What is SubD Crease?

SubD Crease introduces weighted creases to Rhino, these allow for soft, defined transitions to be added to a SubD form without increasing complexity.

What’s in our SubD Crease Video Tutorial?

In this Simply Rhino video Phil Cook, our Senior Rhino trainer, starts by explaining the new command on a simple example and comparing this to the older Rhino 7 workflow, before moving on to a practical example of an automotive sketch model. Here, Phil demonstrates adding and controlling character lines to the model and how the new SubD Crease command allows for easy iteration at the design stage. There’s also some general tips on SubD layout and creating a custom display mode.

Watch the Rhino 8 SubD Crease Video

ShrinkWrap and Rhino for Mac Speed Enhancements

Rhino 8 offers other new features and commands, you can watch our ShrinkWrap video, or if you’re looking to use Rhino 8 on the Mac platform then we trust you’ll enjoy our Rhino 8 for Mac Speed Enhancements and Interface Updates video.

Find Out More About Rhino 8 and Expert Rhino Training

• Visit the Simply Rhino Website and find out more about Rhino Software
• Learn Rhino with a Certified Rhino Course
• Contact the Simply Rhino Experts
• Buy your Rhino License Online – for those looking to buy Rhino Online

Simply Rhino are the UK’s Favourite Supplier of Rhino Software and Rhino Grasshopper Training.

The post Rhino 8 – SubD Crease Video Tutorial appeared first on Rhino 3D.

What is ShrinkWrap in Rhino 8?

The ShrinkWrap command creates a watertight mesh from geometry that is less than optimal. Any combination of surfaces, solids, meshes or SubD’s – whether they are open or closed – can be used. ShrinkWrap will also create meshes directly from a point cloud.

What is ShrinkWrap ideal for?

ShrinkWrap is the tool you could reach for within Rhino 8 to create:

• Meshes for 3D printing
• A solid union mesh from multiple objects
• A solid mesh from 3D scan data fragments
• Meshes without internal self-intersections
• Offset meshes for shelling
• Meshes from point clouds when reverse engineering
• Valid closed meshes from broken or often hard-to-repair geometry

ShrinkWrap Video Tutorial

In this Simply Rhino video Phil Cook starts by looking at the basics of the ShrinkWrap command before looking at two specific examples both of which are based on real-life customer examples.

Watch the Rhino 8 ShrinkWrap Video

More New Features and Commands of Rhino 8

We hope you enjoyed our ShrinkWrap video, another feature of Rhino 8 that we take a deep-dive in to is SubD Crease, and if you’re looking to use Rhino 8 for Mac then you will find our Rhino 8 for Mac Speed Improvements video useful.

Find Out More About Rhino 8 and Expert Rhino Training

Simply Rhino are the UK’s Favourite Supplier of Rhino Software and Rhino Training. If you’d like to find out more then you have several options:

• Visit the Simply Rhino Website and find out more about Rhino Software
• Learn Rhino with a Certified Rhino Course
• Contact the Simply Rhino Experts
• Buy your Rhino License Online – for those looking to buy Rhino Online

Simply Rhino are the UK’s Favourite Supplier of Rhino Software and Rhino Grasshopper Training.

The post Rhino 8 – ShrinkWrap appeared first on Rhino 3D.

This new quad mesh command (QuadRemesh) can create a quad dominant mesh from any input object – Surface, Polysurface, Sub-D or existing Mesh – and provides an extremely efficient way of reverse engineering existing data particularly given that it can convert directly to SubD.

We’ll also look further at SubD workflows, a subject we started looking at in our previous video ‘An Introduction to SubD (SubDivision Surface Modelling) in Rhino v7 WIP’. You can watch that SubD video here.

In this QuadRemesh focused video the functionality and command options of QuadRemesh are shown in detail before Phil moves on to look at a real world example of how reverse engineering complex laser scan data can be radically simplified.

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Finally, Phil takes a look at how QuadRemesh can be used to quickly determine the starting topology of a conceptual hand-wash bottle model before moving on to demonstrate more SubD modelling and workflow techniques.

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Note: In the video Phil explains the technique that was used before the QuadRemesh tool was developed and he mentions our white paper describing this. Reading this white paper helps explain how QuadRemesh has made something that was very difficult has now become quite easy. Read the white paper on working with scanned meshes here: Creating an editable surface in Rhino3d.

Credit: Shoulder Disarticulation Prosthetic in Video and Images – Izzy McInnes – www.instagram.com/izzy.makes

Rhino Training: If you’re interested in talking to us at Simply Rhino about improving your Rhino skillset or help with a particular project then get in touch. More details on our bespoke and tailored live online training can be found here on the Simply Rhino website.

An Introduction to QuadRemesh and more on SubD workflows in Rhino v7 WIP –  Video Transcript.

We’ve made a transcript of the video for anyone who would like to follow the video by script, you can read that here:

This is Phil from Simply Rhino and in this video, I’d like to introduce another new feature in the work in process (WIP) version of Rhino 7. 

(Note: we’re using a work in progress version of the software, and so some features may be further developed by the time the product ships).

Today, I’d like to take a look at QuadRemesh and how this works in conjunction with the SubD (Subdivision Surface Modelling) objects I looked at in the last video.

I’ll start by taking a look at the functionality and command options of QuadRemesh, before moving on to look at a real world example of how reverse engineering laser scan data can be radically simplified.  Finally, I’ll take a look at using QuadRemesh to help determine the starting topology of this conceptual model of a handwash dispenser, before moving on to look at some more SubD modelling workflows.

• Subject Overview

In the previous SubD video, I mentioned that in some cases, limiting SubD to a four sided topology can be useful, particularly when SubD is being used as a step in the modelling process and the ultimate aim is to output good quality NURBS surfaces, which of course have a four sided topology.  I also looked at using meshes as the starting point for SubD objects.

Now, one of the limitations of the existing mesher in Rhino, is that it outputs a mixture of triangular and quad meshes and because of this, it is not an ideal starting point for moving to SubD. Also, the way in which the original object is built determines the final mesh topology. Let’s take a look at a couple of small examples. 

Here, we have a polysurface that has five constituent surfaces.  If we look at a mesh created with the standard mesher, you’ll see an uneven topology, a mixture of quad and triangular meshes, and that the mesh is split about the surface edges. Now if we look at the same geometry, but this time measured as a revolved, trimmed surface, then the mesh created using exactly the same settings is very different. 

So, what QuadRemesh gives us is a way of creating a quad mesh with control over the topology. The face layout, number of faces and size of faces all have some level of control, making the mesh output much better for the downstream workflow.  QuadRemesh also allows us to output SubD directly. 

• So what do these new tools in Rhino 7 look like?

Let’s first take a look at some simple examples that I can use to demonstrate the various settings and controls in QuadRemesh. 

In this first example, I have a surface that, in plan, measures 100 x 100mm.  I’m going to select the surface and run QuadRemesh and first of all, we can set the mesh either by specifying a target edge length or a target quad count.  So, I’ll use edges to start off with, set the value to 10, hit preview, and then, so I can better see the mesh in preview, I’m going to hide the input object.  As expected here, I get 100 faces, and of course, because all those faces are the same size, I’m not able to resolve the curve detail in the middle of the surface. 

Now, if I switch to a quad count setting rather than an edge length setting, I’ll have more controls at my disposal and the first control I have here is adaptive size.  This basically adapts the size of the quad faces to suit the curvature of the surface.  So, it will push more of the quads into the area of curvature or detail and I’ll have larger quads in the area where there is less curvature.  So, this works on a percentage basis, 0 is no adaptation and 100 is fully adaptive.  Now, you’ll see with that value set on its highest, that I have large quads here, and more smaller quads here that are pushed into this area.  So,  now I am able to better resolve this curved form.  Now, one of the things that you may see in certain instances, is that, particularly in this instance where we have something that is linear, that maybe the shape is starting to distort slightly in the middle. 

Now, what you can also do, is you can run an option called adaptive quad count.  What this does is, it pushes more quads into the areas of curvature or detail and will increase the target quad count here.  You’ll see it does this quite substantially.  So, what I can do in this case to reduce the overall quad count, is to reduce the adaptive size, and you’ll start to see that the quad count comes down, but I still retain the structure or the topology of the mesh that I had previously.  When I want to build a mesh, I just hit okay, and now you’ll see the mesh that’s been created for my surface. 

• Mesh to SubD to NURBS in a flash!

In this second example, I have a recessed feature with a sharp edge.  So, I’m going to go ahead and run QuadRemesh and I’m going to start with the settings that I used in the last example.  So, I’ll turn on preview and hide the input objects, and you can see that we don’t have enough meshes to generate the recess shape.  So, I’m going to increase the adaptive size, and the next thing that I can do now is, if I want to capture the hard edges of this feature, I can turn on, use surface edges.  

Now the smart option will just use edges that contribute to a shape change, and the strict option will use all the edges in the surface.  In this example, I’ll get the same result with both, but generally, you’d want to be using the smart option here.

You’ll see now, how I’m starting to pick out these issues.  So, what I really need to do now is sort out the topology of the mesh.  So, maybe just as a starting point, I would reduce the adaptation and just increase the number of quads.  Now, we’re seeing the shape a little better. 

Another thing that we can do is that we can instantly convert to SubD and if we want to maintain the sharp edges on the Sub D, I need to make sure that the SubD is crease aware and I also need to use this setting here, detect hard edges.  

The original surface of course is symmetrical in both X and Y, and I can create a symmetry axis here and this is about the X and Y of the object itself, and you can see when I do this, that our patch layout is now symmetrical, but also, what you can see is that because I’m using the surface edge option here, is how the topology of the mesh is running around that edge.  

I’m just going to increase the quad count here slightly and then let’s export this out.  

If we have a look at these two.  Looking pretty similar.  You’ll notice that in this original here, I have a hard edge around the mitres.  Now, I can get that back here in my Sub D, just by using sub-object selection, picking these edges here and then adding a crease to those.

So, now you can see I have a SubD with control topology that closely resembles my target polysurface. 

• Getting deeper into the new Mesher for Rhino

In this example, I have a cylindrical feature that’s raised out of a plain surface.  Now, if I run QuadRemesh and I preview the result and just for the moment hide the input object, then you’ll see that using similar settings to what we ended up with in the previous example, I can get a good result.  You’ll see that the topology here transitions from being circular to being much more rectangular as it gets out towards the edge of my planar surface.

If I wanted the circular topology to persist slightly further, so I could for example put a circular feature into the resulting SubD, then what I can do is I can use guide curves.  So, I’ll turn on a layer here that has a curve on this and I’ll select that curve and enter to accept the result and I have some options with the curve influence here.  I can have that, having no influence.  I can use an approximate influence, or I can create either an edge ring or an edge loop.  Now the edge loop would be the obvious answer in this situation, and now you can see that I’ve got an edge loop that is near to my guide curve and now all of the topology inside of that is circular. 

Now let’s build the SubD and take a look at putting in that round recess.  So, I’ll just move the SubD surface out of the way and here I want to pick a face loop and I’m going to use the gumball to push that down.  Couple of quick things that I’ll mention that perhaps I should have mentioned in the last video, that it’s a good idea to have a lighter object set and it’s also a good idea to use smooth dragging so that you don’t inadvertently snap to any other objects.  Smooth dragging will give you much more control over moving faces and edges with the gumball. 

I’m just going to pull down now here, just to create this and let’s put another one here.  So, let’s pick another face loop, and pull that down and push that one upwards maybe. 

So, now you can see that because we’ve been able to control the topology of the mesh or the SubD, we can now create a SubD object that we can modify in a particular way.  

• Rhino 7 QuadRemesh and SubD for Reverse Engineering a Scanned Mesh

Now, let’s look at a real world application for QuadRemesh and SubD.  This is a good example of how the modelling process can be radically simplified by using these new tools.  This is a Rhino model of a shoulder disarticulation prosthesis created by Izzy McInnes.  Izzy works as a special effects designer in film and TV, but also designs these fully functional prosthetics.  I first saw Izzy’s work when she attended one of the Simply Rhino intermediate advanced training classes in London.

Now, at the time of making this video, we’re in the middle of the global pandemic and all our training has been moved online.  You can see details of all of our online training at simplyrhino.co.uk or, of course, you can call us for more details.   

These prosthetics are for people, mainly young adults, who would like to express their individuality and personality via their prosthetics, rather than use a more modest, standard medical device.  The result is both attractive and functional with a tattoo-like decoration on switchable covers and practical features such as the concealed storage compartment and a mobile phone charger.  

• It’s a real effort to go from complex 3D Scan to Rhino 3D surface right?  Not any longer.

The starting point for a project like this would be a laser scan of in this case, the wearer’s left arm. 

Having created and mirrored the scan, the next step would be to create editable surfaces from the mesh that could then be split, offset into solid parts and then detailed.  With a traditional approach, this scanned mesh to NURBS conversion would be a time consuming bottle neck.  If we look at the scan, it’s incredibly complex and there’s almost 100,000 faces in this example.  One existing workflow would be to create multiple regular section curves through the scan, in the desired U and V directions.  These would then be rebuilt as smooth degree 3 curves with a known number of control points, before building a number of separate surfaces. 

You can see a white paper describing this process on our website, and I’ll leave a link to this in the description below.

This traditional process would be incredibly time consuming, but thankfully, this is now virtually a simple push button conversion.  We can use QuadRemesh to take our scan and convert that directly to a SubD surface.  So, I’ll pick the mesh and open up QuadRemesh and I’ll start with 2000 quads, 80% adaptive size and an adaptive quad count.  I’ll have ‘detect hard edges’ on, convert to SubD, and crease SubD so I can maintain the crease at the top of the shoulder here.  I’ll turn on the preview and hide the input objects and what we’ll see when the mesh is generated is that first of all we get a closed SubD, which is composed entirely of quads.  If we look at the detail areas around the ends of the fingers and between the fingers, these are all closed off.  But perhaps the most important thing is that the topology of the NURBS patches, or indeed the mesh faces if you were just wanting the mesh output, is derived from the principle curvature of the object we are remeshing, and what that means is that our layout of our patches, of our SubD faces are almost ideally where we would want them to create either a good SubD or a good downstream conversion to NURBS.  

You can see here that we’ve reduced the number of faces to under 4000 from our 100,000 original faces, and although there are some detail areas around here where we might need to get closer to the mesh, this is a fairly good start.

Now, in reality, probably what we would want to do is create a separate QuadRemesh for the forearm, where we’d want the quad layout on that to be fairly open and then a separate quad mesh for the hand and finger details, where we’ve got a much higher level of detail that we need to resolve and because the parts are going to be split out, there is no problem in creating those separate meshes. 

However, before we do that, I’m just going to accept the SubD conversion and move this out the way, and then just compare these two objects with each other.  So, what you can see is that we get a really good clean, smooth conversion of our scan and immediately, we have a surface that we can actually work with.  So, the importance of this is that we can do something perhaps in one or two minutes that might have taken half a day previously.

• Strategies

Now let’s take a look at a couple of strategies for the forearm part. 

First, we could take a copy of the scan and trim out the section we needed.  Next we can use QuadRemesh to produce a SubD surface with a limited number of faces.  As the scan mesh is now open, I’m going to use the interpolate option to get the SubD closer to the target mesh.  This is the time saving part where we can go very quickly from a complex mesh, to a simple editable SubD surface. 

Next, we have a choice as to whether to continue working in SubD or convert the SubD to NURBS.  For offsetting as a solid, and splitting it to panels or parts, we could use either, but if we wanted to apply the tattoo style decoration with either flow along surface or orient on surface, then NURBS may be the best option, but the simplest solution might not be the most obvious. 

Let’s first of all convert the SubD surface to NURBS.  This gives a polysurface with a surface patch for every SubD face.  If the aim was to use ‘flow along surface’ or ‘orient on surface’ to apply the decoration then we’d really need a surface rather than a polysurface.  Both of these commands will only work with a single surface at the time.  So, for example, if I go to transform and ‘orient on surface’, and I attempt to orient the decoration on to the polysurface, then it will only let me orient on to one constituent surface of that polysurface.  Likewise, if I work directly with the SubD, then I’ll be limited to one of the patches of the SubD that I can orient to.  

So, let’s take a look at a couple of ways by which we can create single surfaces.  Now, the first method is slightly risky and I wouldn’t suggest this method for any objects that have much in the way of local shape change. 

I am going to take the polysurface that was created from the NURBS conversion and I’m going to explode that into its constituent surfaces.  Then I’m going to go to surface and surface edit tools and use the merge command.  It’s important when you use this command in instances like this that the smooth option here is turned off.  What we do is we take a pair of surfaces at a time and merge them together. 

Now, as I’ve tried to explain in the introduction, if there is not much in the way of local shape change going on, then we should be able to merge surfaces together into a larger, single surface.  The second method is somewhat simpler and we’re going to work directly with the SubD surface.  Now, when we created the SubD from the mesh, effectively we reverse engineered the Sub D from the mesh, and we’re now going to reverse engineer a NURBS surface from the SubD, and the way that we’re going to do this is to extract the wire frame from this SubD.  So, we’re going to go to curve, curve from objects and extract wireframe.  Pick the SubD object and enter.  Then we can take that wireframe and because it has a very simple structure, we can use a surface command to build a surface directly from that wireframe.  So, I’ll use surface, curve network, select the result here.  I’ll probably use a fairly loose tolerance on the edge curves, maybe 0.1 of a millimetre and an even looser tolerance on the interior curves, in an effort to get a very simple surface.  Then I’ll accept the result and there is my single surface.  

• 3 x Steps from Mesh to Surface, nothing Magic about it.

Now we can go from mesh, single editable Sub D surface, to single editable NURBS surface, in three very quick steps.  

So, now I’ve split out the forearm panel by using split at isocurve with the shrink option turned on and now I’m just going to take a quick look at flowing this pattern on to the forearm panel.  So, I’ll go to transform, flow along surface, pick the pattern and enter.  Then I’ll use the plain option and describe the rectangular plain and click on the target surface.  The idea with the plain option is that the rectangular boundary here, represents the boundary of the surface.  So, it gives me some control over where the pattern will sit on the surface.  

Now let’s take a look at the result and you can see both the surface of the panel and the pattern look acceptable. 

Let’s now take a quick look at how to create a solid offset panel using SubD.  So, the first step would be to remove the appropriate faces.  So, I’m going to use the face loop tool here and select the faces I want to remove and then delete them.  Now, note at this stage that the corners will become smooth.  This isn’t what I want to achieve but this is fairly easy to sort out once we’ve configured the panel. 

So, next I’ll use the offset SubD command to create a solid offset and I’ll flip the direction, because I want to offset inwards and I’ll set the distance to 4mm and again, you’ll see that the edges are smooth, which isn’t what I want in this instance.  So, I’ll switch to the flat display mode. Now, there is now an icon for this tool, which toggles between flat and smooth display mode, but you can also use the tab key to toggle between those modes.  Now that I’m in the flat mode, I’m going to select the edges.  So, I’m using sub-object selection here, holding down shift and control.  Once I’ve got all those edges selected, I can add a crease to them, then I can return to the smooth mode and we’ll see the final result. 

Now of course, you could start the whole process in flat mode if you found that easier.

• Rhino v7 (WIP) QuadRemesh and SubD for quick conceptual modelling – structural packaging example

For the last example in this video, I’d like to look at some more SubD workflow. 

This hand wash dispenser bottle, lends itself well to be modelled in SubD.  An example of where you might use this process is in creating a number of conceptual iterations of the bottle that all use the same pump dispenser.  So, there would be a need to generate the concepts quickly, but they would also need to be modelled reasonably well so that good quality renderings can be produced from the Rhino data.  

• Improving the workflow for Packaging Designers

So, the starting point for this model would be this open polysurface with these curves projected on to the front curved surface.  So, I’ll pick the poly surface.  I’ll run QuadRemesh and I’ll turn on the preview and hide the input objects.  I’ll make sure that my output is SubD and I’ll select the curves that I want to influence the topology.  I’ll choose edge loop.  Finally I’ll set Y axis symmetry and to improve the edges, I’ll select smart edge.  Then I’ll accept the result.  Whilst the SubD is highlighted, I’ll move that to a new layer and I’ll copy that on to a third layer.  This means that I have a copy of the original SubD and then a second copy that I can now edit.  Next, I just want to remove this edge on both sides, so that my topology is similar top to bottom.  So, I’ll tap to show the flat display mode and I’ll select this edge and this edge and delete them. Then I’ll tab to go back into smooth mode.  

Now, my topology is similar top to bottom at the centre. 

Next, I want to create the raised area for the label.  So, I’ll first of all make sure that my face selection is selected and first of all, I’ll choose a face loop and I’ll select this area and then I want to use a brush tool to select inside that area.

Once I have this area selected, I can save that selection.  This is a new feature in Version 7, and I can go to panels and named selections and I can save this selection as label area.  So, this is a really handy way of being able to save any sort of selection in Rhino.  With that area selected, I’m just going to push this out very slightly.  So, I’m going to turn on the gumball, make sure the gumball is aligned to object with smooth dragging, and just pull this out slightly.

Next up, I’m going to harden the edge of that area by putting in a crease, so, I’ll disable the selection, I’ll use shift and control and double click to pick the boundary of that region and I’ll add the crease. 

• Rendering tools are there for all users of Rhino, not matching V-Ray for Rhino or KeyShot but likely good enough for some.

In order to see features like this better, I created a custom display mode called surface evaluation.  It’s very easy to create custom display modes in Rhino 7 or indeed Rhino 6.  It’s just a case of going to the Rhino options, going to view and display modes, and in this case, I took the shaded mode and made a copy of it.  Once you do that, you will see all of the features for the display mode in question and all that I did in this instance was to create a custom material for all of the objects that just had a highly reflective environment and that environment just had the blurry spherical image applied to it.

Before I move on and do more sculpting of the shape, I’m going to look at another feature in Sub D, and that is called reflect, and that allows me to create a symmetry across a centre line of the object.  So, what I’m going to do is pick my face selection and I’m going to select all of the faces on the one side of the object and delete them.  I’m then going to run the reflect tool and I’m going to pick the Sub D that I want to apply a reflection to.  I’m going to choose the C plain Y axis, and I’m going to pick a point on the geometry to keep.  The idea of this is that any geometry between the point that I’m picking on now and the Y axis, can change in order to create the symmetry and anything in this case to the left of that is going to be maintained.  So, I’ll pick that point and then I’ll enter to accept the result. 

Now of course, because my geometry was already mirrored, the result is exactly the same here.  But the idea now is that if I pick a face here, and I then turn on my gumball and edit that face, then the symmetrical face will update as well.  So, this makes editing a symmetrical object an awful lot easier.  So, now I can start to sculpt the SubD by moving faces, edges and point and gradually resolve the shape. 

Personally, I find it useful to use the flat display from time to time to help me for example line up rows of points along an edge.  As usual, I would save the geometry on to layers as I go, in case I need to return to a previous step.  Once I’m happy with the shape, I’ll use reflect again, to create the rear of the form.  The result is now a closed SubD.  for my visual, I’ll need to create a thickness to the bottle, whilst maintaining a solid volume and I’ll need a separate solid volume for the liquid.  I’ll need solid so that the retrace renderer can calculate the correct refractions. 

Let’s first take a look at the bottle and I’m going to start by removing these two faces here and remember that I have reflect on, so the faces at the back will also be removed, and I’m now going to use the offset command, to offset this volume, inwards.  First of all, I’ll switch to the flat display mode and I’ll then run the offset SubD command.  I’ll make sure that I’m offsetting inwards, and I’ll set the distance to 1.2mm.  

Once the offset has been created, I can pick the top edge and the bottom edge of the opening and I can add a crease to them.  I can then return to smooth mode.  To create the liquid, I’ll start with another copy of the closed SubD volume, and I’ll use the offset SubD command, and this time, I’ll offset inwards by a distance of 0.6mm with the solid option turned off.  You’ll notice that when I do this, I lose the crease on the label area, and because of the way in which the object is built, i.e. it’s a blow moulding that is only controlled by its outside or A surface, then the idea that we smooth off this feature on the inside, actually creates a lifelike offset.  

If we wanted to put the crease back in, of course we can select the edge loop and add the crease to it. 

To move on now and to create the top of the liquid, I’ll probably be better off converting the object to NURBS.  So, I’ll copy this on to a new layer and I’ll convert the geometry to NURBS.  Then I can create the top of the liquid by creating a line and using a solid tool such as wire cut to cut through the top of my volume.  

If I want to create the curve meniscus on the edge of the liquid, then I can remove the flat plain which was created by wire cut and I can draw a curve and then I can orient this to the edge of the opening.  So, I’ll use transform, orient, perpendicular to curve, and then I’ll pick this edge here.  You’ll see that orients and I’ll flip this in Y, to get this the right way around and place this here.  Okay, then I can use sweep 1 rail, with the chain edges option turned on and autochain selected, pick the edge as the rail and then pick the cross section curve and enter.  Just accept the default free form and do not change cross sections for this.  Join the sweep on to the polysurface and finally I can cap the remaining plainer hole and just check that this is a closed solid polysurface. 

To add the neck and finish to the bottle, I will need to convert to NURBS as SubD being equivalent to degree 3 NURBS, won’t create the correct circular section I need.  Whilst I was editing the SubD, I removed some edges, and you’ll see that I have a six sided face here, and a five sided face here.  When I convert to NURBS, there’ll be some extra patches added here that I’m not in control of and it’s probably a good idea to avoid these five and six sided faces where possible.  The rest of the model can now be completed in NURBS.  I created the transitional neck and finish with screw thread as a solid polysurface and then I joined this to the solid bottle.

Although there are two solid components, it is much easier to separate out the inner and outer surfaces of both and then trim, join and fill it, the outer surface, and repeat for the inner before joining everything back into a solid.

So, that’s about it for this video.  Please feel free to leave any comments below and if you have found this video useful, please hit the like button.  To keep up with all the latest Rhino news and developments, please subscribe to this video and do also remember to check out our website for details of our online rhino training.  Thanks for watching.

The post An introduction to QuadRemesh in Rhino3d v7 appeared first on Rhino 3D.

Traditionally SubD objects are mesh based and lend themselves well to more approximate types of modelling such as character modelling and creating smooth organic forms that are controlled in an approximate fashion.

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Rhino SubD objects are, however, high precision spline based surfaces and thus introduce a level of accuracy to the process of creating complex freeform shapes. Whilst traditional SubD ‘push-pull’ editing of edges, faces and vertices is enabled, Rhino’s surface commands such as Loft, Revolve, Sweep 1 & 2 and Extrude all now produce direct SubD output.

Similarly the Control Point Curve and Interpolated Curve have ‘SubD Friendly’ options that allow accurate SubD surfaces to be produced from a curve layout in a similar method that one might employ for NURBS modelling but with the advantage of the inherent smoothness of SubD surfaces.

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The video starts by examining SubD surfaces and how these compare to NURBS before moving on to look at some examples of how and why SubD can be used alongside the traditional NURBS workflow in Rhino.

Watch the Introduction to SubD tools in Rhino v7 Video:

Introduction to SubD tools in Rhino v7 Video Transcript.

We’ve made a transcript of the video for anyone who would like to follow the video by script.

Follow the video transcript here:

This is Phil at Simply Rhino, and today, I’d like to take a look at SubD modelling which is new in Rhino v7.  

Here, I’m using a work in progress version of the software, and so some features may be further developed by the time the product ships.

What is SubD?

So, first of all, what is SubD?  SubD, or SubDivision surfaces are a new object type inside of Rhino. If we step back to version 6, we have NURBS objects and meshes.  In very simple terms, NURBS surfaces can be regarded as being a continuous description of, in this case, a curved volume. Depending on the degree and the control point layout, NURBS curves and surfaces can hold constant radii or can be used to describe curvature continuous freeform shapes. 

Meshes on the other hand, can only approximate curve geometry. If we look at the example of the mesh sphere, then only the mesh vertices are touching the notional sphere. The mesh edges are extrapolated from these vertices by tracing a straight path through pairs of points and flat mesh faces are then created between three or four mesh edges.

If you’ve been a Rhino3d user for some time, then you may be familiar with plugins such as T-Splines and Clayoo.  These brought a SubD workflow to Rhino but crucially, these were mesh based. So, the underlying geometry was a mesh which was smoothed to approximate a curvature continuous surface or poly-surface.

The new SubD objects in Rhino are spline based.  So, just as with Rhino NURBS objects, they provide a continuous description of curve geometry.  This means that SubD geometry can be created accurately in Rhino and this gets over one of the major criticisms of mesh based SubD workflows that are often regarded as being approximate.

Rhino’s new SubD objects can be created in a number of ways.  Surface commands such as Loft, Revolve, Sweep1, Sweep2 and Extrude, all have the option of creating SubD output.  Curve commands have SubD friendly options, and of course, there’s a number of primitives. There are also workflows where meshes can be converted into SubD objects.  Finally, Rhino’s SubD objects can be losslessly converted to NURBS objects.

Comparing SubD Rhino geometry with NURBS in Rhino3d v7

So, what makes a SubD different to NURBS, and why do we need them?

Let’s look at the first part of that question and compare both an open and closed NURBS surface with an open and closed SubD surface.

On the left, I have a degree 3 deformable sphere, and a degree 3 plain surface, and on the right, their SubD equivalents.  Now, we don’t need to concern ourselves with the subject of degree with SubD objects, but broadly speaking, they are analogous to degree 3 curvature continuous surfaces.

With the closed NURBS surface, I can turn on the control points, pick some of those control points and smoothly adjust the shape.  I can do the same with the SubD object, but I can also use sub-option selection which in Windows is (keyboard shortcut) Shift, Control and left click, and I can pick either one or more faces or one or more edges to adjust the form smoothly.

  Whilst SubD surfaces are essentially smooth, I can add creases to them and this is done by picking edges and here I can sub-object select and double click, to pick an edge boundary, and then once I’ve selected those edges, I can add a crease to them.  Creases can also be removed using the remove crease command.

 Perhaps the biggest difference though between NURBS and SubD, is how we add local control into a surface.  If I just look at the NURBS surface to start off with, if I want to add some local control in to this area, then I’ll need to add rows and columns of control points.  So, I’ll do this for example, by going to edit, control points and insert knot, and I’ll insert some knots in the U direction. Then I’ll hit toggle and I’ll insert some knots in the V direction.  So, this will give me a denser area of control points here, but because the control points need to be added across the domain of the surface, in other words, from edge to edge in either the U or the V direction, then I’m adding complexity to this part of the surface and this part of the surface.  It does however, give me the ability to add local detail onto the surface like this.

If we were to look at the SubD, then with the SubD, I can SubDivide this surface.  So, I can pick a face and then I can use the SubDivide command to SubDivide that face, and I can keep going adding more SubDivisions as I go along and then I can pick one of these faces and move this upwards to get my local control.

If I want to put in edges in a more controlled way, rather than just SubDividing a whole region, I can use the InsertEdge command and copy an edge and insert it.  And if I want to move an edge, I can use the SlideEdge command.

The InsertEdge command has a proportional mode, a both sides mode, and an absolute mode, and you can see here the difference between the absolute and proportional mode.  Likewise, when I move edges with the command SlideEdge, I can pick two edges and move them in and out at the same time, and I have a proportional and an absolute mode for this too. 

A major difference between the way in which NURBS and SubD works, is that with NURBS, you have the concept of either having a single surface or a poly-surface, which is more than one surface joined together by part or all of a coincident edge.  So, using that metaphor, I can take six surfaces that share coincident edges and join them into a solid closed poly-surface.

There is no concept of a poly-surface with SubD and so to replicate a shape like this in SubD, we need to have a single SubD surface with creased edges.

There is however, a workflow that allows us to simulate a NURBS poly-surface in SubD and this comes with a proviso, and that is that each of the individual constituent surfaces of the poly-surface, need to be untrimmed surfaces.  If this is the case then we can explode our poly-surface and we can use the convert to SubD tool. It is important that we want the corner option here to say yes, so we can maintain these sharp corners of the individual surfaces. We will now have six individual SubD surfaces and then we can join these together using the join tool.  Again, we’ll have an option here as to what to do with the edges. We can either have smooth edges or creased edges. Here I’ve chosen to have creased edges, and if we look at object properties, you’ll see I have a closed SubD, and if I want to remove the creases from these three edges here, I just select them and use the RemoveCrease tool.

Now, we’ll come back to an object similar to this shortly, and look at an alternative to a NURBS workflow in SubD.

Why use SubD Objects in your Rhino3d workflow?

So, now we know a little about what SubD objects are, let’s get to the second part of the question, which is why do we need them?

  One answer to this is that SubDivision surface modelling is really useful in situations where modelling in NURBS is difficult or problematic.  A simple example of this is the Y branch. This is something that is pretty easy to model in NURBS, but becomes more difficult if the branches are, as in this example, different in diameter, or the branch arrangement is in any way unequal.  There’s a number of techniques we can use in NURBS, but the distinct disadvantage of most of them, is that if we want to produce iterations or refinements of the shape, then this can be time consuming, because we have to concern ourselves not only with controlling the shape, but also matching the continuity cross different surfaces.

SubDivision surface modelling gives us an easier alternative.  Here, I’ve converted the three tubes to SubD objects, so let’s take a look at a quick approach.  In the NURBS example, I used SplitEdge and then BlendSurf to create the transitions at the side of the Y shape.  In SubD, I can use the Bridge command to similar effect.

Now, I don’t need to split these edges, because I can pick the individual edge segments, so I’m going to go in to my Bridge command and I’m going to pick the one half of the large tube, and there are four separate sections to that and then the matching four segments of the smaller tube.  And then, enter will get me in to the options for the command. I can choose the number of segments, and I’m going to say I want four segments here, and I have a slider to control how straight that geometry is and I’ll accept that value. I can control this shape later on if I want to adjust it.

Next, I’ll repeat the process on the other side of the Y branch.  So, again, I go to the Bridge command, pick the four segments, pick the same four segments here and leave the options as previous.

In the NURBS example, I built this top surface before building the front surface, but I can do this the other way around in the SubD example, and again, I can use the Bridge command to create the top of the Y.  Exactly the same process as previous, and I’ll accept that result.

 Okay, so now we have the sides of the Y shape and all I need to do now is to close off this hole.  Now I want to do this in a way which is structured and preserves some regularity to the topology. So, once again, I’m going to use the Bridge command, but I’m just now going to bridge between pairs of edges, and now I want to reduce the number of segments to just one and I can straighten these out.  Okay, so I want to bridge here and here. Okay, so you see, I am left now left with four holes. I’ll repeat the process on the bottom and then all I need to do now is fill these holes and there’s a command called FillSubDHole that I can use for this. Again, if I double click on the boundary here, it will just select all of the hole.  I can pick all of these at once, enter and that is the result. And you can see how it gives me a really nice topology here. I’ve missed a hole here so let’s just fill that up.

Let’s take a look at this now with the environment map.  So, we can see this is smooth all over. But you can see that we’ve got a little bit of a high point here, just there.  So, let’s have a look at how we might reduce that. So, what I’m going to look at, is taking this edge here and deleting it and I think that will just give me a much smoother transition from this point to that edge.  I’ll repeat the process on the underside, and let’s take a look at this, with the environment map. So, we can see that high point looks better now.

Now, the big advantage now is, if I want to start playing with the shape of this, so for example, if I want to maybe push in the shape of the Y here, this now is where we get the big advantage of SubD.  So, I’m going to turn on the gumball and I’m just going to push this face inwards. I’m going to disable the object snaps, just so I don’t inadvertently snap to anything, and you can see now that when I push this face in, or this pair of edges in now, how the adjacent edges and faces are moving with it.  

So, the whole idea behind the SubD surface is that intrinsically, it’s smooth.  So, it’s analogous in some ways to a degree 3 surface. So, it’s intrinsically smooth unless of course we specify any creases.  So, all I need to concern myself with here is the shape of these objects. I don’t need to concern myself with the smoothness unduly.  And again, if we’re seeing high points here, we can use the same process as we did before in removing those little edges here, to improve the shape.  So, that’s looking nice and smooth now.

Another way in which we can use the Bridge command in a similar way to blend surface, is to create a transition between these two open edges. So, I’ll use the Bridge command, double click to pick the whole loop here, double click to pick the whole loop here, enter to get in to preview.  I’ll add some segmentation and just play slightly with that straightness value. So, we have a nice smooth transition between those two surfaces. And again, the big advantage here of SubD, is, this whole object here is treated as one curvature continuous surface. So, if I want to adjust the shape locally for example, to make this asymmetric, let’s say I want to push this area upwards here, is I can do this, okay, and I don’t have to worry at all about the smoothness here.  I might need to look at what happens down here and insert and remove some edges, or put in another constraint here. So, to avoid the shape changing too much here, I could maybe insert an edge here, double click for a whole edge loop and put some more control in here, and this will mean that this change in shape drops down a little more quickly and doesn’t affect this area.

Okay, so you can see that in this example, that SubD gives us a means to an end to create a smooth set of transitions between these various branches.  That would be difficult to model and certainly difficult to adjust if we looked at this purely as NURBS geometry.

SubD with Accuracy!  Rhino v7 game changing feature.

The SubD workflow can be very useful for developing styling surfaces.  Not just fast approximations, but good quality, well topologized surfaces that can be used for final data. 

 In this model of a mouse, the majority of the shape was created as a SubD, prior to being converted to NURBS, where it was then split into sections before adding the smaller details.

Just as with modelling a NURBS surface, managing the topology and maintaining the simplicity is essential for creating good quality surfaces.  

So, let’s start by taking a look at creating SubD friendly curves and building surfaces directly from them, with Rhino’s surface commands.

Rhino’s Surface Commands ‘Control Point Curve’

If we look first at the control point curve, then we can enable the SubD option.  This fixes the degree at 3. If I visualise the control points of an open SubD curve, then I’ll see two hidden constrained control points, that sit between the first two and the last two live picked points.  

If we look next at the interpolated curve, there’s a much more straightforward relationship with edit points in SubD friendly curves, and if I create an interpolated curve through the edit points of my first curve, we’ll see that the two curves are identical.

So, going back to the upper surface of the mouse, the surface on the left is what I’d like the initial SubD surface to look like, before I fill in the sides to achieve the surface on the right.

In the Simply Rhino Intermediate / Advanced class, there is a lot of discussion about the importance of topology when creating NURBS surfaces to the effect that if the topology is correct, then the shape will almost sort itself out and can be adjusted correctly.  So, here just as with NURBS, the curve layout is important. I drew the large blue curve first, as a SubD friendly control point curve, and then the smaller blue curve is a scaled and adjusted version of this. The red cross section curves are then created with an interpolated SubD friendly curve that passes through the end points of the blue curves.  This gives me a curve layout that I can loft with either the blue or the red curves and achieve a SubD surface which is effectively the same as the curve layout.

At this stage, the sides of the shape are still open and we have a number of ways of closing these off that takes full advantage of the fact that SubD surfaces are inherently smooth or curvature continuous.

Rhino’s Surface Commands ‘Bridge’

First of all, I can use the Bridge command, with an appropriate straightness and number of segments and I can then use a command called stitch to close up the two remaining edge pairs.

So, let’s take a quick look at this.  I’m going to use Bridge first of all to bridge between this edge and this edge, but I’m using this in a way very similar to how we would use BlendSurf if I was using a NURBS shape.  So, I’m going to set two segments and just play with the straightness a little bit here, and then to close up these two edges here and these two edges here, I’m going to use Stitch. Going to pick the first two pairs of edges, the second two pairs of edges.  This will close these up. I can slide up either to the top or the bottom of these edges. I can pick first or second here. First would be here, second would be here, and average would be the mid-point of these. So, I’ll just pull this up to the top and then this gives me a crease which I can remove using RemoveCrease and now I have a nice smooth sided shape which maintains the regular topology that I initiated with my curve layout.

An alternative to this approach would be to close off the side of the shape with one or more SubD faces.  This is difficult to visualise with the SubD in its smooth form. So, I’m going to use a command called SubDDisplayToggle, which visualises flat faces through the control points, rather than the smooth form interpolated through the edit points.  Now, there’s no icon for this at the moment, so this is my homemade icon here. So, if you’re watching this video with a later release of version 7, beta or work in progress, you most certainly won’t see this icon. 

Okay, so I’m now going to use a command called SingleSubDFace and I’m going to snap to the vertex point here and then I can join the single face to the rest of the SubD.  There’s a smooth or a creased option here. I’m going to select smooth, and then toggle the display back and we’ll see the result. So, this gives me slightly different topology than I had previously, and a straighter section across here.

An advantage to working in this boxy mode is that the shape is expressed very simply as straight lines between vertex points.  So, if I wanted to create two faces in the side of the shape here, I can very simply draw a couple of lines here that give me if you like, a target for where to place my SubD faces.  So, again, I can snap to vertex points here and now I can create two separate faces that I can join in to the rest of the SubD. As before, I’ll use the smooth option for joining and then I can toggle the display back to smooth.  I’ll remove these curves and then we can see the shape.

 So, just as with NURBS objects, I can actually use the control points themselves to edit the shape, and here, I just want to pull out this bottom point slightly to add a little bit of curvature to this bottom edge.  So, I’ll do this constraining to the C-plane, Y direction and I’ll just pull this out very slightly, just to give me a little bit of curvature on this bottom edge. Again, just like NURBS, it helps if this point, this point and this point are aligned because it maintains the regularity of the shape.  So, if we have a look at this shape now, with our environment map, particularly if we use the fluorescent tube, we can see that we have a really nice progression of the shape here and this is really due to the simple topology or layout of the SubD faces.

Now, with SubD, we’re not limited to using four sided faces and the limitation here is my choice because I know that the downstream workflow will involve a conversion to NURBS and NURBS does of course have a four sided topology.

 I’m just going to modify the shape slightly by adjusting the SubD and I’m going to use the gumball manipulator to do this.  Now, if I’m editing faces, it’s a good idea to set the gumball to align to object, because then if I sub-object select a face, the blue direction here is pointing in the normal direction of that surface and if I pick a couple of surfaces, then it will be the average normal direction of those surfaces.

If I’m going to edit edges, sometimes I find it better to constrain the manipulator, in this case to a C-plane, so I can be sure that I’m moving these edges in line, in this case with the Y axis of the C-plane, and I’m going to use the scale icon here and just push these edges inwards slightly and then push these two edges outwards, just to give me the indent in the side of the mouse shape.  Something like this. And then I just want to make the back slightly more rounded when I see this from above, so I should be able to do that by picking these two faces here. Sorry, these two edges here, and pulling these forwards. So, again, I’ll choose to move these in the C-plane X axis. So, I’ll just pull these forward. You can see how it’s rounding that back off.  

Now, this should maintain the topology and the shape, but again, it’s a good idea just to check with the environment map, to make sure that we’ve still got the nice delineation of the shape here.  So, when I’m happy with the shape, I can convert this to a NURBS polysurface using the ConvertToNurbs tool and when I do this, I have the option of deleting the input object, i.e. the SubD, or not and in this case, I’m going to select no, so I can compare the NURBS and the poly-surface with each other.  So, I’ll just use my filter here, to filter out the poly-surface, so I can pick the SubD and move this out the way, and now we can see the poly-surface on the left and the SubD on the right.

Now, at the moment, when we use the NURBS conversion, each face on the SubD becomes a surface patch on the poly-surface.  But the continuity between them and the overall shape should be the same. So, here you can see that we have the same resolution of the shape on the NURBS and the SubD.

  So, moving onwards, I extruded the SubD lower half of the mouse by duplicating the boundary of the poly-surface, then I joined the extrusion to the poly-surface and created a blend edge between them, and then a fillet along the bottom of the mouse.  At this stage, I had a solid poly-surface which I could then in the usual way start to split out until I got most of the major components that I could then apply the materials and textures to.

Another strategy to develop a shape in SubD is to consider using the control point or vertex positions and start with the metaphor of the boxy rather than the smooth SubD object.  This is a workflow that you may be familiar with if you’ve had experience of Clayoo or T-Splines.  

So, here for example, I could start by creating a series of lines that define the control point layout of my desired shape.  Then I can go to my mesh tools and use a tool called mesh from lines. Here I can set that I want to consider only a maximum of four sides per face, and I can select all of these lines in one go and press enter, and I’ll have a closed mesh object.  Now, this closed mesh object now will be the same as the boxy version of the SubD that I want to create. So, I can now pick the mesh and run this tool, ConvertToSubD. I’ll just for now, select delete input, yes. It’s important here that the interpolate points option says no, because I don’t want to interpolate the points.  I want to use a control point layout here, and creases and corners are also going to say no. This is my boxy display now of the SubD and if I smooth this off, we’ll see the shape.

Earlier in the video, I looked at building a sharp edged poly-surface equivalent as a single SubD object / creased object.  Very often in NURBS modelling, starting with controlled sharp edges, is the correct way of creating fillets, blends or transitional surfaces, and very often, this geometry is better suited to a NURBS workflow.  However, iterating through and adjusting the results can be time consuming.

  Rhino3d v7 introduces an improvement in the blend edge command that allows for set back corners in difficult circumstances, as for example if I wanted three different nominal radii on these blended edges.

So, let’s first of all look at the NURBS workflow.  So, I’ll go to Solid, FilletEdge and BlendEdge and I’ll choose my first radius which I want to be 20mm, then my next radius which is going to be 60mm and then finally the vertical corner which I want to be 50mm.  You’ll see in the preview now that the BlendEdge command now creates these setback corners, which is a big improvement on the standard way in which corners are produced in Rhino v6.

 The problem still arises however if we want to iterate through these corners and play with the radii, because at the moment, we would need to keep rerunning the command and undoing and redoing the previous result.  So, we can simulate this type of corner as a SubD. So, if we start with this same or similar topology, then what I’m going to do here is just to mark with a point object where the blends start and stop, and also a reference point for this corner, and then I’m going to move these points and snap them on to the SubD.  Then, what I can do with my SubD here, to simulate this corner, which is going to give me something which is much easier to play with and adjust, then I can remove the crease in this edge, this edge and this edge, and then I can use the slide edge command, to slide these edges and snap to these points. Now, when I’m doing this and snapping to points, this is the control point layout that I’m actually moving here, that I’m snapping to that edge.  So, if you look at the boxy object, you will see that is where those edges are, whereas this is the interpolation of the shape, the smooth interpolation. So, I’ll just keep sliding these edges and these are pretty close but I’ll move them anyway. If I look at both of these with the environment map, you’ll see that the results are similar. In fact, the SubD equivalent here might be slightly better in the way that it’s controlling that edge.

  So, this is an example of where we can use SubD to create quick design iterations, even though we may model the final result as NURBS surfaces.

The post An Introduction to SubD (Subdivision Surface Modelling) in Rhino3d v7 appeared first on Rhino 3D.

Phil explains how Block Instances and Worksessions can be used to aid organisation and file management as well as creating a means of iterating repetitive design elements when multiple concepts need to be explored.

Referencing geometry with Rhino’s Block Instances and Worksessions is a subject covered in detail in the Simply Rhino ‘Rhino for Architecture’ classroom course.

You can find out more about this course, specifically aimed at Architects & Engineers that Phil delivers in London by watching the introduction video to that class here on the Simply Rhino website.

The post Rhino3d v6 | Referencing Geometry with Block Instances and Worksessions appeared first on Rhino 3D.

Rhino 6 contains significant improvements and new features relating to presentation and documentation in Rhino3d. In this video, Phil Cook at Simply Rhino looks at View Capture, Snapshots and Make 2D.

View Capture has now been completely overhauled in version 6. Any viewport window and mode can be captured to a file and saved at any size. There is now a preview image that updates as options are changed and there are controls for transparency, line pixel thickness etc. For the Raytraced Mode the View Capture serves as a means of saving out large format raytraced images.

Snapshots bundle together the existing Named Views, Named C Planes and Named Positions commands and add the ability to save the state of Display Mode, Materials, Lighting, Mesh Modifiers (shut-lining, curve piping etc) and Environments. An Animation setting allows Snapshots to smoothly transition from one to the next. A number of Snapshots can be saved and ordered, and the result presented as a full screen slideshow.

Make 2D has been re-written for Rhino v6. The command produces much cleaner results much more quickly. The Options dialog is new and includes an image icon to show the effect of adding or removing features such as tangent edges, hidden lines and, a new feature, silhouette. A progress bar is now included and Make 2D now traces the edges of Meshes.

The post Rhino3d v6 for Windows (6 of 6) – Presentation Enhancements appeared first on Rhino 3D.

Another from our video series in which we look at new features and improvements in Rhino3d v6.

In this video, Simply Rhino senior Rhino3d trainer, Phil Cook takes a look at some of the presentation enhancements in Rhino v6.

We find that v6 brings us much better looking display modes and objects are drawn more smoothly. Points and control points are properly anti-aliased and the new display is much easier on the eye.

We take a look at the new display mode called Arctic which is great when you want to present an idea and show the form and shape without involving finishes, materials and textures.

We go on to look at the Pen display, Render display and the significantly improved Materials.

The post Rhino3d v6 for Windows (5 of 6) / Presentation Enhancements appeared first on Rhino 3D.

Rhino3d v6 is here and we’re taking a look at the new features and improvements it brings in a series of videos.

In this video Simply Rhino senior trainer Phil Cook takes a specific look at the display pipeline improvements in Rhino v6, concentrating primarily on the speed and GPU integration.

Phil demonstrates a comparison between Rhino v5 and Rhino v6. The model used for the demonstration is around 1.4GB in size and contains a mixture of polysurfaces, surfaces, extrusions and meshes and the render mesh is around 10 million polygons.

Hardware used:
Scan Computers Liquid Cooled 6-core I7 with 12 logical processes running at 3.4 GHz;
PNY Nvidia Quadro P4000 8GB card with 1792 CUDA cores.

Simply Rhino are the most popular Rhino3D reseller in the UK, they offer expert training and support for Rhino and all key Rhino plugins.

The post Rhino3d v6 for Windows (4 of 6) / Modelling Enhancements – Display Pipeline Improvements appeared first on Rhino 3D.

Rhino3d v6 is here and we’re taking a look at the new features and improvements it brings.

In this next video in this Simply Rhino series our senior trainer Phil Cook focuses on Fillet & Blend Edge, Guidelines & Orient on Surface.

Simply Rhino are the most popular Rhino3D reseller in the UK, they offer expert training and support for Rhino and all key Rhino plugins.

The post Rhino3d v6 for Windows (3 of 6) / Modelling Enhancements – Fillet & Blend Edge, Guidelines & Orient on Surface appeared first on Rhino 3D.

Rhino v6 is here and we’re taking a look at the new features and improvements it brings.

In this video Simply Rhino senior trainer Phil Cook focuses on One View, Sweep and Blend Surface with History.

Simply Rhino are the most popular Rhino3D reseller in the UK, they offer expert training and support for Rhino and all key Rhino plugins.

The post Rhino3d v6 for Windows (2 of 6) / Modelling Enhancements – One View, Sweep and Blend Surface with History. appeared first on Rhino 3D.