Student Example

Michael Raymond studied Industrial Design at Coventry University in the U.K. He worked on this project in a very instinctive, sculptural way using sketches and modeling clay. When moving into Alias, decisions needed to be made about the size and position of the 3D elements. The technical and ergonomic requirements had a significant impact on the details of the designseat depth and height for example. The challenge when developing your designs into 3D models is to incorporate all the dimensional constraints while holding onto to the character of the initial concept. This lesson introduces you to the techniques and tools in Alias to create geometry to accurate dimensions.

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For a phone design, you will typically be given the following constraints: Overall dimensions an X, Y, and Z bounding box Internal engine either a full model of the internal components or a dimensioned outline Screen size defines the screen area and the part of the casing that needs to be flat or nearly flat Market pressure demands that more and more functionality is incorporated into a phone (camera, mp3 player, and so on), while keeping the overall package as small as possible. This means your creative work is highly constrained by the dimensional requirements. In an Alias model, you can start the design by creating a outline bounding box for the external and screen constraints. These types of guiding bounding boxes are useful for all types of consumer electronic design.

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For a vehicle design, the initial constraints for exterior concept design will be: Overall Dimensions an X, Y, and Z bounding box Track the distance between the right and left wheel centerlines Wheelbase the distance between the front and rear axle centerlines Tire and Wheel Sizes often a mix of imperial and metric dimensions!

As the exterior design develops, other dimensional constraints will need to be taken into consideration: Side Window Cylinder or Barrel the technical requirements of rolling down the windows require them to be cylindrical or barrel shaped Package fitting the passengers and payload into the exterior design

Note that by convention, the grid origin is placed at the center of the front axle, and dimensions may be given from this point.

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For packaging design, the ergonomic and marketing constraints are added to technical requirements, making what initially seems to be a simple design problem into a very complex iteration between competing constraints: Neck Diameter often to fit a standard cap size Volume this can only be measured after the design has been modeled Footprint important for co-modularityhow many packs can fit into a standard cardboard box for distribution Height the pack will need to fit on standard supermarket shelves and have shelf impact compared to competing brands Label Area important for branding and shelf impact Handle Size for handled bottles, the ergonomic requirements need to be met Blow Ratio blow molding technologies require, for example, a handle to have no more than a 2:1 width-depth ratio

The complexity of a shampoo bottle is much less than a vehicle design. However, satisfying all these constraints while maintaining an aesthetically pleasing design is a highly complex problem-solving activity.

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Short Cut
A short cut to setting up the units is to choose one of the Construction Presets. All of the presets automatically set the units to millimeters and degrees. If you are doing a design project, choose General CAD Settings. If you are doing a modeling project that will need to be transferred into an engineering CAD system, choose the appropriate setting.

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Be Careful of Grid Subdivisions

Setting a sub-division will make your grid too fine, and you may snap to the wrong points. So, leave the sub-division setting at 1.

Window Display>Window Sync

Coordinates the scaling of the 2D windows so that the grids are viewed at the same scale

Toggle Grid On/Off

Can be found either on the Window Display menu or on the top of each window

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Absolute dimensions are always measured from the 0,0,0 origin.

Relative dimensions are measured from the last point specified.

r-20,0,0 a0,30,0 a20,30,0 r0,10,0

r0,20,0 a20,20,0

a30,20,0

r-10,0,0

0,0,0

a30,0,0

Start 0,0,0

r30,0,0

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Primitives are created at an initial size of 100 units, and the unit can be set using Preferences>Construction Options. So, if millimeters is the chosen unit: A cube will start at a size of 100mm3 A sphere will start at a diameter of 100mm

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Examples of Duplicated Objects

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Keypoint Curves
Keypoint curves retain more information than other curves. For example, a keypoint arc has edit points and CVs just like a normal curve, but it also has a radius, sweep angle, and center pointall of which can be edited. During editing, the arc stays an arc. It will not lose its shape from keypoint editing.

Keypoint Curves Are NURBS Curves

Each keypoint curve is a normal NURBS curve with CVs and edit points. The CVs are not displayed by default, only the keypoints.

You can choose to display the CVs, but, if you move them, the curve will lose its keypoint functionality.

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Information Window Transform Info

The section of the Information Window that you used for primitives is not very useful with keypoint curves. When a new curve is created, it is considered to be of size 1 and position 0, regardless of its actual length.

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Curve Fillet or Surface Round?

A decision you will need to make when modeling is whether to create rounded edges with curves or later with a surface tool. Often a design is initially built as surfaces without the rounds/fillets. It is easier and quicker to modify, and it can also be easier to judge the proportions and lines of a design. The rounded edges will then be applied to the surfaces using the Round or Surface Fillet tools (covered in a later lesson). This is sometimes called building to theoreticalsthe sharp edge being the theoretical intersection of two surfaces without the rounded edge.

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When there are touching surfaces, keep the mouse button held down and drag to the black finger . While holding the mouse button held down, drag to the end of the surface.

Other Tools for Working with Locators Pick>Locator

Locators>Move Locator

Delete>Delete All Locators

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Other Tools that Can Change the Style of the Image

Toggle>Hidden Line To make the surfaces appear solid Control Panel>Display>U and V To turn off the internal isoparms of surfaces Diagnostic Shading Use the transparency and specularity sliders to adjust the intensity of the shading Window Display>Smooth To apply anti-aliasing to the lines and surface boundaries Object Display>Draw Style To adjust line thickness

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Tools: File>Import>Canvas Image Windows>Editors>Canvas Layer Editor Windows>Editors>Construction Plane Editor Control Panel Transparency

Sketching within Alias

If you have graphics tablet attached to your computer, you can use the Alias Paint tools to sketch directly onto a blank canvas.

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Two Ways to Model in Alias: 1) Direct Modeling Sculpting from Primitives

It is possible to start with primitive shapes (spheres, cylinders, and so on), turn on the CVs, and sculpt a shape to create your design. This approach works well for very organic, freeform shapes.

2) Curves and Surfaces

For more structured shapes, it can be easier to define the design in terms of character linesthe main curves that specify the character and shape. Surface operations, such as revolve or extrude, are then applied to the curve to create a disciplined, controllable shape.

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Or Only One Type of Curve?

All curves and surfaces in Alias are NURBS curves with CVs. Some curve types have additional functionality. The keypoint curves have extra handleskeypoints. The keypoints enable them to retain their geometric constraints as you work with them. You can turn on the CV points for a keypoint curve, but, if you modify the CVs, you will lose the keypoint functionality.

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Controlling the Display of CVs and Other Controls

Control Panel Display Object Display>Control

Control Panel Transparency

Object Display>Draw Style

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Recommended Technique
Skilled Alias modelers will tend to create a curve using two edit points and then pick and move CVs to create the desired shape. Whichever technique you use, you should aim to keep the number of CVs to a minimum in order to create a smooth, controllable curve.

Other Curve Tools

The New Curve (sketch) tool attempts to create a goodquality curve from a stroke. Not used for serious modeling. The Text tool creates a group of curves for each letter. Standard fonts are available by opening the option box.

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For Good-Quality Curves:

Dont have one CV exactly on top of another one. Dont have more CVs than are necessary to create the shape.

Dont let CVs zig-zag so that hulls cross each other.

Be careful, sometimes zig-zag hulls are difficult to spot.

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More on Accurate Circles

There is an additional setting that affects the accuracy of circles, primitives, and revolved surfaces. In the Construction Options, you can set Rational Flags to on or off. It is recommended that you work with the General CAD Settings to ensure that Rational Flags are set to off.

For more information, refer to page 8 of the StudioToolsConcepts.pdf.

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Using the Query Edit Tool The Object Edit>Query Edit tool can be used to get information about an object on the screen. Use the right mouse button to select the object, and an information box will appear for as long as the mouse button is held down.

Multi-Knots Multi-knots are zero-length spans, meaning you have the equivalent of many CVs in the same place. This will give a sharp edge to a curve but is not recommended for quality modeling. Use separate curves instead.

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Plug-In Use Utilities>Plug-in Manager to choose the globalCrvIntersect plugin. The tool will be installed into the Curve Edit menu.

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To create real geometry from the symmetry, first select the layer by clicking on the layer tab. Then use the Create Geometry tool on the Layers menu.

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NURBS Surface Structure

When weaving a fabric or a basket, there are two directions that create the structure of the material: the warp and the weft. A NURBS surface is structured in a similar way with the two directions being the U and V parameters.

Degenerate Points
It is possible to cheat and collapse one edge to zero-length. This will cause a degenerate point (where lots of CVs are in the same position). This is used to create the top and bottom of a sphere, but it is generally not recommended if you want to create good-quality, controllable surfaces.

Periodic Surfaces
Cylinder surfaces or curve circles are called periodic because the start is joined to the end to create a continuous curve or surface.

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Draw Curve
You will typically work in one of the 2D windows to create curves. Use the Curves>New Curve (CV) tool to trace out the curve shape with CVs.

Create Surface
After analyzing the shape and choosing which surface tool to use, apply the surface tool and follow the prompts on the Prompt Line to select the curves correctly.

Modify with Construction History

To maintain the surface logic (for example, a revolve operation), modify the curve, and the surface shape will update due to construction history. If you select the curve, the surface will be highlighted in pink, showing that it is connected to the curve by construction history.

Model Directly
An alternative is to break the construction history connection between the curve and surface by picking the surface and using Delete>Construction History. Then turn on the CVs for the surface using the Control Panel and pick and move CVs on the surface to sculpt the shape.

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Primary Surface Tools

The Planar, Skin, Revolve, and Extrude tools are your main tools for creating simple primary surfaces.

The Rail and Square tools are advanced surfacing tools, which can be used in two ways. For primary surfaces, they can be used to create complex shapes from many curves.

For secondary surfaces, they can be used to create blended surfaces between surface patchesto create a smooth, organic design. This technique will be covered in a later lesson.

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Planar Surfaces
The word planar means that the surface is flatall points on the surface lie in one plane. If the curves are not planar, the surface wont be built and you will get an error message:

Example of Planar Surfaces

On this rear view of a drink dispenser, the flat surfaces (shown in red) with a complex outline are created using the Planar tool.

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Tangency
If your revolve profile goes to the center of rotation, you need to line-up the first and second CV to achieve a smooth surface.

Degenerate Point
All the CVs will meet at a point at the top of the surface, giving a degenerate point.

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Skin 2 Curves
Creates a ruled surface that curves in only one direction.

Shift Pick
For skinning between more than two curves, use the Shift key to select the curves.

Skin Options
The Skin tool is one of the easiest surface tools to use, and you normally wont need to open the option box. Use the Help menu to find out how all the options can be used.

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Setting Up
For the Extrude tool to give a good result, you need to place the Generation curve at the start or end of the Path curve.

Extrude Options
Extrude is a simple tool, and you normally wont need to open the option box.
Caps can be created at the start or the start and end. These will be the same as a Planar Surface.

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How to find Mono-Rail

The Bi-Rail and Mono-Rail tools are integrated into a single Rail tool. When Alias is started, the default setting for Rail is two Rail curves, and so the icon is shown as a Bi-Rail. Simply double-click to open the option box and change the number of rails to one. The icon will then change to a Mono-Rail.

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Bi-Rail
The Bi-Rail tool will send one or more Generation curves along two Rail curves, like a train going down a track.

The Bi-Rail Tool Needs Accurate Curves:

Generation curves and Rail curves need to meet exactly at the corners. Use Point snapping or Curve snapping to make sure they connect. If the curves dont meet, you will get an error message:

Recommended Workflow
You will get better results if you choose:

Longer curves as the Rail curves

Shorter curves as the Generation curves

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Fewer Curves: Pure, Taut Surfaces

When Rail is used as a Mono-Rail, it will create simple, disciplined surfaces that will give good highlights. The disadvantage is that it is not possible to control all the edges, and so it is likely you will need to do additional trim work or modify edges.

More Curves: More Control

When the Rail tool is used as a Bi-Rail, it can follow more curves.

If you do more work at the beginning by creating more curves, then the surface will be more defined and more controlled. However, for this to be successful, you will need to be careful to keep your curves well-designed, so as not to create wobbles or strain in the surface.

Analyzing a Design
Analyzing a design to decide how many curves to draw and which surface tools to use is a skill you will gain with experience.

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Square Versus Bi-Rail

The Square and Bi-Rail (2gen) tools will give very similar results, and, in many cases, it doesnt matter which tool you use. In general, the Square tool is better for roughly square profiles, whereas the Bi-Rail tool will give a better result for long, thin surfaces.

Bi-Rail Emphasizes Generation Curve Shapes

The Bi-Rail tool will emphasize the shape of the generation curves more than the shape of the rail curves.

Square is Democratic
The Square tool treats all four curves equally. There are many differences between the two tools, but these only become important when you are using them for the more advanced tasks, such as blending between surface patches. These differences will be covered in a later lesson.

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This car model was created by Bing Lin, a first-year student. He spent three days learning the basics of Alias and then spent 2-3 days on this project. Bing was very quick at learning and was using Alias full-time. So you may not be able to create such a complex model at this stage of your learning. However, dont be worried about making every surface perfect. Have fun and be ambitious with your modelingyou will learn as much from your mistakes as you will from your successes!

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In automotive design, it is common to break up the surfaces into single spans to ensure smoothness and controllability.

In product design, it is common to have multi-span surfaces but still try to keep the number of spans to a minimum.

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If you need a particular number of CVs to match a shape, how do you get the right number? In the Control Panel, there are two ways:

Changing the Degree

The degree is a mathematical property of a curve that determines how many CVs are available for modeling. Degrees 1 7 are available in Alias.

Changing the Number of Spans

You can have as many spans as you want in a curve or surface. The spans are curve or surface segments that are joined together to create more complex shapes.

Which Method to Use?

For example, if you want five CVs to create a shape, do you increase the degree to 4 or the number of spans to 2?

For smooth curves, increase the degree instead of spans.

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Curves

Surfaces

Span

Edit Point
Points showing the number of spans in a curve

Isoparm
Lines showing the number of spans in a surface

Span

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Using the Curve Curvature Locator

When applying the locator, use the mouse buttons to adjust the display. Click and drag with the middle mouse button to increase the number of samples.

Click and drag with the left mouse button to increase the size of the comb plot.

To delete the comb plot, use Delete>All Locators or Pick>Locator and Delete.

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Where Does the Degree Number Come From?

If you write a mathematical equation for a curve, it will look something like:

y = 23 + 4x +18x2 + 10.5x3
The highest power3 in this equationis the degree of the curves. So, an equation such as:

y = 3x
Is x to the power of 1, and thus describes a degree 1 curve. More complex equations have more mathematical terms, and that is why they can support more CVs and a more complex shape.

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As you gain more experience, you will be able to predict what degree of curve you are likely to need for a particular shape. A typical workflow is to use an edit point curve and choose the degree you think you will need. Place the edit points at the start and end of the curve, and then move CVs to create the shape. Increase or decrease the degree of the curve as necessary.

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Degree 3 is a good starting point for most designs.

Reducing the Degree

This is useful if you want to keep the surfaces pure and simple and keep the number of CVs to a minimum. A single-span degree 3 curve is planar, which means it cannot twist in 3D space. Many designers like the discipline this curve will give to shapes. It also has an advantage over a center line because it gives you a single center CV.

Increasing the Degree

Only increase the degree if you cannot achieve the shape you require and you need more CVs.

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Explicit Control
Some surface tools have an Explicit Control option. This allows you to override the parameterization created by the surface tool.

This is an advanced option and should be used with caution until you have more experience with the bi-rail and square tools.

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Creating a Curve Using CVs

When using CVs to create a curve, you will trace around a shape. The resulting curve will only approximately match the shape because the CVs dont lie on the curve. Therefore, after creating the curve, you will have to continue to pick and move CVs to achieve the final shape. There is a tendency when using this method to create more CVs than necessary to achieve the shape, which means more work!

Creating a Curve Using Edit Points

Most users initially create a curve using the edit points. The curve is created with just two mouse clicks, and a single-span curve is created with the minimum number of CVs. You will need to pick and move CVs with both methods to achieve the final shape, so this creation method is quicker. If you need more CVs to achieve a complex shape, you can use the rebuild section in the Control Panel to increase the number of spans (or degreecovered in a later lesson).

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Object Edit>Attach
The Attach tool will always change the surface shapesometimes quite dramatically! Only use Attach at an early stage of modeling when you are still moving CVs to sculpt a shape. Only use the Blend option for Attach. Connect will create multi-knots, which will cause problems with further modeling.

Save Before Detach and Attach!

Always save your model before doing Attach or Detach as they cannot be undone once you continue modeling.

Snap to Isoparm Snap to half-way between Isoparms

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Object Edit>Offset
Adjust the Max. Spans Factor to get the best balance between dimensional accuracy and good parameterization. A value of zero keeps the parameterization the same as the original.

Object Edit>Insert
Use this tool carefully. You will generally get better results using the Control Panel rebuild to increase the number of isoparms and spans in a surface.

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More tools:

Information Window
The information window will give you X, Y, and Z position information for selected CVs. This can be useful if one CV has moved out of alignment.

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Advanced tools:

Symmetric Modeling Version 2010

A new tool in Alias version 2010 works with the layer symmetry to automate the update of CVs across a center-line.

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If the curve is not already symmetric, the tool modifies the controls to make it symmetric. The position of the controls from the beginning of the curve are applied to the symmetric partners at the other end of the curve. Click the Flip Master Side button to have it work the other way around. A yellow symmetry plane is displayed. This plane corresponds to the default symmetry plane for the layer the object belongs to. You can modify it by using Layers>Symmetry>Set Plane. Pick one or more CVs on one side of the curve. Blue circles appear around the corresponding CVs on the symmetric half. Move the CVs. You can use any transformation tool, such as Transform>Move or Control Panel>Move CV.

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PROJ This mode moves CVs in the direction of a hull line or a vector or constrains the movement to a reference plane. SLIDE This mode moves CVs along their respective hull. Mode CV/Hull are submodes. CV Allows you to select and move individual CVs. Hold down the key to select more than one CV while within the tool. HULL Allows you to select a hull line as a way of selecting and moving all CVs on that hull line at once. You can still add other hull lines to your selection by holding down the key. (Lock) X, (Lock) Y, (Lock) Z Click the boxes to lock the movement of the CV along the X, Y, and/or Z axes. When you click the check box, a small lock icon is displayed to show that the CV is locked in that direction. This option only appears when Mode is set to XYZ. Step Size Check this box if you want to move the CV in increments of a given size, for example, 0.001 units. Enter the step size value in the text field.

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The Scene Block Diagram Window

The Scene Block Diagram window has been mostly superseded by the Object Lister. However, it is useful for understanding the structure of objects in Alias.
The X, Y, and Z translate, scale, and rotate information of the object is stored in the brown node. The X, Y, and Z translate, scale, and rotate information of the CVs is stored in the blue node.

Two things to remember when using instances for design:

You must work on the CVs of the curve or surface (the blue node) for the changes to ripple through to the duplicates. Scaling or moving the object (the brown node) will have no effect.

Once your design is finalized, it is better to create real geometryeither by expanding the instances (using Edit>Expand Instances) or deleting the instances and duplicating them again using the copy option.

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Setting Up Your Own Marking Menus

Use Preferences>Interface>Marking Menus to open the Marking menu shelf:

Drag tools onto the Marking menu from the palette or the menu using the middle mouse button. Rename tools using Ctrl and double-click on the icon; type in the new name in the pop-up box.

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I use very few curves in my modelingto me they are a redundant and constraining method in the sense that the investment in a multi-surface model reduces design freedom and working speed. I now also use Alias as a concept tool in much of my design workoften without even a clear idea of where I am going when I startI just let the software take me somewhere in the same way I would sketching on paper. Working with CVs is definitely a skilled exercise and requires good spatial concepts. Nevertheless, the secret is staying with it and not being afraid to ditch first attempts when they are not on the right track. Even with my experience and confidence in this approach, I will typically have two or three false starts before I find the optimum foundation for a complex model. The primary surface primitive has to have just the right number of CVs/hulls. The right number provides the detail neededtoo many makes it more difficult to provide a high-quality surface with even tension. Sometimes I use tools such as Insert Isoparm if in a tight spot but try very hard to get the optimum starting surface. Adam Laws Adam Laws Pty Ltd Sydney NSW AUSTRALIA

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Complex designs need to be built up from many surface patches. The relationship between these surface patches will give the design its character. Positional Continuity This is where surfaces meet at an anglea sharp edge. Positional continuity is important if you need a closed model that represents a solid object. This can be transferred successfully to another CAD system, have a volume calculated, or be tessellated to create a rapid prototype. Tangent Continuity This is the kind of continuity created by rounds or fillets. The join between the two surfaces is smooth, but, visually, you can see where one surface ends and the other one starts. There is a highlight linethe sort of line you would draw with a soft white pencil in a hand rendering.

Curvature Continuity With curvature continuity, the join between the surfaces is smooth to touch and to seeit is hard to tell where one surface starts and the other ends. G0, G1, G2 These are standard terms used for the continuity conditions.
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The Align Tool The Object Edit>Align tool can be used to align curves and surfaces with positional, tangent, or curvature continuity. A construction history relationship will be created so that continuity will be maintained while the curves or surfaces are modified. The Align tool has been used in this example to show how CVs are used to achieve the three levels of continuity. Understanding how CVs relate to continuity is important for trouble-shooting some of the advanced blending tools that you will use later in this course. Continuity and CVs Positional continuity requires the first CV of the aligned curve to be in the same position as the end CV of the curve being aligned to. Tangent continuity requires the second CV of the aligned curve to have a straight-line relationship with the second CV of the curve being aligned to. Curvature continuity requires the third CV of the aligned curve to be in a constrained relationship with the third CV of the curve being aligned to.

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Continuity and CVs Positional Continuity

The end points meet exactly, but the direction of each curve is different as shown by the break in the comb plot.

Tangent Continuity
The end tangents of the curves are matched, meaning that the curves have the same direction at the point they meet. A round or fillet on a straight edge is smooth but clearly has a jump in the curvature as it transitions from flat to a radius.

Curvature Continuity
Just as the curve directions match, the radius value is also matched so the rate of change of direction is the same. This gives a smoother result.

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Align Tool Options

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Diagnostic Shading
The Diagnostic Shading in the Control Panel is designed to analyze the surface quality. The Zebra Stripe shader simulates the technique used in automotive design where a model is placed under strip lights. By changing your view, you can assess the quality of the highlights.

In Alias, you will tumble the model under the zebra stripe reflections to get the same effect.

Choose horizontal or vertical stripes as required to assess your model.

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Surfaces:

Curvature at both ends: six rows of CVs

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Measuring Continuity Evaluate>Continuity>Surface Continuity

Open the option window to set the level of continuity you want to check. Click Go, and then click on the join between two surfaces. A green locator indicates that continuity has been achieved. A yellow locator indicates a continuity problem.

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Using Align
There are two ways of using the Align tool:

1. Freeform Sculpting
When sculpting a fairly free shapecosmetics bottles for exampleAlign can be used successfully to create the main shapes for the design.

2. Patching and Blending

To use the Align tool for patching and blending surfaces on all four sides, you will need to use advanced modeling techniques covered in a later course. It is easier at this stage to use different surface tools to achieve complex blends. These will include the Surface Fillet, Freeform Blend, Bi-Rail, and Square surfaces.

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The basic operation of the Surface Fillet tool was covered in the Intersecting and Trimming lesson.

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Filleting Multiple Edges

The Surface Fillet tool will create a blend surface between one set of surfaces and another set. Each set of surfaces must be tangent continuous for the fillet to work.

Max Surf Spans

If you are building a complex fillet, you may get a warning about Max Surf Spans. If you are building a concept model, you can ignore this warning. If you are planning to export your data to a CAD system, there may be a problem with stitching the surfaces together as a solid model.

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Flow Control and Continuity

Occasionally, choosing different flow control options can affect the continuity. To check, turn on the Continuity Check option in the Surface Fillet tool.

Green means continuity has been successfully achieved; yellow means there is a continuity break.

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Shape
The Shape slider gives you some limited control over the blend shape.

It provides control over the looseness or tightness of the blend surface. If the value is greater than 1.0, the result is a blend that fits tighter to the corner of the input surfaces; if the value is less than 1.0, the result is a rounder blend that fits closer to the edges of the surface.

0.1

0.5

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