opens. In the list box,
the file name appears next to the Bentley logo.
2. In the list box, click the Bentley logo (or double-click the file
name).
Tree View / Timeline Tutorial

The tree expands to display available categories.
3. Click the Actors icon (or double-click the word Actors).
The tree expands to display items for each of the actor cars.
4. Click the GCAR icon.
5. For the GCAR branch, click the Properties icon, followed by
the Path icon.
17
Looking at the tree, note the branch attached to the Path entry is
“Frames 0-50,” which is the path script for that actor. You can edit
this entry from the Tree View.

Introduction
➤ Edit the script entry, from the Tree View settings box
1. In the Tree View settings box, select the entry “Frames 0-50”
for the Actor “GCAR,” using the right mouse button.
A pop-up menu appears at the pointer location.
2. From the menu, choose Edit.
4. Click OK.
The entry in the Tree View settings box updates, as does the
corresponding entry in the Animation Producer settings box.
Editing the Path script entry from the

Tree View settings box.
5. Click the Play button to preview the changes to the script.

The three cars move around the track at different speeds.
You have seen how an existing script item can be edited from the
Animator Tree View settings box. Similarly, you can create a script
entry by selecting Add from the pop-up menu.
In the previous exercise, a number of keyclicks were required to

expand the tree to the required depth. There is a simple way to
go directly to the required level of information. First, compress
the tree back to the start point.
➤ Compress the tree

◆ In the Animation Tree View settings box, click the Compress
Tree button.
The tree compresses.

Introduction
To the left of the Compress Tree icon, is the Tree Expand Options
icon. You use this to select the depth to which the tree will
expand.
➤ Expand the tree to the Path Frames level

1. In the Animator Tree View settings box, click the Tree Expand
Options button.
The Tree Expand Options dialog box opens.
2. From the Options option menu, choose Expand to Frames.
3. In the All Actors section, turn on Paths.
4. Check that all other settings are turned off.

17
5. Click Execute.
The dialog box closes and the Animator Tree View settings
box displays the tree expanded to the Frames script entries for
the Path entry of each actor.
This is a quick method to display the relevant information for

every actor. However, other actor properties also are displayed.
For this animation, there is no need to display Target, Script and
Keyframes branches. You can turn these off with the Tree Filter
button. When Tree Filter is enabled, only those items that are
animated are displayed.

Introduction
➤ Turn on the Tree Filter

◆ In the Animator Tree View settings box, click the Tree Filter
button.
The tree updates to display only the Path and Frames for each
actor.
With the Tree Filter disabled, all items are displayed

(left) whether they are animated or not.
With the Tree Filter button depressed (right) the tree
displays only those items that are animated.
We have looked at editing a script entry using the Tree View

settings box. Another option is the Timeline settings box. First,
send the script entries to the timeline.
➤ Send a script entry to Timeline

1. In the Animator Tree View settings box, select the entry Path
for the actor GCAR.
The selected entry is highlighted.
2. Click the Send to Timeline button (in the Animator Tree View
settings box).
The Animator Timeline settings box opens. The script entry
for GCAR Path is displayed.
You can select multiple entries to send to Timeline also.

Introduction
➤ Send remaining script entries to Timeline

1. In the Animator Tree View settings box, select the Path entry
for RCAR.
The entry is highlighted.
2. Hold down the <Ctrl> key and select the Path entry for YCAR.
Both entries now are highlighted.
3. Click the Send to Timeline button.
Both entries are added to the display in the Timeline settings
box.
Timeline settings box

showing the script entries.

Where you want to send all valid script entries to Timeline, you
can use the Tree Expand Options function to select them
automatically. Before continuing and looking at this feature,
delete the current entries in the Timeline settings box and
compress the tree in the Tree View settings box.
17
1. In the Animator Timeline settings box, click the Remove All
Entries button.
All entries in the Timeline settings box are deleted.
2. In the Tree View settings box, click the Compress Tree button.
You can now expand the tree and select the action script items for
transferal to Timeline.
➤ Expand the tree and select the action items

1. In the Tree View settings box, click the Tree Expand Options
button.
The Tree Expand Options dialog box opens.

Introduction
2. If necessary, From the Options option menu, choose Expand

to Frames.
3. Turn on Select Action Items.
4. If necessary, in the All Actors section, turn on Paths.
5. Click Execute.
The dialog box closes. In the Tree View settings box, the tree
expands. All action items (Path entries) are highlighted.
6. Click the Send to Timeline button.
The highlighted entries are sent to the Timeline settings box.
Notice in the text column, at the left of the Timeline settings box,
is a description of each entry. This corresponds to the entry in the
Animation Producer settings box. For example, “GCAR Path” in
Timeline corresponds to “Path GCAR” in the Animation Producer
settings box. The right side of the settings box displays,
graphically, the entries. For example, “GCAR Path” is represented
by a red line running from frame number 0 to 40, corresponding
to the script entry. At each end of this line are handles, in the
form of small black squares. You use these to adjust the
beginning and end frame numbers for the script entry.
➤ Adjust the beginning frame script entry for GCAR

1. If necessary, in the Drag Precision field, key in 1.
2. If necessary, stretch the Animator Timeline settings box until
the frame scale displays frame numbers at intervals of 5.
3. For the entry GCAR Path, click and drag the left handle to
frame number 5. That is, click on the left handle and, while
holding down the data button, move the pointer to the right
until it is under frame 5.
The current frame number (and time) is displayed in the lower
left corner of the settings box.

Introduction
4. Release the data button to complete the change.

Notice that the entries in both the Animation Producer and the
Animator Tree View settings boxes changes accordingly.
Adjusting the beginning frame

number for “GCAR Path.”
Current Frame number

and Time is displayed as
you adjust the handles.
5. Using the same technique, change the finishing frames for the
cars, as follows:

GCAR to finish at frame 30
RCAR to finish at frame 25
YCAR to finish at frame 28
6. In the Animation Producer settings box, click the Play button
to review the animation.
Notice that the green car (GCAR) starts moving later than the
other cars. Both it and the red car (RCAR) take 25 frames to
complete the circuit, but GCAR starts and finishes 5 frames later.
You can move the entire path sequence in one operation, thus
changing both the beginning and end frame numbers. You do this
by clicking on the line between the begin and end frame handles
17
in the Timeline settings box.
➤ (Graphically) adjust the path script for GCAR

1. For the GCAR entry, click on the line between the handles and
drag it to the left, until the beginning is at frame 0.
Notice that the beginning and end frame numbers appear in
the message area in the lower left corner of the settings box.
2. Release the data button to complete the move.
GCAR now starts at frame 0 and finishes at frame 25.
Similarly, you can copy an entry. For example, copy each script
entry to make the cars do two laps of the track.

Introduction
Where the total frames exceeds that displayed in the settings box,
you first use the view controls in the settings box to display a
greater range.
➤ Zoom out the Timeline graphical display

1. In the Timeline settings box, click the “-” control button once.
The script displays update to display a larger range.
2. Reset to exit the zoom out function.
3. Use the scroll controls to set the display with zero at the left
end.
Timeline display after

zooming out the view and
aligning frame zero with
the left end.
➤ Copy the script entries

1. In the Timeline settings box, while holding down the <Shift>
key, click and drag (copy) the GCAR path entry to the right of
the existing entry.
2. Using the frame number display in the lower left corner of the
settings box, adjust the entry by moving it such that the
beginning and end frames are 26 and 51 respectively.
3. Repeat the above steps for the RCAR entry.
4. Again repeat for the YCAR entry, except that the range will be
from 29 to 57 for the copied path entry.
5. In the Animation Producer settings box, click the Play button
to review the animation.
Notice that the cars now complete two laps of the track.
Currently, the velocity of each car is constant. You can adjust
these settings also, from the Timeline settings box.
➤ Change the velocity setting for GCAR

1. While holding down the <Ctrl> key, click on the first half of
the line denoting the GCAR path entry.

Introduction

3. Click OK.
The dialog box closes, the selected section of the red line
changes to green in the Timeline settings box.
Colors are used to display the velocity setting for path entries.
You can display the key to these colors in the Timeline settings
box.
➤ Display the Velocity Key

◆ In the Timeline settings box, click the Show Velocity Key
button.
The settings box updates to display the key.

The Velocity Key
Previewing the sequence shows the green car starts slowly but
then catches the red car by the beginning of the second lap.
17
As you have seen, in this brief introduction, you can use Tree
View and Timeline to quickly and simply modify animation
scripts.

Index
A Button
check box 1-6
AccuDraw 12-14 in dialog box 1-6
Active Depth 7-14 Reset 1-12
Actor
attach one to another 15-9
create 15-3
C
manipulate 15-7 Cell 5-1
parametric motion 16-8 Active 9-24
path 16-19 designate Active 9-24
preview motion 15-14 place Active 9-24
script 15-12, 16-10 point 11-11
test range of motion 15-7 preview 5-2
animation cameras use as label 9-23
create 16-23 Cell Library 5-1
path 16-26 multiple 5-1
script 16-25 use of multiple 5-1
Animation Cameras tool box 16-23 Check Box 1-6
Apply Material tool 13-12 Circle 1-14
Arc Closed
by endpoint, center, and sweep angle 5-5 Tee Joint 4-6
Area light sources 12-23 Copy, area light source 12-30
copy 12-30 cos 16-17
create 12-25
visibility 12-27 Create
Actor 15-4
atan 16-17
Animation Camera 16-23
Attach design file 7-2
Reference File 6-2, 6-5 Custom Line Style
Attach Actor tool 15-9 define 11-5
Automatic Fill In Enter Data Fields 9-21 name 11-6
stroke pattern see Stroke Pattern
Cut
B All Component Lines 5-3
bump maps
add to material definition 13-19
apply to material 13-19
D
height 13-8 Data Point 1-11
select 13-7 Define
Actor Path 16-19, 16-26
Light 12-16
MicroStation/J Tutorial Workbook i-1

Index: E
DEFINE LIGHTS key-in 12-30 F

Deformation 16-2
Fence
Delete extend 6-7
Element 1-18 Stretch 6-7
Design File Field 1-6
create 7-2
save as to create backup copy 2-2 File
settings see Settings Group
Dialog Box
non-modal (settings box) 1-7 File Menu
Exit 1-22
Dialog Box Item (Control) 1-6 Save As… 2-2
check box 1-6
field 1-7 Fill In Single Enter Data Field 9-21
list box 1-7 Fit
option button/menu 1-7 View 2-3
Dimension Foot-candles 14-3
Element 9-5 Frame
Size with Arrows 9-3 count 15-20, 16-15
typical 9-9 number 15-12
Dimension Settings Freeze 16-3, 16-22
alignment 9-6
text location 9-14
Drawing Composition 10-2 G
attach view by folding 10-5
Global Lighting 12-1
create sheet file 10-2
ambient 12-2
flashbulb 12-2
E Grass 13-20
Groups > Edit 11-2
Element
delete 1-18
Selection 1-19 H
undelete 1-19
Element Mesh 14-6 Help
browse 1-16
Enter Data Field
contents 1-17
fill in automatically 9-21
display 1-18
EXIT 1-22 hypertext 1-17
Exit 1-22 search for keyword 1-17
Extend topics 1-17
fence contents (stretch) 6-7 tracking 1-18
window 1-18
Hypertext 1-17
i-2 MicroStation/J Tutorial Workbook

Index: I
I List Box 1-6

Lumens 14-3
Image > Movies 15-24
Lux 14-3
Input Focus 1-20
AccuDraw window and 3-2
Interpolation 16-1 M
Manipulate Actor 15-7
J Marble 13-27
Joint Material
multi-line 4-6 ambient lighting and 12-24, 16-36
apply 13-12
bump map see Bump Map
K color 16-37
copy definition 13-23
Keyframing 15-16 define 13-2
interpolation between frames 16-1 edit definition 13-10
preview 16-3 grass 13-20
velocity 16-1 marble 13-27
Key-in 1-19 pattern map see Pattern Map
preview application to element 13-10
script characteristic 16-36
L transparency 13-16
usage of existing definition 13-14
Light Source water 13-16, 16-39
animate 16-34
Material Palette
attenuate 12-31
default directory 13-11
back 12-17
brightness 14-3 Material Table
create 12-16 default directory 13-11
delete 12-20 maxFrame 16-15
fill 12-18 Menu
intensity 16-35 option 1-6
key 12-16
Point 12-16 MicroStation PowerDraft
scan for 12-21 buttons see MicroStation PowerDraft Buttons
script 16-34 start 1-8
setup 12-11 Motion
Spot 12-21 along path 16-19
standard setup 12-11 animation camera 16-26
Line 1-10, 3-2 hierarchical 15-11
delete 1-18 parametric control 16-8
select 1-19 preview 16-19
range of 15-7
Line String 1-13
Move
Line Style Reference File 6-5
custom see Custom Line Style
standard 11-3 Movie see Sequence

Index: O
MSA File 15-22 Preview

Multi-line actor motion 15-14, 16-19
cut all component lines 5-3 application of material 13-10
keyframe 16-3
material 13-10
O settings 15-14
Procedural Texture 13-22
Option Menu 1-6
3D 13-22
edit 13-27
edit values 13-27
P three-dimensional 13-22
Parameter Projection, three point 12-15
custom 15-20
define 15-20
Parametric Motion see Motion Q
Patch QUIT 1-22
brightest unshot 14-12
size 14-6
unshot 14-12 R
Path
radiosity solving 14-1
actor 16-19
light source brightness and 14-3
animation camera 16-26
maximum element sub-divisions 14-8
Pattern Map minimum illumination threshold 14-16
animate 16-38 monitor in progress 14-15
increment 16-38 samples 14-14
rotate 16-39 stopping conditions 14-15
select 13-7, 16-31
Radiosity, ray tracing and 14-1
weight 13-6
Ray Tracing, radiosity and 14-1
Place
Active Cell 5-2 Reference Files 6-2
Arc by Center 5-5 attach to active design file 6-2, 6-5
Circle 1-14, 1-18 move 6-5
Line 1-10, 2-9 scale 6-4
Line String 1-13 Render > Animation 15-2
Multi-line 4-4 Rendering > Radiosity 14-4
SmartLine 3-2
Rendering Database
Text 9-17
clear 14-15
Place Text 1-15 keep in memory 14-15
Point Rendering Settings
cell 11-11 view attributes 13-14
Reset
button 1-12
Rotate
pattern map 16-39

Index: S
S solar sequences 15-24

Spot light sources 12-21
Save As… 2-2
Starting MicroStation PowerDraft 1-8
Save, script 15-22
Stroke Pattern
Saved Views 10-1 dash stroke 11-7
Scale gap stroke 11-7
at which design is displayed see Zoom
Reference File 6-4
Scan 12-21 T
Script tan 16-17
Actor 15-12, 16-10 Text
animated material 16-38 editor see Text Editor Window
Animation Camera 16-25
edit 15-15 Text Editor Window
file 15-22 clear 9-19
keyframe 15-17, 16-4 Text Settings
light source 16-34 group component 11-9
material characteristic 16-36 Texture
parametric motion 15-12, 15-21, 16-10 multi-level interpolation 12-24, 13-21
save 15-22
Tool Box, Animation Cameras 16-23
Selection 1-18
Sequence, play 15-24
sequences. See animation sequences, flythrough
U
sequences 15-24 Utilities
Set Saved Views 10-1
Display Depth 7-18 Utilities menu
Settings Image > Movies 15-24
file see Settings Group Render > Animation 15-2
Settings Group
activate 4-3
component 11-3
V
create 11-3 Velocity 16-1
Settings Menu View
Groups > Edit 11-2 attributes for rendering 13-14
Settings menu magnification see Zoom
Rendering > Radiosity 14-4 rotation 7-23
Shadow View Attributes
boundaries 14-7 display depth 7-18, 7-22
solar 12-7 View Cone 12-15
Shot
effect of more 14-10
samples per 14-14 W
SmartLine 3-2 Water 13-16, 16-39

Index: Z
Window
Area 2-5
Select Settings 4-3
Z
Zoom
In 2-6
Out 2-6

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MicroStation/JTM

Bentley SELECT is a service mark of Bentley Systems, Incorporated.

Windows is a registered trademark and Win32s is a trademark of Microsoft

MicroStation® 95 1995 Bentley Systems, Incorporated.

©1997 HMR Inc. All rights reserved.

MicroStation Image Manager ©1997 HMR Inc.

Portions of QuickVision were developed by the CAD Perfect Development

Portions 1992-1997 Spotlight Graphics, Inc.

IGDS file formats 1987-1994 Intergraph Corporation.

Intergraph Raster File Formats 1994 Intergraph Corporation Used with

Portions 1992-1994 Summit Software Company.

All rights reserved.

MicroStation/J Tutorial Workbook iii

1. Your First MicroStation Session

3. AccuDraw and Other Drafting Aids

MicroStation/J Tutorial Workbook v

5. Working with Cells

6. Working With Reference Files

vi MicroStation/J Tutorial Workbook

10.Automating Drawing Production

11.Settings Groups and Custom Line Styles

12.Lighting for Rendered Images

13.Creating and Applying Material Definitions

MicroStation/J Tutorial Workbook vii

14.Introduction to Radiosity Solving

16.Animation Exercises and Examples

viii MicroStation/J Tutorial Workbook

Path Control and Camera Movement ________________________16-18

17.Tree View / Timeline Tutorial

MicroStation/J Tutorial Workbook ix

This tutorial is structured as a series of exercises that are meant to

MicroStation/J Tutorial Workbook 1-1

✍ You must have the “Visualization and Learning tutorials” module

Using the Mouse

MicroStation button Invoked by

The defaults are appropriate for a two-button mouse. If you are

1-2 MicroStation/J Tutorial Workbook

Your First MicroStation Session

Tool Settings window

MicroStation/J Tutorial Workbook 1-3

Design File Settings box

The window in which a keystroke will have an effect is said to

1-4 MicroStation/J Tutorial Workbook

Use these keys to “navigate” between windows:

Your First MicroStation Session

➤ To move the input focus from one window to another

Using Dialog Boxes and Settings Boxes

MicroStation/J Tutorial Workbook 1-5

Menus in dialog boxes and settings boxes

File menu in dialog boxes used to open files

Directory menu in dialog boxes used to open files

The numbered directories include the directory or directories

1-6 MicroStation/J Tutorial Workbook

• A field is an area into which you can key in text or numbers. In

Your First MicroStation Session

✍ The shape of the button is dependent on the windowing system.

If a button in a dialog box is outlined, it is the default button;

MicroStation/J Tutorial Workbook 1-7

Exercise: Starting MicroStation

➤ Start MicroStation (Windows)

➤ Create a design file

If you are using The Data button is