Ms Tutorialworkbook v7 1

MicroStation/JTM
Tutorial Workbook
DAA004490-1/0004
Trademarks
AccuDraw, Bentley, the B Bentley logo, MDL, MicroStation, MicroStation Modeler, MicroStation PowerDraft, MicroStation Review, MicroStation Vault, QuickVision, SmartLine and TeamMate are registered trademarks of Bentley Systems, Incorporated. MicroStation/J, MicroStation MasterPiece, MicroStation SE and PowerScope are trademarks of Bentley Systems, Incorporated. Bentley SELECT is a service mark of Bentley Systems, Incorporated. Adobe, the Adobe logo, Acrobat, the Acrobat logo, Distiller, Exchange, and PostScript are trademarks of Adobe Systems Incorporated. Windows is a registered trademark and Win32s is a trademark of Microsoft Corporation. Other brands and product names are the trademarks of their respective owners.
Copyrights
1998 Bentley Systems, Incorporated. MicroStation 95 1995 Bentley Systems, Incorporated. 1997 HMR Inc. All rights reserved. MicroStation Image Manager 1997 HMR Inc. 1996 LCS/Telegraphics. Portions of QuickVision are 1993-1995 Criterion Software Ltd. and its licensors. Portions of QuickVision were developed by the CAD Perfect Development Laboratory. Portions 1992-1997 Spotlight Graphics, Inc. IGDS file formats 1987-1994 Intergraph Corporation. Intergraph Raster File Formats 1994 Intergraph Corporation Used with permission. Portions 1992-1994 Summit Software Company. Unpublished rights reserved under the copyright laws of the United States and other countries. All rights reserved.
MicroStation/J Tutorial Workbook
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Table of Contents
1. Your First MicroStation Session
Tutorial Prerequisites _____________________________________1-1 MicroStation Basics _______________________________________1-2 Using the Mouse _______________________________________ 1-2 Screen Layout __________________________________________ 1-3 Window Controls _______________________________________ 1-3 Window Navigation _____________________________________ 1-4 Using Dialog Boxes and Settings Boxes ____________________ 1-5 Menus in dialog boxes and settings boxes __________________ 1-6 Controls _______________________________________________ 1-6 Exercise: Starting MicroStation ____________________________ 1-8 Exercise: Using a drawing tool____________________________ 1-10 Exercise: Placing line strings and circles____________________ 1-13 Exercise: Placing text____________________________________ 1-15 Exercise: Getting help ___________________________________ 1-16 Exercise: Deleting elements ______________________________ 1-18 Exercise: Using key-ins __________________________________ 1-19 Exercise: Saving a design file _____________________________ 1-21 Exercise: Ending the session _____________________________ 1-22
2. MicroStation Fundamentals
Exercise: Exercise: Exercise: Exercise: Exercise: Backing up a design file_________________________ Fitting the active design _________________________ Windowing areas of the design _________________ Zooming and panning __________________________ Interrupting a drawing tool to use a view control ___ 2-1 2-3 2-4 2-6 2-8
3. AccuDraw and Other Drafting Aids

Exercise: Use AccuDraws input focus _____________________ 3-2 Exercise: Use AccuDraw to develop a compass _____________ 3-4
4. Modifying a Design
Exercise: Modifying a design using multi-lines and a custom line style____________________________________ 4-1
Table of Contents: Working with Cells
5. Working with Cells

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

Exercise: Attaching, scaling, and moving a reference file ______6-2 Exercise: Referencing design changes_____________________6-5
7. Working in 3D
Prerequisites ____________________________________________ 7-1 Getting started in 3D _____________________________________ 7-2 Using AccuDraw in 3D design_____________________________ 7-8 Fixing the AccuDraw drawing plane _______________________7-8 AccuDraw Shortcuts _____________________________________7-10 Setting the Active Depth and the Display Depth______________ 7-14 Setting the Active Depth _________________________________7-14 Setting the Display Depth ________________________________7-18 Viewing a 3D design _____________________________________ 7-20 Display Depth __________________________________________7-21 Introduction to 3D modeling tools _________________________ 7-25 Creating more complex models____________________________ 7-50 Exercise: A 3D Project: Creating An Office Building __________7-73 Creating the buildings structure ___________________________ 7-74 Render the work in progress ______________________________ 7-97 Adding a staircase to the design ___________________________ 7-98 Creating the window walls________________________________ 7-124 Assessing your project results _____________________________7-133
8. Element Tags
Exercise: Exercise: Exercise: Exercise: Attaching, reviewing, and editing tags______________8-2 Creating a new tag set ___________________________8-4 Selecting Tagged Elements _______________________8-6 Reporting on tag data ___________________________8-8
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Table of Contents: Labeling a Design
9. Labeling a Design
Exercise: Exercise: Exercise: Exercise: Exercise: Dimensioning the exterior of a building ___________ Placing typical dimensions _______________________ Dimensioning the interior of a building ____________ Adding notes __________________________________ Using cells for labeling purposes _________________ 9-2 9-9 9-12 9-17 9-23
10.Automating Drawing Production

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

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

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

Introduction_____________________________________________13-1 Defining Materials________________________________________13-2 Using Existing Material Definitions__________________________13-14 Multi-level Texture Interpolation ___________________________13-21 Procedural Textures ______________________________________13-22
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Table of Contents: Introduction to Radiosity Solving
14.Introduction to Radiosity Solving

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

Introduction ____________________________________________ 16-1 Keyframe Velocity _______________________________________ 16-1 Keyframe Velocity and Deformation ________________________ 16-2 Previewing keyframes ___________________________________16-3 Further example ________________________________________16-6 Simple gears ___________________________________________16-8 Planetary gears _________________________________________16-12 Universal joint __________________________________________16-16
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Table of Contents: Tree View / Timeline Tutorial

Path Control and Camera Movement ________________________16-18 Defining paths _________________________________________ 16-18 Scripting cameras _______________________________________ 16-23 Target cells ____________________________________________ 16-27 Further examples _______________________________________ 16-27 Animating Materials and Lights _____________________________16-30 Scripting source lighting _________________________________ 16-34 Scripting materials ______________________________________ 16-35 Scripting an animated material __________________________ 16-38 Further example ________________________________________ 16-39
17.Tree View / Timeline Tutorial

Introduction_____________________________________________17-1
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Part I: MicroStations Fundamental Tutorials
Your First MicroStation Session

This tutorial shows you how to start MicroStation and perform some of its most basic operations. This chapter gets you into and out of a MicroStation session. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: MicroStation Basics Starting MicroStation Using a drawing tool Placing line strings and circles Placing text Getting help Deleting elements Using key-ins Saving a design file Ending the session
Tutorial Prerequisites
This document assumes that you can do the following: Set up and start your computer system. Use the basic system commands to edit, copy, rename, and delete files and directories. Use the basic features of Microsoft Windows (if applicable). Recognize fundamental MicroStation procedures and terminology presented in Getting Started in Chapter 2 in the Setup Guide. Use MicroStations On-line Help system to find additional information on any term or procedure described.
Before you work through this tutorial, you should register your license. If you have not completed that process, you can still use MicroStation, but upon starting your session you will have to click the Bypass button in the License Information dialog box and wait 30 seconds.
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MicroStation Basics
You must have the Visualization and Learning tutorials module enabled during MicroStation installation in order to include the tutorial dgn files in the delivery.
MicroStation Basics
Before you begin the exercises, you should review the following information to familiarize yourself with the options and terms used within MicroStation. For more details on the basics of MicroStation, see Getting Started in Chapter 2 in the Setup Guide.
Using the Mouse

The default mouse button assignments are as follows:
MicroStation button
Data Tentative Reset Command Cursor 1 / 3D Data Cursor 2 / 3D Tentative Cursor 3-12
Invoked by
Left button Left button-Right button chord Right button Not available <Alt>-Left button <Alt>-Left button-Right button chord Not available
The defaults are appropriate for a two-button mouse. If you are using a three-button mouse, you should change Tentative to use a single button (rather than the two-button chord) for faster operation.
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Screen Layout
Menu bar
Primary tool bar Main tool bar View window (1 of 8)
Standard tool bar
Tool Settings window
Status bar
Window Controls
MicroStation windows have a control menu that opens when you press on the window menu button at the far left of the title bar. The complete set of options is only available from a view window. In other windows or dialog boxes there is a smaller set of options. All standard Windows items are listed in the control menu. Items not available in MicroStation are grayed out and cannot be chosen.
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The application window is arranged by default as follows:
MicroStation Basics
Window Navigation
Views, tool boxes, dialog boxes, and settings boxes are displayed graphically in windows. Windows contain controls that can be operated graphically, by clicking or dragging, and controls that can be operated or take input from the keyboard.
Primary and Standard tool bars, View window, Tool Settings window
Design File Settings box
The window in which a keystroke will have an effect is said to have the input focus. The title bar of the window that has the input focus is highlighted. One way to give a window the input focus is to click in the window. You can also use the keyboard to move the input focus from one window to another.
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Use these keys to navigate between windows:
Key
<sc>
Function
Moves input focus upward through the following window hierarchy: Primary tool bar Key-in window Tool Settings window AccuDraw window If a window is closed, its level in the hierarchy is skipped. However, once the Key-in window receives the focus, pressing <Esc> does not move the focus to another window. Moves input focus downward through the window hierarchy. If a window is closed, its level in the hierarchy is skipped. Moves input focus from one settings box (or the Primary tool bar) to the next. (If using Microsoft Windows, use <F6> only.) Same as <F6> but moves through the windows in the reverse order. (If using Microsoft Windows, use <Shift-F6> only.)
<Shift-Esc> <F6> or <Alt-Tab> <Shift-F6> or <Alt-Shift-Tab>
When the Key-in window has the input focus, the cursor in the key-in area blinks.
To move the input focus from one window to another

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

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

Many dialog boxes have pull-down menus from which you can choose functions appropriate for the operations performed with the dialog boxes. Dialog boxes used to select files to open, import, attach, display, or run contain File and Directory menus.
File menu in dialog boxes used to open files From the File menu, you can choose from among the last four files opened with the dialog box. For example, the File menu in the Open Design File dialog box contains items for up to four of the most recently opened design files. (These same files also are listed in, and can be opened from, the File menu in the MicroStation window.) The File menu in the Run User Command dialog box contains up to the last four user commands run. If no files of the appropriate type have been opened, the File menu contains the item, No File History. Directory menu in dialog boxes used to open files From the Directory menu, you can choose Select Configuration Variable (see Configuration Variables in the MicroStation Administrators Guide), Current Work Directory, or one of the numbered (1, 2, 3, and so on) directories.
The current work directory is the directory that was the current directory when you started MicroStation. Some users segregate their projects by directory and start MicroStation in a particular directory to work on that project. Choosing Current Work Directory from the File menu displays the files in the directory in which MicroStation was started in the dialog box. The numbered directories include the directory or directories specified in the configuration variable used by the dialog box and up to four of the last directories used by the dialog box in the current session.
File menu in Open Design File dialog box.
Controls
Dialog boxes have the following types of controls: Buttons are areas that you click to start an operation. A button, usually labeled OK, must be clicked to start the open or save operation and dismiss (close) the dialog box. Check boxes are areas that you click to turn a setting on or off. When on, a check box is filled with an x.
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A field is an area into which you can key in text or numbers. In a non-modal settings box (one that can remain open while you work), what you key in has no effect until you press <Tab> or <Enter> or otherwise move the input focus out of the field. List boxes are rectangular areas in which files, directories, or other items are listed for selection or reference. When an item is selected, it is displayed as light text on a dark background. Option menus are menus that pop down when you press on the currently chosen menu item text. Radio buttons are either round diamond-shaped controls that let you turn on one of several mutually exclusive items, just as the buttons on a car radio allows you to tune in only one station at a time. When off, a radio button is light gray and appears to project upwards. When on, the radio button is dark and appears to be depressed.
The shape of the button is dependent on the windowing system. Within a Windows environment, the radio buttons will be round. Within a Motif environment, the radio buttons will be diamond shaped. If a button in a dialog box is outlined, it is the default button; pressing the <Enter> key on the keyboard is the equivalent of clicking that button with the mouse. For example, the OK button in the Open Design File dialog box is the default button, so you can press <Enter> rather than clicking the OK button to open the selected file. You can also double-click the desired file in the Files list box to open it, rather than selecting the file in the Files list box and then clicking the OK button.
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MicroStation Basics
Exercise: Starting MicroStation

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

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

1. Open MicroStation Managers File menu by pointing at File in the menu bar and clicking the Mouse button.
If you are using
Mouse Tablet cursor
The Data button is

The mouse button See Using the Mouse or Digitizing Tablet in Chapter 2 in the Setup Guide
2. From the File menu, choose New by clicking that menu item. To click an item in a menu or a button means to point at it and click the Mouse button.
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The Create Design File dialog box opens.
Create Design File dialog box
3. Type the name for your new design file, mydesign, in the Name field. 4. Click the OK button.
The Create Design File dialog box closes, and the MicroStation Manager dialog box displays mydesign.dgn in the Name field. The file is also selected (highlighted) in the Files list box.
MicroStation Manager dialog box
5. Click OK. 6. The MicroStation Manager dialog box closes and the design file mydesign.dgn opens.
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MicroStation Basics
Your screen should look something like this:
MicroStations screen when mydesign.dgn is opened.
Exercise: Using a drawing tool

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

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

3. Release the Data button.
The rectangular outline becomes the Linear Elements tool box, which contains Place SmartLine and several more tools. You
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MicroStation Basics
have torn the Linear Elements tool box from the Main tool box.
4. In the Linear Elements tool box, point at the Place Line tool (next to the Place SmartLine tool) and click (press and release) the Data button.
The Place Line tool is now selected. There are several visible effects: the tool name is displayed in the status bar, and the title bar of the Tool Settings window now reads Place Line. In the Main tool box, Place Line replaces Place SmartLine. When you move the pointer into view window 1, the pointer changes from an arrow to a crosshair.
5. Press and hold down the Data button as you move the pointer in view window 1.
The pointer assumes the shape of an X. As you drag the pointer, the line you are placing is dynamically displayed as though it were a rubber band attached to the pointer. This effect is called dynamic update or rubberbanding.
6. Release the Data button to place the line. If the line appears jagged, dont worry. The screen may not have enough dots (pixels) to display this particular line without jaggies. When you plot the line (as in the illustration), it will be straight.
Dragging the pointer to place a line.
The pointer locations where you pressed and released the Data button are called data points. These data points, labeled 1 and 2 in the above illustration, specify the endpoints of the line. The Place Line tool is still selected, as indicated in the status bar. The tool is locked. You can place additional lines simply by repeating steps 5 and 6 above. Experienced users like to lock tools as a means of increasing efficiency. (You can select tools without locking them by double-clicking them: pointing at them and clicking the Data button twice in quick succession.) Lets get back to placing elements. When you enter a series of data points, one after the other, you can press (and release) the
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MicroStation Basics
Data button to enter each one. You may find this drawing method easier than dragging.
Place a line by pressing the Data button to enter each

data point instead of dragging
1. Press (and release) the Data button to enter a data point in view window 1.
The line you are placing is dynamically displayed as you move the pointer.
2. Enter a second data point in view window 1 and place the line.
Placing a second line.
Surprise! A new line is dynamically displayed as you move the crosshair pointer. The dynamic line extends from the end of the line you just placed. If you were to enter another data point now, you would have two connected lines. (They would be separate elements, but have a common endpoint.) Lets say you want to start a new line at another location.
Place a new line at another location

1. Press the Reset button. (On the mouse, Reset is the right button.)
This is called entering a Reset or Resetting.

2. Enter a data point in view window 1. 3. Enter a second data point and place the line.
The Place Line tool is like most element placement tools in that, when you use it, you enter a series of two or more data points. For entering each data point, you can choose between dragging and pressing the Data button, and these techniques can be used in combination. You can Reset to start an element at a different location.
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Now that you have learned these techniques, place some more lines for practice, and then continue with the next exercise.
Exercise: Placing line strings and circles

You have just seen how easy it is to place a series of connected line elements (that is, line elements with common end points) with the Place Line tool. It is preferable, though, to place connected line segments as a single line string so they can be directly manipulated (copied, moved, deleted, and so on) as a group. The Place SmartLine tool is used to place a line string. Placing a line string with Place SmartLine is much like placing a series of connected line elements. As you might expect, a data point defines each vertex (corner) of the line string. The difference is that you Reset to signal MicroStation that you are finished defining the vertices.
Place a line string

1. In the Linear Elements tool box, point at the Place SmartLine tool and click the Data button.
The Place SmartLine tool is selected. The prompt in the status bar reads Place SmartLine > Enter first vertex.
2. Enter a data point (press and release the Data button) in view window 1 to define a vertex.
The first segment of the line string is dynamically displayed as you move the crosshair pointer.
3. Enter several more data points to define additional vertices.
Placing vertices with the Place Stream Line String tool (steps 2 and 3).
4. Reset (press the right mouse button).
The line string is placed. The Place SmartLine tool is one of the few tools with which you cannot Reset to start over at a different location. This is because a
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MicroStation Basics
line string can have many segments, and Resetting is how you indicate to MicroStation that the line string is complete.
Place a circle by its center

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

4. Enter a data point to define the edge of the circle and place the circle.
Placing a circle by its center.
There are other ways to place a circle by drawing from edge to edge, for instance, as you will see in a moment. In fact, there is more than one way to place most element types.
Place a circle by its edge

1. In the Tool Settings window, set Method to Edge. Point at the Method option menu and click the Data button, and then click Edge.
The prompt in the status bar is Place Circle By Edge > Identify Point on Circle
2. Enter a data point (press and release the Data button) in view window 1 to define a point on the edge of the circle.
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MicroStation Basics
3. Enter a data point to define another point on the edge of the circle.
Small squares mark the locations of both edge points. A circle passing through both points and the location of the pointer is dynamically displayed.
4. Enter a data point to define a third point on the edge of the circle and place the circle.
Placing a circle by its edge.
Place some more circles. Try both dragging and pressing for entering data points. Because the Edge Method setting requires three data points, you cannot drag to enter them all.
Exercise: Placing text

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

1. In the Main tool box, select the Place Text tool (its icon is the letter A).
The Text Editor window opens.

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

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

1. In the Standard tool bar under the main menu bar, click the ? (Help) icon.
or From the Help menu, select Contents.
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MicroStation Basics
The Help window opens through your browser, and the Table of Contents is displayed. The Help window is divided into two frames. The left frame or Table of Contents frame displays the list of available topics. The right frame or Document Body frame displays the text associated with the currently selected topic.
2. In the Table of Contents window, click on the blue arrow located to the left of the topic for which you need further information.
A list of subtopics displays.

3. Click Using MicroStation Manager.
The associated help article displays. The article itself contains hypertext.
Find the right tool to construct a chamfer

1. In the Search field, type construct a chamfer. 2. Click the Search button.
A number of hits are displayed in the list box. The one titled Construct Chamfer is the most likely candidate.
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MicroStation Basics
3. In the list box, click Construct Chamfer.
The help article on the Construct Chamfer tool is displayed in the Document Body frame.
Tracking gives you help on each tool you select. For each new tool you select, the help is automatically displayed in the Help window.
Turn on Tracking and get help on the next tool you will
use, Place Block.
1. From the Help menu, select Tracking.
Tracking is now enabled. When tracking is on, the Help window displays information about the tool you select.
2. In the Polygons tool box from the Main tool bar, select the Place Block tool.
Help on Place Block is displayed in the Help window.
Exercise: Deleting elements

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

1. In the Main tool bar, select the Element Selection tool (its icon is an arrow).
The pointer becomes an arrow with a circle at its tip.
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MicroStation Basics
2. Select the line you want to delete by pointing at it and pressing (and releasing) the Data button.
The line is bracketed with handles (small squares) to indicate that it is selected. If you selected the wrong element (or didnt select any element), just try again.
3. In the Primary tool bar, select the Delete Element tool.
The line is deleted. The Element Selection tool is automatically reselected.
Rather than selecting the Delete Element tool, you can press the <Del> key to delete the element. If you delete the wrong element, you can undo the mistake.
Undelete the line

x Press <Ctrl-Z> (<Ctrl> refers to MicroStations logical <Ctrl>
key. See Using the PC Keyboard in Chapter 2 in the Setup Guide). (That is, while holding down the <Ctrl> key, press the <Z> key.) This is the same as choosing Undo from the Edit menu. <Ctrl-Z> is the keyboard accelerator for that menu item. The line is displayed where it was before it was deleted. You can undo element placement, manipulation, and modification operations. It is possible to undo multiple operations in MicroStation. The first undoable operation is shown as part of the Undo item in the Edit menu. Similarly, the first redoable operation is shown as part of the Redo item in the same menu. When you delete an element, the element remains in the design file even though it is no longer part of the design and you cannot see it.
Exercise: Using key-ins

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

x From the Utilities menu, choose Key-in. (This instruction is
shorthand for Point at Utilities in the main menu bar; click the Data button to post the menu; and click the Key-in item.)
When you use the keyboard, the text you type goes into the window that has the input focus. The title bar of the window that has the input focus title is highlighted. If a settings box has the input focus when you want to enter a key-in in the Key-in window, you must first give the Key-in window the input focus. To do this, press <Esc> or click in the Key-in window. The MicroStation key-in language is composed of a hierarchy of English keywords. For example, keying in PLACE CIRCLE CENTER CONSTRAINED selects the Place Circle tool and sets the tools Method to Center; PLACE CIRCLE EDGE CONSTRAINED, the Place Circle tool with Method set to Edge; and DELETE ELEMENT, the Delete Element tool. The key-in used to select each tool is shown in the Users Guide.
A powerful feature of Key-ins is the ability of the MicroStation software to recognize and complete commands. For example, if you key-in ACC and hit the space bar, the rest of ACCUDRAW will be filled in on the text line. You can abbreviate key-ins for example, PLACE CIRCLE CENTER CONSTRAINED can be abbreviated to PLA CI C C and PLACE CIRCLE EDGE CONSTRAINED to PLA CI E C. (You can shorten the key-in by omitting letters at the ends of words as long as the abbreviation is unique, so MicroStation understands which key-in you are abbreviating.) You dont need to use uppercase letters.
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Select Place Circle and set its Method to Center with a

key-in
x With the input focus in the Key-in window, key in pla ci c c
While the key-in area of the Key-in window has the input focus, you can recall previous key-ins by pressing the <> key (up arrow). Another way to recall a previous key-in is to select it in the list box at the bottom of the window. Depending on the context, the instruction, Key in, may mean that text is to be keyed in fields in other windows, such as settings boxes.
Exercise: Saving a design file

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

1. From the File menu, choose Save As.
The Save Design As dialog box opens. Choosing either Save or save as has the same effect if the active design file is mydesign.dgn.
2. In the Files field, key in a new filename.
The default extension for design files is .dgn.

3. Use the Directories list box to specify the destination directory. 4. Use the Drives option menu to specify the destination disk drive. 5. Click the OK button.
The file is saved. The MicroStation windows title bar shows the new filename.
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(type the text and then press <Enter>). The prompt in the status bar reads Place Circle By Center > Identify Center Point.
MicroStation Basics
Exercise: Ending the session

Exit MicroStation
x From the File menu, choose Exit.
or In the Key-in window, key in EXIT. or In the Key-in window, key in QUIT. or Press <Alt-F4>. (<Alt> refers to MicroStations logical <Alt> key. See Using the PC Keyboard in Chapter 2 in the Setup Guide.) OR
1. Press <Alt-F> . 2. Press <X>.
<Alt-F> and <X> are mnemonic access characters. For more information about these short-cuts, see Operating menus with the keyboard in Chapter 2 in the Setup Guide.
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MicroStation Fundamentals
This tutorial covers the fundamentals of using view controls to navigate in your designs. It also gives you an idea of the flow of MicroStation. For example, you will see how you can interrupt a drawing tool to use a view control and then return to the drawing tool at the point at which it was interrupted. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Backing up a design file Fitting the active design Windowing areas of the design Zooming and panning Interrupting a drawing tool to use a view control
In each exercise, it is assumed that you have just completed the preceding exercise.
Exercise: Backing up a design file

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

1. From the File menu, choose Open.
The Open Design File dialog box opens.

2. In the Directories list box, select MicroStations \Workspace\projects\tutorials\intro\dgn directory. 3. In the Files list box, select office.dgn. 4. Click the OK button.
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Backing up a design file

View window 1 shows a receptionists desk in a lobby. The design includes the floor plan of an entire floor of an office building.
Create the backup file

1. From the File menu, choose Save As.
The Save Design As dialog box opens.
Save Design As dialog box
2. In the Files field, key in off_bak.dgn. 3. Click the OK button.
The backup file off_bak.dgn is created and opened as the active design file. Recall that the MicroStation windows title bar identifies the active design file.
All the sample files supplied with MicroStation, including those used with the Tutorial Workbook are backed up on the delivery media. If you want to start over with one, reinstall the sample files. (If there are any sample files that you do not want overwritten during reinstallation, rename them or move them to another directory.)
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Fitting the active design
Exercise: Fitting the active design

As you move view windows about on the screen, the content of the views stays the same. View controls are used to change the part of the design displayed in each view. View controls are located on the view control bar on the bottom border of each view window.
View control bar
Display the entire design in view window 1

1. Select the Fit View view control by clicking it in the windows view control bar.
The entire design is fitted in view window 1. Notice that the Fit View view control remains selected.
2. In the center of the design, locate the receptionists desk in the lobby. You will use this location later in this tutorial.
The pointer indicates the location of the receptionists desk.
While using the view controls, if you lose the design and find yourself looking at an empty view, use the Fit View view control to locate your drawings.
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Windowing areas of the design
Exercise: Windowing areas of the design

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

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

1. Select the Window Area view control.
Window Area view is used to enlarge a part of the design to fill an entire view window.
As you move the pointer, a rectangular box indicating the area to be fit is dynamically displayed.
2
Windowing the floor plan (steps 2 and 3)
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3. Position the pointer just below and to the right of the floor plan, and again enter a data point.
The box disappears, and the defined area fills the view (to the extent possible, given the difference between the shape of the area you defined and the shape of the view window).
Open another view window and display a detail of the

design in it
1. From the Window menus Open/Close sub-menu, choose (view window) 2.
View window 2 opens.

2. Move and resize view window 2, by dragging it by its title bar and dragging its resize borders, so that it fills the entire right half of the screen.
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2. Position the pointer inside view window 1 just above and to the left of the floor plan. Then press (and release) the Data button to enter a data point there.
The pointer changes to a large X. In the Tool Settings window, Apply to Window is set to (view window) 1.
Zooming and panning

The Window Area view control remains selected.
3. In the Tool Settings window, choose (view window) 2 from the Apply to Window option menu. 4. Enter two data points in view window 1 to define the area around the conference table in the upper left quadrant of the floor plan. You can either press the Data button for each data point or drag the pointer while holding down the Data button.
The defined area is displayed in view window 2.

5. Repeat step 4 to examine other details of the design (such as a stairwell or work cubicle). The smaller the area you define in view window 1, the greater the magnification in view window 2. 6. Repeat step 4 to window the receptionists desk. The receptionists desk is between two beams in the lower half of the central lobby of the office building.
Exercise: Zooming and panning

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

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

1. In the view control bar in the border of view window 2, select the View Previous view control (its icon is a curved arrow pointing to the left).
2. Select the View Next view control, which is located immediately to the right of View Previous in the view control bar.
View window 2 returns to its state prior to use of View Previous. A convenient way to change the part of the design displayed in a view without changing the magnification is to dynamically pan (like zoom, a camera metaphor) in a view.
The dynamic panning procedure does not lend itself to step-bystep description, so it is recommended that you review the next procedure in its entirety before starting to perform it.
Pan dynamically within View 2

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

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

and start to place a line
1. Use the Window Area view control to display in view window 2 a small rectangle containing the upper left corner of the floor plan.
Windowing the upper left corner of the floor plan
The I-beam is gray and is located at the intersection of the two dashed, green lines just inside the corner of the floor plan. (If you cannot see the I-beam, use the Zoom Out view control to increase the portion of the design visible in view window 2. When you find the I-beam, use the Zoom In view control to increase the magnification again and to display the I-beam in the center of the view window.)
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2. In the Linear Elements tool box, select the Place Line tool. 3. Enter a data point at the intersection of the two green lines that cross the I-beam.
The prompt in the status bar is Enter end point.
Starting the line at the intersection of the two green lines.
4. Move the pointer around in both view windows without pressing the Data button.
As you move the pointer, MicroStation dynamically displays a line from the I-beam to the pointer location. However, if you position the pointer directly over a view windows resize border, the line no longer displays and the pointer becomes a double arrow. Even though the Place Line tool is selected, you can resize view windows, change settings, and use the view controls.
Window the lower right I-beam and finish placing the

line
1. Use the Window Area view control to display a small rectangle containing the lower right corner of the floor plan in view window 2.
While the Window Area view control is selected, the title of the Tool Settings window is Window Area.
2. Reset. (Recall the Reset button is the right mouse button.)
The Window Area view control is de-selected, and the Place Line tool is reselected. The tools settings are again shown in
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the Tool Settings window, and the prompt in the status bar again reads Enter end point.
3. Finish placing the line: Enter a data point at the intersection of the two green lines over the I-beam in the lower right corner of the floor plan.
Finishing the line.
Undo placement of the line

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

x From the File menu, choose Save Settings.
In the remaining tutorials, zooming and panning are not specifically described within exercises or procedures. It is assumed that you will zoom and pan as needed.
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AccuDraw and Other Drafting Aids

Working with a mechanical engineering design, you will use MicroStations most powerful drafting aid, AccuDraw. This aid makes other tools you have previously used behave somewhat differently. AccuDraw allows precise placement of drawing and text elements as well as copies and mirrored copies of elements. The tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn to: Use AccuDraws input focus Use AccuDraw to develop a compass
If you have trouble If you have trouble when you are going through the lesson, doing one of the following usually helps:
Reset, by pressing the Reset button. This is most useful when you have trouble using a tool. Undo, by choosing Undo from the Edit menu, or by clicking the Undo icon in the Standard tool bar below the main menu bar. This is most helpful after you finish using a tool and realize that you have made a mistake. Remember, MicroStation lets you undo more than just the last operation. Undo a change made with a view control by choosing the View Previous view control, located on the view control bar in the bottom border of each view window. This is helpful if you use a view control to zoom out or window an area and lose your bearings.
W DO NOT RESET OR ENTER A DATA POINT UNTIL YOU ARE TOLD TO DO SO.
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Use AccuDraws input focus
Exercise: Use AccuDraws input focus

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

1. Open the design file clock.dgn from the \Workspace\projects\tutorials\intro\dgn directory.
A clock face appears. Each hour represents 30 of an arc, with a half hour representing 15 of an arc.
2. Activate AccuDraw. 3. Select the Place Smartline tool. 4. Snap to the center of the clock hands and enter a data point. 5. Move your pointer toward the III.
Note AccuDraws focus is on the X field.
AccuDraws input focus set to the X field.
6. Move your pointer toward the XII.
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Use AccuDraws input focus

Now, the focus is on the Y field.
AccuDraws input focus set to the Y field.
7. Move your pointer toward the I.
The focus remains on the Y field.

8. Move your pointer toward the half hour line between I and II.
This location is 45 from the intersection of the clock hands. This represents the crossover point for the input focus. Depending on where your pointer is located, the focus will be on X or Y.
AccuDraws input focus set to the Y field at the 45 crossover point. Notice that a slight movement of your pointer toward the II will index the pointer to the X field and vice versa as you move back toward the I.
9. Try moving the pointer around to various parts of the clock face.
Can you predict where the focus will go as you move the pointer around the screen?
10. Press Reset. 11. Deactivate AccuDraw by double clicking the window control button in the upper left corner of the AccuDraw window.
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Use AccuDraw to develop a compass
Exercise: Use AccuDraw to develop a compass

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

1. Select the Place Circle tool. 2. Snap to the center point of the compass and accept with a data point. 3. Move the pointer to the right to index AccuDraw to the X field.
AccuDraws appearance has changed. It now displays its Polar coordinate system (distance and angle values) instead of its Rectangular coordinate system (X and Y values). When placing a circle it does not matter which coordinate system is in use because the value you key into AccuDraw determines the radius value of the circle.
4. Enter 1.00 in the Distance field of the AccuDraw window and press <Enter>. 5. Move the pointer about the screen.
Notice that the Distance field remains constant but the Angle field changes.
6. Enter a data point, and then reset. 7. Repeat steps 2 through 6, using a radius value of 1.75 for the outer circle.
Placing the compass circles using AccuDraw to input the radius value. Note that the second data point is placed at different locations for the two circles.
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Use the Mirror tool with AccuDraw

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

1. Select the Copy tool. 2. Identify the diamond compass point to the right. 3. Move the pointer toward the center of the compass. 4. Verify that AccuDraw is using its Rectangular coordinate mode. 5. Enter 2.5 in the X field of the AccuDraw window and press <Enter>.
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6. Enter a data point, and then reset. 7. Repeat steps 2 through 5 for the diamond compass point at the top, using a value of 2.5 in the Y field of the AccuDraw window.
Result of copying the remaining diamond compass points.
Use AccuDraws distance and angle mode to place the

compass needle
1. Select the Place Line tool. 2. Snap to the center of the compass and accept with a data point. 3. Shift AccuDraw into its Polar coordinate mode. 4. Enter 1.50 in the Distance field of the AccuDraw window and press <Enter>. 5. Enter 45 in the Angle field of the AccuDraw window and enter a data point. 6. Reset.
Placing the compass pointer.
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Place Text using AccuDraw with an offset distance

1. Select the Place Text tool. 2. Enter N (for North) in the Text window. 3. Snap to the center of the compass.
not enter W Dodo so. data points in this exercise until you are instructed to
4. Verify that AccuDraw is using its Polar coordinate mode. 5. Press the <O> key to place the origin at this point. 6. Enter 1.50 in the Distance field and 90 in the Angle field of the AccuDraw window. 7. Enter a data point to accept this location.
Placing the North compass marker.
8. Return to the Text window and replace the N with a W. 9. Press the <Esc> key to return the focus to AccuDraw. 10. Move the pointer to the West. 11. Press the <spacebar> to switch to the Rectangular coordinate mode. 12. Enter 1.5 for both the X and Y values.
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13. Enter a data point to accept this location.
Placing the West compass marker.
14. Return to the Text window and replace the W with an S. 15. Press the <Esc> key to return the focus to AccuDraw. 16. Move the pointer to the South. 17. Enter 1.5 for both the X and Y values. 18. Enter a data point to accept this location. 19. Reset.
Placing the South compass marker.
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Rotate the AccuDraw drawing plane

1. Zoom in on the North East quadrant of the compass. 2. Select the Place Line tool. 3. Snap to the endpoint of the compass needle. Do not accept this point. 4. Press the <O> key to set the AccuDraw origin at this point. 5. Press the <R> key, and then the <Q> key.
Note what has happened to the AccuDraw compass. It now rotates about the selected origin point to follow the pointer movements.
6. Snap to endpoint of the North marker line.
Snapping to the compass needle and rotating AccuDraws Axis.
Snap here
Snapping to the North marker line.
Note how the axes of the AccuDraw compass are aligned now. The point location just entered established the X axis of AccuDraws drawing plane.
8. Move the pointer back toward the compass needle. 9. Enter 0.25 in the X field of the AccuDraw window and press <Enter>.
Note the alignment of the X axis.
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10. Accept with a data point.
Drawing the first segment of the arrowhead.
11. Move the pointer along AccuDraws X axis.
Notice that the Y value sets to 0.0000 as you move along the index line.
12. Enter 0.25 in the X field of the AccuDraw window and press <Enter>. 13. Accept with a data point. 14. Press the <R> key, and then the <Q> key. 15. Snap to endpoint of the East marker line.
Snapping to the East marker line.
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Note how the axes of the AccuDraw compass are aligned now. The point location just entered established the X axis of AccuDraws drawing plane.
17. Move the pointer back toward the compass needle. 18. Enter 0.25 in the X field of the AccuDraw window and press <Enter>.
Note the alignment of the X axis.

Drawing the second segment of the arrowhead.
20. Reset. 21. Fit the view window.
The competed compass.
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Modifying a Design
In this tutorial, you will use MicroStations basic features for drawing 2D designs. After you create and open a new design file, you will see how easily MicroStations line styles, tentative points, and cells let you draw a simple architectural plan. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Modifying a design using multi-lines and a custom line style
If you have trouble If you have trouble when going through the lesson, doing one of the following usually helps:
Reset by pressing the Reset button. This is most helpful when you have trouble using a tool. Undo by choosing Undo from the Edit menu. This is most helpful after you finish using a tool and realize youve made a mistake. Remember MicroStation lets you undo more than just the last operation. Undo a change made with a view control by clicking on the View Previous tool located on the bottom of each view window. This is helpful if you use a view control to zoom in or out of an area and lose your bearings.
Exercise: Modifying a design using multi-lines and a custom line style

In this exercise, you will modify an existing design, finishing the remodeling of an office by adding walls and a curved window. The window is represented by a custom line style that has the appearance of a multi-line and can be placed as a curve. Although these elements contain much more information than simple lines, you will see that it is no more difficult to place them. Throughout this exercise, the entire design is displayed in view window 1. Zoom in on details of the design in view window 3 to facilitate snapping tentative points to elements. Move and resize view window 3 whenever it covers something you need to see in view window 1.
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Modifying a design using multi-lines and a custom line style
Open the design file remodel.dgn

The Open Design File dialog box opens. The active design file is automatically selected in the Files list box, which has the input focus.
2. Select the \Workspace\projects\tutorials\intro\dgn directory. 3. Press <R>.
The design file remodel.dgn is selected in the Files list box.

4. Click the OK button or press <Enter>.
The file remodel.dgn is opened as the active file.
This design file contains only part of an architectural design. You can fit the entire design into one view at a reasonable magnification. The filled orange multi-lines in view window 1 represent the exterior wall of the building that will not be changed.
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Delete part of an existing wall

1. From the Main tool bar, select the Modify Element tool and tear off the tool box.
The Modify tool box opens.

2. Select the Partial Delete tool. 3. If you have not already done so, select the AccuDraw tool. 4. With the focus in the AccuDraw window, press <M>.
The Data Point Keyin settings box opens.

5. From the option menu, choose Absolute (xy=). 6. In the field, key in 6:9.5,9:0 and press <Enter>.
The multi-line that runs along the bottom of the design is to be cut from this point to a point further to the left.
7. Key in 18:11,9:0 and press <Enter>.
A section of the multi-line is deleted.
Place a new partition (interior wall)

1. In the Window menus Open/Close sub-menu, turn on view window 3.
View window 3 opens and displays the magnified left end of the orange multi-line near the upper right corner of view window 1. The View Attribute Fill is on in view window 1, but not in view window 3.
2. From the Settings menu, choose Manage.
The Select Settings settings box opens.
3. From the Group option menu, select V40 - Multiline Styles.
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Modifying a Design

4. From the Component option menu, select the component Partition - Use with Tutorial.
The multi-line defined as the Partition component becomes the active multi-line style and the Place Multi-line tool is selected. The prompt in the status bar is Enter first point.
5. In view window 3, snap a tentative point to the lower end of the vertical line at the left end of the multi-line. 6. Enter a data point to accept the tentative point.
One end of the multi-line is placed. The multi-line dynamically displays from that point to the pointer.
The contents of View 3 after step 6.
7. Use the Zoom In view control to display in view window 1 a magnified view of the left end of the multi-line directly below the filled multi-line in view window 3. 8. Reset to deselect the Zoom In view control. 9. In view window 1, snap a tentative point on the end of the dashed, blue line that runs along the center of the multi-line. 10. Enter a data point to accept the tentative point.
The first partition is placed. Another multi-line segment dynamically displays from the end of this segment to the pointer. Do not Reset.
11. In the Window menus Open/Close sub-menu, turn off view 3. 12. Use the Fit View view control to fit view 1. 13. Enter a Reset to return to the placement of the multi-line.
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Continue placing partitions

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

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

9. Enter a data point within view window 1 to accept the constrained line. 10. Reset.
The three multi-line partitions in place.
Joining the multi-lines

1. From the Tools menu, choose Multi-line joints.
The Multi-line Joints tool box opens.

2. In the Multi-line Joints tool box, select the Construct Closed Tee Joint tool.
The prompt in the status bar is Identify element.

3. Identify the orange multi-line in the lower right corner of view window 1 by entering a data point on it. 4. Identify the right, vertical segment of the newly-placed multiline. 5. Accept the joint (by entering a data point).
The intersection of the two multi-lines is cleaned up.

6. Identify the orange multi-line in the lower left corner of view window 1. 7. Identify the left, vertical segment of the newly-placed multiline.
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8. Accept the joint.
The intersection of the two multi-lines is cleaned up.
Cleaning up the multi-line joints.
Leave this file open and continue to the next chapter.
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Modifying a Design
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Working with Cells

In this tutorial you will complete the remodeling project begun in the previous chapter. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Working with Cells and Cell Libraries
Exercise: Working with Cells and Cell Libraries

An office may require many identical representations of windows, doors, fixtures, and pieces of furniture. Rather than draw the same things over and over or copy them repeatedly, it is more efficient to draw each item once, store it in a file, and place copies of the drawing wherever needed. MicroStations cells and cell libraries give you the ability to do just that. A cell is a complex element composed of primary or other complex elements (in effect, a small drawing) that can be stored in a file, the cell library, for repeated use in one or many designs. To make the cells in a cell library available for use with a design file, you associate the cell library with the design file by attaching the library to the design file. In this exercise, you will place cells in the design as though you were placing a line or other element.
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Working with Cells and Cell Libraries
Select the DR30RH cell (from the remodel.cel library)

as the active placement cell (Active Cell)
1. From the Element menu, choose Cells.
The Cell Library settings box opens. The name and path of the attached cell library are shown in the title bar.
2. Select the cell named DR30RH (a 3' 0" right-hand door).
An image of the cell is displayed to the right in the Cell Library settings box. The cell comprises a door frame, an open door, and the swing.
3. In the Active Cells section below the list box, click the Placement button.
The name of the selected cell is displayed to the right of the Placement button.
4. Close the Cell Library settings box or drag it out of the way.
Place a door cell in the lower partition

1. From the Main tool bar, select the Place Active Cell tool.
The Cells tool box opens.

2. Tear off the Cell tool box. 3. Select the Place Active Cell tool.
In the Place Active Cell tool settings box, DR30RH is the active cell. As you move the pointer about the screen, the cell is dynamically displayed. The cells origin, the point used to position the cell in the design, is at the pointer.
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4. Use the Zoom In view control to display a closely magnified view of the lower left corner of the new partition multi-line in view window 3. 5. Reset to deselect the view control. 6. Snap a tentative point to the inside corner of the multi-line.
Large cross hairs display at the corner and the cell is displayed with its origin there. Do not accept the tentative point; it is for reference.
8. Press the <O> key to locate the drawing plane origin at the tentative point location. 9. In the AccuDraw windows Distance field, key in 0:6. 10. Position the cell origin on the drawing plane x-axis. 11. Enter the data point.
Placing the door cell in steps 6 through 11.
12. Reset.
The door cell is placed at an offset of six inches (12 foot) to the right.
Cut out the door opening

1. In the Multi-line Joints tool box, select the Cut All Component Lines tool. 2. In the Status bar, change Snap mode to Intersection.
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Working with Cells
7. Reopen the AccuDraw window (if necessary), by selecting the Start AccuDraw tool in the Primary tool bar.

3. In view window 3, snap a tentative point to the door frames left side, up from the intersection.
Snapping a tentative point to the inside of the door frame.
4. Snap a tentative point to the multi-line segment (between the sides of the door). 5. Enter a data point to accept.
The multi-line is cut at the left edge of the door frame, and the cut displays dynamically along the multi-line to the x-axis position of the pointer.
6. If necessary, use the Zoom Out view control to include the entire door cell in view window 3. 7. Snap a tentative point to the right end of the door frame.
You will know that you have snapped to the door frame when the door frame highlights. If part of the multi-line highlights, try again.
8. Accept the tentative point to end the cut.
Snapping to the right door frame to end the cutting in steps 7 and 8.
Once the action is complete, the Snap mode returns to Keypoint my default.
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Begin placing the curtain wall (curved window and

mullions)
1. From the Primary tool bars Active Line Style option menu, choose Custom.
The Line Styles settings box opens.

2. In the Line Styles settings box, double-click {curtain} (curtain wall). 3. From the Main tool box, select the Place Arc tool.
The prompt in the status bar is Identify First Arc Endpoint.

4. In the Tool settings box, set Method to Center. 5. Use the Zoom In view control to display a magnified view of the left end of the upper right orange exterior wall in view window 3. 6. Reset to deselect the Zoom In view control. 7. Snap a tentative point where the vertical line at the end of the multi-line intersects the two lines of the shape at the end of the multi-line. 8. Accept the tentative point to place the first end of the arc.
A thin, dotted arc dynamically displays from the multi-line.
Snapping and accepting a tentative point in View 3 in steps 9 and 10.
Place the center and endpoint of the curtain wall arc

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

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

1. From the Settings menus, Level sub-menu, choose Display.
The Level Display settings box opens.

2. From the settings boxs Display menu, choose Level Names.
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The settings box enlarges and displays controls for turning on and off the display of levels by name.
3. In the list box, select the level 54 FURNITURE.
In the Views column, the list box entry for the FURNITURE level indicates its elements are displayed in all views except view window 1.
4. Click the Active button.
This designates the FURNITURE level the Active Level. The Active Level is the level on which new elements are placed the level in this particular design on which it is logical to place furniture cells. Because the Active Level, by definition, is on (displayed) in all views, you can now see the elements on the FURNITURE level displayed in view window 1. Furniture is already laid out in the office to the left of the new partition.
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Working with Cells

5. From the Element menu, choose Cells to open the Cell Library settings box.
6. Browse through the cells in the cell library by selecting cell names in the list box. 7. When you find a piece of furniture to place in the office, click the Placement button while that cell is selected. 8. From the Main tool bar, select the Place Active Cell tool. 9. Position the cell in view window 1 and place it by entering a data point. 10. Repeat steps 6 through 9 until the office is furnished to your satisfaction.
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Working With Reference Files

Working with a mechanical engineering design, you will use some of MicroStations more advanced features for drawing 2D designs. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Attaching, scaling, and moving a reference file (see page 6-2). Referencing design changes (see page 6-5).
Reset, by pressing the Reset button. This is most helpful when you have trouble using a tool. Undo, by choosing Undo from the Edit menu. This is most helpful after you finish using a tool and realize youve made a mistake. Remember MicroStation lets you undo more than just the last operation. Undo a change made with a view control by clicking on the View Previous tool from the View Control bar along the bottom of each view window. This is helpful if you use a view control to zoom or window an area and lose your bearings.
6-1
Attaching, scaling, and moving a reference file
Exercise: Attaching, scaling, and moving a reference file

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

1. Open the design file office.dgn in MicroStations \Workspace\projects\tutorial\intro\dgn directory. 2. Use the Fit View view control to fit the entire design in view window 1. 3. From the File menu, choose Reference.
The Reference Files settings box opens.

4. From the Reference Files settings boxs Tools menu, choose Attach.
The Preview Reference dialog box opens.

5. In the Files list box, select bordera.dgn and click the OK button.
Another dialog box with bordera.dgn in its title bar opens.
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6. Key in border in the Logical Name field. (Specifying a logical name is essential if you are attaching the same reference file more than once to the active design file.
7. Key in architectural border in the Description field. 8. In the Saved Views list box, select the saved view Border.
In the Attachment Mode option menu, Saved View is automatically chosen.

9. Click the OK button.
The saved view containing a border is now attached to the pointer.

10. Enter a data point just above the exterior wall of the floor plan to position the center of the reference file view.
The saved view in bordera.dgn is attached for reference to the active design at a scale of 1:1. That is, something one master unit long in the reference file appears one master unit long in the active design file. At this scale, the border is too small to contain the office design.
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View window 1 should look similar to this:
Scale the reference file bordera.dgn

1. Use the Zoom Out view control to zoom out from the center of the office design. 2. From the Reference Files settings boxs Tools menu, choose Scale.
The reference file bordera.dgn is already selected in the Reference Files settings box, so you are not prompted to identify a reference file. The Scale Reference File dialog box opens.
3. In the left field, key in 8 and press <Enter>.
As you move the pointer, a rectangle representing the scaled reference file saved view dynamically displays.
4. Position the rectangle around the office design.
Now eight master units in the active design file are the same length as one master unit in the reference file. The reference file appears eight times larger. However, the office design is not yet properly centered in the border.
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Referencing design changes
Move the reference file so that the design is centered in

the border
1. From the Reference Files settings boxs Tools menu, choose Move. 2. Enter a data point in the middle of the border to serve as an origin (a handle) for moving the reference file.
As you move the pointer, a rectangle representing the reference file saved view is dynamically displayed.
3. Enter a data point in the middle of the office design to position the origin.
The reference file is moved the same distance and direction as the origin.
4. If you are not satisfied with the location of the border, repeat steps 1 through 3.
Exercise: Referencing design changes

This exercise is a simulation of real world design. Think of yourself as a member of a team working on a building design project. Your system is networked with other systems, including personal computers and workstations, all running MicroStation. You are responsible for drawing the piping.
Open your work file and attach a coworkers file

1. Open the piping.dgn design file in MicroStations \Workspace\projects\tutorials\intro\dgn directory.
The design is in 3D, but the 2D drawing principles you have learned are sufficient for you to complete the lesson with ease.
2. From the File menu, choose Reference.
The Reference Files settings box opens.

3. From the Reference Files settings boxs Tools menu, choose Attach. 4. Attach the pumproom.dgn design file coincidentally as a reference file. Key in pump as the logical name. Be sure Coincident is chosen from the Attachment Mode option menu.
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5. Click on the OK button.
Note the revision balloon. The mechanical group has moved the left pump, and the pump is no longer connected to your piping.
6. Open view window 6 to take a look at the change from a different perspective, then close that view.
Pumproom.dgn attached as a reference file.
This situation is typical of concurrent design projects. Changes to a design made by one designer often affect parts of the design for which others designers are responsible. Reference files make these situations easier to manage. Here you do not need to copy the pumproom.dgn design file work into your design file because you have attached it as a reference file.
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Reconnect the piping to the pump

1. In the Main tool box, select the Place Fence tool. 2. Drag a fence block around the pump, the piping above and below it, and the disconnected piping to the left.
3. In the Fence tool box, select the Manipulate Fence Contents tool.
4. In the Manipulate Fence Contents settings box, choose Stretch from the Operation option menu. 5. Enter a data point on any grid point to define the origin for the move.
Connecting the piping (steps 5 and 6).
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You will use the Manipulate Fence Contents tool to move the fence three feet (three grid points) to the right. The grid is useful here because the design is aligned on the grid and Grid Lock is on.

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

pumproom.dgn as reference files
1. Open the strsteel.dgn design file, which is also in MicroStations \Workspace\projects\tutorials\intro\dgn directory. 2. Coincidentally attach the pumproom.dgn design file as a reference file. Key in pump as its logical name. 3. Coincidentally attach your piping design file (piping.dgn) as a reference file. Key in piping as its logical name.
When the view updates, you can see that the pump and piping are reconnected. All these design files can be attached as reference files from any system in the network, be it a personal computer, workstation, or VAX.
6-8
Working in 3D
In this chapter you will be introduced to the 3D capabilities of MicroStation.
Prerequisites
In addition to the prerequisites listed in Your First MicroStation Session on page 1-1, before you begin this chapter, you should be able to do the following: Understand and use the 2D concepts presented in the Users Guide, Chapters 1 through 9. Read and understand the 3D concepts presented in the Users Guide, Chapter 10. Use AccuDraw in 2D. Complete many sequences of steps, making sure that you are accurately entering the settings listed. This chapter starts with a short series of exercises designed to introduce key 3D features of MicroStation. Following this, an extended set of exercises are presented stepping you through the process of creating several 3D models using a variety of 3D tools and techniques. Finally, there are a series of tutorials stepping you through the various 3D visualization techniques. In all the exercises, you must be very careful to use the exact settings, plane orientations, and distances provided so that you can accurately complete the 3D models. In these exercises it is assumed that window scroll bars are turned on.
7-1
Getting started in 3D
To turn on window scroll bars

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

1. Start MicroStation.
The MicroStation Manager dialog box opens.

2. From the File menu, choose New.
The Create Design File dialog box opens.

3. In the Seed File section, click the Select button.
The Select Seed File dialog box opens.

4. In the Files list box, select seed3d.dgn.
The 3d in the filename indicates that it is a 3D seed file.

The Select Seed File dialog box closes.

6. In the Name field in the Create Design File dialog box, enter the filename 3DLESS1. 7. Click the OK button or press <Enter>.
The Create Design File dialog box closes, and the new design files name appears in the name field (with the default .dgn extension).
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The MicroStation Manager dialog box closes and the newly created design file is opened, displaying a model of a cube.
A new 3D file.
Notice that four viewing windows are open, showing the cube from various directions Top, Isometric, Front, and Right. Each view is displaying the same model, but from different viewing locations.
Prepare the design for work

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

4. From the Settings menu, choose AccuDraw.
The AccuDraw Settings box opens.
7-3
Working in 3D
5. Check that Rotation is set to View, and Type is set to Rectangular. 6. If necessary, in the Operation section, turn on Floating Origin, Context Sensitivity, and Smart Key-ins leaving Auto Point Placement turned off. 7. Close the AccuDraw Settings box. 8. From the File menu, choose Save Settings.
To provide a starting position for the exercise, you will now place an active point at the global origin of the design file.
Place an active point at 0,0,0

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

1. If necessary, set the Active Color to Green (2). 2. Set the Active Line Weight to 1. 3. Set the Active Level to 11. 4. In the Main tool bars Text tool box, select the Place Text tool.
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5. Check that Method is set to By Origin, in the Tool Settings window. 6. Set Justification to Left Bottom. 7. In the Text Editor, type Top. 8. In the Top view, snap to the active point. 9. Accept to place the text. 10. Enter a Reset to clear the Text Editor. 11. Use the Fit View view control to fit each view.
Each view is fitted to show the text.
Views showing the text.
Examining the word Top in the design In the previous procedure, the text was placed in a Top view. The text was placed parallel to the view or screen, which, in a Top view, is aligned with the xy plane of the Design Cube.
In a 3D design file, the orientation of an element can be aligned with any view. With AccuDraws Rotation set to View, elements
7-5
Working in 3D
are placed parallel to the view being used to place them. For example, with the text that you just placed: In the Top view (where it was placed), the text looks normal. In the Front view, the text appears to be a line. In a Front view you look along the xy plane, in the y-direction. Imagine a sheet of transparent paper, with text on it. If you looked at this sheet of paper, along its plane from the bottom edge, text would appear as lines. In the Right view, the three letters are one behind the other and again appear as a line. You are again looking along the xy plane, but this time in the x-direction. In the Isometric view, the text is skewed but is still legible. In an Isometric view, none of the planes of the other Standard views is parallel to the screen.
Place the word Front in the Front view

1. Set the Active Color to red. 2. Select the Place Text tool. 3. In the Text Editor, type Front. 4. In the Front view, snap to the active point. 5. Accept.
The word Front is placed at the active point.

6. Enter a Reset to clear the Text Editor. 7. Use the Fit View view control to fit each view.
The word Front appears as a line in both the Top View and the Right View. It appears normally in the Front View in which it was placed.
Place the word Right in the Right view

1. Set the Active Color to blue. 2. Select the Place Text tool. 3. In the Text Editor, type Right. 4. In the Right view, snap to the active point. 5. Accept. 6. Enter a Reset to clear the Text Editor. 7. Use the Fit View view control to fit each view.
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8. Close the Text Editor window.
Your screen should look like the figure below. All views display the same words but from different directions.
Views showing the text.
Because text is 2D, it appears as lines when viewed edge-on. The four views are set up with different viewing directions, looking at the same elements in the design. That is, simultaneously you can see the three words from different directions. Words that are not seen clearly from one direction are clearly visible when viewed from another direction. In the Isometric view all three words are both visible and legible. Be sure that you understand the above. It is important to understand what is being displayed on your screen, and why.
7-7
Working in 3D
Using AccuDraw in 3D design

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

1. Set the Active Color to Cyan (7). 2. Select the Place Text tool. 3. In the Text Editor, type ABC. 4. In turn, move the screen pointer into each of the views without entering a data point. Notice how the orientation of the AccuDraw compass, along with the text, always aligns itself to the current view. 5. Reset to clear the Text Editor.
This is just one feature of AccuDraw and 3D, that it can align its drawing plane (compass) with the currently selected view. Now you will learn about other features of AccuDraw that will assist you in your 3D work.
Fixing the AccuDraw drawing plane

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

1. Make level 12 the Active Level. 2. Turn off level 11 in all views.
The text disappears, leaving the active point displayed in each view.
3. Make the Active Color Cyan (7). 4. From the Settings menu, choose AccuDraw.

5. From the Coordinate System Rotation option menu, choose Top.
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6. Click Close.
The AccuDraw Settings box closes. With the AccuDraw Coordinate System Rotation set to Top, it will not matter which view is used, the element will be placed as though in a Top View.
Place text in the Isometric View

1. Select the Place Text tool. 2. In the Text Editor, type Top. 3. In the Isometric View, snap to the active point.
Notice that the AccuDraw compass is rotated, as is the text. They are aligned with the Top View.
4. Accept to place the text. 5. Reset to clear the Text Editor.
Use an AccuDraw Shortcut to rotate text to the Front

1. Make the Active Color Violet (5). 2. Select the Place Text tool. 3. In the Text Editor, type Front. 4. In the Isometric View, snap to the active point, without entering a data point.
Notice that the word Front is in the same plane as the word Top, placed previously. This is because AccuDraws rotation is set to Top.
5. Type <F> (the letter F on the keyboard).
Notice that the AccuDraw compass and the text now rotate to a Front View orientation.
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View orientation
Working in 3D
Using AccuDraw in this way you can work in a pictorial view, such as the Isometric View, but still constrain the orientation of elements to that of the Top View. Similarly, you can constrain elements to the orientation of the Front or (right) Side views. The orientation of the AccuDraw drawing plane can be set in the AccuDraw Settings box, as you did in the previous exercise. A more convenient method, however, is to use AccuDraw Shortcuts to change the orientation. This can be done interactively, as the following exercise demonstrates.

6. Accept to place the text. 7. Reset to clear the Text Editor.
Similarly, you can place text rotated to the Right View orientation using the S AccuDraw Shortcut. Try this for yourself, following the same procedure as above, but typing <S> instead of <F>.
AccuDraw Shortcuts
As in the preceding exercise, many of the following procedures refer to typing in a single character to change the orientation of the AccuDraw drawing plane. Also, you can select these settings from the AccuDraw Shortcuts menu. This menu is accessible from the AccuDraw Settings box, by clicking Shortcut Key-ins.
The AccuDraw Shortcuts menu.
Before continuing, you will place another active point at xy=1000,1000,1000.
Place a second active point at 1000, 1000, 1000

1. Make the Active Level 10 and turn off all other levels in all views. 2. Set the Active Line Weight to 10. 3. In the Main tool bars Points tool box, select the Place Active Point tool. 4. In any view, enter a tentative point (anywhere in the view). 5. Type to open AccuDraws Data Point Key-in box. 6. If necessary, set the Data Point option menu to Absolute (xy=). 7. In the input field, key in 1000,1000,1000 <Enter>.
The active point is placed at xy=1000,1000,1000 in the design file.

This second point is the diagonally opposite vertex of an imaginary cube whose origin is at the global origin. When you
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fit a view, the View volume changes so that all displayable elements are visible.
9. From the File menu, choose Save Settings.
In this case, each orthogonal view, when Fitted, displays the same volume the volume between the two active points. This is useful when you start a 3D model. Simply place two active points so that a Fit includes the entire volume in which you will work. Then, as elements are placed, they appear in each orthogonal view, saving you having to fit after each one.
Imaginary cube, between two points.
Place some other planar elements in 3D

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

10. Change the Active Color to 2 (green).
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Working in 3D
Planar elements, like the text you placed earlier, are affected by the view used to place them, or by the AccuDraw drawing plane setting.

11. In the Main tool bars Polygons tool box, select the Place Regular Polygon tool. 12. Check that Method is Inscribed and, in the Edges field, key in 6. 13. In the Right View, enter two data points to define the hexagon.
Occasionally, you may need to fit the Isometric view to display all of the elements. The Isometric view is inclined to the screen so parts of the imaginary cube may not be in its view volume.
The design file after placing the planar elements.
Examining the elements just placed Planar elements placed in one orthogonal view appear as lines in the other orthogonal views. They are flat, 2D surfaces that appear as lines when viewed edge-on. When placed with data points, and with AccuDraws rotation set to View, their orientation is parallel to the screen in the view in which they were placed. In the Isometric view, all shapes are at least partially visible, which makes it useful for seeing the model as you create it.
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If AccuDraw is not active, planar elements placed with data points take the orientation of the view being used. That is, they are placed parallel to the view, or screen. This is the same as having AccuDraws rotation set to View.
Place a rectangle in the Isometric view

1. Set the Active Color to 4 (yellow), and the Active Line Weight to 4. 2. In the Main tool bars Polygons tool box, select the Place Block tool. 3. In the Isometric View, enter two data points to place the rectangle. 4. Use the Fit View view control to fit each view.
Views showing the polygon placed in the Isometric view.
Notice that the yellow rectangle, though skewed, is at least visible in all other views. This shows again that the Isometric view does not align with the other standard (orthogonal) views.
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Working in 3D
Setting the Active Depth and the Display Depth
Delete the elements to get ready for the next exercise

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

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

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

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

1. Select the Fit View view control in any view. 2. Check that Center Active Depth is turned on in the tool settings. 3. Use the Fit View view control to fit all views.
The two active points display in each view.

4. Use the Zoom Out view control to zoom out the Isometric View (once at a Zoom Ratio of 2). 5. Check that Active Color is Yellow(4), and Active Line Weight is 4.
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Place elements in the Top View

1. Set the Active Color to Red (3). 2. From the Main tool bars Polygons tool box, select the Place Block tool. 3. In the Top View, enter two data points to place a block. 4. Change the Active Color to Green (2). 5. From the Main tool bars Ellipses tool box, select the Place Circle tool. 6. With Method set to Center, in the Top view, enter two data points to place a circle next to the block.
Looking at the Front and Right views, notice that both elements have been placed midway between the two active points. When you Fitted the views, you specified that the Active Depth be centered. That is, the active depth was set at the center of the views depth, which is midway between the displayed points.
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Working in 3D
After placing the block and the circle in the Top View.
Display the Active Depth value

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

Top View
1. In the 3D View Control tool box, select the Set Active Depth view control. 2. Select the Top View (by entering a data point).
Graphics appear in the Isometric View, displaying part of the viewing volume of the Top View, plus its Active Depth plane, which is at the same level as the red block and green circle.
The Isometric View, displaying the Top Views viewing volume and Active Depth Plane.
3. Move the pointer in any view and notice that the Active Depth plane moves with the pointer. The graphics may not be readily visible in the other views, but the Isometric View displays them clearly. 4. In any view, snap to the upper active point. 5. Accept to set the Active Depth at that point. 6. Set the Active Color to Yellow(4).
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7. In the Top view, use the Place Block tool to place a rectangle and the Place Circle tool to draw a circle. (Use data points only to draw the elements).
The elements displayed in the Top and Front views.
Looking at these new elements You can see, in the Front and Right views, that the yellow block and circle lie in the plane of the upper active point. This is the Active Depth plane that you defined prior to placing those elements. Working in 3D
In the Top view, all of the elements appear to be together. In the Front and Right views, however, it is obvious that the yellow elements, just drawn, are on a different plane.
Snapping to existing elements In the preceding exercises, you placed the various elements with data points. That is, you did not snap to existing elements in the design. The Active Depth value is a default depth at which elements are placed. If you snap to an existing element in the design then the Active Depth value is ignored, and the depth of the snap point is used. This feature will be used in later exercises.
If you know the required Active Depth, you can use the AZ= key in via the Key-in window (available from the Utilities menu). For example, to set a views Active Depth to 500, key in AZ=500 and select the view. You cannot set the Active Depth outside the views Display Depth specifying a value in front of the front clipping plane or behind the back clipping plane sets the Active Depth to the front or back clipping plane, respectively, and causes Active Depth set to Display Depth to display in the Status bar.
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Setting the Display Depth

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

1. In the 3D View Control tool box, select the Set Display Depth view control. 2. In the Top View, enter a data point.
Dynamics in each view display the Top views volume. The pointer controls the location of the views front clipping plane (the one nearest you in the Top View).
3. In the Front or Right view, enter a data point between the two groups of elements to define the front clipping plane.
The pointer now controls the back clipping plane for the selected view.
4. In the Front or Right view, enter a data point below the lower group of (red and green) elements to define the back clipping plane.
Setting the Display Depth: Identify the view (1) and then define the front and back clipping planes (2 and 3).
The Top view updates with only the red and green elements (those on the lower plane) visible. Because the yellow
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elements are in front of the front clipping plane, outside the views Display Depth, they are not displayed.
5. Use the Zoom Out view control to zoom out the Front View (once). 6. Repeat steps 24, this time setting the front clipping plane above the yellow elements, and the back clipping plane between the two groups (use the zoomed out Front View to set the upper limit).
When you know the range required for Display Depth, you can use the alternate key-in DP= via the Key-in window. For example, to set the Display Depth between 200 and 300, key in DP=200,300 and select the view. While any view can be used to set the Active Depth or Display Depth, it is most convenient to use an orthogonal view. Dynamics associated with the Set Active Depth and Set Display Depth view controls are affected by the view volume. Whether or not these dynamics appear on screen, the tools still function normally. If necessary, increase a views Display Depth or Window Area to make the dynamics visible. Using the procedures demonstrated in the preceding exercise, you can change the Active Depth and Display Depth in any view. Also, you can check the Display Depth, and the Active Depth of any view, with the Show Display Depth, and Show Active Depth view controls. In each case, the values appear in the Status bar.
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Working in 3D
The Top view updates with only the yellow elements plus the upper active point visible. In this case, the red and green elements are behind the back clipping plane and are not displayed.
Viewing a 3D design
Viewing a 3D design
In this exercise, you will learn how to view a 3D design from any location, looking in any direction. You will learn how the View Rotation settings box, along with the Set Display Depth view control, lets you view various items of your design in isolation. In preparation, start MicroStation and open vwlesson.dgn. This design file is shipped in MicroStations \Workspace\projects\tutorials\intro\dgn directory.
Sample design file vwlesson.dgn.
This design is saved with views 1 to 4 open, displaying the model from the Top, Front, Right, and Isometric views. You are not restricted to these, or other, standard views the Rotate View view control and the View Rotation settings box let you rotate views to any orientation. Whereas the Window Area tool lets you specify an area of interest, the Set Display Depth view controls let you specify the depth that is displayed in each view.
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Viewing a 3D design
Display Depth
By default, 3D views usually are set to display as wireframe views. This lets you see through elements, which is useful because you can see elements that are behind others. However, particularly in a complex design, it can be hard to see what you want to work on in a wireframe view that displays the entire model. To view a limited part of the model, you can use the Set Display Depth view control.
Set the Display Depth in the Top view to isolate the blue
tanks
1. In the 3D View Control tool box, select the Set Display Depth view control. 2. Enter a data point in the Top View. 3. In the Front or Right view, enter a data point above the model, to set the front clipping plane. 4. In the Front or Right view, enter a second data point just below the upper floor, so the blue tanks are included.
The Top View updates with the new Display Depth. The blue tanks are clearly visible. Elements located below the tanks no longer confuse the view.
Setting the display depth in the Top View. Identify the view (1) and then the Front and Back clipping planes (2 and 3).
Isolate the tanks in the Front view

1. In the 3D View Control tool box, select the Set Display Depth view control. 2. Enter a data point in the Front view. 3. In the Top View, enter a data point below the blue tanks to set the Front Views front clipping plane.
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Working in 3D
This second data point sets the back clipping plane.
Viewing a 3D design
4. In the Top View, enter a second data point above the blue tanks to set the Front Views back clipping plane.
The Front View updates with the new Display Depth. Again, the blue tanks now are clearly visible.
Front view with new Display Depth. Setting the display depth in the Front View Identify the view (1) and then the Front and Back clipping planes (2 and 3).
Display Depth setting and the view control tools When you use the Zoom In, Zoom Out, or Window Area view controls, no change is made to the display depth of a view. Similarly, if you use the Fit View view control, with Expand Clipping Planes turned off, the display depth remains unchanged. That is, the view is expanded to fit all displayable elements within the current front and back clipping planes. When Expand Clipping Planes is turned on, the Fit View view control also expands the front and back clipping planes to fit all displayable elements. By default, the Fit View view control has Expand Clipping Planes turned on.
Zoom In on the tanks

1. In the Top View, use the Zoom In view control to magnify the blue tanks. 2. In the Front View, use the Window Area view control to magnify the blue tanks.
The Top and Front views magnified (without change to display depth).
3. In the Top View, use the Fit View view control to fit the view.
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Viewing a 3D design
With the setting Expand Clipping Planes turned on, the complete model is displayed.
4. In the tool settings, turn off Expand Clipping Planes. 5. In the Front View, use the Fit View view control to fit the view.
The view is fitted, but the front and back clipping planes are not adjusted.
6. In the tool settings, turn on Expand Clipping Planes. 7. Enter a data point in the Front View, or select the Fit View view control.
The view is fitted, with the front and back clipping planes adjusted to display the entire model.
Result of fitting the Front View with Expand Clipping Planes turned off (left) and on (right).
Rotated views and display depth As well as working with standard views, you can set the Display Depth in rotated (non-standard) views. Views may be rotated graphically with the Rotate View view control, or with precision via the View Rotation settings box. Here, you will use the precision controls to rotate the view 45.
Rotate the front view 45o about the y-axis

1. In the 3D View Control tool box, select the Change View Rotation tool.
The View Rotation settings box opens.

2. From the View option menu, choose 3.
The cube graphic in the settings box updates to reflect the current orientation of the selected view and Front appears in the Std. option menu.
3. In the Step field, enter 45. 4. From the Axis option menu, choose View. 5. Click (once) on the plus (+) arrow for the y-axis.
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Working in 3D
Viewing a 3D design
The cube graphic updates, showing the new orientation.
View Rotation Settings box, set to rotate View 3 by 45 about the views Y axis.
6. Click the Apply button.
View 3 is rotated to the orientation just defined in the View Rotation settings box.
7. Close the View Rotation settings box. 8. Use the Fit View view control to fit View 3.
All elements are displayed in the view.

9. In View 3, use the Window Area tool to magnify the blue tanks.
View 3 after rotating 45 and magnifying the tanks.
Set the Display Depth in the rotated view

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

4. In the Top view, set the front and back clipping planes to include 2 of the blue tanks that are oriented at 45o.
On selecting the back clipping plane, view 3 updates to display the defined volume.
Setting the display depth in the rotated view Identify the view (1) and then the Front and Back clipping planes (2 and 3).
When using the Set Display Depth tool, sometimes the other views do not display its dynamics because their view volume does not encompass the volume of the view being manipulated. This can be remedied by increasing the window area and/or the Display Depth of the other views.

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

techniques, you will find that MicroStation and its SmartSolids tools make the task simple.
Rendered image of model bracket to be constructed in the exercise.
For this model, you will first create the underlying solids, two slabs and a cylinder, and then a shape from which the strengthening rib will be constructed. The holes will be cut next followed by the rounding on the edges.
In these following exercises, unless specified otherwise, the AccuDraw compass mode referred to is rectangular. You can press <Space> to toggle between Rectangular and Polar mode.

1. Create a new design file using the seed file seed3d.dgn. Name the new design file 3Dtute1.dgn.
This design file has view 1 to 4 open. They are Top, Isometric, Front, and Right views respectively.
2. Make level 2 the Active Level. 3. Turn off all other levels in all views.
Tool boxes containing the 3D SmartSolids modeling tools are located in the 3D Main tool box.
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Open the 3D Main tool box

x From the Tools menus 3D Main sub-menu, choose 3D Main.
The 3D Main tool box opens.

Left Column
3D Primitives tool box 3D Modify tool box
Right Column
3D Construct tool box 3D Utility tool box
For the purposes of this exercise, Master Units are assumed to be millimeters. First, you will place two Active Points so that a fit will display the volume in which the model will be constructed. For the exercise, these will save you having to fit views after each element is placed.
Place two active points

1. Set the Active Line Weight to 10. 2. In the Main tool bars Points tool box select the Place Active Point tool. 3. In the Primary tool bar, click the Start AccuDraw icon. 4. Type to open AccuDraws Data Point Key-in box. 5. If necessary, set the Data Point option menu to Absolute (xy=) 6. In the input field, key in 0 <Enter>.
The active point is placed at the design files Global Origin, xy=0,0,0.
7. Type to open AccuDraws Data Point Key-in box. 8. In the input field, key in 65,65,65 <Enter>.
The active point is placed at xy=65,65,65.

9. Use the Fit View view control to fit all views.
To begin, you will place two slabs and a cylinder, which will form the basic solids from which the finished model will be constructed.
Prepare to place the first slab

1. Make level 10 the Active Level. 2. Make the Active Line Weight 1. 3. Float the 3D Primitives tool box, which is located at top left of the 3D Main tool box.
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Working in 3D

4. In the 3D Primitives tool box, select the Place Slab tool. 5. From the Type option menu, choose Solid. 6. From the Axis menu, choose Drawing Z.
This constrains the slab to the design file coordinates, with the slabs height aligned with the Z axis of the design file.
7. Turn on Orthogonal. 8. Turn on Length and Width and, in the respective fields, key in 34. 9. Turn on Height and, in its field, key in 14.
Place the first slab

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

3. In the Top View, enter a data point anywhere along the top area of the view.
Sets the Width of the slab.
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4. In the Front or Right Views, enter a data point anywhere along the top area of the view.
Completes the slab by defining its height.
Placing the slab, where all dimensions are constrained.
Where a number of identical slabs are to be placed, the foregoing method is fine. Having defined the Length Width and Height, you can place any number of these identical slabs. The same applies where only one, or even two of the dimensions, changes. For one-off slabs such as this, however, there is a more efficient method in which you use AccuDraw.
Prepare to place the first slab again, using AccuDraw

1. Use the Delete Element tool to delete the existing slab. 2. From the Settings menu, choose AccuDraw.

3. If necessary, in the Operation group, turn on Floating Origin, Context Sensitivity and Smart Key-ins, while Auto Point Placement should be turned off. 4. Close the Accudraw Settings box. 5. In the 3D Primitives tool box, select the Place Slab tool. 6. Turn off Length, Width, and Height.
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Working in 3D
Using AccuDraw, place the first slab

1. In the Primary Tool bar, click the Start AccuDraw icon.
In the Place Slab tool settings, the Axis setting is Points (AccuDraw).
2. Key in P.
AccuDraws Data Point Key-in window opens.

3. With the Data Point Key-in option set to Absolute (xy=), key in 15,15,20 <Enter>.
AccuDraws compass appears at 15,15,20 in the view where the pointer is located.
4. Type <T> to align AccuDraws drawing plane with the Top View. 5. In the Isometric View, move the pointer in AccuDraws positive X direction (the direction of the red tick on the compass). 6. With the pointer indexed to AccuDraws X direction, key in 34 and enter a data point.
With the pointer indexed to AccuDraws X direction, input focus is on AccuDraws X input field.
7. Still in the Isometric View, move the pointer up and to the left until AccuDraws previous distance lock indicator displays, and enter a data point.
Because both length and width are the same, the previous distance lock saves you keying in the value.
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Notice also that, after placing this third data point, AccuDraws compass automatically rotates ready to define the slabs height.
8. Move the pointer upward to define the direction of the slabs height. 9. Key in 14, and enter a data point.
The slab is completed.
To construct this slab you will use another of AccuDraws features, the Origin key-in <O>. This is used to set AccuDraws origin at the tentative snap point. As you will see, you will snap to the center of the existing slab, and place the first point of the new slab relative to this point.
1. If necessary, reselect the Place Slab tool. 2. In the Isometric View, snap a tentative point to the midpoint of the upper front edge of the slab, as shown do not enter a data point!
3. Type <O> (the letter O on the keyboard).
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Place the second slab
Working in 3D
Next you will place a second slab abutting the first, with their top faces adjacent. This second slab is 60mm long, 3mm wide, and 28mm deep, and located symmetrically about the center line of the first slab.

This sets AccuDraws origin at the tentative point location. The compass, which appears at this origin, still is aligned with the Top View.
4. Move the pointer in AccuDraws negative X direction. 5. With the pointer indexed to AccuDraws negative X direction (opposite to the direction indicated by the red tick), key in 30 and enter a data point.
This is the first point of the new slab.
6. Move the pointer in AccuDraws positive X direction 7. With the pointer indexed to AccuDraws positive X direction, key in 60 and enter a data point. 8. Move the pointer to the right, key in 3 and enter a data point. 9. Move the pointer downward, key in 28 and enter a data point.

Placing the second slab. From the first point (1), move the pointer right, indexed to AccuDraws positive X direction, key in 60 and enter a data point (2). Next, move the pointer right, key in 3 and enter a data point (3). Finally, move the pointer downward, key in 28 and enter a data point (4).
To complete this part of the exercise, you will place a cylinder at the rear of the first slab. Again, you will use AccuDraw to input the dimensions interactively.
Place the cylinder

1. In the 3D Primitives tool box, select the Place Cylinder tool. 2. If necessary, set Type to Solid, and turn on Orthogonal (leaving Radius and Height turned off).
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3. In the Isometric View, snap to the center of the rear lower edge of the first slab and accept with a data point.
AccuDraws compass appears at the snap point.

4. Move the pointer to the right, indexed to AccuDraws positive X direction. 5. With the pointer indexed to AccuDraws positive X direction, key in 9 and enter a data point.
This sets the radius of the cylinder.

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

4. With the pointer indexed to AccuDraws negative Y direction, key in 25 and enter a data point.
Snap to the center of the rear top edge of the first slab for the first point (1). With the pointer indexed to AccuDraws negative Y direction, key in 25 and enter a data point (2).
5. Type <S> to realign AccuDraws compass to the Side View. 6. Move the pointer upward, indexed to AccuDraws positive Y direction (in line with the green tick). 7. With the pointer indexed to AccuDraw positive Y, key in 20 but do not enter a data point. 8. Move the pointer to the left, until AccuDraws previous distance lock indicator displays and enter a data point.
Because you did not enter a data point after the 20 key-in, AccuDraw still retains the previous distance (25).
Locating the 3rd data point: Left: Move the pointer upward indexed to AccuDraws Y direction and key in 20. Right. Move the pointer to the left until the previous distance lock indicator appears and enter a data point (3).
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9. In the tool settings, click Close Element to complete the shape.
Snap to the center of the upper rear edge of the slab to complete the shape.
Create the rib

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

5. Accept to thicken the surface.
The model after thickening the rib.
You now have the basics of the model. Currently, it consists of 4 individual solids. Using tools from the 3D Modify tool box, you will now consolidate the separate solids into a single unit, and then add the finishing touches. Again, with the aid of AccuDraw, you can work entirely in the Isometric View.
Prepare for completion of the model

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

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

3. Identify the remaining slab.
Both slabs now are highlighted.
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4. Accept (away from the model).
The slabs are united.
Uniting the two slabs. Left: Identify both slabs (1 and 2). Right: Accept to create the union (3).
You can use this method to unite two or more solids, by individually selecting the elements. Alternatively, you can use the Element Selection tool to first select the elements in one step, as shown below.
1. In the Main tool box, select the Element Selection tool. 2. Place a selection fence to envelope all elements of the model.
Handles appear on all elements, indicating that they are selected.
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Working in 3D
Unite the remaining solids

3. In the 3D Modify tool box, select the Construct Union tool.
The elements are united into a single solid.
Left: Use the Element Selection tool to select all elements to be united (1 and 2). Right: Select the Construct Union tool to effect the union.
With the model in its raw state, you can now start to add the finishing touches. First, you will chamfer the rear edges of the main body, back to the cylindrical section. To determine the dimensions of the chamfer, you can use the Measure Distance tool. The distances should be 8mm and 34mm, as shown.
Construct the first chamfer

1. In the 3D Modify tool box, select the Chamfer Edges tool. 2. If necessary, click the lock icon to unlock the Distance 1 and 2 values.
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3. In the Distance 1 field, key in 8. 4. In the Distance 2 field, key in 34. 5. Identify the rear left edge.
The selected edge highlights. Notice also, that as you move the pointer over the model, the various edges highlight to show you which edge would be selected with a data point.
6. Away from the model, to avoid selecting another edge, accept with a data point.
The edge is chamfered.
Left: Identify the edge to chamfer (1). Right: Accept to chamfer the edge (2).
To construct the second chamfer, the dimensions will be the same, but reversed. Rather than reverse the Distance 1 and 2 values, you can simply turn on Flip Direction.
Chamfer the remaining rear edge

1. If necessary, reselect the Chamfer Edges tool.
Values for Distance 1 and 2 are retained from the previous operation.
2. Turn on Flip Direction. 3. Identify the rear right edge.
The edge highlights.
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Working in 3D

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

1. If necessary, reselect the Chamfer Edges tool. 2. In the Distance 1 field, key in 20. 3. Leave the Distance 2 field as 8. 4. Identify the lower left and lower right edges of the bracket, as shown.
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5. Accept, away from the model, to construct the chamfers.
Accept, away from the model (3), to complete the two chamfers.
Before adding rounding to the various edges, 3 holes will be cut in the bracket. A hole partway through the cylindrical lug, and two attachment holes through the front face of the bracket. To cut a hole in a solid, you first create a cutting profile. For this model, all cutting profiles will be circles. Again, working in the Isometric View, AccuDraw will be used to place the circles at the correct orientation and location.
Create the cutting profiles for the attachment holes

1. If necessary, in the Primary tool bar, click the Start AccuDraw icon. 2. In the Main tool boxs, Ellipses tool box, select the Place Circle tool. 3. In the Tool Settings, set Method to Center. 4. Turn on Diameter and, in its field, key in 5. 5. Snap to the front upper left corner of the bracket and, without entering a data point, type <O>.
This sets AccuDraws origin at the snap point.

6. Type <F> to set AccuDraws drawing plane orientation to Front. 7. Move the pointer in AccuDraws positive X direction and, still without entering a data point, key in 7. 8. Move the pointer downward and again key in 7.
This locks the pointer at the correct location for the holes center.
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Working in 3D

9. Enter a data point to place the circle.
Placing the hole cutting profile (circle): Snap to the front top corner (1) and type <O>. Move the pointer in the positive X direction (2) and key in 7. Move the pointer downward (3) and key in 7. Enter a data point (4) to place the circle.
A similar procedure could be used to place the profile for the opposite corner. A quicker option is to mirror copy the first circle. Using AccuDraw, this also can be done in the Isometric View.
Mirror copy the first hole profile

1. In the Main tool boxs, Manipulate tool box, select the Mirror tool. 2. Set Mirror About to Vertical. 3. Turn on Make Copy. 4. Identify the existing circle. 5. With AccuDraws compass still set to Front, snap to the center of the upper front edge of the bracket. 6. Accept to complete the mirror copy.
Mirror copying the first profile: Identify the existing circle (1). Snap to the center of the upper front edge and accept (2).
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The third circle (cutting profile) will be placed at the top of the cylindrical lug.
Place the third cutting profile

1. Select the Place Circle tool. 2. Turn on Diameter and, in its field, key in 16. 3. Snap to the center of the cylindrical lug at the top, but do not enter a data point. 4. Type <T> to rotate AccuDraws compass to a Top orientation. 5. Accept to place the circle.
With the cutting profiles in place, you can now cut the holes in the solid.
Cut the attachment holes

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

1. If necessary, reselect the Cut Solid tool.
The tool settings should be the same as for the previous hole.
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Working in 3D
4. Identify the solid.

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

1. If necessary, reselect the Cut Solid tool. 2. Set Cut Mode to Define Depth. 3. In the Cut Depth field, key in 35. 4. Identify the solid. 5. Identify the circle placed at the top of the cylindrical lug.
Notice that the Cut Direction arrow, which is set to Forward, is pointing the wrong way (upward).
6. Set Cut Direction to Back.
The direction arrow changes to the correct direction.

Placing the blind hole in the cylindrical lug: Left: Identify the solid (1) and the cutting profile (2). Right: Accept (3) to create the hole.
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That completes the raw model of the bracket. All that remains is to add the finishing touches rounding the sharp edges. Before doing that, however, you will use another tool to make some last minute adjustments to the model. In this case, these adjustments should be made prior to rounding the edges. If the edges were filleted prior to the modification, then all faces joined by the rounding would be included.
Prepare to modify the model

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

7. With the arrow pointing upward from the face (the Right View shows this most clearly), accept the modification.
The rib is increased in depth by 3 mm.
Modifying the rib: Identify the solid (1), and the face to be modified (2). Accept (3) to make the change.
As you can see, this tool lets you make changes such as this without the need to go back and recreate parts of the model manually. Similarly, you can adjust curved faces, such as that of the cylindrical part of this model. Here, you will add 0.5 mm to the radius of the outer face.

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

1. Select the Modify Solid tool. 2. Check that Distance is turned on and, in its field, key in 0.5. 3. Identify the solid. 4. Identify the outer face of the cylindrical section of the bracket.
The outer face highlights in a heavier weight line.
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5. In the Top View, move the pointer outward from the identification point, to define the direction of the adjustment.
An arrow appears in each view, showing the direction and extent of the modification. Because the amount of adjustment is very small in this case, the arrow is hard to see.
6. Accept to complete the modification.
Modify the radius of the cylindrical section. Identify the solid (1) and the outer face of the cylinder (2). Move the pointer outward from the identification point on the cylinder to define the direction of the modification and accept (3).
With the final adjustments made, you will now add the rounding to the edges. This is done with the Fillet Edges tool. In completing this task it may be necessary to magnify various parts of the model to ensure that the correct edges are identified.
1. In the 3D Modify tool box, select the Fillet Edges tool. 2. In the Radius field, key in 7. 3. Identify the first edge.
The solid highlights, with the selected edge further highlighted in a heavier line weight.
4. In turn, identify each of the remaining 5 corners, as shown.
Notice as you move the pointer over the solid, edges highlight interactively. Entering a data point selects the dynamically highlighted edge. Selected edges remain highlighted in a heavier weight line.
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Round the corners (edges) of the front plate

If you select an incorrect edge, a Reset will deselect it.
Identify the 6 edges (1 to 6).
5. Accept to fillet the selected edges.
After accepting (7) the selected edges are filleted (rounded).
Fillet the vertical edges of the front plate

1. If necessary, reselect the Fillet Edges tool. 2. In the Radius field, key in 1.5. 3. Identify the two vertical edges where the front plate joins the main body of the bracket.
The edges highlight.
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4. Accept to fillet the edges.
Filleting the vertical edges: Left: Identify the two edges (1 and 2). Right: Accept (3) to complete the construction.
When you fillet the next edge you will learn about the Select Tangent Edges setting, and how it can be used.
Fillet the top edge of the bracket

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

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

In the previous example, you used simple solids as a basis for the model. You can use this method as a way to commence even more complex models. To demonstrate this, the next exercise shows you how to create the model shown below a tap handle. During construction you will be introduced to another of the SmartSolids tools, Shell Solid.
Rendered images showing views from above (left) and below (right) the model to be constructed in this exercise.
With this model, you will start with a 3D primitive solid, a cone. You will then remove various sections with the Cut Solid tool. After filleting some edges, you will then hollow out the model from below, using the Shell Solid tool.

This design file has view 1 to 4 open. They are Top, Isometric, Front, and Right views respectively.
2. Make level 2 the Active Level.
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For the purposes of this exercise, Master Units are assumed to be millimeters. First you will construct the cone that forms the base of this model. Because this model is based on a single solid, there is no need to place active points to ensure that the same volume is displayed in each view. After placing the cone, fitting each view will suffice.
Prepare to place the cone

1. In the 3D Primitives tool box, select the Place Cone tool.
The 3D Primitives tool box is located top left of the 3D Main tool box.
2. Set Type to Solid. 3. Set Axis to Drawing Z. 4. Turn on Orthogonal. 5. Turn on Top Radius and, in its field, key in 20. 6. Turn on Base Radius and, in its field, key in 25. 7. Turn on Height and, in its field, key in 10.
This vertex is at xy=0,0,0 (the Global Origin) of the file.

9. Move the pointer upward in the Isometric view and enter a second data point.
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8. In the Isometric View, identify the lower left front vertex of the cube.

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

1. In the Ellipses tool box, select the Place Circle tool. 2. Set Method to Center. 3. Turn on Diameter and, in its field, key in 16. 4. In the Primary tool bar, click the Start AccuDraw icon. 5. In the Isometric View, snap to the top center of the cone.
Use the Front and Right views to confirm that you have snapped to the correct location.
6. Type <O> to set AccuDraws origin at the snap point. 7. If necessary, press <T> to rotate AccuDraws drawing plane to the Top orientation.
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8. Accept to place the circle.
Snap to the top center of the cone to place the circle (1).
Using the circle as a cutting profile, you will now create the cutout.
Create the cut-out

1. In the 3D Modify tool box, select the Cut Solid tool. 2. Set Cut Direction to Back. 3. Set Cut Mode to Define Depth. 4. In the Cut Depth field, key in 5.
6. Identify the cone
The cone highlights.

7. Identify the circle
The circle highlights. An arrow displays, showing the direction and extent of the cut.
Placing the cut-out: Left: Identify the solid (1) and the profile (2). Right: Accept to create the cut.
You will now apply a 2 mm x 5 mm chamfer to the lower edge of the cut.
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5. If necessary, turn off Keep Profile.
Chamfer the cut-out edge

1. In the 3D Modify tool box, select the Chamfer Edges tool. 2. Click the lock symbol to unlock the Distance 1 and Distance 2 parameters. 3. In the Distance 1 field, key in 5. 4. In the Distance 2 field, key in 2. 5. In the Isometric View, identify the lower edge of the cut-out.
The solid highlights, with the selected edge further highlighted in a heavier line style.
6. Accept to create the chamfer.
Chamfering the cut-out: Left: Identify the lower edge (1). Right: Accept (2) to complete the chamfer.
Cutting the square spigot hole is next. This will be done with a 6 mm square cutting profile, placed at the center of the solid.
Create the square cutting profile

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

6. Move the pointer to the right, indexed to AccuDraws X direction, and, without entering a data point, key in 6.
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7. Move the pointer downward, key in 6, followed by a data point.
This completes the block.

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

2. Set Cut Direction to Both. 3. Set Cut Mode to Through. 4. Identify the solid.
The solid highlights.

5. Identify the square cutting profile.
The block highlights. Arrows display, showing that the cut will be in both directions.
6. Accept to complete the cut.
Creating the square spigot hole: Left: Identify the solid (1) and the cutting profile (2). Right: Accept (3) to create the cut.
Before completing the basic solid, by cutting out the finger grips, you will place 1.5 mm rounding on the top outer edge. Doing it
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1. In the 3D Modify tool box, select the Cut Solid tool.

now lets you complete the operation in a single step. Later, because of the cutouts, this edge will be divided into several sections.
Round the top outer edge of the tap

1. In the 3D Modify tool box, select the Fillet Edges tool. 2. In the Radius field, key in 1.5. 3. Identify the top outer edge of the model. 4. Accept to fillet the edge.
Rounding the top edge: Left: Identify the top outer edge (1). Right: Accept to fillet the edge (2).
To complete the basic solid, you will now create the cut outs for the taps finger grips.
Draw the first cutting profile for the finger grips

1. In the Ellipses tool box, select the Place Circle tool. 2. Set Method to Center. 3. Turn on Diameter and, in its field, key in 20. 4. In the Top View, snap to the outer edge of the solid (on the right side). 5. Accept to place the circle.
Snap to the outer edge of the solid (on the right side).
You will now create a polar array of this circle to complete the drawing of the cutting profiles.
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Create a polar array of the circle

1. In the Manipulate tool box, select the Construct Array tool. 2. Set Array Type to Polar. 3. In the Items field, key in 5. 4. In the Delta Angle field, key in 72. 5. Turn on Rotate Items. 6. Identify the circle. 7. In the Top View, snap to the center of the solid. 8. Accept to create the polar array. 9. Use the Fit View view control to fit each view.
Creating the array: Left: In the Top View identify the circle (1), and snap to the centerline (2).
With the cutting profiles in place, you will now create the cutouts in the solid.
Cut out the finger grips

2. Set Cut Direction to Both. 3. Set Cut Mode to Through. 4. Check that Keep Profile is turned off. 5. In any view, identify the solid.

6. Identify any one of the circular cutting profiles.
The profile highlights.

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1. In the 3D Modify tool box, select the Cut Solid tool.
Working in 3D
Right: Accept (3) to create the polar array.

8. Repeat steps 5 to 7 for each of the remaining four cutting profiles.
Creating the first finger grip: Above Left: Identify the solid (1) and the cutting profile (2). Above Right: Accept (3) to create the cut. Below: After completing the remaining four cuts.
With the basic solid of the tap handle completed, it is time to add the finishing touches. First, you will hollow out the under side, leaving a wall thickness of 1.5 mm. For this operation, you will use the Shell Solid tool.
Hollow out the model, leaving a 1.5 mm wall thickness

1. In the 3D Construct tool box, select the Shell Solid tool. 2. In the Shell Thickness field, key in 1.5. 3. Leave Shell Outward turned off.
If Shell Outward was turned on, the wall thickness would be added to the outside of the current model. We want to remove material from the model, leaving a 1.5 mm wall thickness.
4. Identify the base solid. 5. Move the pointer over the model until the entire lower face highlights (in a dashed line) and enter a data point.
The lower face remains highlighted in a heavier weight line.
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6. Accept (away from the model, so as not to select another face).
Material is removed from the underside of the solid, leaving the specified wall thickness.
Shelling out the model. Left: Identify the solid (1) and the face to remove (2). Right: Accept to remove the face and material (3).
Next, you need to add 1.5 mm fillets to the edges around the finger grips. In wireframe display, you may find that this model is a little confusing and hard to determine outside edges from inside edges. A solution is to change the display mode to a rendered image or hidden line view.
1. In the Isometric View windows border, select the Change View Display Mode view control. 2. Check that View is set to 2. 3. From the Display Mode option menu, choose Hidden Line.
The view updates in Hidden Line display mode. The view windows title changes to Isometric View (cached). Depending on your system, this may take a few seconds as the view is cached.
Isometric View with Display Mode set to Hidden Line.
With the display mode set to hidden line, it is much easier to select the correct edges for filleting.
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Working in 3D
Change the Isometric View to Hidden Line display mode
Fillet the finger grip edges

1. In the 3D Modify tool box, select the Fillet Edges tool. 2. In the Radius field, key in 1.5. 3. If necessary, turn on Select Tangent Edges. 4. In turn, identify each of the edges of the finger grips. 5. Accept to fillet the edges.
Filleting the finger grip edges Left: Identify the edges (1 to 5). Right: Accept to complete the fillets (6).
To complete this model, add 1 mm fillets to the circular edge on the top of the tap handle, and around the bottom outer edge.
Add the finishing fillets

1. In the 3D Modify tool box, select the Fillet Edges tool. 2. In the Radius field, key in 1.0. 3. Check that Select Tangent Edges is turned on. 4. Identify the top circular edge. 5. Identify the lower outer edge. 6. Accept to fillet the edges.
Adding the final fillets to the model Left: Identify the two edges (1 and 2). Right: Accept to create the fillets (3).
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Converting 2D elements to 3D
As part of constructing an earlier model, you created a solid from a 2D shape, using the Thicken to Solid tool. Other tools also are available to create 3D solids from planar shapes. These techniques will be demonstrated in the following exercise in which you will construct the model shown below.
Unless specified otherwise, the AccuDraw compass mode referred to is rectangular. You can press <Space> to toggle between Rectangular and Polar mode.
Rendered image of model to be constructed in this exercise
To construct this model, you are first going to draw plan, front and side elevations. These will be simple shapes, ignoring the radii at the vertices, which you can add later as fillets. The shapes will form the profiles that you will use to create the finished solid. To give you more practice at using AccuDraw in 3D, you will be working entirely in the Isometric View.

This design file has view 1 to 4 open. They are Top, Isometric, Front, and Right views respectively. The default cube appears in each view.
2. Close the Top, Front, and Right views (views 1, 3, and 4). 3. Enlarge the Isometric View to fill the screen. 4. Use the Pan View view control to pan the cube graphics to approximately the center of the view.
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5. Make level 2 the Active Level. 6. If necessary, in the Primary tool bar, click the Start AccuDraw icon.
For the purposes of this exercise, Master Units are assumed to be millimeters. Your first task is to draw the plan and elevation elements. You will draw them in the Isometric View, using AccuDraw to provide the correct orientation. For reference, the illustration below shows the dimensions for the plan and elevations.
First, you will draw the plan view of the model, which is a 50 mm square with a 12 mm diameter hole in the center.
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Draw the 50 mm square

1. In the Polygons tool box, select the Place Block tool. 2. Identify the lower left front vertex of the cube.
This vertex is at xy=0,0,0 (the Global Origin) of the file.

3. Type <T> to rotate AccuDraws compass to the Top orientation. 4. Move the pointer upward to the right and, with it indexed to AccuDraws X direction, key in 50 (do not enter a data point). 5. Now move the pointer to the left, key in 50 and enter a data point. 6. Use the Fit View view control to fit the view. 7. Either delete the cube graphics or turn off level 1 in the view.
Level 1 contains the cube graphics.
Draw the 12 mm circle in the center of the square

1. In the Ellipses tool box, select the Place Circle tool. 2. Set Method to Center.
4. Use Center snap to snap to the center of the square. 5. Accept to place the circle. 6. Reset to finish.
Isometric view showing the square and circle.
With the plan completed, you will now construct the side elevation, using the Place Shape tool. AccuDraw will be used to correctly orientate the shape.
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3. Turn on Diameter and, in its field, key in 12.
Prepare to draw the side elevation

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

1. In the Main tool boxs Polygons tool box, select the Place Orthogonal Shape tool. 2. Identify the vertex at the right in the view for the first point. 3. Type <S> to rotate AccuDraws compass to the Side orientation. 4. Identify the vertex at the top in the view for the second point. 5. Move the pointer upward, key in 12 and enter a data point.
Because it is an orthogonal shape, it is kept aligned correctly to AccuDraws axes.
6. Move the pointer to the right, key in 10 and enter a data point. 7. Move the pointer upward, key in 30 and enter a data point. 8. Move the pointer right, until AccuDraws previous distance indicator appears and enter a data point.
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When the previous distance indicator appears, AccuDraws Y field displays 30, verifying that it is the same distance as the previous point.
9. Move the pointer downward, until AccuDraws previous distance indicator again appears and enter a data point. 10. Identify the right vertex of the square to set the next point. 11. Again identify the right vertex of the square to complete the shape.
After placing the shape forming the side elevation.
You could use a similar technique for drawing the front elevation of the model. However, it is very similar to the side elevation, so you will make use of the existing element by rotating a copy of it, and then modify it. Again, AccuDraw will ensure that the axis of rotation is in the correct orientation.
Create a rotated copy of the side elevation

1. In the Main tool boxs Manipulate tool box, select the Rotate tool. 2. Set Method to Active Angle and, in its field, key in 90. 3. Turn on Make Copy.
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4. Identify the side elevation shape. 5. Type <T> to rotate AccuDraws compass to the Top orientation. 6. Snap to the center of the circle. 7. Accept to complete the rotated copy. 8. Reset to finish.
Modify the copied element

1. In the Main tool boxs Modify tool box, select the Modify Element tool. 2. Identify the right vertex where the top section meets the horizontal base section. Notice that AccuDraws compass aligns itself with the plane of the element. 3. Move the pointer to the left and, with it indexed to AccuDraws negative X direction, key in 3, without entering a data point.
4. Move the pointer downward, key in 5, and enter a data point.
5. Reset to finish. 6. Identify the equivalent vertex on the left side.
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7. Move the pointer downward and, with it indexed to AccuDraws negative X direction, key in 5, without entering a data point. 8. Move the pointer to the right, key in 3, and enter a data point. 9. Reset to finish.
With the outside border of the front elevation placed, you will now place the two circles representing the horizontal holes in the model.
Place the circles

1. In the Main tool boxs Ellipses tool box, select the Place Circle tool. 2. Set Method to Center. 3. Turn on Diameter and, in its field, key in 12. 4. Snap to the top center of the front elevation shape, without entering a data point. 5. Type <O> to set AccuDraws origin at the snap point.
7. Move the pointer downward and, with it indexed to AccuDraws negative Y direction, key in 12 and enter a data point. 8. In the Diameter field, key in 6. 9. Snap to the bottom center of the front elevation shape, without entering a data point. 10. Type <O> to set AccuDraws origin at the snap point. 11. Move the pointer upward and, with it indexed to AccuDraws Y direction, key in 6 and enter a data point.
You will now group the circles to their associated shape. Later, these will form the holes in the solid.
Group the front elevation elements

1. In the Main tool boxs Groups tool box, select the Group Hole tool. 2. Identify the front elevation shape. 3. In turn, identify the two circles within the shape. 4. Accept to group the elements.
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6. Type <F> to rotate AccuDraws compass to the Front orientation.
5. Reset to finish.
The completed plan, front and side elevations.
With the profiles completed, you can now commence the conversion to a 3D solid. First, the Extrude tool will convert the front and side profiles into separate solids. These will then be combined.
Extrude the front profile

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

1. If necessary, reselect the Extrude tool. 2. Identify the side profile. 3. Snap to the opposite edge of the plan profile to define the extent of the extrusion.
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4. Accept to complete the extrusion.
Extrude the side profile: Left: Identify the profile (1). Right: Snap to the opposite edge of the top profile to define the extent of the extrusion (2).
With the profiles extruded into solids, you can now create a combined solid from them.
Create a solid at the intersection of the two extrusions

1. In the 3D Modify tool box, select the Construct Intersection tool. 2. Identify either extrusion.
The extrusion highlights. The second extrusion highlights.

4. Accept.
A single solid is created at the common intersection of the two extrusions.

Construct a single solid from the 2 extruded solids: Left: Identify each of the extrusions (1 and 2). Right: Accept to create the single solid.
With the side and front extrusions combined, you will now use the circle in the plan profile to create the vertical hole in the solid.
Create the vertical hole through the solid

1. In the 3D Modify tool box, select the Cut Solid tool. 2. Set Cut Direction to Both.
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3. Identify the other extrusion.
3. Set Cut Mode to Through. 4. Identify the solid.

5. Identify the circle at the center of the square plan profile.
The circle highlights.

Using the 2D elevations in this way, the model is almost complete. To complete it, you will now add 2 mm fillets to the straight edges of the solid and 0.5 mm radius fillets to the five circular openings (four openings in the sides and the opening on the top).
Prepare to add the fillets

1. Select the Rotate View view control in the view border. 2. If necessary, set Method to Dynamic. 3. Turn on Dynamic Display. 4. Enter a data point in the center of the view. 5. Move the pointer to rotate the view so that all edges of the model can be more easily seen and selected.
The model rotated to allow for easier selection of all edges.
Each edge could be filleted individually. In the following procedure, however, the number of steps is reduced by selecting the edges in groups.
Begin adding 2mm fillets to the edges

1. In the 3D Modify tool box, select the Fillet Edges tool. 2. In the Radius field, key in 2.0. 3. Identify the first horizontal edge of the model as shown below (with the figure 1).
The solid highlights along with the selected edge.
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4. In turn, identify the remaining 7 horizontal edges as shown (in any order). 5. Accept away from the model to fillet the selected edges.
Left: Identify the edges to fillet (1) Right: Accept to fillet the selected edges (2).
Continue adding fillets

1. If necessary reselect the Fillet Edges tool. 2. If necessary, turn on Select Tangent Edges. 3. Identify the first vertical edge of the model as shown below (with the figure 1).
4. In turn, identify the remaining 5 vertical edges as shown below (in any order). 5. Accept to fillet the selected edges.
Right: Accept to fillet the selected edges.
6. Identify the top edge of the model.
The solid along with the selected edge, plus others tangentially connected, are highlighted.
7. Select the remaining 2 (upper) edges as shown.
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Left: Identify the first vertical edge (1), followed by the remaining 5 edges.
Working in 3D
The solid along with the selected edge, plus others tangentially connected, are highlighted.
8. Accept to fillet the edges.
Left: Identify the top edge (1), followed by the remaining 2 edges. Right: Accept to fillet the edges.
Finally, the hole openings will be completed with 0.5 mm fillets.
Fillet the hole openings

1. If necessary reselect the Fillet Edges tool. 2. In the Radius field, key in 0.5. 3. Identify the edge around the top opening.
The solid, along with the selected edge, highlights.

4. In turn, identify the remaining 4 upper hole openings (as shown). 5. Accept to fillet the selected edges.
That completes the construction of this model.
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A 3D Project: Creating An Office Building
Exercise: A 3D Project: Creating An Office Building

In the previous exercises you learned how to use the 3D design capabilities of MicroStation. In this set of exercises you will complete a 3D design project using MicroStation. You will use MicroStations 2D and 3D tools to construct a simple two story office building complete with foundation, glass walls, and stairways. A key part of this exercise is the continual use of MicroStations AccuDraw feature. For additional information about AccuDraw, see the Users Guide. This powerful feature enables you to design in 3D using nothing but a pictorial view. Throughout these exercises you will see how AccuDraw provides a significant degree of freedom in viewing as well as placing elements in the design. Below is an illustration of the building you will be working on. Note the labels used to describe the buildings major components referenced in the following exercises.
The focus of this exercise, a 2 story office building. Note the various architectural features to be constructed using a variety of MicroStation tools.
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Working in 3D
Creating the buildings structure

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

1. Create a new design called 3dmodela.dgn. Use the seed file seed3d.dgn.
In each view, the default cube design is visible.

2. From the Settings menu, choose Design File
The Design File Settings settings box opens.

3. In the Category list box, select Working Units. 4. Set the Master Units to feet ('), the Sub Units to inches ("). 5. Set the Inches Per Feet resolution to 12, and the Positional Units Per Inch to 8000.
The working units for this project is set to typical architectural values as shown.
6. Click OK.
The Design File Settings box closes and an Alert box opens warning you about the effects of changing the working units.
7. Click OK to accept the changes to the working units.
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Prepare the file for the exercise

1. Close all view windows except view 2, the Isometric view. 2. In the Window menu, select Arrange.
The single window should now fill the available space.

3. Set the Active Level to 2, and the Active Color to Green (2). 4. Turn off all other levels.
The cube graphics disappear. They are on level 1.

5. From the Settings menu, choose AccuDraw.

6. Check that Rotation is set to View, and Type is set to Rectangular. 7. If necessary, in the Operation section, turn on Floating Origin, Context Sensitivity, and Smart Key-ins leaving Auto Point Placement turned off. 8. Close the AccuDraw Settings box. 9. If necessary, open the 3D Main tool bar.
10. From the 3D Main tool box, float the 3D Primitives tool box.
The 3D Primitives tool box is located top left of the 3D Main tool bar.
11. From the File menu, choose Save Settings.
To commence this project, you will construct the first column footing. This will comprise a 3D slab. At the outset you dont know whether the view is zoomed in or out enough, but the slab still can be drawn and the view fitted at the completion of the slab.
Create the first column footing

1. In the 3D Primitives tool box, select the Place Slab tool. 2. Check that Type is set to Solid, and Axis is set to Points (AccuDraw). 3. If necessary, turn on Orthogonal. 4. Turn on Length and Width and, in their fields, key in 8.
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Working in 3D
Select Tools > 3D Main > 3D Main.

5. Turn on Height and, in its field, key in 2.
6. In the Isometric View, snap a tentative point anywhere in the view (do not enter a data point). 7. Type to open AccuDraws Data Point Key-in box. 8. With the Data Point option menu set to Absolute (xy=), in the input field, key in 0 <Enter>.
The first point of the slab is placed at xy=0,0,0.

9. Type <T> to set AccuDraws drawing plant to Top. 10. Move the pointer to the right, indexed to AccuDraws X direction, and enter a data point. 11. Move the pointer upward to the left and enter a second data point.
12. Move the pointer downward below the first point to set the slabs height dimension and enter a data point.
Notice that AccuDraws compass has rotated automatically to a side orientation for placement of this last data point.
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13. Use the Fit View view control to fit the view.
The view updates to display the entire slab. It is 8 feet long, 8 feet wide, and 2 feet high, with its top left front vertex at xy=0,0,0. In the above exercise you used a combination of tool settings, coordinate data input (to set the first point at xy=0,0,0) and AccuDraw to create the footer. In the next exercise we will construct the remaining footers needed to support the entire office building.
Create the footing array

1. From the Main tool bars Manipulate tool box, select the Construct Array tool. 2. Set Array Type to Rectangular. 3. Check that Active Angle is set to 0. 4. In the Rows field, key in 3. 5. In the Columns field, key in 4. 7. In the Column Spacing key in 30. 8. Identify the footing slab previously created. 6. In the Row Spacing, key in -30.
The slab highlights.

9. Accept the array. 10. Use the Fit View view control to fit the view.
The array of footers appears in the Isometric view.
Now would be a good time to save the settings in the file, by choosing Save Settings from the File Menu.
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Working in 3D

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

1. Use the Window Area view control to zoom in on four adjacent column footings at the left in the view.
Isometric view zoomed in on the four lower footers.
2. In the 3D Primitives tool box, select the Place Slab tool. 3. Check that Type is set to Solid, Axis is set to Points (AccuDraw), and Orthogonal is turned on. 4. Turn off Length, Width and Height. 5. Starting with the lowest footing displayed in the view, snap to its left upper corner (as it appears in the view) without entering a data point. 6. Type <O> to set AccuDraws compass at the tentative snap point. 7. Type <T> to set AccuDraws drawing plane to Top.
8. Move the pointer to the right and, with it indexed to AccuDraws X direction, type 2 and enter a data point.
The compass moves 2 feet to the right. This action locates the first corner of the wall footing slab. You are now prompted for the length of the slab. This will be generated using AccuDraws index axis feature.
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9. Move the pointer to the right and, with it indexed to AccuDraws X direction, type 3 and enter a data point.
The length of the slab is now fixed to 3 feet. A dynamic rectangle displays ready for setting the width.
10. Snap to the nearest corner of the next column to the left, and accept.
The top of the slab is now defined. All that remains is to set its depth.
11. Snap to a lower corner of the column (or any other column) and accept.
That completes the first wall footing, which is located along the left (West) edge of the building. Note how you used existing column footings to define two of the three dimensions of the new wall footing. In the next exercise, you will create the wall footing for the rear (North) edge of the building. Because the footing is not symmetrical about the column footing, you cannot merely rotate copy the wall footing just created. However, by using the Mirror tool, it is possible to rotate and copy to the new location with the correct offset.
Using Mirror to create a rear wall footing

1. In the Manipulate tool box, select the Mirror tool. 2. Set Mirror About to Line.
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Working in 3D

3. Turn on Make Copy. 4. Identify the wall footing slab just created.
You are prompted to enter the first point on the mirror line axis.
5. Snap to the upper left (Northwest) corner of the first column footing, and accept.
A dynamic copy of the wall footing appears.

6. Snap to the diagonally opposite corner at the top of the same column footing, and accept.
This defines a diagonal across the footings top face. The wall footing is mirror copied about this line to the correct location.
7. Reset to finish.
Mirror copying the wall footing.
Now, you will copy the wall footings along each edge of the building. To complete this task you will first copy the existing wall footings to fill in the gaps along the North and West edges. You will then mirror copy these to create wall footings for the opposite edges.
Complete the wall footings for the North and West edges
1. Use the Fit View view control to fit the view. 2. In the Manipulate tool box select the Copy tool. 3. Identify the rear (North) wall footing just created.
The wall footing highlights.

4. Move the pointer to the right and, with it indexed to AccuDraws X axis (the red axis), type 30 and enter a data point.
The wall footing is copied.
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5. Still with the pointer indexed to AccuDraws X axis, move it further right, until the previous distance lock indicator appears, and enter a data point.
The wall footing is copied a second time.

6. Reset to finish.
The North edge of the buildings foundation is now complete.
Copying the wall footings for the North edge.
The footing highlights.

8. Move the pointer down to the right, keeping it indexed to the negative Y direction, until the previous distance lock indicator appears, then enter a data point.
The footing is copied.

9. Reset to finish.
Copying the wall footings for the West edge.
With two edges of the foundation complete, all that remains is to duplicate the North and West side wall footings to complete the South and East side of the building. You could use the Mirror tool to mirror and copy the West footings to the East, and the North footings to the South. However, because the building is
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Working in 3D
7. Identify the wall footing on the West edge.

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

1. In the Main tool bars Linear Elements tool box, select the Place Line tool. 2. Snap to and accept the outer corner of the Northeast column footing.
This is the first point for the line.

3. Snap to and accept the outer corner of the Southwest column footing. 4. That completes the required line. 5. Reset to finish.
Drawing the construction line.
Select the footings and rotate copies to complete the wall

footings
1. In the Main tool bar, select the Element Selection tool. 2. Identify the wall foundation slabs along the North (rear) and West (left) edge of the building. Use <Ctrl> data point to select each slab. Do not select the column foundations. 3. In the Main tool bars Manipulate tool box, select the Rotate tool.
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4. Set Method to Active Angle and, in its field, key in 180. 5. If necessary, turn on Make Copy. 6. Snap to the center of the construction line. 7. Accept to copy and rotate the selected elements.
The south and east wall foundation appears.

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

top face of the Southwest column footing
1. In the Main tool bars Modify tool box, select the Modify Element tool. 2. Snap to the Northeast end of the line, and accept.
The identified end of the line is now attached to the pointer.

3. Snap to the corner, on the top face of the Southwest corner column footing, diagonally opposite the other end of the line. 4. Accept to complete the modification.
Modifying the construction line.
You can use this line, snapping to its center point, to define the center of the footings top face.
Create the inner edge of the foundation wall profile

1. Set the Active Level to 3 and the Active Color to 4 (yellow). 2. In the Main tool bars Polygons tool box, select the Place Block tool. 3. Snap to the center of the construction line on the column footing and accept.
AccuDraws compass still should be aligned to the Top view.

4. Move the pointer to the right and, with it indexed to AccuDraws X direction, type 90, but do not enter a data point.
The dynamic block locks to 90 feet along the front edge of the building.
5. Move the pointer (and the dynamic block) up (towards the rear of the building), type 60 and enter a data point.
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The block is completed.
6. As it is no longer required, use the Delete Element tool to delete the construction line.
Placing the block.
Copying the inner edge parallel, will create the outer edge of the wall.
Create the outer edge of the foundation wall profile

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

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

5. Move the pointer upward, to define the direction of the extrusion (upward), and enter a data point.
The extruded solid is created.
Extruding the block.
6. In the 3D Main tool bars 3D Modify tool box, select the Cut Solid tool. 7. If necessary, set Cut Direction to Both, and Cut Mode to Through. 8. Identify the extruded solid. 9. Identify the inner block.
Arrows appear, displaying the direction of the cut (both ways).

Creating the cut.
With the foundation wall in place, next comes the first floor slab. In this exercise, the Place Slab tool will be used to cap the foundation wall just created.
Create the first floor slab

1. Set the Active Level to 4, and turn off level 2 (the column and wall footings). 2. In the 3D Primitives tool box, select the Place Slab tool. 3. Identify the upper Northwest (outer) corner of the foundation wall.
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Defines the starting point.
4. Identify the upper Northeast (outer) corner of the foundation wall.
This sets the length of the slab (the back edge of the first floor slab).
5. Identify the Southeast (outer) corner of the foundation wall.
Defines the slabs width.

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

1. Set the Active Level to 5 and the Active Color to Green (2). 2. Use the Window Area view control to zoom in on the Northwest corner of the foundation wall.
3. In the 3D Primitives tool box, select the Place Cylinder tool. 4. Set Type to Solid 5. Set Axis to Points (AccuDraw) 6. Turn on Orthogonal. 7. At the Northwest corner, snap to the lower inside corner of the foundation wall and accept.
A dynamic circle appears representing the column radius. Its radius is controlled by the pointer.
8. If necessary, type <T> to set the AccuDraw drawing plane to the top plane. 9. Move the pointer to the right and, with it indexed to AccuDraws X direction, type 2 and enter a data point.
The pointer now controls the height of the cylinder and the AccuDraw compass is displayed in the front orientation.
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10. Move the pointer upward, type 29:2 and enter a data point.
11. Use the Fit View view control to fit the view.
This first column can be used, with the Construct Array tool to fill in the remaining columns. Settings for this tool are the same as those used earlier.
Create the remaining columns

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

8. Identify the column just created. 9. Enter a data point to accept.
The Construct Array tool quickly creates the remaining columns of the building.
In the next procedure we will be using a combination of tentative points and AccuDraws Set Origin feature to construct the second floor. To successfully complete this procedure, pay close attention to the placement of the data points. In many instances, you will need to perform more than one operation prior to actually entering a data point. One problem with working in the Isometric view is that of overlapping elements, especially in a busy design. In the case of this building, the columns all line up to make it hard to distinguish between the individual columns. To alleviate this you can rotate the view. In an earlier tutorial, you used the View Rotation settings box to rotate a view. Here, you will use another view rotation tool that lets you rotate views interactively.
Dynamically rotate the view

1. In the View control bar, select the Rotate View view control. 2. Set Method to Dynamic. 3. If necessary, turn off Dynamic Display. 4. Identify the center of the view with a data point.
The dynamic view cube appears.
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5. Move the pointer a little to the right, to rotate the cube a few degrees, and enter a data point.
The view updates with the new rotated orientation.

6. Now, in the Rotate View tool settings, turn on Dynamic Display. 7. Again, enter a data point in the center of the view. 8. Now, as you move the pointer, you can see the model rotate. 9. When you are happy with the rotation, and can see all the columns clearly, enter a data point to fix the view at that orientation. 10. Use the Fit View view control to fit the rotated view.
The rotated view, with all columns clearly visible.
With the columns visibly separated in the view, the next task will be made much easier.
Prepare to create the second floor slab outline

Only the columns should be visible in the view.
2. In the Main tool bars Polygons tool box, select the Place Shape tool.
Place the shape

1. Snap to the top center of the Northwest column. Do not enter a data point. 2. Type <O> to set AccuDraws origin at the snap point. 3. Type <S> to change AccuDraws drawing plane to the side orientation.
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1. Set the Active Level to 6, and turn off levels 3 and 4.
Working in 3D

4. Move the pointer downward and, with it indexed to AccuDraws negative Y direction, type 13 and enter a data point.
This establishes the elevation of the second floor, 13 feet below the top of the column.
Establishing the first point of the shape.
5. Type <T> to change AccuDraws drawing plane to the top orientation. 6. Type <Z> to lock the Z axis at 0 (the height of the first data point). 7. Snap to the center of the Northeast column and accept.
With the Z value locked, the element stays at the same height.
8. Type <Z> to lock the Z axis again. 9. Snap to the center of the Southeast column and accept.
This being the third point establishes the plane of the shape so no more Z locking is necessary.
10. Snap to the center of the column to the left of the Southeast column and accept. 11. Move the pointer toward the column directly North of the previous data point. With it indexed to AccuDraws negative Y direction, move the pointer until the previous distance index mark appears, and enter a data point.
Because the distance between all of the columns is the same, this distance represents the center-to-center distance between the two columns (30 feet). This index mark can be used also for the next three data points at adjacent columns.
12. Move the pointer West until the previous distance index mark appears and enter a data point, then South until the mark
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appears (data point), then West again until the mark appears and enter a data point.
13. In the Tool Settings window, click on the Close Element button to close the shape.
Placing the second floor slab requires the combined use of shortcut key-ins, precision data and snaps, to properly position the slab 13 feet down from the top of the column.
Using the shape just placed, you will now extrude it to create the slab.
Extrude the second floor slab

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

1. Set the Active Level to 7 and turn off level 6. 2. Set the Active Color to 6 (orange).
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Working in 3D

3. In the 3D Primitives tool box, select the Place Slab tool. 4. Set Type to Solid. 5. Set Axis to Drawing Z. 6. Turn on Orthogonal. 7. Turn on Height and, in its field, key in :8. 8. Identify the top center of the Northwest corner column. 9. Identify the top center of any column along the East edge of the building.
This defines the length of the slab. The orientation of the slab is defined by the Axis setting, which, in this case, is constrained to the design file axis (Drawing Z).
10. Identify the top center of any column along the South edge of the building.
This defines the width.

11. Move the pointer downward so the dynamic slab appears below the established top surface and enter a data point.
The roof slab placed at the top of the columns.
Currently, the roof slab is at the same height as the top of the columns. Before continuing, move it up so that its upper surface is 2 inches above the columns.
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Move the roof slab 2 inches upward

1. In the Manipulate tool box, select the Move tool. 2. Identify the roof slab. 3. Type <S> to set AccuDraws drawing plane to the Side orientation. 4. Move the pointer upward and, with it indexed to AccuDraws Y (green) axis, type :2 and enter a data point.
This moves the slab up two inches above the columns so they do not protrude through to the top of the roof slab.
5. Reset to finish.
With the roof slab established, it is time to create the roof fascia. For this you will first create two blocks. These will be used together as a template and extruded to form the fascia.
Create the first fascia profile block

1. Turn off level 5.
Only the roof slab should be visible.

2. Set the Active Color to Blue (1). 3. In the Polygons tool box, select the Place Block tool. 4. Snap to the top of the Northwest roof corner and type <O>, without entering a data point.
Sets AccuDraws origin at the snap point.

5. Move the pointer upward and, with it indexed to AccuDraws Y axis, type :10 and enter a data point.
Sets the start point of the block 10 inches above. Currently, the block is orientated vertically (in AccuDraws Side drawing plane).
6. Type <T> to change AccuDraws drawing plane to the Top. The block also rotates to the Top orientation. 7. Type <Z> to lock the Z axis.
This ensures that the second point of the block is constrained to the same height as the first (10 inches above the roof slab).
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Working in 3D

8. Snap to the southeast corner of the roof and accept.
The block is completed. This block will now be copied parallel to create the second part of the fascia profile.
Create the second fascia profile block

1. In the Manipulate tool box, select the Move Parallel tool. 2. Turn on Distance and, in its field, key in :10. 3. Turn on Make Copy. 4. Identify the first fascia block. 5. Move the pointer outside the block and accept.
The copied block is placed 10 inches outside the original.

6. Reset to finish.
These blocks will now be grouped to form the fascia profile.
Complete the fascia profile

1. In the Main tool boxs Groups tool box, select the Group Holes tool. 2. Identify the outermost block just created.
The block highlights.

3. Identify the innermost block just created.
The block highlights along with the first block.

4. Accept, away from any elements, the combination of the two blocks. 5. Reset to finish.
Extrude the fascia

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

The input focus will automatically be on the X field.
6. Enter a data point to accept.
Extrude is used to create a solid from the complex element created in the previous exercise.
This completes the structural part of the building.
Render the work in progress

Before continuing with its construction, a quick rendering of the results is in order.
Prepare to render the model

1. Turn on levels 2-7 in the Isometric view. 2. From the Isometric View Control bar, select the Fit tool. 3. From the Settings menus Rendering sub-menu, choose Global Lighting.
The Global Lighting settings box opens.

4. If necessary, turn on Ambient and set its Intensity to 0.15. 5. If necessary, turn on Flashbulb and set its Intensity to 1.0. 6. Close the Global Lighting settings box. 7. From the File menu choose Save Settings. 8. From the Tools menu, Visualization Tools sub-menu, choose Rendering tools.
The Rendering Tools tool box opens.
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Working in 3D
Adding a staircase to the design
Render the model

1. In the Rendering Tools tool box, select the Render tool. 2. Check that Target is set to View, Render Mode to Phong, and Shading Type to Normal. 3. Enter a data point in the working view.
After a few seconds, the building is rendered.

4. (Optional) Using the Rotate View tool from the view control bar, change the point of view of the object and re-render.

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

1. Set the Active Level to 8 and turn off all other levels except 4 and 6. 2. Update the view.
Only the first and second floor slabs should be visible.

3. Set the Active Color to Cyan (7). 4. Select the Rotate View view control. 5. From the Method option menu, choose Isometric.
To begin with, you will construct a construction line to use in locating the landing and the steps.
Draw the construction line

1. In the Linear Elements tool box, select the Place Line tool. 2. Snap to the midpoint of the top edge of the second floor notch and accept with a data point. Take care to snap to the top of the slab. 3. Type <S> to set AccuDraws compass to the side orientation. 4. Press the space bar to change the AccuDraw compass to Polar coordinate mode.
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5. In the AccuDraw window, set the input focus to Angle, and type 37.5.
The dynamic line is constrained to 37.5 from its origin point.

6. Type <N> to invoke the Nearest tentative point snap.
AccuDraw provides a shortcut for this important snap mode.

7. Snap to the top of the first floor slab and accept with a data point.
When you snap, AccuDraw calculates the intersection point of the line with the slab surface.
8. Reset to finish.
Construct the landing slab

1. In the 3D Primitives tool box, select the Place Slab tool. 2. Snap to the midpoint of the construction line just placed, without entering a data point. 3. Type <O> to set AccuDraws origin at this point. 4. Press the space bar to change AccuDraws coordinate mode to rectangular (X, Y, Z). 5. Type <T> for top orientation. 6. Move the pointer downward to the left and, with it indexed to AccuDraws negative X direction, type 13 (dont enter a data point). 7. Move the pointer upward to the left. Notice that it remains locked at 13 feet in the negative X direction and that focus now is in AccuDraws Y field. 8. Type :10 and enter a data point.
This sets the first point of the landing.
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Working in 3D

9. Move the pointer upward to the right and, with it indexed to AccuDraws positive X direction, type 26 and enter a data point.
This defines the length of the slab as 26 feet.

10. Move the pointer to the right, type 6 and enter a data point.
This defines the width of the slab as 6 feet.

11. Move the pointer downward, such that the slab protrudes below the defined top face, type :6 and enter a data point.
The height of the slab is defined as 6 inches and the slab is placed.
To create the top set of stairs again you will make use of the construction line. First, however, it must be modified to suit.
Modify the construction line

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

6. Identify the top surface of the landing slab.
The top surface highlights, and the construction line is shortened to the intersection with the surface.
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7. Accept to modify the construction line.
8. Close View 4.
You will need the Isometric view only to construct the steps. A total of 10 steps will be placed between the landing and the upper floor slab. To position the steps, you will first create construction points. You will need 11 evenly spaced construction points.
Create the construction points

2. Use the Window Area view control to zoom in on the construction line and landing. 3. In the Points tool box, select the Construct Points Between Data points tool. 4. Set Point Type to Element. 5. In the Points field, key in 11. 6. Set the Active Line Weight to 10. 7. Snap to the upper end of the construction line, and accept with a data point. 8. Snap to the lower end of the construction line, and accept with a data point.
11 evenly spaced point elements are drawn on the construction line.
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Working in 3D
1. Set the Active Level to 63.

9. Reset to finish.
10. Use the Delete Element tool to delete the construction line. 11. Set the Active Line Weight back to 0.
You will use the point elements to position the steps.
As an alternative, you could have set the number of keypoints on the construction line to 10, and use the keypoint snap to locate the steps. The advantage with the points is that they are visible.
Create the profile for the first step

1. Set the Active Level to 8. 2. In the Polygons tool box select the Place Block tool. 3. Snap to the second point from the bottom. Do not enter a data point. 4. With the focus in AccuDraws window, type <O> to set AccuDraws origin at the snap point. 5. If necessary, type <T> to rotate AccuDraws compass to top orientation. 6. Move the pointer downward to the left and, with it indexed to the negative X axis (opposite the red indicator), type 3 and enter a data point.
Make sure that the pointer remains indexed to the negative X axis as you enter the data point.
7. Move the pointer upward to the right and, with focus in AccuDraws X field, type 6, without entering a data point. 8. Move the pointer to the left and type :10, followed by a data point.
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The top of the 6 foot by 10 inch step is completed.
9. Reset to finish.
Using this block as a profile, you will extrude the first step. To make the step taper to a point at its base, you will use a Y scale factor of zero.
Extrude the step

1. In the 3D Construct tool box, select the Extrude tool. 2. Set Type to Solid.
4. Turn on Y Scale and, in its field, key in 0.
This will bring the bottom of the projection to a point along the axis of the step.
5. Use the Window Area view control to zoom in on the step profile. 6. From the Snap mode option menu, in the Status bar, choose Center. 7. Snap to the center of the step profile (the block) and accept with a data point. 8. Move the pointer downward, beneath the step.
The block is extruded with the width diminishing to a point (the lower edge).
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Working in 3D
3. Turn on Orthogonal.

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

1. Use the Zoom Out and Window Area view controls to display all the point elements and the first step. 2. In the Manipulate tool box, select the Copy tool. 3. Snap to the midpoint of the top front edge of the step just created and accept with a data point.
A copy of the step is attached to the pointer.

4. Snap to the next point element above the step and accept with a data point.
The step is copied to the new location.

5. Repeat step 4 for the seven remaining steps. 6. Reset to finish.
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To construct the lower stairs, you will copy the upper stairs, and then scale them to the required length of 4 feet.
Place a fence around the stairs

1. Turn off level 63 in the view.
The point elements disappear from the view.

2. Use the Zoom Out and Window Area view controls so that the view displays the upper steps and the landing. 3. In the Fence tool box, select the Place Fence tool. 4. If necessary, set Fence Type to Block. 5. If necessary, set Fence Mode to Inside. 6. Enter data points above left and below right of the stairs to place a fence that completely encloses them.
Use the fence to copy the stairs

1. In the Manipulate tool box, select the Copy tool. 2. Turn on Use Fence. 3. Snap to the midpoint of the top edge of the second floor notch and accept with a data point. Take care to snap to the top of the slab.
A copy of the fence outline is attached to the pointer.

4. Snap to the top of the landing at the front left corner (that is, the Southwest corner), but do not enter a data point. 5. Type <O> to set AccuDraws origin at the snap point. 6. If necessary, type <T> to set AccuDraws compass to the Top orientation.
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Working in 3D

7. Move the pointer upward to the right and, with it indexed to AccuDraws X axis, type 3 and enter a data point.
The steps are copied to the lower level, aligned with the left edge of the landing.
To scale these steps from their current length (6 feet) to their correct length (4 feet) you will scale them using the 3 Points method. This method can be used wherever the scale factor is not an exact amount. In this case the scale factor is 4/6, or 0.6666 (repeating).
Prepare to scale the lower stairs

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

1. In the Fence tool box, select the Place Fence tool. 2. Enter data points above left and below right of the stairs to place a fence that completely encloses them.
3. In the Manipulate tool box, select the Scale tool. 4. From the Method option menu, choose 3 Points.
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5. Check that Proportional and Make Copy are turned off.
With Proportional turned off, the contents of the fence will be scaled only in the direction of the data points. You will specify that scaling is along the X axis only.
6. Turn on Use Fence with Inside as the fence option. 7. Identify the back left vertex of the bottom step. 8. Identify the back right vertex of the same step.
9. Move the pointer downward to the left and, with it indexed to AccuDraws negative X axis, type 2 and enter a data point.
The steps (inside the fence) are scaled from 6 feet to 4 feet long.
10. Reset to finish. 11. Select the Place Fence tool to turn off the fence. 12. Use the Fit View and Window Area view controls to display both stairways and the landing.
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Working in 3D

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

the second set
1. In the Fence tool box, select the Place Fence tool. 2. Place a fence around the lower set of stairs just created. 3. In the Fence tool box, select Manipulate Fence Contents. 4. Set Operation to Mirror. 5. Check that Fence Mode is set to Inside. 6. Turn on Make Copy. 7. Set Mirror About to Vertical. 8. Snap to the midpoint of the landing and enter a data point to accept.
The lower staircase is mirrored and copied.

9. Reset to finish.
With AccuDraw, the mirror operation can be performed in the Isometric view.
Before continuing on to create the hand rails, please read the following background information. The purpose of this exercise is to show how you can use AccuDraws drawing plane orientation in combination with locking one or two axes to precisely place elements. The goal of this exercise is the placement of the handrail around the stairs we just built.
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This portion of the exercise can be accomplished using only the Isometric view and unless otherwise noted, you should place your data points there. However, to help check for proper alignment, keep an eye on the other views as the hand rail is placed.
Prepare to place the handrail elements

1. Set the Active Level to 62.
This level will be used to place the initial elements that will be used as guides for constructing the finished handrail.
2. Set the Active Color to Yellow (4). 3. Turn on Views 1,3, and 4. 4. From the Window menu, choose Tile. 5. In all views, turn off all levels except 4, 6, and 8. 6. In each of the orthogonal views, use the Fit View and Window Area view controls to focus on the stairs. 7. In the Isometric view, use the Window Area view control to zoom in on the right hand side lower steps and the landing.
While the elements will be placed using the Isometric view, you can monitor the placement in the orthogonal views (Top, Front, and Right). During the course of the exercise, you may want to
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Working in 3D
8. If necessary, start AccuDraw.

zoom in closer in one or more views to simplify the selection of snap points.
Place the first upright construction line

1. In the Linear Elements tool box, select the Place Line tool. 2. In the Isometric view, snap to the right edge midpoint of the bottom step, without entering a data point. 3. Type <O> to set AccuDraws origin at the snap point. 4. Type <F> to set AccuDraws orientation to Front. 5. Move the pointer upward to the right and, with it indexed to AccuDraws X axis, type :2 and enter a data point.
6. Move the pointer upward and, with it indexed to AccuDraws Y axis, type 3:6 and enter a data point.
As all the uprights are the same length, you can copy this to place the remaining construction center lines. You will be using AccuDraw to position the line relative to existing elements in the design. Each of the following copy procedures can be performed in a continuous stream, but are broken into separate items here, for clarity.
Copy the first construction line to the front of the

landing
1. In the Manipulate tool box, select the Copy tool. 2. Identify the lower end of the line just placed. 3. On the top surface of the landing, snap to the front right corner, without entering a data point.
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4. Type <O> to set AccuDraws origin at the snap point. 5. Move the pointer upward to the right and, with it indexed to AccuDraws X axis, type :2 (dont enter a data point).
6. Type <O> to set AccuDraws origin to the new point. 7. Type <S> to set AccuDraws orientation to Side. 8. Move the pointer upward to the left and, with it indexed to AccuDraws X axis, type :5 and enter a data point.
The line is copied.
Copy the upright to the back of the landing

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

AccuDraws orientation still should be side, from the previous copy operation.
4. Move the pointer downward to the right and, with it indexed to AccuDraws negative X axis, type :5 and enter a data point.
The line is copied to a position 2 inches to the right of the landing, and 5 inches in from the back edge.
5. Type <F> to change AccuDraws plane to the front orientation. 6. Move the pointer downward to the left and, with it indexed to the negative X axis, press <Enter>.
7. Snap to the right edge of an upper stairway step (any of the steps can be used), without entering a data point.
Notice that the line remains indexed to the X axis, because the Y and Z values are locked at zero.
8. Type <O> to reset AccuDraws origin at the (offset) snap point. 9. Move the pointer upward to the right and, with it indexed to the X axis, type :2 and enter a data point. 10. Reset to finish.
Using the locking feature of AccuDraw, as shown in the preceding exercise, lets you place points precisely, using existing elements as reference points. As you have seen, this applies even in a pictorial view such as Isometric. This same locking feature will be used in the following exercises. Try to work out how to place the following uprights prior to following the exercise steps. To complete the uprights for the right side of the stairways, you need to copy one upright to a point 5 inches back from the edge of the second floor slab, and 2 feet 3 inches in (toward the stairs) from the right side corner of the notch. This allows space for the
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column, which is on level 5. The final upright is to be placed at the top of the stairs, offset 2 inches from right side of the stairs and set back 5 inches from the edge of the second floor slab.
Prepare to place the remaining right side uprights

1. In the Isometric view, use the view controls to display the top stairs, the right side of the notch in the second floor slab, and the upright at the bottom of the top steps.
The Isometric view ready for copying the final two uprights for the right side.
Continue placing the uprights on the right side

1. In the Manipulate tool box, select the Copy tool. 2. In any view, identify the lower end of a previously placed upright. 3. In the Isometric view, snap to the right upper corner of the notch, without entering a data point. 4. Type <O> to set AccuDraws origin at the snap point.
AccuDraws compass still should be front orientation.

5. Move the pointer downward to the left and, with it indexed to AccuDraws negative X axis, type 2:3, without entering a data point.
6. Type <O> to reset AccuDraws origin to the new snap point. 7. Type <T> to change AccuDraws orientation to top. 8. Move the pointer upward to the left and, with it indexed to AccuDraws Y axis, type :5 and enter a data point.
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Working in 3D

The upright is placed.
9. Still in the Isometric view, move the pointer downward to the left and, with it indexed to AccuDraws negative X axis, press <Enter>.
10. Snap to the upright at the bottom of the upper stairway and accept with a data point.
The upright is located in its correct location, aligned with the lower upright.
11. Reset to finish.
Uprights for the left side of the lower right stairway can be placed by mirror copying the two on the right side. Similarly, these can be mirror copied to create the right side uprights for the lower left stairway.
Mirror copy the lower stairway uprights

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

4. In the Manipulate tool box, select the Mirror tool.
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5. Set Mirror About to Vertical. 6. Turn on Make Copy. 7. In the Front view, snap to the center of any step in the lower right stairway and accept with a data point.
The uprights are mirror copied. They remain as a selection set.
8. Again select the Mirror tool. 9. Still in the Front view, snap to the center of the landing and accept with a data point.
The uprights are copied to the right side of the left lower staircase.
10. Enter a data point away from other elements to deselect the uprights.
With the upright reference lines in place, you can use these to construct the handrail reference lines. Later, these will be converted to tubular elements. Start with the center section of the lower stairs.
Place the center handrail reference line

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

4. In turn, identify the tops of uprights forming the center handrail, as shown below.
Placing the SmartLine by identifying the uprights in the order shown (1 - 4).
5. Reset to finish.
Similarly, the right hand side handrail reference line can be constructed with a SmartLine.
Place the right hand side handrail reference line

1. If necessary, reselect the Place SmartLine tool. 2. In turn, identify the tops of uprights forming the right hand side handrail, as shown below.
Placing the SmartLine by identifying the uprights in the order shown (1 - 6).
3. Reset to finish.
Copies of these same SmartLines will be used to create the lower handrails.
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Create the lower handrail reference lines

1. Use the Element Selection tool to select the two SmartLines. 2. In the Manipulate tool box, select the Copy tool. 3. In the Isometric View, enter a data point. 4. Type <F> to set AccuDraws compass to the front orientation. 5. Move the pointer downward and, with it indexed to the negative Y axis, type 1:9 and enter a data point.
The SmartLines are copied 1 foot 9 inches below the originals.
6. Enter a data point to deselect the elements.
With the skeleton of the handrails constructed, you will now begin converting them to tubular solids. Cylinders will be used to create the lower handrail, while the top handrail will be constructed by extruding a circular section along the path formed by the reference line. You will use the Isometric view to construct the handrails, but monitor the other views as a check as you place the various elements.
Construct the lower handrails

1. In the Isometric view, turn off all levels except level 62. 2. Set the Active Level to 9. 3. Set the Active Color to Violet (5).
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Working in 3D

4. Use the view controls to magnify the left side of the center handrails.
5. In the 3D Primitives tool box, select the Place Cylinder tool. 6. Set Axis to Points (AccuDraw). 7. Turn on Orthogonal. 8. Turn on Radius and, in its field, key in :1.
The handrail is 1 inch radius.

9. Snap to the lower end of the (lower) reference line and accept with a data point.
The first point of the cylinder is placed.

10. Snap to the opposite end of the reference line and accept with a data point.
The cylinder is placed.
11. Repeat this procedure, to place a cylinder on each section of the lower handrail reference line, for both the center handrail
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and the right side. Use the Pan View view control to display the required section of the handrail.
Isometric view after placing cylinders on the lower reference line.
Create complex chains for the top handrails

1. Use the Fit View view control to fit the Isometric view. 2. Set the Active Level to 62. 3. In the Isometric view, turn off level 9.
4. Set the Active Color to Red (3).
This will make it easier to see the lines that are connected, to check for errors.
5. In the Groups tool box, select the Create Complex Chain tool. 6. Set Method to Automatic. 7. Identify the upright (reference line) at the left end of the center handrail.
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Level 9 contains the cylinders just placed.
Working in 3D
To construct the top handrail, a different procedure is used. You will first create a complex chain of the top reference line and its two end uprights. This will be used as a path to extrude a circular profile, and to ensure a clean join between the top handrail and the uprights at each end.

The next connected element highlights. In this case it is the SmartLine.

The upright, at the other end of the handrail, highlights.

The complex chain is created, and the line changes to red, the active color.
11. Repeat the above steps for the top handrail on the right of the stairs.
With the path lines defined, you will now draw a circle at the beginning of each chained element, to be used as a profile.
Draw the circular profile

1. Set the Active Level to 9. 2. Set the Active Color to Violet (5). 3. In the Isometric view, use the Window Area view control to zoom in on the two uprights on the right.
4. In the Ellipses tool box, select the Place Circle tool. 5. Set Method to Center
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6. Turn on Diameter and, in its field, key in :2. 7. Snap to the bottom of the right upright, without entering a data point. 8. Type <T> to set AccuDraws drawing plane to top orientation. 9. Enter a data point to place the circle. 10. Snap to the bottom of the left upright and accept with a data point.
The second circle is placed.
Extrude the circles along their paths

1. In the 3D Construct tool box, select the Extrude Along Path tool. 2. Check that Defined By is set to Profile. 3. In the Isometric view, identify the upright on the right.

4. Identify the circle at the bottom of the selected upright.
The circle highlights. Make sure that the circle highlights. If necessary, zoom in on it.
The extrusion is displayed.

6. Accept again to complete the extrusion. 7. Repeat for the upright and circle on the left.
To complete this section of the handrail, place 2 inch diameter cylinders at the remaining uprights.
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Working in 3D
Place cylinders at the uprights

1. In the 3D Primitives tool box, select the Place Cylinder tool.
Settings should be the same as those used earlier. That is Axis set to Points (AccuDraw), Orthogonal turned on, and Radius turned on with a value of :1 (that is, 0.0833).
2. Identify (snap to and accept) the bottom of the upright on the left. 3. Identify the top of the same upright.
The cylinder is placed.

4. Repeat steps 2 and 3 for the remaining uprights. 5. Turn off level 62 in the Isometric view.
The handrail reference lines disappear. To create the handrail for the left side, a fence is put around the handrail in the right, and a mirror copy made.
Mirror copy the handrail on the right

1. Use the Fit View view control to fit the Isometric view. 2. In the Fence tool box, select the Place Fence tool. 3. Set Fence Type to shape. 4. In the Isometric View, enter data points to place a fence shape around the handrail on the right.
Make sure that the handrail and uprights are completely enclosed by the fence.
Placing the fence shape around the handrail on the left.
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5. In the Fence tool box, select the Manipulate Fence Contents tool. 6. Set operation to Mirror. 7. If necessary, set Fence Mode to Inside. 8. Turn on Make Copy 9. Set Mirror About to Vertical. 10. In the Top or Front view, snap to the center point of the landing and accept with a data point.
The handrail is mirror copied to the left side.
11. Reset to finish. 12. Select the Place Fence tool to turn off the fence.
With the knowledge gained from the previous exercises, you should be able to construct the remaining sections of handrail,
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Working in 3D
Creating the window walls

and add an upright to the center section of handrail on the landing. The diagram below shows the completed handrail.
The stairways and handrail.
At this point you can turn on all of the levels and review your design. A short rendering session is probably in order. Using the Isometric view as a starting point, rotate the view and zoom in to look at the details of the staircase and railings.

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

1. Set the Active level to 10. 2. Set the Active Color to Red (3). 3. In all views turn off all other levels except levels 4 (first floor slab) and 5 (columns). 4. Use the Fit View view control to fit each view. 5. If necessary, set view 2 back to Isometric.
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6. In the Isometric view, use the Window Area view control to zoom in on the upper left corner of the column bases (northwest corner of building) and the first floor slab.
During this exercise feel free to navigate in the views for better viewing of the work in progress.
Create the first vertical mullion

1. In the 3D Primitives tool box, select the Place Slab tool. 2. Snap to the upper left corner of the first floor slab (the northwest corner of slab). Be sure to identify the top surface of the slab. 3. Type <O> to set AccuDraws origin at the snap point. 4. Type <T> to set the compass orientation to Top. 5. Move the pointer downward to the right and, with it indexed to AccuDraws negative Y axis, type 3 without entering a data point. 6. Move the pointer to the right, type :6 and enter a data point.
This defines the starting point of the slab.
This defines the length of the slab.

8. Move the pointer to the right, type :2 and enter a data point.
This defines the width of the slab.

9. Type <F> to rotate AccuDraws compass to the Front orientation.
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7. Move the pointer upward to the right and, with it indexed to AccuDraws X axis, type :6 and enter a data point.
Working in 3D

10. Move the pointer upward, type 22 and enter a data point.
The vertical mullion (slab) is completed.
The vertical mullion in place.
Next, you will copy this mullion 3 times at 8 71/3 between centers. To do this, you will use AccuDraws data point key-in dialog box. With this dialog box you can use key-ins that include the pipe (|) parameter, which lets you specify that a value is repeated multiple times. For additional information, see the Users Guide.
Create remaining mullions between the first two

columns
1. In the Manipulate tool box, select the Copy tool. 2. In the Isometric view, identify the vertical mullion just placed. 3. Type <T> to set AccuDraws compass to the Top orientation. 4. Type to open AccuDraws Data Point Keyin dialog box. 5. In the Data Point Keyin boxs input field, key in DL=0,8:7.3333|3.
This specifies that the element is copied in the negative Y direction 8 71/3 three times.
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6. Reset to finish.
The four vertical mullions in place.
For the horizontal mullions, you will again use the Place Slab tool.
Prepare to create the horizontal mullions

1. Expand the Isometric view to fill the screen. 2. In the Isometric view, turn off all other levels. 3. Use the Fit View and Window Area view controls to magnify the lower ends of the vertical mullions.
4. In the 3D Primitives tool box, select the Place Slab tool. 5. Set Axis to Drawing Z. 6. Turn on Orthogonal. 7. Turn on Height and, in its field, key in :6. 8. Identify the front left corner of the northern most mullion.
This specifies the starting point of the slab.

9. Identify the front right corner of the same mullion.
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Working in 3D

This specifies the width of the mullion (slab).
10. Identify the back edge of the southern most vertical mullion.
This specifies the length of the mullion.
11. Move the pointer upward to specify that the mullion is constructed upward from the base and accept with a data point.
The first horizontal mullion is completed. The height of the slab is taken from the tool settings of the Place Slab tool. Copying this horizontal mullion vertically will create the remaining two.
Copy the horizontal mullion

1. In the Isometric view, identify the horizontal mullion. 2. Type <F> to set AccuDraws compass to Front orientation. 3. Move the pointer upward and, with it indexed to AccuDraws Y axis, type 13 and enter a data point.
The mullion is copied.
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4. Again move the pointer upward and, with it still indexed to AccuDraws Y axis, type 8:6 and enter a data point.
The mullion is copied to the top of the vertical mullions.
The window frame mullions completed.
These mullions now can be united into a single element.
Unite the vertical and horizontal mullions

1. Use the Element Selection tool to select all the mullions (horizontal and vertical). 2. In the 3D Modify tool box, select the Construct Union tool.
The mullions are united into a single element. With the window frame completed, you can now use the Copy, Rotate, and Mirror Copy tools to create the remaining frames.
Copy and rotate the first frame

Level 5 contains the columns.
2. In the Isometric view, use the Rotate View view control to slightly rotate the view, to make the columns easily discernible.
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1. In the Isometric view, turn on level 5.
Working in 3D

3. In the Manipulate tool box, select the Rotate tool. 4. Set Method to Active Angle and, in its field, key in 90. 5. Turn on Make Copy. 6. Identify the existing window frame. 7. Type <T> to rotate AccuDraws compass to Top orientation. 8. Snap to the top center of the Northwest column. 9. Accept to create the rotated copy.
Making a rotated copy of the first window frame.
Sheath the North side of the building using copy

1. Use the Element Selection tool to select the window frame in the Northern wall. 2. In the Manipulate tool box, select the Copy Element tool. 3. Identify the top center of the Northwest column.
Defines the start point of the copy.

4. Identify the top center of the adjacent column to the East in the North wall.
The window is copied.

5. Identify the top center of the next column to the East in the North wall.
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The window is copied a second time.
6. Deselect the window.
Sheath the West side of the building using copy

1. Use the Element Selection tool to select the window frame in the Western wall. 2. In the Manipulate tool box, select the Copy Element tool. 3. Identify the top center of the Northwest column.
Defines the start point of the copy.

4. Identify the top center of the adjacent column to the South in the West wall.
The window is copied.

5. Deselect the window.
The remaining windows can be created from the existing windows, using the Mirror tool.
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Working in 3D
Place windows in the Southern wall

1. In the Isometric view, use the Element Selection tool to select the three windows in the Northern wall. 2. In the Manipulate tool box, select the Mirror tool. 3. Set Mirror About to Horizontal. 4. Turn on Make Copy. 5. If necessary, type <T> to set AccuDraws compass to Top orientation. 6. Snap to the center of any of the center row of columns (running East West), and accept to complete the copy.
7. Deselect the windows.
Place windows in the Eastern wall

1. In the Isometric view, use the Element Selection tool to select the two windows in the Western wall. 2. In the Manipulate tool box, select the Mirror tool. 3. Set Mirror About to Vertical. 4. Turn on Make Copy.
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5. Snap to the center of either center window in the North or South wall and accept to complete the copy.
View the completed model

1. Turn on Levels 1-10 in each view. 2. Use the Fit View view control to fit each view.
This completes the basic construction of a simple office building. During this series of exercises you learned how AccuDraw interacts with a large variety of tools. In most cases, the work was performed using the Isometric view alone. Additional design elements are possible for inclusion in this project. Features like an entrance vestibule, carpet, even a curved wall feature are possible.
Assessing your project results

To illustrate just how far you can take this model, a detailed version of this building project is included with MicroStation. Open and compare it to your model. You should find that it closely matches it but includes a variety of additional features just mentioned (vestibule, curved wall, cubicle workstations).
To open the sample 3D model

The Open Design File settings box opens.
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Working in 3D

2. Select the file sampmod1.dgn located in the \Workspace\projects\tutorials\intro\dgn directory. 3. Click the OK button.
As you can see, MicroStation provides a wealth of tools for the accurate creation of very complex architectural models. We hope these exercises have helped to show you the efficiency that MicroStations 3D features bring to the design process.
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Element Tags
In this tutorial you will work with tags tools, create and define tags and tag sets, select tagged elements, and create reports on tag data. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Attaching, reviewing, and editing tags (see page 8-2). Creating a new tag set (see page 8-4). Selecting Tagged Elements (see page 8-6). Reporting on tag data (see page 8-8).
Open tagset.dgn and the Tags tool box

The Open Design File dialog box opens.

2. Select tagset.dgn located in MicroStations \Workspace\projects\tutorials\intro\dgn directory.
Tagset.dgn is a residence floor plan with four levels.

3. Click the OK button. 4. From the Tools menu, choose Tool Boxes.
The Tool Boxes settings box opens.

5. In the list box, turn on Tags. 6. Click the OK button.
The Tags tool box opens.
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Attaching, reviewing, and editing tags
Exercise: Attaching, reviewing, and editing tags

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

1. In the Tags tool box, select the Attach Tags tool.
A list of the designs tag sets is displayed in the Tool Settings window. (The windows title bar now reads Attach Tags.)
2. In the Tool Settings windows Tag Sets list box, select fixture. 3. Identify the ceiling fan in the first floors great room. 4. Accept the ceiling fan.
The Attach Tags [fixture] dialog box opens.
Attach Tags [fixture] dialog box
5. In the Attach Tags (fixture) dialog boxs list box, select part_num. 6. In the Enter Part Number field, type F-1000-36. 7. Select fixture_code. 8. In the Enter Fixture Type code field, type FAN. 9. Select price. 10. In the Enter unit Price field, replace the default value by selecting the text and typing 89.95. 11. Select project. 12. Click on the OK button.
The Attach Tags [fixture] dialog box closes and the pointer is an X with the specified tag text values attached to the X and dynamically displayed. The display of a tag value is determined by the Attach Tags [fixture] dialog boxs Display field. If the Display fields check
8-2
Attaching, reviewing, and editing tags

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

1. In the Tags tool box, select the Edit Tags tool. 2. In the Master bedroom on the second floor, identify part number FR-1546-12 below the ceiling fan. 3. Accept the part number.
The Edit Tags dialog box opens.

4. Select part_num. 5. Click the part_num Display check box to turn it off. 6. In the Enter Part Number field, replace the current value by selecting the text and typing FR-1546-24. 7. Select price. 8. Click the price Display check box to turn it on. 9. In the Enter Unit Price field, select the current value and type 9.87. 10. Select project.
The new price value displays but the new part_num does not.
Review tag values

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

7. Select the switch tag set.
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3. Accept the ceiling fan.
Element Tags
Creating a new tag set

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

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

1. From the Element menus Tags sub-menu, choose Define.
The Tag Sets settings box opens.
Tag Sets settings box
2. Below the Tag Sets list box, click the Add button.
The Tag Set Name dialog box opens.

3. In the Name field, key in Fire_line. 4. Click the OK button.
Tag Set Name dialog box
The Tag Set Name closes and the tag set Fire_line appears in the Sets list box in the Tag Sets dialog box.
5. Below the Tags list box, click on the Add button.
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Creating a new tag set

The Define Tag dialog box opens.
Define Tag dialog box
6. In the Tag Name field, key in Pipe_size. 7. In the Prompt field, key in Enter pipe size:. 8. Click the OK button.
The Define Tag dialog box closes.

9. In the Tag Sets dialog box, below the Tags list box, click the Add button.

10. Key in the following values: In the Tag Name field, key in Length. In the Prompt field, key in Enter length:. 12. Click the OK button.
The Define Tag dialog box closes.

13. Back in the Tag Sets dialog box, below the Tags list box, click the Add button.

14. Key in the following values: In the Tag Name field, key in Type. In the Prompt field, key in Enter type:. 15. From the Type option menu, choose Character. 16. In the Default Tag Value field, key in Copper. 17. Click the OK button.
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Element Tags
11. From the Type option menu, choose Real.
Selecting Tagged Elements
Exercise: Selecting Tagged Elements

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

design
1. From the Edit menu, choose Select By Attributes.
The Select By Attributes settings box opens.
Select By Attributes settings box
2. Confirm that the three Mode options are set to Inclusive, Selection, and On. 3. Click the Tags button.
The Select By Tags Settings box opens.

4. In the Tag list box, select outlet.type. 5. In the Operator list box, select equal to. 6. In the Expression field, key in EWO.
8-6
Selecting Tagged Elements

7. Click the Insert button.
Select By Tags dialog box
The Criteria list box shows the newly defined search criterion, and the default conjunctive clause, And.
8. Click the Or button.
The And changes to Or.

9. In the Tag list box, select fixture, fixture_code. 10. In the Operator list box, select greater than or equal. 11. In the Expression field, key in EWL. 12. Click the Insert button.
In the Criteria list box are two statements that are evaluated with the And statement having precedence over the Or. Outlets and fixtures that are on the outside of the building are selected and displayed with handles.
14. Close the Select By settings box.
An alert box displays.

8-7
Element Tags
13. In the Select By dialog box, click the Execute button.
Reporting on tag data
Exercise: Reporting on tag data

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

1. From the Element menus Tags sub-menu, choose Generate Templates.
The Generate Templates settings box opens.
Generate Templates settings box
2. From the Report On menu, choose Tagged Elements. 3. Make the following selections: In the Tag Sets list box, select fixture. In the Tags list box, select part_num. 4. Click the Add button. 5. In the Tags list box, select fixture_code. 6. Click the Add button. 7. Make the following selections: Select price and click the Add button. Select $file_pos and click the Add button. 8. In the Report File Name field, key in fixture.
The report file fixture.rpt is generated once the report is executed.

9. From the Generate Templates setting boxs File Menu, choose Save As.
The Save Template As dialog box opens.

10. In the Files field, key in fixture.
The file for the template will be fixture.tmp.
8-8
Reporting on tag data

11. Click the OK button. 12. Close the Generate Templates settings box.
Generate a tag report file

1. From the Element menus Tags sub-menu, choose Generate Reports.
The Generate Reports dialog box opens.
Generate Reports dialog box
2. In the Files list box, select fixture.tmp.
4. Click the Done button.
After a moment, the status bar prompt reads Done Generating Report. The report file fixture.rpt is written to MicroStations \Workspace\projects\examples\generic\out directory. Use a word processor or text editor to view this ASCII, comma delimited, report file.
8-9
Element Tags
3. Click the Add button.
8-10
Labeling a Design
This tutorial uses the floor plan design, floor.dgn, in \Workspace\projects\tutorials\intro\dgn directory to illustrate dimensioning and labeling a design. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Dimensioning the exterior of a building (see page 9-2). Placing typical dimensions (see page 9-9). Dimensioning the interior of a building (see page 9-12). Adding notes (see page 9-17). Using cells for labeling purposes (see page 9-23).
Reset, by pressing the Reset button. This is most helpful when you have trouble using a tool. Undo, by choosing Undo from the Edit menu. This is most helpful after you finish using a tool and realize youve made a mistake. Remember MicroStation lets you undo more than just the last operation. Undo a change made with a view control by choosing View Previous from the view controls. This is helpful if you use a view control to zoom or window an area and lose your perspective.
About floor.dgn The design in floor.dgn is a simple office floor plan. View window 3 is a fitted view that shows the entire plan.
A concrete slab that underlies the office building is represented by a red rectangle on Level 3, Slab. The exterior walls are yellow multi-lines on Level 1, Exterior. (The corner of the slab outside the exterior wall is a patio.) The interior walls are multilines with yellow and blue component lines on Level 2, Drywall. Doors, jambs, and sweeps are placed on Levels 4, 5, and 6, Doors, Jambs, and Sweeps.
9-1
Dimensioning the exterior of a building

Working units in floor.dgn are feet (') and inches ("). Points on the grid are located one inch apart. Reference points on the grid are one foot apart. The design is oriented geographically so that the top of the screen is north, the bottom south, the right east, and the left west.
Setting up views for dimensioning As you dimension the design, refer to the illustrations for ideas on how best to set up views showing the part of the design you need to see at each step. You may find it convenient to fit the entire design in one view and to window areas into a second view to see detail. It may also be convenient at times to show details in two views, enter a data point in one to position one end of a dimension element, and enter a data point in the other to finish the dimension.
It may help to refer to the first page of this chapter, where the labeled design is shown. Finally, all the dimensions and notes you will be adding are already in the design, but on level 63, which is turned off (that is, not displayed) in all views.
Exercise: Dimensioning the exterior of a building

Open floor.dgn and adjust settings for dimensioning
1. Open the design file floor.dgn, which is in MicroStations \Workspace\projects\tutorials\intro\dgn directory. 2. From the Settings menus Locks sub-menu, choose Full. Change (or confirm) these settings: Grid Lock off Snap Lock on 3. From the Element menu, choose Text. The Text settings box opens. 4. In the Text settings box, change (or confirm) these settings: Font 3 - Engineering Height 0:9 Width 0:6 5. From the Utilities menu, choose Key-in.
The Key-in window opens.

6. Set the Active Level to Dims (by keying in LV=DIMS). 7. Set the Active Color to cyan (7) (by keying in CO=7). 8. Set the Active Line Weight to 1 (by keying in WT=1).
9-2
Set up for dimensioning

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

1. With the Dimension Size with Arrows tool selected, enter a data point on the southwest (lower left) corner of the building (preview with a tentative point).
The prompt in the status bar is Define length of extension line.

2. Enter a data point about 10 feet to the south to define the extension line length. The extension line extends from the points being dimensioned to the dimension line.
The dimension is dynamically displayed.

3. Enter a data point on the south-southeast corner of the building (preview with a tentative point). This indicates the dimension endpoint. Be sure you snap to the multi-line that represents the masonry walls.
The south masonry wall (21') is dimensioned.

4. Enter a data point on the southeast corner of the slab (preview with a tentative point).
The south edge of the patio (21') is dimensioned.

5. Reset to place the dimensions.
The prompt in the status bar is Define length of extension line.
9-3
Labeling a Design
Dimension the south-east masonry wall and patio

1. Enter a data point about 10 feet east of the east masonry wall to define the extension line direction and length.
The north-south dimension is dynamically displayed.

2. Enter a data point on the east-southeast corner of the building (preview with a tentative point).
The east edge of the patio (21) is dimensioned.

3. Enter a data point on the northeast corner of the building (preview with a tentative point). 4. The east masonry wall (39) is dimensioned. 5. Reset to place the dimensions.
Pause here and look closely at the dimension text. Is text displayed or are boxes with Xs in them displayed? If the text appears to be boxes, you can adjust the text size to display appropriately. The size threshold above which MicroStation draws text is a user preference.
Set the preference so text is drawn (regardless of its size)

1. From the Workspace menu, choose Preferences.
The Preferences dialog box opens.

2. In the Category list box, select Text.
The controls for text display and editing preferences are displayed.
Dimensioning patio and east masonry wall.
3. In the Smallest Text field, key in 0 (zero). 4. Click the OK button.
The dimension text is displayed. (You may have to update the view to see the text.)
When working with designs containing a lot of text, you may find it convenient to set the Smallest Text preference higher. That will prevent MicroStation from taking the time to draw text that may be too small to read.
9-4
Dimension the south edge of the slab

1. In the Dimension tool box, select the Dimension Element tool. This tool is the logical choice here because the concrete slab is represented by a block.
Dimensioning south edge of slab.
2. To identify the block, enter a data point on the segment that represents the south edge of the slab. (Do not preview with a tentative point. If the wrong element is selected, Reset until the desired element is selected.)
The dimension is dynamically displayed.

3. Enter a data point about 3 feet south of the existing 21 dimensions.
The south edge of the slab (42) is dimensioned. The Dimension Element tool remains selected.
Dimension the east edge of the slab

1. Enter a data point to identify the block on the segment that represents the east edge. (Do not preview with a tentative point.) 2. Enter a data point about 3 feet east of the existing north-south dimensions.
The east edge of the slab (60) is dimensioned. To dimension the diagonal (southeast) masonry wall, begin with the portion from the south-southeast corner of the building to the front doorway opening. Window as appropriate, and remember there are more views available for your use. Consider opening another view window with the Window menus Open/Close submenu so you can see the south-southeast corner of the building and each door jamb.
Dimensioning east edge of slab.
9-5
Labeling a Design
Dimension the diagonal masonry wall

1. In the Dimension tool box, select the Dimension Size with Arrows tool. 2. Enter a data point on the south-southeast corner of the building (preview with a tentative point). 3. Enter a data point about 5 feet to the southeast to define the extension line length.
The dimension that is dynamically displayed is parallel to a views x-axis (horizontal). You need the dimension to be parallel to the southeast masonry wall.
4. From the Alignment option menu in the tool settings, choose True.
The dynamic dimension now rotates about the first point as you move the pointer.
5. Enter a data point on the southwest outer corner of the front doorway opening (preview with a tentative point).
The dimension line is parallel to the wall. The dimension is 13'-2". The Dimension Size with Arrows tool remains selected, and a second dimension is dynamically displayed. Continue to dimension the southeast masonry wall.
6. Enter a data point on the northeast outer corner of the front doorway opening (preview with a tentative point).
The front doorway width dimension is 3'-4".
9-6

7. Enter a data point on the east-southeast corner of the building (preview with a tentative point).
The dimension is 13'-2 ".
Dimensioning along southeast masonry wall.
Dimension the southeast masonry wall in its entirety

1. Reset again.
The prompt in the status bar is Select start of dimension.
3. Enter a data point to the southeast to define an extension line length about 3 feet longer than the extension lines in the previous dimensions. 4. Enter a data point on the northern corner of the diagonal masonry wall (preview with a tentative point).
9-7
Labeling a Design
2. Enter a data point on the southern corner of the diagonal masonry wall (preview with a tentative point).

5. Reset to place the dimension (29-8 /8"). 6. Set Alignment back to View.
Dimensioning entire southeast masonry wall.
9-8
Placing typical dimensions
Exercise: Placing typical dimensions

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

1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the outside southwest corner (preview with a tentative point). 3. Enter a data point about 3 feet to the south to define the extension line length. 4. Enter a data point on the inside southwest corner (preview with a tentative point). 5. Reset to place the dimension (1'-1 ").
Dimensioning masonry wall thickness.
Next you will dimension the distance from the corner of a room to the doorway, placing the dimension in the room near the southwest corner of the building.
9-9
Labeling a Design
Dimension the typical distance from room corner to

doorway
1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the doorway opening at its corner, 1' to the west of the northeast corner of the room (preview with a tentative point). 3. Enter a data point about 3 feet to the south to define the extension line length. 4. Enter a data point on the northeast corner of the room (preview with a tentative point). 5. Reset to place the dimension (1').
Dimensioning typical interior distance.
Next you will dimension the interior wall, placing the dimension in the next room to the north.
Dimension the interior wall thickness

1. Reset until the Dimension Size with Arrows prompt in the status bar displays Select start of dimension. 2. From the Element menu, choose Dimensions.
The Dimension Settings settings box opens.

3. In the Category list box, select Extension Lines.
9-10

4. In the settings box, turn off Extension Lines to place dimensions without extension lines.
Dimension Settings settings box
5. Enter a data point on the southeast corner of the room (preview with a tentative point).
The prompt in the status bar is Define length of extension line. Although the Adjust Dimension Line setting is off, you still need to define the location of the dimension line.
6. Enter a data point about halfway between the south wall and the door in the east wall to define the location of the dimension line.
The dimension is dynamically displayed without extension lines.
8. Reset to place the dimension (4").
The other typical dimension is the width of the entry hallway between each partition and the adjacent doorway opening.
Dimensioning interior partition thickness.
9-11
Labeling a Design
7. Enter a data point on the southwest corner of the central reception area (preview with a tentative point). The reception area is the central area of the floor plan onto which the office doors open.
Dimensioning the interior of a building
Dimension the width of the entry hallway

1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension.
Dimensioning entry hallway.
2. In the Tool Settings box, set Alignment to True. 3. In the Dimension Settings boxs, Category list box, select Extension Lines. 4. Turn on Extension Lines. 5. Enter a data point on the center line of the northernmost partition between the entry hallway and the adjacent room at its intersection with the southeast masonry wall (preview with a tentative point). 6. Enter a data point about 3 feet northwest of the southeast masonry wall to define the dimension line endpoint. 7. Enter a data point on the southeast masonry wall at the closest point where it is broken for the front doorway (preview with a tentative point). 8. Reset to place the dimension (1'-5"). 9. Turn off Extension Lines in the Dimensions Settings box.
The notation (TYP.) is standard for typical dimensions. You will annotate these dimensions in a later exercise.
Exercise: Dimensioning the interior of a building

Standard interior size dimensions are between center lines of interior partitions. However, when an interior size is dimensioned to an exterior wall, the dimension is to the interior face of the exterior wall.
9-12

Begin placing interior dimensions in the room to the right (north) of the entry hallway. You may want to open two views with high magnification of the ends of the wall being dimensioned in order to snap accurately to them. Next you will dimension from the interior face of the southeast masonry wall to the partition that represents the rooms northwest wall.
Dimension from the interior face of the masonry wall to

the rooms northwest wall
1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the center line of the partition that represents the rooms southwest wall at the partitions intersection with the southeast masonry wall (preview with a tentative point). 3. Enter a data point approximately half the distance to the northeast toward the east corner of the room. 4. Enter a data point on the center line of the partition that represents the rooms northwest wall (preview with a tentative point). 5. Reset to place the dimension (12'). 6. In the Tool Settings window, set Alignment back to View.
Dimensioning NW-SE room size.
So far, dimension text has been automatically centered along dimension lines. The Text Location setting in the Dimension Placement settings box sets where dimension text is located. In the next series of dimensions, you will need to manually place some dimension text so it does not obscure other dimensions.
9-13
Labeling a Design

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

1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the center line of the partition that represents the south wall of the first rectangular room proceeding northward (preview with a tentative point). 3. Enter a data point about 3 feet west of the east masonry wall to define the dimension line endpoint. 4. Enter a data point on the center line of the partition that represents the north wall of the room (preview with a tentative point).
The north-south room dimension is 10'.

5. Enter a data point on the center line of the partition that represents the north wall of the next room to the north (preview with a tentative point).
The north-south room dimension is also 10'.

6. In the Dimension Settings boxs Placement category, set Location to Manual. 7. Enter a data point on the interior face of the north masonry wall (preview with a tentative point).
The prompt in the status bar is Place dimensioning text, and the dimension text (11'-10") is dynamically displayed for positioning.
8. Enter a data point to position the dimension text a little south of what would be automatic placement (center justified). This positioning will prevent the east-west dimension you will place later from overlaying the text. 9. Reset to place the dimensions.
Dimensioning north-south room sizes.
Instead of using manual dimension text location, you could use the Modify Element tool from the Main tool box to move the dimension text after it is placed. However, the text will move only along the axis in which it was placed.
9-14

There is space for the east-west dimension of the rectangular rooms on the east side in the northernmost of the two rooms.
Dimension the east-west size of the two rectangular

rooms on the east side of the building
1. In the Dimension Settings box, set Location back to Automatic. 2. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 3. Enter a data point at the doorway on the center line of the partition that represents the west wall of the room (preview with a tentative point). 4. Enter a data point about 3 feet north of the doorway to define the dimension line endpoint. 5. Enter a data point on the interior face of the east masonry wall (preview with a tentative point). 6. Reset to place the dimension (12').
Dimensioning east-west room size.
end of the building, proceeding from east to west

1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the intersection of the interior faces of the north and east masonry walls (preview with a tentative point). 3. Enter a data point about 3 feet south of the north masonry wall to define the dimension line endpoint. 4. Enter a data point on the center line of the north-south partition between the two rooms (preview with a tentative point).
The east-west room dimension is 27'-9 ".
9-15
Labeling a Design
Dimension the east-west sizes of the rooms in the north

5. Enter a data point on the interior face of the west masonry wall (preview with a tentative point).
The east-west room dimension is 12.

Dimensioning east-west room sizes.
Dimension the north-south sizes of the rooms on the

west side of the building
1. Reset until the Dimension Size with Arrows prompt in the status bar is Select start of dimension. 2. Enter a data point on the intersection of the interior faces of the north and west masonry walls (preview with a tentative point). 3. Enter a data point about 3 feet east of the west masonry wall to define the dimension line endpoint. 4. Enter a data point on the center line of the partition that represents the south wall of the room in the northwest corner of the building (preview with a tentative point).
The north-south room dimension is 27'-7 ".

5. Enter a data point on the center line of the partition that represents the south wall of the next room to the south (preview with a tentative point).
The north-south room dimension is 18'.

6. Enter a data point on the interior face of the south masonry wall (preview with a tentative point).
The north-south room dimension is 12'-2".

Dimensioning north-south room sizes.
With that, all plan dimensions necessary to construct the building are placed.
9-16
Adding notes
Exercise: Adding notes

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

1. From the Utilities menu, choose Key-in.

2. In the Key-in window, key in LV=NOTES.
You placed the 1'-1" masonry wall thickness dimension near the southwest corner of the building.
Note the 1-1 " masonry wall thickness as typical

1. In the Main tool box, select the Place Text tool, and tear off the Text tool box. 2. In the Text tool box, select the Place Text tool.

3. In the Text Editor window, Type (TYP.) and (do not press <Enter>).
Text Editor window
4. Enter a data point to position the text below the dimension text. Leave the Text Editor window open.
Annotating typical dimension.
While the Place Text tool is selected, the text (TYP.) is dynamically displayed.
9-17
Labeling a Design
The text is dynamically displayed at the Active Angle; if the Active Angle is not 0, in the Place Text Tool Settings window, set the Active Angle to 0.
Adding notes
Annotate the other typical dimensions

1. Enter a data point to position the text below the dimension text 1'-0" in the room in the southwest corner of the building. Leave the Text Editor window open. 2. Enter a data point to position the text below the dimension text 4" in the next room to the north. Leave the Text Editor window open. 3. In the Tool Settings window, set the Active Angle to 45. 4. Enter a data point to position the rotated text below the dimension text 1'-5" adjacent to the entry hallway. Leave the Text Editor window open. 5. In the Tool Settings window, set the Active Angle back to 0.
Annotating the other typical dimensions.
The room label notes will be violet and slightly larger and heavier than the dimension text.
Change the appropriate settings

1. From the Utilities menu, choose Key-in.

2. Set the Active Color to violet (5) by keying in CO=5 in the Key-in window. 3. Set the Active Line Weight to 1 by keying in WT=1 in the Keyin window. 4. From the Element menu, choose Text.
The Text settings box opens.

5. In the Height field, key in 1 to set the Active Text Height to 1'. 6. In the Width field, key in :9 to set the Active Text Width to 9". 7. In the Line Spacing field, key in :6 to set the Active Line Spacing to 6".
9-18
Adding notes
Suppose the client for this building project requires that the rooms adjacent to the entry hallway and the room in the northeast corner be numbered offices. To label the rooms, you can use enter data fields as placeholders for future entry of office numbers. Make the fields three characters long to allow space for three digit office numbers.
Place the enter data fields

1. In the Text Editor window, click the Reset button to clear the text in the window. 2. Type Office _ _ _ in the Text Editor window. (Type a space after Office and press the underscore key (<Shift-Hyphen>) three times to enter the last three characters.)
The text is dynamically displayed.

3. Enter three data points in succession in the fitted view to place the text in the numbered offices, starting with the office southwest of the entry hallway and finishing with the office in the northeast corner.
Labeling numbered offices.
Label the other offices on the east side of the building

1. In the Text Editor window, click the Reset button to clear the text in the window. 2. Type Kim in the Text Editor. 3. Enter a data point to position the text in the rectangular office immediately north of the odd-shaped office on the east side of the building.
5. Type Ray.
Labeling other offices on east side of building.
6. Enter a data point to position the text in the next office to the north.
9-19
Labeling a Design
4. In the Text Editor window, click the Reset button to clear the text in the window.
Adding notes
Label the rooms on the west side of the building

1. In the Text Editor window, click the Reset button to clear the text in the window. 2. Type Library in the Text Editor window. 3. Enter a data point to position the text in the library in the northwest corner of the building. 4. In the Text Editor window, click the Reset button to clear the text in the window. 5. Type Kitchen. 6. Enter a data point to position the text in the next room to the south. 7. In the Text Editor window, click the Reset button to clear the text in the window. 8. Type Storage. 9. Enter a data point to position the text in the room in the southwest corner of the building.
Label the central reception area

Labeling rooms on west side of building.
1. In the Text Editor window, click the Reset button to clear the text in the window.
Labeling the reception area.
2. Type Reception in the Text Editor, and then press <Enter>.
The insertion point moves to the second line in the window.

3. Type Area.
Because you typed more than just one line of text, MicroStation will place the text as a text node.
4. Enter a data point to position the text node in the reception area.
9-20
Adding notes
The text node is displayed with a small cross and a text node identification number. These are useful when placing empty text nodes that will be filled with text later.
Turn display of text node numbers off in the fitted view

1. From the Settings menu, choose View Attributes to open the View Attributes settings box.
View Attributes settings box
2. Display the number of the fitted view from the View Number option menu. 3. Turn off Text Nodes. 4. Click the Apply button.
At this point, the client tells you the office numbering scheme. The odd-shaped offices, from west to east, are #101 and #102. The office in the northeast corner of the building is #105.
Fill in the enter data fields

1. In the Main tool bar, click on the Text tool, and tear off The Text tool box. 2. Select the Auto Fill In Enter Data Fields tool.
If you closed the Text Editor window after placing the last text, the window reopens.
3. Select the fitted view.
The text element in office 101 highlights (the oldest text element in the view that has an enter data field). The enter data field is denoted by a rectangle.
4. If necessary, in the Text Editor window, click the Reset button to clear the text in the window.
9-21
Labeling a Design
Adding notes
5. Key in 101. (Remember that key in means to press <Enter> after typing the text.)
The enter data field is filled in, meaning office 101 is properly labeled. The text element, with enter data field, in office 102 is highlighted. If you make any mistakes, complete step 6, and then use the Fill In Single Enter Data Field tool to make corrections.
6. Repeat steps 4 and 5 for office 102 and office 105. 7. Use the View Attributes settings box to turn off the display of enter data field characters (underscores) in the fitted view. The check button is labeled Data Fields.
Filling in office numbers.
9-22
Using cells for labeling purposes
Exercise: Using cells for labeling purposes

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

cells
1. From the Element menu, choose Cells.
The Cell Library settings box opens.

2. From the Cell Library settings boxs File menu, choose Attach.
The Attach Cell Library dialog box opens.

3. In the Files list box, select sample2.cel. 4. Click the OK button.
The cell library is attached and you are returned to the Cell Library settings box.
5. In the list box, select the ARROW cell and look at the graphics in the box to the right. Then repeat for the NORTH cell.
The ARROW cell is the arrowhead and the NORTH cell is used to indicate direction. Leave the settings box open for the next procedure.
Cell Library settings box
9-23
Labeling a Design
Using cells for labeling purposes
Designate ARROW as the Active Cell for placement

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

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

1. From the Place Cell Tool Settings window, in the Active Cell field, key in NORTH. 2. In the Active Angle field, key in 0. In the X Scale field, key in 10.
Constructing north arrow.
3. Enter a data point on the midpoint of the arrowhead base (preview with a tentative point).
The north arrow is in place.
9-24
10 Automating Drawing Production

In this tutorial, you will learn to do the following: Create the Drawing Components. Compose the Drawing Sheet. Annotating the drawing. Modifying the drawing through the Sheet View. Manipulating the sheet views components.
Exercise: Create the Drawing Components

In this exercise, you will create a saved view of the models pictorial view.
Create a saved view of the top view

1. Open the design file bracket.dgn, which is supplied in MicroStations \Workspace\projects\tutorials\intro\dgn directory. 2. In Window 2 rotate the wireframe image to a desirable orientation for a hidden line image.
Alternately, you can select the Right Isometric view of the object.
3. Use the Fit View view control to fit the Top view (Window 1). 4. From the Utilities menu, choose Saved Views.
The Saved Views settings box opens.
Saved Views settings box
5. In the Name field, key in PICT and press <Enter>.
10-1
Compose the Drawing Sheet

6. From the View option menu, choose 2. 7. In the Description field, key in: Pictorial view for sheet 8. Click the Save button.
The view is saved.
Exercise: Compose the Drawing Sheet

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

1. From the File menu, choose Drawing Composition.
The Drawing Composition settings box opens.
Drawing Composition settings box
2. In the Sheet Parameters section of this settings box, verify Sheet Location option menu is set to Sheet View.
The drawing sheet will be incorporated into the active design file.
3. From the Tools menu in the Drawing Composition settings box, choose Open Sheet View and select View 4.
An alert asking if it is OK to turn the sheet annotation and dimension levels (62 and 63) off in non-sheet views appears. Accept the default of Yes.
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View 4 clears and will now be used to hold the drawing sheet. Note Window 4s title now includes Sheet View.
4. From the Tools menu, choose Attach Border > Fitted.
The Attach Border File dialog box appears.
Attach Border File dialog box
5. Navigate to \Workspace\system\seed and choose seed.sht. 6. Click the OK button. 7. In the Attachment Parameters section of the Drawing Composition settings box turn on the Save Full Path option and enter the logical name sheet.
Optionally, add a comment in the Description field.

8. In Window 4 (the Sheet View) move the dynamic rectangle to an appropriate location. Data point once to place the border. Use Zoom Out view control to see the entire drawing sheet rectangle.
The sheet border will appear. At this point the drawing sheet is attached at a scale of 1 to 1 with the design units of the active design.
9. Use the Fit View view control to fit the drawing sheet in Window 4.
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10
Automating Drawing Production
Attach the models top view

1. In the View Parameters section of the Drawing Composition settings box, set the Scale (Sheet:Model) to 1:4.
This sets the scale of all subsequent reference file attachments to 1/4 scale where one inch of the drawing sheet equals four inches of the model.
2. From the Tools menus Attach Standard sub-menu, choose Top.
A dynamic rectangle representing the extents of the model in the top view appears.
3. Enter a data point in the top left corner of the drawing sheet to position the top view.
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Attach the front view

1. From the Tools menus Attach Folded sub-menu, choose Orthogonal.
Folding the Top view to attach the Front view.
You are prompted to select an element in the principal reference file attachment.
2. In the top view that was just attached, identify an element.
A rectangle appears around the top attached view.

3. Identify the rectangles lower (horizontal) line.
Another rectangle appears, indicating the limits of the folded attached view.1
4. Enter a data point to position the attached view below the top view.
5. Reset.
1. Technically, the model file is again referenced automatically, at the same scale as the original attachment.
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10
The front view (the top view rotated orthogonally) is attached.
Attach the right view

1. From the Tools menus Attach Folded sub-menu, again choose Orthogonal. 2. In the newly created front attached view, identify an element.
As before, a rectangle appears around the attached view.

3. Identify the right side (vertical) line of the rectangle.
A rectangle appears, indicating the limits of the new rotated view.1

4. Enter a data point to position the right view to the right of the front view.
The right view (the front view rotated orthogonally) is attached.
Folding the Front view to attach the Right view.
5. Press reset.
Attach the pictorial (right isometric) view

1. In the View Parameters section of the Drawing Composition settings box select the Model (second) field of the Scale (Sheet:Model) fields and key in 5.
The pictorial view will be attached to the drawing sheet at a smaller scale than the orthographic views.
1. Technically, the model file is again referenced automatically, at the same scale as the original attachment.
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2. (Optional) Set the Margin (%) to 5.
When the reference file associated with the pictorial view is attached, a smaller than normal frame of empty space is created around the extents of the object.
3. In the View Parameters section of the Drawing Composition settings box, turn on the Hidden Line Removal and Include Hidden Lines check boxes.
All future view attachments will now be displayed as hidden line images with dashed lines for hidden features.
4. From the Tools menu, choose Attach Saved View.
The Select Saved View dialog box opens, displaying the saved views in the active design file.
5. From the list of views select PICT. 6. Click the OK button.
The Select Saved View dialog box closes. The saved view PICT is attached to the sheet file. A rectangle at the cursor shows the saved views boundary.
7. Enter a data point in the top right corner of the drawing sheet to position the pictorial view.
After a short time the hidden line rendered image will appear at the location selected.
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10
Annotating the drawing
Exercise: Annotating the drawing

Now that you have the orthographic views of the design in place and a pictorial image, it is time to begin the critical step of placing dimensions and text notes on the drawing. This is accomplished using only the Sheet View. The Drawing Composition facility manages all aspects of this process. The drawing sheet attached earlier is a B size sheet set to quarter scale. Because the drawing sheet corresponds one to one with the plotter output (i.e., one inch of the drawing sheet represents one inch of plotter paper), annotation text sizes and other drawing related features can be specified in real units. For instance, eighth-inch-tall text is entered as 0.125 in the Text settings box. The same goes for all of the other text entries.
Dimensioning the drawing

1. From the Element menu, choose Dimensions.
The Dimension settings box appears.

2. Under the Text list item, set the Orientation to In-line and the Height/Width to 0.125. 3. (Optional) Under Terminators, from the Arrowhead option menu, choose Closed.
This results in a more mechanical dimensioning style than the default open arrowhead.
4. (Optional) Under Unit Format, turn on the Show Trailing Zeros check box.
This adds to the mechanical style of dimension.

5. Close the Dimensions settings box. 6. Enlarge the Sheet View so it fills the entire view area. 7. Using Window Area, zoom in on the top orthographic view. 8. From the Dimension tool box, select Dimension Size with Arrow. 9. Turn on the Association lock check box.
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Modifying the drawing through the Sheet View

10. In the top orthographic projection on the sheet, snap to the centerpoint of the upper left hole. Enter a data point to accept.
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11
12
11. Place the extension line so the dimension will appear left of the object and enter a data point. 12. Snap to the centerpoint of the large center hole.
A dimension of 3.9 will appear.

13. Place additional dimensions as needed.
For the purpose of this example, only the 3.9-inch dimension is required.
Exercise: Modifying the drawing through the Sheet View

When activated, Drawing Composition provides the ability to directly modify the model via the Sheet view. Instead of resorting to one of the traditional views to make a change to the model, you can now directly modify the model elements of the design. Keep in mind, however, you cannot add elements to the model in this manner. In the following example, the previously created drawing sheet will be the subject of a modification involving the movement of the center bracket object.
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10
Manipulating the sheet views components
Modifying the model via the drawing

1. From the Manipulate tool box, select Move. 2. In the top orthographic projection of the Sheet View, identify any element of the center brace (the component with the two large holes). 3. Index the pointer to the -Y axis. 4. In the Y field of the AccuDraw window, key in 0.1. 5. Enter a data point to accept.
The bracket object moves 0.1 meter down. Because the 3.9 inch dimension was placed with the Association Lock activated, this dimension will automatically update to 4.3.
Exercise: Manipulating the sheet views components

Drawing Composition provides a number of tools for performing maintenance on the reference file attachments associated with the sheet view.
Synchronizing displayed views

1. In the example, note how the pictorial view of the design does not reflect the movement of the center brace. 2. In the Drawing Composition settings box, select Tools menu > Modify Hidden Line > Synchronize.
MicroStation begins to recalculate any sheet views in which the hidden line option was turned on.
3. Note the repositioning of the center brace in the newly recomputed hidden line view.
This concludes the lesson.
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11 Settings Groups and Custom Line Styles

Once a settings group is created, a variety of different custom line styles are available at the click of the Data button. This tutorial shows you how to create a settings group. You will create a settings file and define two settings groups. As part of the process of defining a Linear component of one of the settings groups, you will create a custom line style. This tutorial is structured as a series of exercises that are meant to be performed consecutively. You will learn about: Creating a settings file and settings groups (see page 11-2). Defining a Linear component with a standard line style (see page 11-3). Defining a Linear component with a custom line style (see page 11-5). Defining other types of components (see page 11-9).
To prepare for the lesson

1. Create and open a 2D design file using the seed file \Workspace\system\seed\seed2d.dgn. 2. Attach the cell library, sample2.cel, which is installed in MicroStations \Workspace\system\cell directory.
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Creating a settings file and settings groups
Exercise: Creating a settings file and settings groups

Suppose your companys map standard segregates road information into three components: paved road edges, unpaved road edges, and road annotation. Suppose also the standard segregates tree information into two components: tree lines and individual deciduous trees. In this case, a sensible approach is to create a settings file that contains two settings groups: one consisting of settings for road components and another consisting of settings for tree components.
Create a settings file, mapping.stg

1. From the Settings menu, choose Manage.
The Select Settings settings box opens.

2. From the Select Settings boxs File menu, choose Edit.
The Edit Settings settings box opens.

3. From the Edit Settings boxs File menu, choose New.
The Create New Settings File dialog box opens.
4. In the Files field, type mapping.stg. 5. Click the OK button.
The settings boxs title bar identifies the new settings file.
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Defining a Linear component with a standard line style

You are now ready to begin creating settings groups, which will be stored in your mapping.stg file.
Create a group named Road

1. In the Edit menus Create sub-menu, choose Group.
A group named Unnamed is listed in the Group list box.

2. Press <Tab> until the field below the list box Unnamed is highlighted. 3. Key in Road (replacing Unnamed) and press <Enter>.
Create a group named Tree

1. From the Edit menus Create sub-menu, choose Group. 2. In the field below the list box, key in Tree (replacing Unnamed) and press <Enter>.
Exercise: Defining a Linear component with a standard line style

Suppose the company standard calls for the edges of paved roads to be placed with the Place Stream Line String tool on level 6, in yellow (color 4), with the solid line style (0) and line weight 2.
Create the Paved Edge component in the Road group

1. In the Group list box, select Road. 2. From the Edit menus Create sub-menu, choose Linear.
A component named Unnamed of type Linear is listed in the Component list box.
3. Press the <Tab> key until Unnamed is highlighted in the field below the Component list box. 4. In the field below the list box, key in Paved Edge (replacing Unnamed) and press <Enter>.
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Settings Groups and Custom Line Styles
11
Defining a Linear component with a standard line style
Define the Paved Edge component

1. In the Component list box, double-click Paved Edge.
The Modify Paved Edge settings box opens.

2. Turn on Key-in and key in PLACE LSTRING CONSTRAINED (the key-in for Place Stream Line String) in its field. 3. Turn on Level and key in 6 in its field. 4. Turn on Color and key in 4 in its field. 5. Turn on Style and key in 0 in its field. 6. Turn on Weight and key in 2 in its field.
7. Click the Save button to close the settings box and save the settings.
The following table shows how the active settings change upon selection of the Paved Edge component in the Select Settings window:
Setting
Active Level Active Color Active Line Style Active Line Weight
Changes to
6 4 0 2
The Select Settings window is opened by choosing Manage from the Settings menu.
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Defining a Linear component with a custom line style
Exercise: Defining a Linear component with a custom line style

Suppose also that the standard calls for the edges of unpaved roads to be placed with the Place Stream Line String tool on level 6, in red (color 3), as lines with a repeating pattern of two short (length 1) and three long dashes (length 3). To add this component, you will first define a simple custom line style. Then you will define an Unpaved Edge component of the Road group that uses the line style.
Define a custom line style named Unpaved Edge

1. From the Primary tool bars Active Line Style option menu, choose Edit.
The Line Style Editor settings box opens.
2. From the settings boxs File menu, choose Open.
The Open Line Style Library dialog box opens.
3. In the Files list box, select lstyle.rsc.

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11

An expanded Line Style Editor settings box displays.
5. From the Edit menus Create sub-menu, choose Name. 6. In the field below the Name list box, key in Unpaved Edge to replace Unnamed.
Next you will name, link, and define a stroke pattern component for this line style.
Create a stroke pattern and distinguish dash strokes

from alternating gap strokes
1. From the Edit menus Create sub-menu, choose Stroke Pattern. 2. In the field below the Components list box, key in Unpaved Road Edge to replace new stroke component. 3. Select Unpaved Edge in the Styles list box and Unpaved Road Edge in the Components list box. 4. From the Edit menu, choose Link to link the line style name to the stroke pattern. 5. In the Stroke Pattern section of the settings box, click the Add button 10 times.
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Ten gray rectangles are displayed to represent each stroke, including gaps. The first stroke is selected.
6. From the Stroke Type option menu, choose Dash. 7. Select the third stroke. 8. From the Stroke Type option menu, choose Dash. 9. Repeat steps 7-8 for the fifth, seventh, and ninth strokes.
Set the length of the gap and dash strokes and save the
new line style definition
1. In the stroke pattern display, select the first stroke. 2. In the Length field (adjacent to the Length option menu), key in:.1 ( 1 10 of an inch) and press <Enter>. This is the length the stroke should be when it is plotted. 3. Repeat steps 1-2 for the next two strokes and all the gaps. 4. Select the fifth stroke. 5. In the Length field, key in:.3 ( 3 10 of an inch). 6. Repeat steps 4-5 for the seventh stroke. 7. From the settings boxs File menu, choose Save. 8. Close the Line Style Editor settings box, sink it, or move it out of the way.
Since the Unpaved Edge line style has been created, you can now add the Unpaved Edge component to the Roads group.
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11
Create and define the Unpaved Edge component in the

Road group
1. In the Edit Settings settings box, from the Edit menus Create sub-menu, choose Linear.
A component named Unnamed of type Linear is listed in the Component list box.
2. Press the <Tab> key until Unnamed is highlighted in the field below the Component list box. 3. In the field below the list box, key in Unpaved Edge. 4. In the Component list box, double-click Unpaved Edge.
The Modify Unpaved Edge settings box opens.

5. Turn on Key-in and key in PLACE LSTRING CONSTRAINED in its field. 6. Turn on Level and key in 6 in its field. 7. Turn on Color and key in 3 in its field. 8. Turn on Style and choose Custom from its option menu.
The Select Line Style dialog box opens.

9. Select Unpaved Edge in the list box and click the OK button.
In the Modify Unpaved Edge settings box, Unpaved Edge is shown as the (line) Style.
10. Turn on Line Style Scale. 11. Click the Save button to close the settings box and save the settings.
This table shows how the active settings change upon selection of the Unpaved Edge component in the Select Settings window:
Setting
Active Level Active Color Active Line Style
Changes to
6 3 Unpaved Edge
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Defining other types of components
Exercise: Defining other types of components

Suppose the company standard for road annotation is to use blue, unrotated text placed on level 2 in the WORKING font, and to set the text to plot at 1 8 " high and wide.
Road group
1. From the Edit menus Create sub-menu in the Edit Settings settings box, choose Text. 2. In the field below the Component list box, key in Annotation (replacing Unnamed). 3. In the Component list box, double-click Annotation.
The Modify Annotation settings box opens.
4. Turn on Key-in and key in ICON (the key-in for Place Text) in its field. 5. Turn on Level and key in 2 in its field. 6. Turn on Color and key in 1 in its field. 7. Turn on Font and click the Select button to the right of its field.
The Select dialog box opens.

8. In the list box, select WORKING, and click the OK button.
The Select dialog box closes.

9. Turn on Angle and key in 0 (zero) in its field. 10. Turn on Use Paper Size and Height/Width. 11. From the Units option menu, choose " (inches).
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Create and define the Annotation component in the
11

12. In the Height and Width fields, key in 0.125. 13. Click the Save button to close the settings box and save the settings.
All components of the Road group have been defined. The following table shows how the active settings change upon selection of the Paved Annotation component in the Select Settings window (assuming the drawing scale is set to 1/8 = 1):
Setting
Active Level Active Color Active Font Active Angle Active Text Height Active Text Width
Changes to
2 1 WORKING 0 1:0 1:0
Next you will add a deciduous tree cell component and a linear tree line component to the Tree group you created in the first exercise. Suppose the company standard calls for deciduous trees to be placed using the cell DECID, in white, with no rotation.
Create and define the Deciduous component in the Tree

group
1. In the Group list box, select Tree. 2. From the Edit menus Create sub-menu in the Edit Settings settings box, choose Cell. 3. In the field below the list box, key in Deciduous (replacing Unnamed). 4. In the Component list box, double-click Deciduous.
The Modify Deciduous settings box opens.

5. Turn on Key-in and key in PLACE CELL RELATIVE (a key-in for a Place Active Cell option) in its field. 6. Turn on Level and key in 1 in its field. 7. Turn on Color and key in 0 (zero) in its field. 8. Turn on Style and key in 0 (zero) in its field. 9. Turn on Weight and key in 0 (zero) in its field.
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10. Turn on Angle and key in 0 (zero) in its field. 11. Turn on Cell and click the adjacent Select button.
The Select Cell dialog box opens.

12. In the list box, select DECID, and click the OK button. (DECID is in the library sample2.cel.)
The Select Cell dialog box closes.

13. In the Modify Deciduous settings box, turn on Scale and Apply Drawing Scale. 14. From the Cell Work Units option menu, choose Architectural. 15. Click the Save button to close the settings box and save the settings.
This table shows how the active settings change upon selection of the Deciduous component in the Select Settings window (assuming the drawing scale is set to 1 8 " = 1' and the active design files working units match those of the cell):
Setting
Active Level Active Color Active Line Style Active Line Weight Active Cell Active Angle Active Scale
Changes to
1 1 0 0 DECID (sample2.cel) 0 96.0
The color, line weight, and line style settings will only affect the cells symbology if the cell was created as a point cell.
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11

Suppose that the company standard calls for tree lines to be placed as green line strings on level 11 with a weight of 2.
Create and define the Treeline component in the Tree

group
1. From the Edit menus Create sub-menu in the Edit Settings settings box, choose Linear. 2. In the field below the Component list box, key in Treeline (replacing Unnamed). 3. In the Component list box, double-click Treeline.
The Modify Treeline settings box opens.

4. Turn on Key-in and key in PLACE LSTRING CONSTRAINED in its field. 5. Turn on Level and key in 11 in its field. 6. Turn on Color and key in 2 in its field. 7. Turn on Style and choose Custom from the option menu to the right of Style.
The Select Line Style dialog box opens.

8. In the list box, select {Tree Line} and click the OK button.
The Select Line Style dialog box closes.

9. In the Modify Treeline settings box, turn on Line Style Scale. 10. Turn on Weight and key in 2 in its field.
11. Click the Save button to close the settings box and save the settings.
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The following table shows how the active settings change upon selection of the Treeline component in the Select Settings window (assuming the drawing scale is set to 1 8 "=1):
Setting
Active Level Active Color Active Line Style Active Line Weight Line Style Scale Factor
Changes to
11 2 Treeline 2 96
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Part II: Visualization Tutorials
12 Lighting for Rendered Images

This tutorial illustrates methods for setting up lighting environments for images, both during design and for final images.
Introduction
Lighting can make the difference between an average image and a truly photo-realistic image. You can use global lighting and source lighting, individually or together, to illuminate your models. Global lighting is controlled from the Global Lighting settings box, while source lighting is provided by special light source cells. These cells contain data fields, which specify the various settings for the particular light source. When rendering an image, all lighting information is taken from the active design file only. Global lighting settings and any light sources in attached reference files are ignored. In the following tutorial, you will learn about the following: Using Global Lighting (see page 12-1) Creating a Lighting Setup with Source Lighting (see page 12-11) Area Light Sources (see page 12-23) Using Multiple Lighting Setups (see page 12-28) Attenuating Light Sources (see page 12-31)
Sample design files used in this tutorial are installed in MicroStations workspace\projects\tutorials\visualization\dgn directory. Files of the same name in workspace\projects\examples\visualization\dgn show the expected outcome of the tutorial exercises.
Using Global Lighting

During the design process, rendered views can be required on the fly for checking or discussion purposes. In these instances, use MicroStations global lighting.
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Flashbulb is a convenient type of lighting to use for everyday rendering. To produce good working images, use Flashbulb in conjunction with Ambient lighting. Whereas Flashbulb provides lighting from the camera or eyepoint (like a cameras flashbulb), Ambient adds an overall lighting to all surfaces. Use Ambient to add light to the very dark areas of an image. Use Solar, the third global lighting option, to provide lighting from above. When rendering a view, surface angles relative to the light source and the viewer affect the way that they appear when rendered. All similarly colored surfaces that are oriented at the same angle, to the Flashbulb (and the viewer), will appear identical in color. This is most noticeable in an isometric view containing a slab that is aligned with the design cube axes. In an isometric view, three sides of the slab (front, left, and top) are equally inclined to the viewing direction, and the Flashbulb. The following exercise demonstrates this.

1. From MicroStations \workspace\projects\tutorials\visualization\dgn directory, open the design file litex1.dgn. 2. If necessary, make level 2 the Active Level, and turn off all other levels in View 1. 3. If necessary, use the Rotate View view control to make view 1 an Isometric view. 4. Use the Fit View view control to fit view 1. 5. If necessary, in the Tools menus Visualization Tools sub-menu, turn on Rendering Tools to open the Rendering Tools tool box. 6. From the Settings menus Rendering sub-menu, choose Global Lighting.
The Global Lighting dialog box opens.

7. Turn on Ambient and, in its Intensity field, key in 0.20.
This provides some lighting to the dark areas.

8. Turn on Flashbulb and, in its Intensity field, key in 1.00. 9. If necessary, for both Ambient and Flashbulb, use the Color button to set their colors to white.
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10. If necessary, turn off Solar. 11. For future use, leave the Global Lighting dialog box open.
Render View 1
1. In the Rendering Tools tool box, select the Render tool. 2. If necessary, in the Render settings window, from the Target option Menu, choose View. 3. From the Render Mode option Menu, choose Ray Trace. 4. From the Shading Type option menu, choose Normal. 5. Enter a data point in View 1 to select it.
View 1 is ray traced.
Rendered Isometric view of model. Lack of detail is due to several surfaces being inclined at the same angle to the Flashbulb light source.
In the image, there is a lack of detail with the flat surfaces, though the rounded edges are plainly discernible. To improve the image, use the Define Camera tool to slightly rotate the Isometric view. This changes the surface angles relative to the view camera.
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Lighting for Rendered Images
12
Global Lighting settings box
Pan the Isometric view camera

1. In the Rendering Tools tool box, select the Define Camera tool. 2. To select it as the camera view, enter a data point in View 1. 3. In the Define Camera settings window, from the Reference Point option menu, choose Target. 4. If necessary turn off Continuous View Updates. 5. If the button adjacent to the two check boxes is labeled More, click it.
The settings window expands to display more settings, and the buttons label changes to Hide.
6. If necessary, turn on Controlled Movement. 7. In the Increment: Angle field, key in 10. 8. Click the Pan Horizontal icon. 9. In View 1, enter a data point at the middle right edge of the view.
The view camera is rotated 10 to the right, which has the effect of rotating the model 10 to the left.
Define Camera settings window
12-4
Render the rotated View 1

1. In the Rendering Tools tool box, select the Render tool. 2. Select View 1.
View 1 is ray traced.
Rotating the view has improved the image, but further improvement is needed. To accomplish this, use Solar, which simulates light from the sun. Solar lighting settings let you position the sun.
Add Solar lighting

1. In the Global Lighting settings box, turn on Solar. 2. In the Intensity field, key in 0.5. 3. If necessary, turn on Solar Shadows. 4. Turn on Lock.
This ensures that the suns position is taken from the Solar Vector Direction fields, rather than the Time and Location values.
5. In the Altitude Angle field, key in 90.
This sets the sun to directly overhead. Note that the X, Y, and Z vectors become 0,0, and 1, respectively.
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Rotated view shows more detail of the flat surfaces.
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6. Check that Add Sky Light to all Solar and Distant Lights is turned off.
Global Lighting settings box with Solar lighting settings displayed
7. If necessary, in the Rendering Tools tool box, select the Render tool. 8. Select View 1.
Solar lighting has brightened the upper surfaces. The grooves inside the model, however, are in shadow and still a little dull. If this is a problem, turn off Solar Shadows. With these turned off, the sun illuminates all surfaces facing it.
With Solar Shadows turned on, the surfaces of the grooves are in shade and not illuminated by the sun.
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Turn off Solar Shadows

1. In the Global Lighting settings box, turn off Solar Shadows. 2. If necessary, re-select the Render tool. 3. Select View 1.
For further practice, experiment by changing the settings in the Global Lighting settings box, and see how the image is affected. For example, you can relocate the sun by keying in Azimuth and Altitude angles or turning off Lock and selecting Location and Time options. Using the global lighting settings in this way lets you quickly create a lighting scene for producing general images of your model. When final images are required, look at the source lighting options, either alone or in conjunction with global lighting. Use Solar lighting with Sky Light when the model is of a building or structure.
Solar Lighting and Added Sky Light

When ray tracing an exterior view, using Solar lighting can produce shadows that appear too dark. In real life, even on a bright sunny day, you normally can make out the objects hidden in the shadows. This is due to atmospheric lighting, which is the lighting from the sky in general, not just from the direction of the Sun. For example, on a clear day the sky is not uniformly lit, because the light comes predominantly from the direction of the Sun, thus
12-7
With Solar Shadows disabled, all horizontal surfaces facing the sun are illuminated by it. This is regardless of whether or not, in reality, they would be in shade.
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producing darker, sharper shadows. Alternatively, on a cloudy day, the sky is uniformly lit with softer, less pronounced shadows. To simulate this atmospheric lighting, turn on Add Sky Light to all Solar and Distant Lights. Use the Cloudiness and Air Quality (Turbidity) to adjust the lighting.

1. From MicroStations \Workspace\projects\tutorials\visualization\dgn directory, open the design file skylt.dgn.
This design file has been saved with the saved view sky1 attached to View 1, which is the view that is used in this exercise.
2. From the Settings menus Rendering sub-menu, choose Global Lighting.

3. If necessary, turn off Ambient and Flashbulb lighting. 4. If necessary:
Turn on Solar and Solar Shadows. Turn on Lock. In the Azimuth field, key in 30. In the Altitude Angle field, key in 50.
5. In the Rendering Tools tool box, select the Render tool. 6. With Render Mode set to Ray Trace, enter a data point in View 1.
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Notice that the shadows are very dark, with nothing visible in their region. In particular, the small green building, located in front of the tall tower, is hidden completely by the shadows.
To lighten the shadows and reveal the small building, turn on Flashbulb lighting. This reveals detail, but looks unnatural because the light does not produce shadows.
Flashbulb lighting reveals the building hidden in the shadows, but does not look natural.
In this situation, use Add Sky Light to all Solar and Distant Lights.
Turn on Sky Light

1. In the Global Lighting dialog box, turn on Add Sky Light to all Solar and Distant Lights. 2. Check that Cloudiness is set to zero. 3. From the Air Quality (Turbidity) option menu, choose Industrial.
Selecting Industrial, sets the Air Quality (Turbidity) field to 5.

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With no sky lighting, the small building in front of the tower is hidden in the shadows of the taller buildings.
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4. Turn on Jitter sky samples.
Add Sky Light to all Solar and Distant Lights settings, in the Global Lighting settings box.
5. Check that Flashbulb is turned off. 6. In the Rendering Tools tool box, select the Render tool. 7. With Render Mode set to Ray Trace, enter a data point in View 1.
Notice this time, that the small building is visible in the shadows of the larger building. Additionally, it has cast a shadow against the larger building. Because the lighting is coming from all directions of the sky (but concentrated in the direction of the Sun) objects in the shadows also are illuminated. Secondary shadows are cast by the light coming from directions other than the Sun. The rendered image has a natural look.
Secondary shadows are cast by the Sky Light. With Sky Light, the small building becomes visible in the shadows.
On a cloudy day, sky lighting is more diffused and there is less contrast. Shadows are not as distinct as on a clear day. You can simulate this by inputting a value (between 0 and 1) in the Cloudiness field.
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Creating a Lighting Setup with Source Lighting
Add Cloudiness to the image

1. In the Cloudiness field, key in 0.9. 2. In the Rendering Tools tool box, select the Render tool. 3. With Render Mode set to Ray Trace, enter a data point in View 1.
Notice that the shadows are less distinct because the lighting is more evenly distributed across the cloudy sky.
With a cloudy sky, all shadows are equally intense.
This example shows an element that represents the ground. If a model does not have a representation of the ground, turn on Approximate Ground Reflection for Sky Light. This simulates the reflection of Sky Light by the (non-existent) ground, to give a more natural look to the model.

Use the source lighting options to place various types of light sources in the design. They can simulate actual lighting conditions, with light sources accurately located in the design. Lighting for other cases will vary depending on the type and shape of the model. Use the photographers standard lighting setup to render an object such as the sample model. It consists of
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three lights of varying intensity, as shown below. Using lights of varying intensity also helps to add depth to an image.
Back Light intensity varies, depending on the desired effect.
Photographers standard lighting setup.
Subject
Key Light brightest light casts shadows
Fill Light lower intensity fills in dark spots casts no shadows Camera
Obviously, the positioning of lights depends on the location of the camera. In this exercise, you will place three point light sources around the sample model. For this exercise, use the design file litex1.dgn.

1. From MicroStations \workspace\projects\tutorials\visualization\dgn directory, open the design file litex1.dgn. 2. If necessary, turn on views 1 to 4 and, using the Rotate View view control, set them up as Top, Isometric, Front, and Right, respectively. 3. With the Active Level set as 2, turn on level 3 in all views. 4. Use the Fit View view control to fit all views. 5. In the Isometric view, use the Window Area view control to zoom in on the model in the center of the square.
To begin, we need to set up the camera view.
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Turn on the camera in View 2

1. From the Settings menu, choose View Attributes.
The View Attributes dialog box opens.

2. If necessary, from the View Number option menu, choose 2. 3. Turn on Camera. 4. Click Apply.
5. Close the View Attributes settings box.
Tutorial file ready for adding the lighting.
It is possible to guess approximately where the camera is located, and in which direction it is pointing, but there is a better way. You can draw a line that indicates the direction of the camera, which you can use as a guide when locating the light sources. To verify the position, use the Define Camera tool to display the camera view cone.
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This is an alternative method to the Define Camera tool for turning on the camera in a view.
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Place a guide line for light source placement

1. Make level 63 the Active Level. 2. In the Linear Elements tool box, select the Place Line tool. 3. If necessary, start AccuDraw by selecting the Start AccuDraw tool in the Primary tool bar. 4. In the Isometric (camera) view, enter a data point at the center of the view. 5. In the AccuDraw settings box, lock X and Y to 0 and, in the Z field, type 30. 6. Enter a data point (in any view) to complete the line. 7. Make level 1 the Active Level. 8. Turn off level 63 in the camera view.
The guide line is not required in the camera view, which will be rendered later.
Placing the camera view guide line.
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Verify the location of the guide line by turning on the

camera view cone
1. In the Rendering Tools tool box, select the Define Camera tool. 2. If necessary, turn on Display View Cone. 3. Select View 2, to set it as the camera view.
The camera view cone appears in each of the other views.

4. If necessary, from the Projection option menu, choose Three Point.
Top View verifies the horizontal position.
Front and Right views verify the vertical position.
Using the Camera View Cone to verify the location of the guide line.
As long as the guide line is reasonably close to the center line of the View Cone, it is accurate enough for the light placement. In the first instance, the key and fill lights are created on either side of the camera viewing direction. To start with, they are placed at about the level of the top of the model. Then the backing light source is placed opposite the camera, behind and above the model.
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Create the key light source

1. In the Rendering Tools tool box, select the Define Light tool. 2. In the Define Light settings window, from the Mode option menu, choose Create. 3. From the Type option menu, choose Point Light. 4. In the settings window, check that:
On is enabled. Intensity is set to 1.00. Color is set to White. Shadow is turned on.
5. In the Top view, enter a tentative point below the (approximate) center of the model. 6. With the focus in the AccuDraw window, press <O> to set the drawing plane origin at the tentative point location, and move the pointer into the Front view. 7. If necessary, press <V> to orientate the AccuDraw compass to the view orientation.
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8. With the pointer indexed on the y-axis, move it until it is level with the top of the model and enter a data point.
The light source is placed.
Creating the key light source.
If the light source cell does not appear, turn on the view attribute Constructions (for all views but the camera view). Light source cells are construction class elements and are placed on level 1. Next, create the back light, which has similar settings to that of the key light, with the exception that Shadow is turned off.
Create the back light source

1. In the Define Light settings window, turn off Shadow. 2. In the Top view, enter a tentative point at the extension of the camera (guide) line, above and to the right of the model. 3. With the focus in the AccuDraw window, press <O> to set the drawing plane origin at the tentative point location, and move the pointer into the Front view.
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4. With the pointer indexed on the y-axis, move it until it is double the height of the model and enter a data point.
The light source is placed.
Creating the back light source.
Like the back light, the fill light source does not cast shadows. Its Intensity setting will be changed to a lower value.
Create the fill light source

1. In the Define Light settings windows Intensity field, key in 0.6. 2. In the Top view, enter a tentative point to the left of the model.
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3. With the focus in the AccuDraw window, press <O> to set the drawing plane origin at the tentative point location, and move the pointer to the Front view. 4. With the pointer indexed on the y-axis, move it until it is at the level of the top of the model and enter a data point.
Creating the fill light source.
With the light sources in place, render the camera view to see the result. Before doing this, make sure that the Global Lighting settings are correct. You can open the Global Lighting dialog box directly from the Define Light settings window.
Render the camera view

1. In the Define Light settings window, click the Global button.

2. Turn off Flashbulb and Solar. 3. If necessary, set the Ambient light color to white and, in its Intensity field, key in 0.15. 4. Close the Global Lighting dialog box. 5. In the Rendering Tools tool box, select the Render tool.
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6. If necessary, in the Render settings window, from the Target option menu, choose View. 7. From the Render Mode option menu, choose Ray Trace. 8. From the Shading Type option menu, choose Normal. 9. Enter a data point in the camera view.
After creating the three light sources and rendering the camera view.
So far, only Point light sources have been used. You can use a Spot light source to add impact to an image. In the following exercise, the key light source is replaced with a Spot light source. First, delete the original key light source.
Delete the key light source

1. In the Rendering Tools tool box, select the Define Light tool. 2. In the Define Light settings window, from the Mode option menu, choose Modify. 3. From the Method option menu, choose Delete Light. 4. In the Top view, identify the key light, which is the light source at the bottom of the view.
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or Click Scan to highlight the first light source. If necessary, enter resets until the correct light source highlights.
6. Click OK.
The light source is deleted.
You can use the Scan button to locate light source cells whether or not they are displayed in any view. If you use normal MicroStation tools to manipulate or delete light sources, you may have to key in DEFINE LIGHTS before the rendering process recognizes the modifications. Next, you will create the Spot light source. Since Spot light sources are directional, you will define both the position of the light source and the target point.
Create the replacement key light source and render the

camera view
1. In the Define Light settings window, from the Mode option menu, choose Create. 2. From the Type option menu, choose Spot Light. 3. If necessary, turn on Shadow. 4. Check that Intensity is set to 1.0. 5. Check that Cone Angle and Delta Angle are set to 30 and 5 respectively. 6. In the Top view, enter a tentative point below the (approximate) center of the model. 7. With the focus in the AccuDraw window, press <O> to set the drawing plane origin at the tentative point location, and move the pointer into the Front or Right view. 8. With the pointer indexed on the y-axis, move it until it is two or three times higher than the top of the model and enter a data point.
This sets the location of the light source.

9. In the Top view, snap to the center of one of the horizontal lines near the center of the model.
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An Alert box opens, asking if you are sure that you want to delete the light source.

10. Accept.
The Spot light source is placed.
Creating the key light source as a Spot light source.
11. Use the Render tool to render the camera view to see the effect from the Spot light source. Notice that the area illuminated by the Spot light source is well defined. Just like spotlights in real life, these computer Spot light sources can focus ones attention on a particular part of the model.
After changing the key light source to a Spot Light source.
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Area Light Sources
Area Light Sources

In addition to the standard light source types of Point, Distant, and Spot, MicroStation provides for Area light sources. These are useful for creating lighting such as that produced by fluorescent lights fitted with diffusers. Any polygonal shape can be used to convert to an Area light source. This exercise uses the sample design file office2.dgn. To this model, you will add overhead office lighting, in the form of Area light sources.

1. From MicroStations \workspace\projects\tutorials\visualization\dgn directory, open the design file, office2.dgn. 2. If necessary, open views 1 and 2. 3. From the Utilities menu, choose Saved Views.

4. In the list box, select the saved view, EX1. 5. From the Dest(ination) View option menu, choose View 1. 6. Click Attach. 7. If necessary, turn off the view attribute Constructions for View 1.
This disables the display of light sources in View 1, which is used to display the rendered images. Typically the light sources themselves are not included in the rendered image, just their light.
8. From the Settings menus Rendering sub-menu, choose View Attributes.
The Rendering View Attributes settings box opens.

9. If necessary, turn on Shadows, Transparency, and Pattern/ Bump maps. 10. Click the All button. 11. From the Settings menus Rendering sub-menu, choose General.
The Rendering Settings box opens.
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Area Light Sources

12. If necessary, turn on Interpolate Textures, and Multilevel Texture Interpolation. 13. Close the Rendering Settings and Rendering View Attributes settings boxes.
To begin with, use Flashbulb and Ambient lighting to illuminate the scene.
Turn on Flashbulb and Ambient lighting

1. From the Settings menus Rendering sub-menu, choose Global Lighting.
The Global Lighting settings box opens.

2. If necessary, turn on Ambient and, in its Intensity field, key in 0.15. 3. If necessary, turn on Flashbulb and, in its Intensity field, key in 1. 4. If necessary, for both Ambient and Flashbulb, use the Color button to set their colors to white. 5. Use the Render tool to ray trace View 1.
In this scene the image on the monitor glows, because its material definition, pcscreen, has an Ambient setting of 5. Although the controls in the Define Materials settings box show a maximum of 1 for Ambient, you can key in larger values. Normally, this would not be desirable, but in this case increasing the Ambient setting produces the effect of an illuminated screen.
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Area Light Sources

Because Flashbulb lighting does not generate shadows, the rest of the scene is not natural looking.
To improve the image, you can create overhead lighting. This design already has rectangles that are ready to be converted to Area light sources.
Create two Area light sources

1. If necessary, use the Rotate View view control to make View 2 an Isometric view. 2. Make level 2 the active level, and turn off all other levels in View 2. 3. Use the Fit View view control to fit View 2.
Only two red rectangles are displayed.

4. In the Rendering Tools tool box, select the Define Light tool. 5. From the Mode option menu in the Define Light settings window, choose Create. 6. From the Type option menu, choose Area Light. 7. In the settings window, check that:
On and Shadow are turned on. Brightness is 100 (default).

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Scene with Flashbulb, and Ambient lighting does not look natural due to the absence of any shadows.
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Area Light Sources

Intensity is 1 (default). Resolution is 256 (default). Samples is 4 (default). Attenuate is turned off (therefore Distance is ignored).
8. Identify one of the red rectangles in View 2.
The element highlights, and an arrow appears to indicate the direction of the proposed Area light source.
9. If the arrow points upward instead of downward into the room, turn on Reverse in the Define Light tool settings box.
This reverses the direction of the light source so that it shines in the opposite direction to that indicated by the arrow. If the arrow is pointing in the correct direction, make sure that Reverse is turned off
If the arrow points in the wrong direction, turn on Reverse in the Define Light settings window.
10. Accept the light source.
The rectangle is converted to an Area light source.

11. Repeat steps 7-9 for the remaining rectangle.
With the two Area light sources created, check the difference that has been made to the image. First, turn off Flashbulb lighting.
Turn off Flashbulb lighting and ray trace View 1

1. If necessary, in the Define Light settings window, click the Global button to reopen the Global Lighting settings box.
This is another way to open the Global Lighting settings box.

2. Turn off Flashbulb. 3. Close the Global Lighting settings box. 4. Use the Render tool to again Ray Trace View 1.
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Area Light Sources

Now the image has a much more natural look. The shadows produced by the Area light sources are soft and generally indistinct, as if from typical fluorescent lighting.
Area light sources, when created from Primary class elements, and when their location is present in the view, appear in the rendered image. They are visible whether or not the levels containing the elements used to create them are turned on. You can see this in another saved view, EX2. When rendered, it displays one of the Area light sources in this model. Area light sources created from
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After adding Area light sources, the image looks much more natural with soft shadows.
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Using Multiple Lighting Setups

Construction class elements can be made invisible by turning off the view attribute Constructions prior to rendering.
Rendered image of the saved view EX2, displaying one of the Area light sources in the ceiling.
To make the shadows smoother, you can increase the Samples setting of the Area light sources. By default, Samples is set to 4. Increasing this to 10 or 20, for example, will produce smoother shadows at the expense of longer processing time. Normally, this would be done only for the final images.

In the previous exercise, both the model and the light sources were contained in the one design file. If a different lighting environment was required, the lighting setup would have to be modified. You can do this by deleting unwanted lights and adding new lights. Alternatively, you can turn the lights on and off as required. A simpler method is to create one or more lighting files and attach them to the model file(s) as reference files. Unlike material tables, which are attached to each design file, lighting specifications are read from the active design file only. Any lighting present in the referenced files is ignored. Thus, several users can set up different lighting environments for a design without corrupting other configurations. To illustrate this method, use the sample design file desklite.dgn, which has the model file office2.dgn attached to it as a reference file.
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1. Open the design file desklite.dgn, which is installed in MicroStations \Workspace\projects\tutorials\visualization\dgn directory. 2. If necessary, open views 1 and 2, making View 1 a Top view. 3. Use the Fit View view control to fit View 1. 4. From the Utilities menu, choose Saved Views.

5. In the list box, select the saved view, EX1. 6. From the Dest(ination) View option menu, choose View 2. 7. Click the Attach button.
You will see that a desk lamp is included in this model. Source lighting consists of a Point light source in the desk lamp.
Render the saved View

x Use the Render tool to ray trace View 2.
The rendered view is very dark. Looking at the image notice that only the point light source present in desklite.dgn, the active design file, is illuminating the model. Because the Area light sources are present in the reference file only, they do not take any part in illuminating the scene.
Desklite.dgn has lighting for the monitor and desk lamp only. Area light sources are present in the reference file only.
To correct this, you could create Area light sources in the active design file. Easier still, the Area light sources (created in the earlier exercise) could be copied from the reference file into the active design file.
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Copy the Area light sources into the active design file
1. In the Top view, use the Zoom In view control to zoom in on the two rectangles containing the Area light sources.
You should be able to see the enter data fields of the Area Light sources that you placed in the previous exercise. If not, make sure that levels 1 and 2 of the reference file are turned on and that the view attribute Constructions is turned on.
View 1 (the Top View) showing the two Area light sources from the reference file.
2. If necessary, in the Primary tool bar, select the Start AccuDraw tool. 3. Select the Copy tool. 4. Identify one of the Area light sources (you can snap to the enter data fields).
The Area light source highlights.

5. With AccuDraws X, Y, and Z fields all set to 0, enter a data point to accept the copy. 6. Repeat steps 4 and 5, for the second Area light source. 7. So that the newly copied light sources are recognized by the rendering process, key in DEFINE LIGHTS. 8. Again use the Render tool to ray trace View 2.
The key-in DEFINE LIGHTS is required only if standard MicroStation tools have been used to manipulate light sources, after a view has been rendered in the current design session. Lighting information is read into memory the first time that rendering is used in a session. When the Define Lights tool is used to manipulate light sources, no key-in is required.
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Attenuating Light Sources

This time, the ray traced image again looks quite natural with soft shadows from the overhead lighting and sharp shadows from the bright desk lamp. The only remaining problem is the brightness of the light from the desk lamp. It is too bright, and is washing out detail in some of the carpet. On the desk, however, the brightness is acceptable. Therefore, reducing the Intensity setting of the light source will fix the carpet problem but make the lighting on the desk unacceptable. To solve this problem, use the Attenuate source light setting.
With Area light sources, the image again begins to look natural. Light from the desk lamp, however is too bright on the floor and is washing out part of the image.

In reality, objects that are further away from a light source are not lit as brightly as those that are in close proximity. In the sample model, light from the Point light source in the desk lamp should not appear as bright on the carpet as it does on the desk. To simulate this effect, you can attenuate the light source.
Attenuate the point light source

1. In the Rendering Tools tool box, select the Define Light tool. 2. In the Define Light settings window, from the Mode option menu, choose Modify. 3. From the Method option menu, choose Edit Light. 4. Click the Scan button until the Point light source highlights.
The status bar displays PNTLT when the point light source is identified.
5. In the Define Light settings window, turn on Attenuate. 6. If necessary, in the Distance field, key in 0.6.
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This value specifies the distance at which the light source is half its original brightness.
7. Use the Render tool to ray trace View 2.
With the desk lamp attenuated, it is still bright at the desk level, but much more subdued at floor level. Sharp shadows are still apparent, but the carpet detail is not washed out.
With the desk lamp attenuated, the carpet is not washed out. The sharper shadows from the desk lamp are now only just discernible.
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13 Creating and Applying Material Definitions

This tutorial illustrates methods for applying material definitions to elements, and for creating your own material definitions.
Introduction
Material definitions add realism to computer-generated images of 3D models. When a model is rendered, instead of producing simple colored surfaces, realistic textured surfaces are displayed. Material definitions can be simply pattern maps, bump maps, or a combination of the two. In addition, MicroStation supports procedural textures, which provide a more sophisticated material definition, particularly for solids.
Ray traced image of the finished sample design mattute1.dgn.
In the following tutorial, you will learn about the following: Defining Materials (see page 13-2) Applying Materials (see page 13-12) Using Existing Material Definitions (see page 13-14)
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Defining Materials
Multi-level Texture Interpolation (see page 13-21) Procedural Textures (see page 13-22)
A sample design file used in this tutorial, mattute1.dgn, is installed in MicroStations Workspace\projects\tutorials\visualization\dgn directory. A file of the same name in Workspace\projects\examples\visualization\dgn shows the expected outcome of the tutorial exercises.
Defining Materials
Material definitions are stored in material palettes (.pal files), while material assignments are stored in material assignment tables (.mat files). To make use of material definitions, each design file needs its own material assignment table. A single material assignment table refers to one or more palette files for its materials. In the following exercises, you will define and apply material definitions to elements in the sample design file mattute1.dgn. Material definitions will be variations of those delivered with MicroStation. To avoid altering the original versions, you will save the new definitions in a separate material palette file. This protects your work, as well as protecting others who may have used the as-delivered definitions with their models.

1. Open the design file mattute1.dgn, which is installed in MicroStations Workspace\projects\tutorials\visualization\dgn directory.
The scene has one Distant light source for illumination, as well as global Flashbulb and Ambient lighting.
2. If necessary, open views 1 through 4, and set them to be Top, Isometric, Front, and Right, respectively. 3. If necessary, make level 10 the Active Level. 4. If necessary, turn off all other levels in each view. 5. Use the Fit View view control to fit each view. 6. If necessary, in the Tools menus Visualization Tools submenu, turn on Rendering Tools to open the Rendering Tools tool box.
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Defining Materials
On level 10 is the pool and edging.
Ray trace the isometric view

1. In the Rendering Tools tool box, select the Render tool. 2. In the Render settings window, from the Target option menu, choose View. 3. From the Render Mode option menu, choose Ray Trace. 4. From the Shading Type option menu, choose Normal. 5. Select the Isometric view.
Rendered image of the pool prior to applying material definitions.
Obviously, the rendered view does not look much like the original pool. In this exercise, you will create two materials to line and edge the pool. These will be saved in a new palette file. You will access the Define Materials settings box with the Apply Material tool, MicroStations convenient tool for all material operations.
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Creating and Applying Material Definitions
13
Defining Materials
Open the Define Materials settings box

1. In the Rendering Tools tool box, select the Apply Material tool.
Included on the right-hand side of the Apply Material settings window is a material preview box.
2. Double-click the material preview box.
Double-clicking in the material preview box opens the Define Materials settings box.
Define the pool lining material

1. In the settings boxs Material Name field, key in Pool - lining.
On entering a name in the Material Name field, the Add button becomes active.
2. If necessary, from the Map option menu in the lower right quadrant of the settings box, choose Pattern. 3. Click Select.
The Select Pattern Map dialog box opens.

4. From MicroStations system/materials/pattern directory, select the file, tile03.jpg.
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Defining Materials
5. Click the Preview button, to view the image.
6. Click OK.
The dialog box closes and focus returns to the Define Materials settings box. The name of the selected file appears in the Map Name field. The material is displayed in the preview box.
7. From the mapping option menu (located above the Select button), choose Master Units.
This sets the units for the Size and Offset fields.
8. In both the Size X and the Size Y fields, key in 0.45.
The material preview updates after each setting is keyed in. This sets the size of the pattern for applying to the material. Each tile will be 0.45 x 0.45 (master units).
9. Turn on Base Color and Specular Color.
By default, both colors are white. Base Color is the underlying color (tint) of the pattern map image and Specular Color is the color of the specular highlights. When these are turned off, the Active Color is used for the preview box. In the model, the color of the element (to which the material is applied) is used.
10. If necessary, in the pattern Weight field, key in 1.
With settings less than 1, more of the underlying color of the material is seen. This setting allows you to tint the color of materials, by reducing the effect (Weight) of the Pattern Map image.
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Defining Materials
11. Click Add.
A list box entry for the material definition appears in the Materials list.
The Define Materials settings box after adding the new material definition.
Before continuing, try reducing the Weight value, and note the effect it has on the material. You can experiment with the settings, without affecting the saved material, as long as you dont click the Replace button.
Investigate the effect of the pattern Weight setting

1. Use the slider control to reduce the setting for Weight to 0, and note the effect in the material preview box.
The pattern map disappears completely.

2. In the Weight field, key in 0.3.
The pattern appears very faintly.

3. Restore the Weight setting to 1.0, using the slider control.
The pattern appears clearly.
Varying the Weight setting controls how much of the pattern map is seen. Values illustrated are 0 (left), 0.3 (center) and 1.0 (right).
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Defining Materials
For the pool edging material, you can define a pattern map and a bump map. Whereas the pool lining material is a smooth tile, the edging material has ridges that are given a texture with a bump map. A bump map is merely the same image as that for the pattern map, or it can be a gray-scale version of the (colored) pattern map. It produces a 3D texture effect when Phong shaded or ray traced.
Define the pattern map for the pool edging material

1. In the Material Name field, key in Pool - edging.

3. From MicroStations system/materials/pattern directory, select the file block01.jpg. 4. Click OK.
Focus returns to the Define Materials settings box. The material is displayed in the preview box.
5. Check that Base Color and Specular Color are still turned on and set to white. 6. Check that the pattern Weight still is set to 1. 7. Check that the Map option menu still is set to Master Units. 8. In the Size Y field, key in 0.2.
This is to set the width (in Master Units) of the edging material.
9. Check that Size X still is set to 0.45.
To this material definition, you can now add the bump map, to give the material a 3D texture.
Define the pool edging material bump map

1. From the Map option menu, choose Bump. 2. Click Select.
The Select Bump Map dialog box opens.

3. From MicroStations system/materials/bump directory, select the file block01b.jpg.
This is a gray-scale image of the pattern map block01b.jpg. Equally, you could also use the pattern map image as a bump map.
4. Click OK.
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2. Click Select.
Defining Materials
Focus returns to the Define Materials settings box. The material is displayed in the preview box.
5. If necessary, set the bump Height value to 1.
This setting controls the height of bumps when rendered. Higher values produce more texture in materials.
6. Click Add.
A list box entry for the material definition appears in the Materials list. Again, before continuing, look at how the Height setting varies the appearance of the material. Remember, do not click the Replace button or you will overwrite your present material definition.
Investigate the effect of the bump Height setting

1. From the Display option menu, choose Rectangle. 2. In the Size X field, key in 1. 3. In the Size Y field, key in 1.
The material will be easier to see as you experiment.

4. Use the slider control to set the bump Height to 0, and note the effect in the material preview box.
The material appears as it did with the pattern map only.

5. Now, use the slider control to set the bump Height to its the maximum value, 20.
The texture appears very pronounced.

6. Turn on Invert.
In the texture, the ridges are now valleys, and vice-versa.

7. Turn off Invert. 8. Restore the Height setting to 1.0 using the slider control.
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Defining Materials
9. In the Materials list box, select Pool - edging.
The settings return to those saved for the material.
Height 0
Height 1
Height 20
Height 20 inverted
Varying the bump Height setting changes the appearance of the material. Turning on Invert reverses the ridges and valleys in the texture.
Unlike the tile used for the Pool - lining material, this material is not square. It is good practice, therefore, to preview it to check for any problems, such as orientation.
Preview the pool edging material

1. If necessary, in the Isometric view, use the Window Area view control to zoom in on the corner of the pool near the top of the view. 2. Check that the Shading option menu, in the Define Materials settings box, is set to Phong or RayTrace. 3. Click the Preview button. 4. In the Isometric view, identify one of the orange edge strips.
The element highlights.

5. Accept.
The element is rendered in the Isometric view. As well, the Display setting for the preview box changes to Preview. A copy of the rendered element appears in the preview box.
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Defining Materials
Notice that the grooves are aligned at a 90 angle to the edge. This can be changed so that they run parallel to the edge.
Close up preview shows the edging material incorrectly aligned with the design.
Edit the material

1. In the Map sections Angle field, key in 90.
The material preview display (now showing the selected element) updates. The Replace button is enabled.
2. Click Replace.
To be sure that the material is now correctly defined, again use the Preview function.
Preview the edited material

1. Click the Preview button. 2. In the Isometric view, identify one of the orange edge strips.
The element highlights.

3. Accept.
The element is rendered.

4. Identify the other orange strip in the view.
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Defining Materials
5. Accept.
The element is rendered, and the preview box updates to display the newly identified element.
Preview now shows the edging material correctly aligned with the design.
Save the material palette

1. From the Define Materials settings boxs File menu, choose Save Palette As.
The Save Palette As dialog box opens.

2. In the Files field, key in tutemats.
By default, .pal will be appended to the filename.

3. Click OK.
The dialog box closes. Focus returns to the Define Materials settings box.
In these tutorials, the default directories are used for material palette files and material table files. In practice, it is highly recommended that you save any custom material palette files in a directory outside the MicroStation directory structure. This avoids possible problems with software upgrades deleting the old files.
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Applying Materials
Applying Materials
You can assign materials to elements in the design by color and level. Additionally, a definition can be attached as an attribute to an element. When attached as an attribute, this overrides the color and level criteria.
Prepare to apply materials to the pool

1. In the Rendering Tools tool box, select the Apply Material tool.
In the Apply Material settings window, the design file name appears on the Table option menu. By default, the table is given the same name as the design file, but with a .mat extension.
By default, the material table is given the name of the design file. When saved, it is appended with .mat.
2. Click Palette Open.
The Open Palette File dialog box opens.

3. Select the palette file tutemats.pal, which was created in the previous exercises. 4. Click OK.
The dialog box closes, and focus returns to the Apply Material settings window. The name of the material palette file is on the Palette option menu button. The name of the palettes first material displays on the Material option menu button, with the material displayed in the preview box.
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Applying Materials
5. If necessary, from the Method option menu, choose Assign Color/Level. 6. From the Mode option menu, choose Apply Material.
You are ready now to apply the defined materials.
Apply the pool edging

1. With Pool - edging displayed as the selected material, identify one of the orange pool edging elements.
An asterisk appears next to the materials name on the Material option menu button. This denotes that the material has been used.
Materials can be used more than once. The asterisk denotes only that a material has been used at least once in the design.
Apply the pool lining

1. From the Material option menu, choose Pool - lining.
The material name appears on the option menu button, and the preview box updates to show the selected material.
2. Identify the violet pool sides or bottom. 3. Accept.
An asterisk appears next to the materials name on the option menu button.
Save the material table

1. Click Table Save.
The Save Table As dialog box appears. By default the file name is displayed as the design file, but with a .mat extension (that is, mattute1.mat).
2. Click OK.
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2. Accept.
Using Existing Material Definitions

To check the progress, render the Isometric view. Before doing this, check the rendering view attributes.
Turn on the rendering view attributes


2. If necessary, turn on Shadows, Transparency, and Pattern/ Bump Maps. 3. Click All. 4. Close the Rendering View Attributes settings box.
Render the Isometric view

1. Use the Fit View view control to fit the Isometric view. 2. In the Visualization tool box, select the Render tool. 3. If necessary, in the Render settings window, from the Target option menu, choose View. 4. From the Render Mode option menu, choose Ray Trace. 5. From the Shading Type option menu, choose Normal. 6. Select the Isometric view.
Ray traced image of the pool after applying the lining and edge materials.

Often, existing material definitions are available in other material palette files. You can use them directly from the existing palette, or copied into a new palette file if they are to be modified. A
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number of material palette files are supplied with MicroStation. You can use them as is, or alter them to suit. Save any customized palette files in a directory outside the MicroStation directory structure to avoid the possibility of deleting the custom files during a software upgrade. In the following exercise, you will copy an existing definition into the custom palette and then modify it.

2. Turn on level 11 in the Isometric view.
A blue rectangle appears in the pool.
1. In the Rendering Tools tool box, select the Apply Material tool. 2. Click Palette Open.
The Open Palette File dialog box opens. By default, the names of the sample palette files in MicroStations materials directory are listed.
3. Use the controls in the dialog box to select the palette water.pal. 4. Click OK.
The dialog closes and focus returns to the Apply Material settings window.
5. From the Material option menu, choose Water - pool.
The selected material is displayed in the preview box.
Material preview box shows the water material to be opaque.
Looking at the material preview box, notice that the water is not transparent. If so, you would see the Bentley logo through the material. To correct this, without changing the existing material,
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Select a water material
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1. If necessary, use the Fit View view control to fit each view.

copy it to the customized palette created in the previous exercises.
Add water material to customized palette

1. In the Apply Material settings window, double-click the material in the preview box.
The Define Materials settings box opens, with the palette file water.pal loaded and the material Water - pool already selected.
2. From the settings boxs File menu, choose Open Palette. 3. Use the controls in the dialog box to select the palette created in the previous exercises, tutemats.pal. 4. Click OK.
The dialog closes and focus returns to the Define Materials settings box. The Water - pool material remains displayed.
5. In the Material Name field, key in Pool - water.
Using a different name avoids possible conflicts with the material in the water.pal palette.
6. Click Add.
Use unique names for material definitions to counter problems that may arise where two or more palettes, containing materials having the same name, are used in a design. In these cases, the first instance of the material becomes the one that is used for the definition. Now that the material has been added to the customized palette file, under a new name, you can make modifications to its definition. These changes do not affect the original Water - pool material. The material has a Transmit setting of zero. That is, no light is transmitted through the material it is opaque. To make the water transparent, adjust the Transmit setting using the preview box as a guide to how the material will look.
Adjust the materials settings

1. From the Shading option menu in the Define Materials settings box, choose Ray Trace. 2. From the Display option menu, choose Sphere.
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3. In the Materials list box, select Pool - water. 4. In the Transmit field, key in 0.80.
The preview box updates. The logo now can be seen through the water.
With Transmit set to 0.8, the logo can be seen through the water material.
5. Click More Settings.
The More Material Settings box opens.

6. In the Reflect field, key in 0.1. 7. In the Refract field, key in 1.1.
8. Close the More Material Settings box. 9. In the Define Materials settings box, click Replace.
The new settings take effect.

10. From the settings boxs File menu, choose Save Palette. 11. Close the Define Materials settings box.
Now, you can apply the material to the element in the design.
Apply the water material

1. In the Apply Material settings window, from the Palette option menu, choose Tutemats. 2. From the Material option menu, choose Pool - water. 3. In any view, identify the blue rectangle. 4. Accept.
An asterisk appears next to the materials name on the option menu button.
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Render the Isometric view

1. In the Rendering Tools tool box, select the Render tool. 2. Select the Isometric view.
Ray traced image showing the newly applied Pool water material.
To properly check the appearance of the Pool - water material, zoom in closer and render the view again.
Check more closely the water material

1. Use the Window Area view control to zoom in on the pool. 2. Again use the Render tool to ray trace the Isometric view.
Looking at the image, the water is now transparent, and you can see the refraction. Though the lines of the tiles are bent as they disappear below the surface of the water, the image is not photorealistic. Even though the surface of the water is disturbed, the submerged tiles look perfect. In reality, these would appear distorted due to refraction through the uneven surface of the water. You can add a bump map to the water material definition.
Refraction bends the straight lines of the tiles at the intersection with the water.
Ray traced image showing the newly defined Pool - water material.
Although the waters surface is disturbed, the submerged tiles are incorrectly shown as being perfect.
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For the Pool - water material, the pattern map is water01.jpg. (The filename can be found by checking the Pool - water material in the Define Materials settings box.) For this material definition there is no bump map assigned. Where there is no bump map specified, you can use the same image file as that used for the pattern map.
Apply a bump map to the material

1. In the Rendering Tools tool box, select the Apply Material tool. 2. In the Apply Material settings window, from the Palette option menu, choose tutemats. 3. From the Material option menu, choose Pool - water. 4. Double-click the material in the preview box.
5. From the Map option menu, choose Bump. 6. Click Select.
The Select Bump Map dialog box opens.

7. From MicroStations system/materials/pattern directory, select the file water01.jpg. 8. Click OK.
The dialog box closes. Focus returns to the Define Materials settings box.
9. If necessary, in the bump Height field, key in 1.0.
This setting controls the height of the bumps.

10. Click Replace. 11. From the settings boxs File menu, choose Save Palette.
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The Define Materials settings box opens, with the palette file open and the material selected.
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12. Use the Render tool to ray trace the Isometric view.
As a result of adding the bump map, the lines in the tile pattern are distorted by the refraction through the water.
The water material definition, with a bump map, gives a more natural appearance to the rendered image.
Try changing the Height setting for the bump map and inspecting the results by rendering the view. Dont forget to click the Replace button after changing the setting. With the pool competed, the next step is to create the grass material for the pool surrounds. For this, use the standard grass material that is delivered with MicroStation. The material assignment table will therefore refer to two palette files.
Apply the grass material

1. In the Top view, turn on level 12. 2. Use the Fit View view control to fit the Top view.
A large green circle appears with the pool located at the center.
3. In the Rendering Tools tool box, select the Apply Material tool. 4. In the Apply Material settings window, click the Palette Open button.
The Open Palette File dialog opens.

5. From MicroStations materials directory, select the palette file backyard.pal. 6. Click OK.
The dialog box closes, and the name of the selected palette file appears on the Palette option menu button.
7. From the Material option menu, choose Grass.
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Multi-level Texture Interpolation

8. In the Top view, identify the large green circle outside the pool area.
The circle highlights.

9. Accept.
An asterisk appears next to the material name on the option menu button.

1. From the Utilities menu, choose Saved Views.

2. In the list box, select the saved view TUTE1. 3. From the Dest(ination) View option menu, choose 2. 4. Click Attach.
The view updates displaying the saved view.

5. Close the Saved Views settings box. 6. Use the Copy View view control in the 2D View Control tool box (Tools menu/View Control) to copy view 2 to view 1.
Now, a comparison can be made between rendering with and without Multi-level Texture Interpolation.
Render the views

1. From the Settings menus Rendering sub-menu, choose General.
The Rendering Settings box opens.

2. If necessary, in the Rendering Settings box turn off Multilevel Texture Interpolation.
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Materials such as grass can look slightly unnatural when rendered, particularly where the material disappears into the distance. To correct this problem, a rendering option is provided Multilevel Texture Interpolation. With this option chosen, the material image files (both pattern maps and bump maps) are prefiltered into a series of successively lower resolution maps when the material is first referenced. These then are used to interpolate to the nearest value for each pixel. This only applies for Phong and ray traced images.
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Multi-level Texture Interpolation
Procedural Textures
3. In the Rendering Tools tool box, select the Render tool. 4. From the Render Mode option menu in the Render settings window, choose Phong or Ray Trace. 5. Select View 1.
View 1 is rendered without Multi-level Texture Interpolation.

6. If necessary, in the Rendering Settings box, turn on Interpolate Textures. 7. Turn on Multilevel Texture Interpolation.
(Both settings must be turned on for Multi-level Texture Interpolation to be active.)

8. Select View 2.
View 2 is rendered with Multi-level Texture Interpolation.
Left: Multilevel Texture Interpolation OFF Image appears noisy. Grass material displays too much detail in the distance. Edging material is not well defined. Right: Multilevel Texture Interpolation ON As the grass material gets further from the eyepoint, less and less detail is shown. Edging material is better defined.
Procedural Textures
In the previous exercises, two-dimensional images were used to define the materials. During rendering, these images were applied to the surfaces, similar to applying wallpaper to a wall. If the pattern was too small, it was repeated or tiled on to the surface. MicroStation has another form of material, that comes in both two-dimensional and three-dimensional forms procedural textures. In fact, each procedural texture is an MDL application that applies the material to the elements in the design. The following exercise illustrates the use of a 3D procedural texture.
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Procedural Textures

1. Make level 3 the Active Level. 2. Turn off all other levels in View 2. 3. Use the Rotate View view control to make View 2 a Right Isometric view. 4. Use the Fit View view control to fit View 2.
View 2 displays a cube. In the material palette, proctext.pal, use the sample marble procedural texture for this cube. To avoid changing the sample, copy it into the material palette created and used in previous exercises.
1. In the Rendering Tools tool box, select the Apply Material tool. 2. Double-click the material preview box.
The Define Materials settings box opens.

3. From the Display option menu, choose Cube.
For 3D procedural textures, the cube display is convenient for viewing the material in three different planes.
4. From the Define Materials settings boxs File menu, choose Open Palette.
The Open Palette File dialog box opens.

5. Use the controls in the dialog box to select the palette proctext.pal. 6. Click OK. 7. In the Materials list box, select marble.
The selected material is displayed in the preview box, and the settings are updated for the material.
8. From the settings boxs File menu, again choose Open Palette. 9. Use the controls in the dialog box to select the palette you created in a previous exercise, tutemats.pal. 10. Click OK.
The Materials list box updates to display materials from the selected palette. The marble material remains selected, and its settings remain displayed.
11. In the Material Name field, key in Pool - statue.
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Make a copy of the material
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Procedural Textures
12. Click Add.
13. From the settings boxs File menu, choose Save Palette.
Adding the procedural texture to the tutorial palette.
Notice that when the material is a procedural texture, there are additional items in the Map section of the Define Materials settings box. For example, an extra field, Z, appears for the Size and Offset settings. When a 3D procedural textures is selected you can modify it along all three axes. Additionally, the Edit button (lower right) is enabled when any procedural texture is the selected material (this will be looked at later). If one of the standard materials is selected, the Map area will revert to the standard arrangement (no Z field for Size and Offset, and the Edit button disabled).
Apply the material to the cube and render the view

1. In the Apply Material settings window, from the Palette option menu, choose Tutemats. 2. From the Material option menu, choose Pool - statue. 3. In View 2, identify the cube. 4. Accept. 5. In the Rendering Tools tool box, select the Render tool.
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Procedural Textures
6. If necessary, from the Render Mode option menu in the Render settings window, choose Ray Trace. 7. Select View 2.
Adding the procedural texture to the tutorial palette.
Notice that the veins in the marble material meet correctly at the edges. The material has been applied as a three-dimensional substance, not as a two-dimensional image applied to each face. Another advantage of using 3D procedural textures is that a solid made up of several elements can have the material applied as though it is a single element. In the next exercise the material will be applied to the figure, which is created from a number of elements, grouped as a cell.
Apply the material to the figure

1. Make level 1 the Active Level. 2. Turn off level 3 in View 2. 3. Use the Fit View view control to fit view 2. 4. In the Rendering Tools tool box, select the Apply Material tool. 5. If necessary, from the Material option menu in the Apply Material settings window, choose Pool - statue. 6. Identify any part of the figure in View 2. 7. Accept.
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Procedural Textures
Render the figure

1. Use the Window Area view control to zoom in on the figure in View 2. 2. In the Rendering Tools tool box, select the Render tool. 3. Select View 2.
Rendered view of the marble figure.
The veins of the marble vary through the figure, because it is not the same pattern map applied to the arms, legs, torso, and head. It is one material applied to the whole figure.
Complete the application of materials:

1. In View 2, turn on level 4. 2. Use the Fit View view control to fit view 2. 3. Use the Window Area view control to zoom in to the figure and birdbath in View 2. 4. In the Rendering Tools tool box, select the Apply Material tool. 5. If necessary, from the Material option menu in the Apply Material settings window, choose Pool - statue. 6. Identify the red birdbath (being held by the figure).
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Procedural Textures
7. Accept. 8. Again, use the Render tool to render View 2.
The complete figure with birdbath.
To change the appearance of standard materials, you can change the values in the Map section of the Define Materials settings box. When using procedural textures you can change additional parameters as well as the Size values. These may vary for each procedural texture. You can access them using the Edit button in the Map section of the Define Materials settings box.
Edit the marble procedural texture

1. In the Rendering Tools tool box, select the Apply Material tool. 2. In the Apply Material settings window, double-click the material preview box.
The Define Materials settings box opens with the material selected.
3. In the Define Materials settings box, click Edit.
The Procedural Texture Values settings box opens.
Editable Procedural Texture Values for the marble material Pool - statue.
For this material, changes can be made to the Base and Vein Color, of the marble. As well, the level_of_detail and
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Procedural Textures
vein_tightness can be varied. As changes are made to the values, the preview box in the Define Materials settings box updates to reflect the changes. Try experimenting with the values and, when you are happy with the result, click the Replace button to save the new material. With the setting relative_coords there are two values, 0 or 1. When set to 1, the material is calculated relative to the element in the design. In an animated sequence, the material will move with the element. When set to 0, the material is calculated relative to (0,0,0) in the design cube. Here, an animated object will slide through the material, which remains static. In the sequence, it will appear as though the material is sliding across the element.
To render the finished model, use the saved view FINISH.
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14 Introduction to Radiosity Solving

Radiosity adds a new degree of realism to many rendered images, particularly interior views. This tutorial introduces the basic concepts of using radiosity.
Introduction
Radiosity solving provides a view independent solution of the diffuse reflections between materials. It does not produce an image as such, but the rendering processes can then use the radiosity solution. Ray tracing, for example, can add the (view dependent) specular highlights, reflections, and refraction. Radiosity solving is generally best suited to architectural applications, where (diffuse) reflections from walls and other furnishings add to the overall lighting for the scene. Without radiosity this reflected light is normally not taken into account. Many of the decisions to be made in creating an image of a design are subjective. Radiosity solving, in company with ray tracing, provides a complementary set of tools for creating lifelike images of designs. In the following tutorial you will learn the basics of radiosity solving with MicroStation and, in particular, the following: Radiosity and Ray Tracing (see page 14-1) Relating Light Source Brightness to the Real World (see page 14-3) Patches, Elements, and Adaptive Subdivision (see page 14-4) Stopping Conditions (see page 14-15)
Radiosity and Ray Tracing

Not all computer models are suitable for use with radiosity solving. Typically, radiosity has its biggest impact on interior scenes, where reflection from walls and other furnishings add to the overall lighting of the scene. In these instances, ray tracing alone does not produce the same level of realism in the image.
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Radiosity and Ray Tracing

In the following illustrations, the image on the left is ray traced without a radiosity solution. To lighten the dark areas, the global lightings Ambient value was set at 0.30. When the same model was ray traced with a radiosity solution (no global ambient lighting) the resulting image looks much more realistic. For example, light reflecting off the walls partially illuminates the floor under the table, and light reflected from the table illuminates the lamp base. In the other image, none of this reflected light is calculated.
Ray traced (no radiosity solution).
Ray traced with radiosity solution.
When the radiosity solution is used, reflected light is taken into account. For example, the floor under the table is partially illuminated by the light reflected off the walls.
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Relating Light Source Brightness to the Real World
Relating Light Source Brightness to the Real World

It is important to have some correlation between real world units and those of the design file in which the model is created. When you attempt to use radiosity solving on a design in which the working units have not been defined, an information box appears. This informs you that, in the absence of a recognized name for the Master Units, feet will be used.
Working units
In order to render an image using a radiosity solution with the appropriate brightness, the physical dimensions of the geometry in the design must be expressed in real-world units. If the working units of the design are meters, and the light source brightness is in lumens, then the radiosity solution provides illuminance in lux (lumens per square meter). If the working units of the design are feet, illuminance is calculated in foot-candles (lumens per square foot). This unit information is used to render an image of the appropriate brightness. The resulting image roughly matches a real-world view of the given design and lighting, within the limited absolute range of the display device.
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Introduction to Radiosity Solving
Radiosity solving uses the Brightness setting of light source cells to calculate the amount of light energy. Typically, when the Intensity setting is 1.0, then the Brightness setting can be related to lumens. A light source having an Intensity of 1.0 and a Brightness of 1000 produces 1000 lumens of light.
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Patches, Elements, and Adaptive Subdivision

Radiosity solving can be time consuming. It is important to understand how the process progressively refines the solution. Similarly, it is important to know how the various settings affect processing times and image quality.

1. From MicroStations \Workspace\projects\examples\visualization\dgn directory, open the design file radios1.dgn.
Only one light source is present in the model a point light source providing light from the table lamp.
2. From the Settings menus Rendering sub-menu, choose Global Lighting. 3. If necessary, turn off Ambient, Flashbulb, and Solar lighting. 4. Close the Global Lighting settings box. 5. From the Utilities menu, choose Saved Views.

6. In the list box, select CAM1. 7. From the Dest(ination) View option menu, choose 2. 8. Click the Attach button.
View 2 updates to display the saved view.

9. Close the Saved Views settings box. 10. From the Settings menus Rendering sub-menu, choose Radiosity.
The Radiosity settings box opens.
Leave the Radiosity settings box open through the following exercises. Using the Radiosity settings box, you can control the quality and processing time of a radiosity solution. First define the basic settings for materials, lighting and display.
Define Materials & Lighting settings

1. From the Radiosity settings boxs File menu, choose Reset Default Settings, to set all values to the default. 2. Click the Materials & Lighting tab.
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3. In the Material Usage group box, from the Material Receives Light option menu, choose Always. 4. From the Receiver Reflects Light option menu, choose Always. 5. Turn off Illuminate Both Sides of Surfaces. 6. In the Lighting group box, from the Light Interpretation option menu, choose Extended. 7. Turn on Process All Lights First.
(This forces the light energy from any and all light sources to be processed first, before considering reflected light.)
Materials & Lighting section of the Radiosity settings box.
Define Display settings

1. Click the Display tab. 2. In the Display Settings group box, turn on Ambient.
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Turning off Illuminate Both Sides of Surfaces forces the solving process to illuminate only that side of a surface with positive surface normals (normals pointing outward from the surface). This reduces processing time by ignoring the dark side of surfaces. This design is set up with the surfaces correctly aligned.

(This setting causes any remaining light energy to be applied, as an ambient light approximation, to the image.)
3. If necessary, from the Final Display option menu, choose Ray Trace.
Display section of the Radiosity settings box.
Element and patch area

During processing, surfaces are first decomposed into a mesh of triangles (controlled by the Stroke Tolerance setting). These triangles are further subdivided into patches. Each patch is then subdivided into one or more triangular elements. Where shadow boundaries occur, further adaptive subdivision may occur to more accurately display the shadows. In this part of the exercise you will see how the settings for these meshes affect image quality and processing time. The relationship between the element size and the effect of adaptive subdivision is illustrated.
Define settings for stopping conditions, element and

patch areas
1. In the Radiosity settings box, click the Settings tab. 2. In the Radiosity Settings group box, in the Limit Number of Shots field, key in 1.
(Only one shot will be used for this part of the exercise.)
3. In the Maximum Element Subdivisions field, key in 0.
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(Initially, no (adaptive) element subdivision will be allowed.)
4. In the Initially Subdivide Until group box, in the Patch Area <= field, key in 1.0. 5. In the Element Area <= field, key in 0.2.
Settings section of the Radiosity settings box.
6. Click Solve Radiosity. 7. Select View 2.
With no adaptive subdivision at the shadow boundaries, the triangular shapes of the element mesh are plainly visible in places.
With the Maximum Element Subdivision set at 0, elements are not further subdivided at the shadow boundary. You can make shadow boundaries more accurate by reducing the initial element area.
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Reduce the element size

1. In the Initially Subdivide Until group box, in the Element Area <= field, key in 0.02. 2. Click Solve Radiosity. 3. Select View 2. 4. Repeat the above steps, this time with Element Area <= set to 0.002.
Element Area <= 0.002
Element Area <= 0.02 As the size of the element mesh triangles is reduced, the shadow boundaries appear more accurately defined.
Maximum Element Subdivisions

Notice that the processing time increases significantly when the Element Area is reduced to 0.002. Still, the shadow boundaries look jagged. Further decreases in the value will improve the accuracy but increase processing time. This is because every surface is treated equally, being subdivided into the smaller element mesh. For most of the image, however, there is no noticeable change in the appearance. Only in the vicinity of the shadows is there a significant difference. In other words, the smaller mesh is required only at shadow boundaries. This is where you can use the Maximum Element Subdivisions setting to allow for further subdivision at shadow boundaries, leaving other surfaces as they are.
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Set the Maximum Element Subdivisions

1. In the Initially Subdivide Until group box, in the Element Area <= field, key in 0.2. 2. In the Radiosity Settings group box, in the Maximum Element Subdivisions field, key in 2. 3. Click Solve Radiosity. 4. Select View 2.
Notice that the shadow boundaries are much better defined, even with the element mesh size set to 0.2. This is because the Maximum Element Subdivisions setting allows for further subdivision of the element mesh at shadow boundaries.
Increase the Maximum Element Subdivisions to 5

1. In the Radiosity Settings group box, in the Maximum Element Subdivisions field, key in 5. 2. Click Solve Radiosity. 3. Select View 2.
With this setting, you will see that the shadow boundary now is smoothly defined. Increasing the value of the Maximum Element
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Maximum Element Subdivisions set to 2.
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Subdivisions setting improves the accuracy of shadow boundaries without increasing processing time for other parts of the image.
Maximum Element Subdivisions set to 5.
Reflected light and patches

So far, all illumination has been from the one light source in the model. This was ensured by turning on Limit Number of Shots and setting it to 1, along with turning on Process All Lights First. Light received at (the vertices) of each triangle in the element mesh determines the visibility of the model. The material definition of the surface determines how much of the light energy is absorbed, and how much is reflected. Increasing the number of shots results in the calculation of the amount of reflected light from these same mesh elements. This is where patches come into the equation. The brightness of a patch (as a light source) is calculated from the sum of the reflected light values of each element contained within the patch. For each shot of the radiosity solution, the light energy from the brightest patch is used as the next light source.
View the effects of reflected lighting from the brightest

patch
1. In the Radiosity Settings group box, in the Limit Number of Shots field, key in 2. 2. Click Solve Radiosity. 3. Select View 2.
In the resulting image, notice the illumination of the floor under the table. Shadows cast by the tables legs also can be seen. These
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effects are the result of light energy reflected by the brightest patch on the wall.
Shot number 2 adds illumination from the brightest patch on the wall to the right. Part of the floor below the table is illuminated.
Turn on display of shooting patches

1. In the Radiosity settings box, click the Display tab. 2. Turn on Shooting Patch Highlighted. 3. From the Intermediate Display option menu, choose Smooth Shaded. 4. In the Display Frequency field, key in 1.
This will cause the intermediate image to be displayed after each shot.
5. Click Solve Radiosity.
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Looking at the shadows, it is obvious that the reflected light is from a patch on the wall to the right of the image. During processing, you can display the location of these patches.
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After displaying the image, following the first shot, notice the blue triangle that appears on the right side wall. This is the patch that is shooting light for the next shot.
The shooting patch (highlighted by the white dashed line) for the second shot.
Up to this point, the radiosity solution has been recalculated from the start each time. We can retain the current calculations in memory.
Turn on Keep Database in Memory

1. In the Radiosity settings boxs File menu, turn on Keep Database in Memory. 2. In the Display Settings group box, from the Intermediate Display option menu, choose None.
This will disable the intermediate display.

3. Click Solve Radiosity.
Because the Intermediate Display has been disabled, only the shooting patch appears, prior to the view being rendered. Increasing the shots to three, you will see the effects of lighting from the unshot patch that now is brightest. Because Keep Database in Memory is on, the process will continue from the previous shot, rather than starting with shot 1.
View the effects of reflected light from the next patch

1. In the Radiosity settings box, click the Settings tab. 2. In the Radiosity Settings group box, in the Limit Number of Shots field, key in 3.
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Notice this time that the shot is from a patch on the wall to the left of the view. When the view is rendered, you can see from the shadows that the light has come from this patch.
Shot number 3 adds illumination from the brightest patch on the wall to the left.
Letting the next shot process you will see that the brightest unshot patch now is on the surface of the table.
View the effects of reflected light from the next patch

1. In the Radiosity Settings group box, in the Limit Number of Shots field, key in 4. 2. Click Solve Radiosity. 3. Select View 2.
Shot number 4 adds illumination from light reflected from the table top. This is shown, in particular, by the illumination of the underside of the lamp base.
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It can be seen that the lower region of the lamp base is now illuminated. This illumination is provided by light energy reflected from the table top.
Samples per shot

When you calculate the lighting for a patch, the size of the patch directly affects the appearance of the image. Currently, the setting of 1, for Patch Area <=, ensures that the surfaces are initially subdivided so that the largest patch area is a maximum of 1 square master unit. To improve the accuracy of the reflected light energy, you can reduce this value and create smaller patches but increase processing time. You can use another setting, Maximum Samples per Shot, to improve the accuracy of the reflected light energy without reducing the size of the patches. Increasing this value, allows more samples to be taken for each patch. As a rule, the larger the patch size, the more samples allowed. Using smaller patches, or allowing more samples, results in softer, more natural shadows from the reflected light energy.
Change the Maximum Samples per Shot setting

1. From the Radiosity settings boxs File menu, choose Clear Rendering Database.
An alert box appears, asking if you want to remove the current rendering database from memory, including any radiosity solution.
2. Click OK in the alert box. 3. In the Radiosity Settings group box, in the Maximum Samples per Shot field, key in 4.
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Stopping Conditions
With Maximum Samples per Shot set to 4, the shadows from the reflected light are softened.
Two settings control radiosity processing times Limit Number of Shots and Min(imum) Illumination Threshold. When either of these conditions is met, processing stops. In the preceding exercises, the Limit Number of Shots setting has controlled the radiosity calculations. In each case processing terminated after the specified shot. In production environments, the number of shots allowed would be far greater than used in those exercises. You do not have to wait until the final shot before seeing some form of image. You can stop processing at any time by entering Reset. This stops the radiosity calculations after the current shot, and renders the selected view. When Keep Database in Memory is on, you can resume the calculations from the last shot. Additionally, you can specify that an Intermediate Display is rendered at regular intervals.

1. From the Radiosity settings boxs File menu, choose Clear Rendering Database.
An alert box appears, asking if you want to remove the current rendering database from memory, including any radiosity solution.
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Stopping Conditions
14
Stopping Conditions
2. Click OK in the alert box.
The current radiosity solution is deleted.

3. In the Radiosity Settings group box, turn off Limit Number of Shots. 4. In the Min(imum) Illumination Threshold field, key in 0.25.
This will cause the calculations to stop when the remaining light falls below 25% of the total light at the outset.
5. In the Radiosity settings box, click the Display tab. 6. In the Display Settings group box, from the Intermediate Display option menu, choose Smooth Shaded. 7. In the Display Frequency field, key in 5.
Leave all other settings as they were for the previous exercise(s).
8. Check that Keep Database in Memory is on in the settings boxs File menu. 9. Click Solve Radiosity. 10. Select View 2.
As processing progresses, notice the messages that appear in the status bar at the bottom of the screen. Typically, the message takes the form: Radiosity Shot:2 energy: 5.062173 (unshot 46.695407;stop 25.000000). From these you can see how much light is being processed for the shot, how much is remaining, and what the stopping value is. In this case the stopping value is 25, calculated as (0.25 x 100), where 100 is the light from the single light source in the model. When the process completes the fifth shot, View 2 will be smooth shaded. Checking these intermediate displays (in this case, every
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Stopping Conditions
fifth shot) can help you decide if you want to stop the process early (with a Reset).
Third intermediate display, after the 15th shot, showing Smooth Shaded image.
Remember that you can stop radiosity solving at any time by Resetting. By setting a different stopping condition, you then can use this solution to display shaded images of various views.
Stop processing (early) in order to use the result

1. Reset to stop processing.
After the current shot is completed, the view is rendered. (If you Reset during a shot whose number is a multiple of 5 [the Display Frequency setting], a second Reset will be required.)
2. In the Radiosity settings box, click the Settings tab. 3. In the Radiosity Settings group box, turn on Limit Number of Shots and, in its field, key in 0.
This will prevent further shots.

The view is rendered using the final display option, which is Ray Trace. Notice that the ray tracing of the view is faster than normal, because the ray tracing process uses the radiosity solution that is present in memory.
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Letting processing continue until the stopping condition is met, can be time consuming. The time it takes will depend on the speed of your system. So that the radiosity solution does not have to be recalculated in the future, you can save the resulting database to disk and reload it into memory when required.
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Stopping Conditions
Ray tracing with a radiosity solution

Once you have calculated a radiosity solution (with Keep Database in Memory on), whether the processing was completed or stopped prematurely, ray tracing of views is generally much faster, since all the diffuse lighting has been performed and shadows do not need to be computed. Because radiosity is not view dependent, you can use the same solution for any ray traced view. Ray tracing, on the other hand, adds the view-dependent specular lighting effects, such as highlights and reflections. Once the stopping conditions for radiosity solving have been met, the selected view is rendered in the Final Display mode, which is set in the Display Settings group box of the Display tab in the Radiosity settings box. With the radiosity solution still in memory, you can render other views, using the radiosity solution. You do this by clicking Solve Radiosity in the Radiosity settings box, or by using the Render tool with Render Mode set to Radiosity. In either case the view is rendered, using the Final Display render mode, which is set in the Radiosity settings boxs Display settings tab.
If the Render tools Render Mode is set to Ray Trace, the view is ray traced without using the radiosity solution. For the exercise, two other saved views are present in the active design file.
Attach the saved views


2. In the list box, select CAM2. 3. From the Dest(ination) View option menu, choose 3. 4. Click Attach.

5. In the list box, select CAM3. 6. From the Dest(ination) View option menu, choose 4. 7. Click Attach.
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Stopping Conditions
Render the saved views

1. In the Rendering Tools tool box, select the Render tool. 2. In the Render settings window, check that Target is set to View. 3. From the Render Mode option menu, choose Radiosity. 4. Check that Shading Type is set to Normal. 5. Select View 3.
View 3 is ray traced with radiosity.

6. Select View 4.
View 4 is ray traced with radiosity. If you repeat this exercise with Render Mode set to Ray Trace, not only will the image look different (no diffuse reflections), it will take longer to ray trace.
Saved View CAM2, ray traced with radiosity.
Saved View CAM3, ray traced with radiosity.
Saved View CAM3, ray traced without radiosity. No diffuse reflections are displayed.
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Stopping Conditions
Luminance and Illuminance

When you calculate a radiosity solution, you can set the Intermediate Display and/or the Final Display to Luminance or Illuminance. These settings provide false color displays of the light reflected by surfaces (Luminance) and the light reaching surfaces (Illuminance). You can set Analytic Display to be either Grey Scale or Color. When set to Color, the false color ranges from Red > Orange > Yellow > Green > Blue, where red indicates the most light and blue the least. With Grey Scale, white indicates the most light and black the least.
Display Luminance
1. In the Radiosity settings box, click the Display tab. 2. From the Final Display option menu, choose Luminance. 3. From the Analytic Display option menu, choose Color. 4. Click Solve Radiosity. 5. Select View 2.
View 2 updates with the false color display, showing the amount of light reflected by surfaces.
6. Repeat steps 3 to 5, with Analytic Display set to Grey Scale.
Grey Scale display of Luminance.
Display Illuminance
1. From the Final Display option menu, choose Illuminance. 2. From the Analytic Display option menu, choose Color. 3. Click Solve Radiosity. 4. Select View 2.
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Stopping Conditions
View 2 updates with the false color display, showing the amount of light reaching the surfaces.
5. Repeat steps 3 to 5, with Analytic Display set to Grey Scale.
Grey Scale display of Illuminance.
Querying the radiosity solution

With a radiosity solution present in memory, you can display the values for Luminance or Illuminance at a point on a surface. The values displayed will be for the surface nearest the pointer location in the view. To query the radiosity solution, you can use the Query Radiosity tool, in the Rendering Tools tool box, or click Query Radiosity in the Radiosity settings box.
The Query Radiosity button is enabled only when a radiosity solution is present in memory.
Display values for Luminance in View 2

1. In the Radiosity settings box, click Query Radiosity. 2. If necessary, in the Query Radiosity settings window, turn off Continuous Updates. 3. From the Display option menu, choose Luminance. 4. Enter a data point in View 2.
In the status bar, the value for Luminance is displayed in Lumens/Sq.M (Meters are the master units for this design). Following this value are those for the separate RGB components.
5. Enter further data points to display the Luminance in other parts of the view.
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Stopping Conditions
Similarly, you can query the radiosity solution with the Query Radiosity tool in the Rendering Tools tool box.
Use the Query Radiosity tool

1. In the Rendering Tools tool box, select the Query Radiosity tool. 2. In the tool settings window, turn on Continuous Updates. 3. Enter a data point in View 2. 4. Move the screen pointer in the view and notice that the values for Luminance update continuously as the pointer moves.
Similarly, you can display the values for Illuminance, by choosing Illuminance as the Display option.
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15 Animation Basics
This tutorial is set up as a number of consecutive exercises to teach the basics of animation. Work through these exercises from start to finish.
Introduction
In this tutorial, you will learn how to animate objects in a design. Using a model of a windmill, you will learn about the following: Creating Actors (see page 15-3) Manipulating Actors (see page 15-7) Hierarchical Motion (see page 15-9) Scripting Actors (see page 15-12) Keyframe Animation (see page 15-16) Defining a Parameter (see page 15-19) Saving and Recording a Script (see page 15-22) You will animate the blades of the windmill to rotate and its complete top assembly to pivot from side to side.
Model of a windmill contained in the design windmill.dgn used in this tutorial.
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Introduction
You will learn how to animate the blades to rotate, and the whole assembly to oscillate.
The sample design file used in this tutorial, windmill.dgn, is installed in MicroStations Workspace\projects\tutorials\visualization\dgn directory. A file of the same name in Workspace\projects\examples\visualization\dgn shows the expected outcome of the tutorial exercises.
Prepare for the first exercise

1. From MicroStations Workspace\projects\tutorials\visualization\dgn directory, open the design file windmill.dgn. 2. If necessary, turn on views 1 to 4, and make them Top, Isometric, Front, and Right, respectively. 3. If necessary, make level 10 the Active Level. 4. Turn off all other levels in all views. 5. Use the Fit View view control to fit each view. 6. From the Tools menus Visualization Tools sub-menu, choose Animation Tools.
The Animation Tools tool frame opens.

Animation Tools tool frame
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Creating Actors
Creating Actors
When you create an actor for animation, a special cell is created that is recognized by the animation process. You can create an actor from one or more elements in a design. Elements that are grouped in a cell, are treated as a single element. Where a group of separate elements is required to form a single actor, you can group them using the Element Selection tool. When you create an actor, you can specify the ways in which the actor can move. These settings are applied for parametric motion, or when you use the Manipulate Actor tool.
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Animation Basics
Sample file windmill.dgn ready for first exercise.
Creating Actors
Open the Animation Actors tool box

x In the Animation Tools tool frame, tear off the Animation
Actors tool box, which is the top left icon of the tool frame.
Opening the Animation Actors tool box, from the Animation Tools tool frame.
For this model, the first actor to define is the windmills blade assembly. This part is made of a number of separate elements, thus requiring them first to be grouped.
Create an actor from the blades

1. In the Isometric view, use the Window Area view control to zoom in close to the center spindle of the windmill blades. 2. In any of the other views, use the Element Selection tool to select all the elements of the windmill blade assembly (that is, all the elements visible in the view). 3. In the Animation Actors tool box, select the Create Actor tool. 4. In the Create Actor settings window Name field, key in blades. 5. If necessary, from the Orientation option menu, choose Design. 6. If necessary, turn off all the settings in the Move Along and Scale Along sections. 7. In the Rotate About group box, turn on Y (and if necessary, turn off X and Z).
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Creating Actors
In the design, the blades are located such that the spindle is aligned with the y-axis.
8. In the Isometric view, with Center snap mode active, snap to the center of the blades spindle.
A triad, attached to the pointer, indicates how the actor will be allowed to move. The circle normal to the y-axis indicates rotation about the y-axis.
9. Accept to define the actors origin. This defines the point about which the blades will be allowed to rotate.
The status bar indicates that the actor is created.
Defining the origin of the actor Blades. The triad attached to the pointer indicates that the actor can rotate about the y-axis.
Z X
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Animation Basics
Creating Actors
Prepare to create the second actor

1. Make level 11 the Active Level. 2. Turn off all other levels in all views. 3. Use the Fit View view control to fit each view.
Sample file windmill.dgn ready for creating the second actor.
As with the blades of the windmill, the pump housing and wind vane are constructed of several separate elements. Again, you need to group them before creating the actor.
Create an actor of the drive housing and vane assembly

1. In the Isometric view, use the Window Area view control to zoom in close to the vertical center shaft at the bottom of the housing. 2. In any of the other views, use the Element Selection tool to select all the elements of the housing and vane. 3. Select the Create Actor tool. 4. In the Create Actor settings windows Name field, key in vane. 5. If necessary, from the Orientation option menu, choose Design. 6. In the Rotate About group box, turn on Z. 7. Turn off Y and make sure that X still is turned off.
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Manipulating Actors
8. In the Isometric view, with Center snap mode active, snap to the center of the vertical shaft at the bottom of the housing.
A triad, attached to the pointer, indicates how the actor will be allowed to move. The circle normal to the z-axis indicates rotation about the z-axis.
9. Accept to define the actors origin. This defines the point about which the housing will be allowed to rotate.
The status bar indicates that the actor is created.
Defining the origin of the actor Vane. The triad attached to the pointer indicates that the actor can rotate about the z-axis.
Z X
Manipulating Actors
Once an actor has been created, you can manipulate it with the Manipulate Actor tool. When using this tool, the only movements that are allowed are those that were defined when the actor was created.

1. Turn on levels 10 and 11 (only) in each view. 2. Use the Fit View view control to fit each view.
The elements displayed are grouped in either the Blades or Vane actor cell. Using the Manipulate Actor settings window, you also can highlight an actor prior to identifying it for manipulation.
Test the actors range of motion

1. In the Animation Actors tool box, select the Manipulate Actor tool. 2. In the Manipulate Actor settings window, select Vane (single click).
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Animation Basics
Manipulating Actors
The actor Vane highlights in each view.
3. In the list box, double-click Blades.
This identifies the actor Blades as the actor to manipulate. It highlights in each view. In the Manipulate Actor settings window, Method is set to Rotate About Y.
4. Click the Method option menu to open it. Notice that only the Rotate About Y option is enabled (the others being dimmed).
When the actor Blades was created, only the Rotate About Y option was chosen.
Manipulate Actor settings window. The Method option menu displays allowable manipulations, which were enabled when the actor was created (others are dimmed).
5. In any view, move the pointer (without entering a data point), and notice that the blades rotate as the pointer is moved.
Moving the pointer rotates the blades.
6. In the Tool Settings box, double-click the actor Vane.
Actor Vane highlights in each view. In the Manipulate Actor settings window, Method changes to Rotate About Z.
7. In any view, move the pointer (without entering a data point), and notice that the vane assembly can rotate about the z-axis.
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Hierarchical Motion
Actor Vane was created with only the Rotate About Z option.
Moving the pointer rotates the vane assembly.
8. Reset.
Alternatively, you can identify an actor by entering a data point on any part of it.
In the previous exercise, you saw how you could individually manipulate either of the actors. The problem is that the blades do not remain connected to the vane assembly when it is rotated. Another tool, Attach Actor, solves this problem. With this tool you can attach one actor to another, such that the attached actor remains connected to the parent when it (the parent) is manipulated.
Attach the blades to the vane assembly

1. In the Animation Actors tool box, select the Attach Actor tool. 2. In the Attach Actor settings window, double-click Blades.
This identifies the actor to attach.

3. In the Tool Settings box, double-click Vane.
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Hierarchical Motion
Animation Basics
Hierarchical Motion
This identifies the actor to which to attach the first actor. The Attach Actor settings window updates, showing the parent actor in red, with the child actor indented and colored blue.
The Attach Actor settings window, showing a list of the available actors.
After attaching Blades to Vane, the settings window updates with the attached actor indented and colored blue. The parent actor is displayed in red.
Having attached the blades to the vane assembly, the blades will rotate with it and rotate correctly about their pivot point. As the blades are swivelled with the vane assembly, the original y-axis (about which the blades were set to rotate) swivels with them.
Manipulate the actors

1. Select the Manipulate Actor tool. 2. In the Manipulate Actor settings window, double-click Vane.
The entire assembly highlights because the blades are now attached to Vane.
3. In any view, move the pointer (without entering a data point), and notice that the assembly (including the blades) rotates about the z-axis.
Moving the pointer rotates the blades, along with the vane assembly, because they are now attached.
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Hierarchical Motion
4. In the settings window, turn on Angle. 5. In the Angle field, key in 30. 6. Accept the rotation.
The assembly (blades and vane) rotate by 30 about the z-axis.
After manipulation, both actors have been rotated 30.
With hierarchical motion, when an actor is attached to another, it moves with the parent actor. You can still manipulate the attached actors independently. In this example, you can manipulate the blades without affecting the vane assembly.
Test the blades range of motion

1. Use the Fit View view control to fit the front and right views. 2. Select the Manipulate Actor tool. 3. In the Manipulate Actor settings window, turn off Angle. 4. Double-click Blades.
Only the blades are highlighted.

5. In the Front view, move the pointer to dynamically rotate the blades.
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Animation Basics
Actors prior to manipulation.
Scripting Actors
The blades still rotate correctly about their pivot point.
6. Reset.
Scripting Actors
Before you can record an animation, you must script the actors to define the required motion. This can be in the form of a formula that describes the motion as a function of the frame number. Alternatively, you can specify keyframes and the animation process will interpolate the in-between frames. In the following exercises you will script the blades of the windmill to spin, and for the whole assembly to pivot from side to side.

x From the Utilities menus Render sub-menu, choose
Animation. The Animation Producer settings box opens. As actors are scripted, the script entries appear in the Animation Producer settings box.
Script the blades to spin

1. In the Animation Actors tool box, select the Script Actor tool. 2. In the Script Actor settings window, double-click Blades.
The Script Actor dialog box opens, displaying the Actor Name, and the available settings. Here, only the Y Rotation setting is enabled, which was defined when the actor Blades was created.
3. In the Begin Frame and End Frame fields, key in 0 and 71 respectively.
This controls the frame interval during which the actor is scripted. In this case it is for a total of 72 frames.
4. In the Y Rotation field, key in -5*frame.
This specifies that the actor will rotate 5 for every frame of the movie and in 72 frames it will rotate a full 360. The minus sign causes the rotation in this case to be counterclockwise, as required.
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Scripting Actors
5. Click OK.
The Script Actor dialog box closes, and the script entry is added to the open script in the Animation Producer settings box.
The variable frame (all lowercase) is one of a number of built-in variables that can be used in scripting motion equations.
Double-click the Blades actor to open the Script Actor dialog box.
After setting the script for the actor, clicking the OK button closes the dialog box and inserts the script entry into the Animation Producer settings box.
Once actors have been scripted, their motion can be previewed on screen. The appearance and method for previewing is controlled in the Preview Settings box. As well, tools in the Animation Preview tool box let you control the preview in a similar fashion to the controls of a video recorder.
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Animation Basics
Scripting Actors
Preview the motion of the blades

1. From the Animation Producer settings boxs Settings menu, choose Preview.
The Preview Settings box opens.

2. In the Preview Settings box:
If necessary, turn on Clear View Between Frames. If necessary, turn on Animated Elements. Make sure all other settings are off.
Preview Settings box
3. Close the Preview Settings box. 4. From the Animation Producer settings boxs View option menu, choose View 3 (the Front View). 5. If necessary, use the Fit View view control to fit View 3. 6. In the Animation Producer settings box, click the play (>>) button at bottom left.
The blades rotate in the chosen view. Previewing allows you to check that the animation is working correctly. For example, you can check that the blades are rotating in the correct direction. As the animation plays, the current frame number displays in the frame field. You can key-in any frame number and the current view will update to display that frame. You can select another view via the View option menu. A better alternative, to perform these and other previewing procedures, is to use tools in the Animation Preview tool box. Using the Animation Preview tools lets you quickly check the motion in any view, as the following exercise will demonstrate.
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Scripting Actors
Preview the motion using the Animation Preview tools

1. In the Animation Tools tool frame, tear off the Animation Preview tool box, which is the lower right icon of the tool frame.
Animation Preview tool box.
The blades rotate in the current view (as displayed in the Animation Producer settings box).
3. Enter a data point in any other view.
The blades now rotate in the newly selected view. The Animation Producer settings box updates to display the new view number. Similarly, you can use other tools from the Animation Preview tool box, to rewind (play in reverse), go to a particular frame, go to the first and go to the last frame.
Editing a script
If you make a mistake during scripting, you can edit the script entry. Double-click the script entry in the Animation Producer settings box to open the Edit Actor Script dialog box, to make corrections.
Edit the blades script

1. In the Animation Producer settings box, double-click the script entry for BLADES.
The Edit Actor Script dialog box opens.

2. In the Y Rotation field, edit the entry to read -10*frame.
This will cause the blades to rotate 10 for every frame, or 2 complete revolutions in the specified 72 frames.
3. Click OK.
The dialog box closes. If you preview the animation again, you will see that the blades now spin for two revolutions in the 72 frames.
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Animation Basics
2. In the Animation Preview tool box, select the Play Animation tool.
Keyframe Animation
Keyframe Animation
With the blades scripted, you can now script the vane assembly (which includes the rotating blades as an attached actor). For this part of the animation, you will script the actor(s) using keyframes. You will animate the assembly so that it oscillates 40.
Create the first keyframe

1. From the Animation Producer settings boxs Settings menu, choose KeyFrames.
The Animation KeyFrames settings box opens.

2. Click Create. 3. Identify the vane assembly.
The vane assembly, including the blades, highlights.

4. Accept.
The Create KeyFrame dialog box opens.

5. In the Name field, key in start. 6. In the Description field, key in starting position of animation. 7. Click OK.
The dialog box closes, and the keyframe appears in the Animation KeyFrames settings boxs list. Leave the settings box open to create and script the remaining keyframes.
After keying in keyframe information in the Create KeyFrame dialog box, clicking OK inserts the keyframe into the Animation KeyFrames list.
Next, you will create the midpoint keyframe. Before doing so, move the assembly to its new position for the keyframe.
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Keyframe Animation
Move the assembly to the next keyframe position

1. In the Animation Actors tool box, select the Manipulate Actor tool. 2. In the Manipulate Actor settings window, double-click Vane.
The entire assembly highlights including the blades.

3. Turn on Angle and, in its field, key in -40. 4. Accept the rotation.
The assembly (blades and vane) rotate -40 about the z-axis.
After rotating the vane assembly to its position for the second keyframe.
Create the second keyframe

1. In the Animation KeyFrames settings box, click Create. 2. Identify the vane assembly.
The vane assembly, including the blades, highlights.

3. Accept.
The Create KeyFrame dialog box opens.

4. In the Name field, key in middle. 5. In the Description field, key in middle point of animation. 6. Click OK.
The dialog box closes, and the keyframe appears in the Animation KeyFrames settings boxs list.
Scripting keyframes
Having created the keyframes, you must now script them into the animation.
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Animation Basics
Keyframe Animation
Script the first keyframe

1. In the Animation KeyFrames settings box, select the keyframe START. 2. Click Script.
The Script KeyFrame dialog box opens.

3. In the Frame Number field, key in 0. 4. Click OK.
The dialog box closes and the script entry is added to the open script in the Animation Producer settings box.
Clicking the Script button opens the Script KeyFrame dialog box, in which the scripting information is entered.
Clicking OK closes the Script KeyFrame dialog box, and the scripting information for the keyframe is added to the list in the Animation Producer settings box.
Script the second keyframe

1. In the Animation KeyFrames settings box, double-click MIDDLE. (This is an alternate way to script a keyframe.)

2. In the Frame Number field, key in 35.
This is the midpoint of the 72 frame animation.

3. From the Velocity option menu, choose Accelerate.
This will cause the actor to move with constant acceleration from the previous keyframe to this one.
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Defining a Parameter
4. Click OK.
The dialog box closes, and the script entry is added to the open script in the Animation Producer settings box. For the final keyframe, the animation returns to the start position. This allows the animation to be played back in a continuous loop, without a jump back to the start position.
Script the finishing keyframe

1. In the Animation KeyFrames settings box, double-click START.

2. In the Frame Number field, key in 71. 3. From the Velocity option menu choose Decelerate. 4. Click OK.
The dialog box closes, and the script entry is added to the open script in the Animation Producer settings box.
Animation Producer settings box with all script entries for the parametric motion plus the keyframes.
Now, when you preview the animation in the Isometric view, you will see that the whole assembly oscillates from side to side, as the blades rotate. Notice how the vane accelerates as it swings to the middle point, and then bounces back, decelerating as it returns to the starting point, while the blades rotate at a constant speed.
In the foregoing exercises, the blades were animated by specifying an amount of rotation for each frame. To calculate a single revolution, 360 was divided by the total number of frames in the animation (72) to give 5. To double the number of revolutions, the angle was changed to 10. While this method
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Animation Basics
gives the correct result, it requires that the number of frames is known. During the course of creating animations, you may find that you have to adjust the number of frames. In this case you would have to adjust the angle of rotation per frame, also. A much simpler method is to define a parameter that is correct for all cases, no matter how many frames are required. For example, a parameter r1 can be defined to be the expression 360/maxFrame. The variable maxFrame is another of the built-in variables that are available. It is equal to the total number of frames in the sequence. Therefore, in this example, to rotate the blades you simply script them to rotate r1 for a single revolution, 2*r1 for two revolutions, and so on.
Define the parameter r1

1. From the Animation Producer settings boxs Settings menu, choose Parameters.
The Animation Parameters settings box opens.

2. Click Create.
The Create Parameter dialog box opens.

3. In the Name field, key in r1. 4. In the Value field, key in 360/maxFrame.
Type the variable maxFrame, with upper and lower case, exactly as shown.
5. In the Description field, key in rotation angle for single revolution.
Descriptions are useful for choosing the correct parameter in a complicated animation that has a number of parameters defined.
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6. Click OK.
The dialog box closes, and the parameter is inserted in the Animation Parameters settings boxs list.
7. Close the Animation Parameters settings box.
Having defined the parameter, you can now use it to script the actor Blades.
Edit the script entry for the Blades

1. In the Animation Producer settings box, double-click the Actor script entry for BLADES.
The Edit Actor Script dialog box opens.

2. Select the Y Rotation field and highlight its contents. 3. In the field, key in -2*r1*frame.
This scripts the blades to rotate two complete revolutions. The minus sign makes the revolution counterclockwise.
4. Click OK.
The dialog box closes. Now you can control the number of revolutions, simply by changing one figure, the r1 multiplier. This will apply, no matter how many frames are required for the sequence.
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Animation Basics
Saving and Recording a Script

That completes the scripting for this animation sequence. Save the open script to disk for later retrieval.
Save the open script to disk

1. From the Animation Producer settings boxs File menu, choose Save Script.
The Save Script As dialog box opens.

2. Use the controls in the Save Script As dialog box to select a directory and filename for the script.
By default, the script is given the same name as the design file, but with a .msa extension.
3. Click OK.
Scripts are saved as text files. During the animation process, the script file is read to retrieve the animation instructions. If you view the script with a text editor, such as the Windows Notepad editor, you will see that the script is divided into two sections one for general settings and the other for script entries. In the latter section, the entry for the actor Blades is followed by the keyframe entries.
Viewing the animation script with a text editor (Windows Notepad).
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With the scripting completed, all that remains is to record the animation. Before doing this, set up a view for the recording. For this example file, a camera view has been saved. The saved view has other levels turned on that include more of the windmills structure, and a surface to simulate the ground.
Attach the saved view


3. From the Dest(ination) View option menu, choose 1. 4. Click Attach.
The saved view is displayed in View 1.
Record the script

1. In the Animation Preview tool box, select the Record Script tool.
2. If necessary, from the View option menu, choose 1. 3. If necessary, from the List Files of Type option menu, choose JPEG (JFIF).
This sets the type of image files that will be created for the sequence. Each frame will be a separate .jpg image.
4. Adjust other settings as desired.
These settings are similar to those for saving a rendered image to disk.
5. In the File field, key in wmill000.
The number included in the file name will be incremented for subsequent frames. The extension .jpg will be appended automatically.
6. Click OK.
The dialog box closes, and the frames are rendered and saved to disk. As each frame is completed, it is displayed in a window.
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The Record Script dialog box opens.
Animation Basics
2. In the list box, select the saved view CAM1.
The Record Script dialog box (left) and the display window (above) showing the frames as they are processed.
Once the script is recorded, you can view the resulting animation sequence exactly as you would a normal movie.
View the sequence

1. From the Utilities menus Image sub-menu, choose Movies.
The Movies settings box opens.

2. From the settings boxs File menu, choose Load.
The Load Movie dialog box opens.

3. From the List Files of Type option menu, choose JPEG (JFIF) Files [*.jpg]. 4. In the Files list box, select the first frame of the sequence, wmill000.jpg.
The sequence loads. The Movies settings box expands to display the first frame.
5. Click the play (>) button.
Playback begins in the Movies settings box.
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16 Animation Exercises and Examples

This tutorial builds on the basic animation tutorial in the previous chapter. Further exercises are worked through and sample animation files and scripts are discussed.
Introduction
MicroStation is delivered with a number of sample files in which actors, parameters, and sometimes scripts, already have been created. By examining these files, and working with them, you can learn more about creating animations from your own designs. In the following tutorials, you will learn about the following: Keyframe Velocity (see page 16-1) Keyframe Velocity and Deformation (see page 16-2) Parametric Motion Control (see page 16-8) Path Control and Camera Movement (see page 16-18) Animating Materials and Lights (see page 16-30)
Keyframe Velocity
When you define keyframes, the velocity setting affects the rate at which the interpolation between frames is calculated. Choices are Constant, Accelerate, Decelerate, Accelerate-Decelerate, and Infinite. In the sample file, dotrace.dgn, the spheres have been keyframed to move along parallel paths but with different velocity settings. You will see that they start and finish at the same time (frame number), but move with very different motions.
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Keyframe Velocity and Deformation
Open keyframe velocity sample file

1. From MicroStations \workspace\projects\examples\visualization\dgn directory, open the design file, dotrace.dgn. 2. In the Animation Preview tool box, select the Play Animation tool.
The spheres move across the screen according to the defined motion. Start
Frame 0
Half-way point
Frame 19
Finish
Frame 39
Constant - moves with constant

velocity.
Accelerate - starts from rest, moving with constant acceleration. Decelerate - moves under
constant deceleration to finish at rest.
Accelerate - Decelerate - starts from rest, accelerates to half-way, then decelerates to finish at rest. Infinite - jumps instantaneously to
finish point. Movement of animated objects using keyframe velocity options.

Using a combination of keyframes, scaling, and velocity settings, you can simulate objects bouncing or springs compressing. Two sample files show this combination to good effect. For example, teapot.dgn demonstrates the combination of velocity controls and scaling to represent an object falling and bouncing back. In this file are three keyframes. They show the teapot above the table (keyframe UP), at impact with the table (keyframe ONTABLE), and compressed on the table (keyframe COMPRESSED). With the keyframe COMPRESSED, the teapot is scaled down in the z direction. Using these keyframes, along with the appropriate velocity controls, the teapots bounce becomes realistic.
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1. From MicroStations workspace\projects\tutorials\visualization\dgn directory, open the design file, teapot.dgn. 2. If necessary, open the Animation Producer settings box by choosing Render > Animation from the Utilities Menu. 3. From the settings boxs Settings menu, choose KeyFrames.
The Animation KeyFrames settings box opens, listing the keyframes.
Previewing keyframes
You can view Keyframes using the Freeze button in the Animation KeyFrames settings box. When you click Freeze, the geometry in the file moves to the locations for the keyframe. Care should created, so W geometry canbebetaken that a home keyframe isThat is, you that returned to original locations. should create a keyframe of the geometry prior to moving it into position for other keyframes.
View the three keyframes

1. In the Animation KeyFrames settings box, select ONTABLE. 2. Still in the Animation KeyFrames settings box, click Freeze.
The view updates to show the teapot on the table.

3. Select COMPRESSED. 4. Click Freeze.
The view updates to show the teapot compressed on the table.

5. Select UP.
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16
Animation Exercises and Examples

6. Click Freeze.
The view updates to show the teapot above the table.
KeyFrame - UP Teapot above table.
KeyFrame - ONTABLE Teapot on table.
KeyFrame - COMPRESSED Teapot compressed on table.
Using this method, you can render the keyframes to check that the geometry is correctly located prior to scripting and recording. To create an animation from the keyframes, first you have to script them.
Script the UP keyframe (the start point)

1. In the Animation KeyFrames settings box, select UP. 2. Click Script.

3. Check that Frame Number is set to 0. 4. Click OK.
The dialog box closes, and the script entry appears in the Animation Producer settings box.
Alternatively, to open the Script KeyFrame dialog box, you can double-click on the keyframe in the settings box.
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Scripting a keyframe.
1. In the Animation KeyFrames settings box, select ONTABLE. 2. Click Script.
The Script KeyFrame dialog box opens. By default, Frame Number is incremented to 10.
3. From the Velocity option menu, choose Accelerate. 4. Click OK.
Script the COMPRESSED keyframe (teapot compressing

on table)
1. In the Animation KeyFrames settings box, select COMPRESSED. 2. Click Script.
The Script KeyFrame dialog box opens. By default, Frame Number is incremented by 10 from the previous keyframe.
3. From the Velocity option menu, choose Decelerate.
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Script the ONTABLE keyframe (point of impact)

4. Click OK.
The dialog box closes, and the script entry is added to the open script in the Animation Producer settings box. This completes the scripting of the teapot falling to the table and compressing. To complete the scripting you have to repeat the above procedures in reverse, to make the teapot rebound.
Script the ONTABLE keyframe (as teapot springs back)

1. In the Animation KeyFrames settings box, select ONTABLE. 2. Click Script. 3. From the Velocity option menu, choose Accelerate. 4. Click OK.
Script the UP keyframe (returns teapot to start position)

1. In the Animation KeyFrames settings box, select UP. 2. Click Script. 3. From the Velocity option menu, choose Decelerate.
This will simulate the teapot slowing due to gravity.

4. Click OK.
The dialog box closes, and the script entry is added to the open script in the Animation Producer settings box. That completes scripting of the keyframes. Prior to recording the script, you can preview the animation by clicking the play (>>) button in the Animation Producer settings box, or select the Play Animation tool in the Animation Preview tool box.
Further example
A second sample file shows a more realistic application of keyframe velocity and deformation techniques. This file, key2.dgn, is installed in MicroStations workspace\projects\examples\visualization\dgn directory. It is scripted, ready for previewing, or recording.
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It contains two actors, Top and Spring, and two keyframes, UP and DOWN, showing the assembly in its compressed and uncompressed states.
Sample file key2.dgn.
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Parametric Motion Control

Parametric motion control lets you apply a formula to an actor. As well, you can define parameters that simplify the creation of formulae. During the animation process, the formula determines the position of the geometry, relative to the frame number.
Simple gears
Using the sample design file, gears.dgn, you will script a sequence that shows the two geared wheels driven by a third wheel via a connecting link.
Gears.dgn, in which the two geared wheels are driven by the third wheel via a connecting link.
Prepare to script the actors

1. From MicroStations workspace\projects\tutorials\visualization\dgn, directory, open the design file, gears.dgn. 2. If necessary, open the Animation Producer settings box by choosing Render > Animation from the Utilities menu. 3. If necessary, open the Animation Actors tool box.
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4. From the Animation Producer settings boxs Settings menu, choose Parameters.
The Animation Parameters settings box opens, displaying the previously defined parameters.
Looking at the parameters:

v1 the velocity of actor GEAR1 is defined as 360.0/ maxFrame. That is, the gear will rotate one complete revolution during the animation (maxFrame is a built-in variable that
equals the highest frame number in the animation).

v2 the velocity of actor GEAR2 is set to be the same as v1. v3 the velocity of actor GEAR3 is set to be twice v2. That is,
In effect, scripting for each of these actors is simply a matter of multiplying the appropriate velocity by the frame number. GEAR1 is the one exception. This actor has the link (actor LINK) attached to it. In order for the link to be correctly aligned at all times, it
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it rotates twice as fast as GEAR2. This is calculated by counting the number of teeth in each of the gears (GEAR3 has only half that of GEAR2).

must be scripted to rotate in the reverse direction of its parent actor.
LINK GEAR1
Actor GEAR1 has LINK attached to it.
If actor GEAR1 is rotated, then LINK rotates with it.
Actor LINK must be scripted to rotate in the reverse direction to remain correctly oriented as GEAR1 rotates.
Script GEAR1 and LINK

1. In the Animation Actors tool box, select the Script Actor tool.
The Script Actor settings window displays a list of available actors.

2. In the settings window, double-click GEAR1.
The Script Actor dialog box opens. By default the Begin Frame value is set at 0.
3. In the End Frame field, key in 20. 4. In the Z Rotation field, key in v1*frame. 5. Click OK.
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6. In the Script Actor settings window, double-click LINK. 7. In the Z Rotation field, key in -v1*frame. 8. Click OK.
The dialog box closes and the script entry is added to the open script in the Animation Producer settings box.
Script entries are case-sensitive. If you see an error message such as symbol V1 not defined while entering a script, you may have used incorrect case.
Script the remaining gears

1. In the Script Actor settings window, double-click GEAR2.
The Script Actor dialog box opens.

2. If necessary, in the End Frame field, key in 20. 3. In the Z Rotation field, key in v2*frame. 4. Click OK.
6. In the X Rotation field, key in v3*frame. 7. Click OK.
Animation Producer settings box, after scripting all actors.
You can preview and/or record the script and play it back to observe the motion. To create a longer sequence, with a smoother and slower motion, change the End Frame values of the actor
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5. In the Script Actor settings window, double-click GEAR3.

script entries or scale the script (choose File menu/Scale Script in the Animation Producer settings box).
To edit the End Frame value

1. In the Animation Producer settings box, double-click the entry for GEAR1. 2. In the End Frame field, key in 40. 3. Click OK. 4. Repeat steps 1 to 3 for the remaining actors.
You can also use simple equations to create quite complicated motion, as shown in the following sample file.
Planetary gears
The next sample file, plangear.dgn, illustrates the complicated motion in a planetary gear set. This file is ready for recording, with all parameters defined, as well as actors created and scripted.
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Open the sample file

1. From MicroStations workspace\projects\examples\visualization\dgn directory, open the design file, plangear.dgn.
Model in sample design file, plangear.dgn.
With a model such as this, only one-third of a revolution is required to simulate a complete revolution of the gears. During playback (with Loop turned on), the model will appear to rotate continuously. The output shaft has three equally spaced planetary gears driving it. When a third of a revolution has been completed, the model will look identical to when it is in its starting position. In this example, the input gear and each planetary gear has 12 teeth. The outer ring gear has 36 teeth. Each planetary gear, therefore, must rotate three times, to make a complete circuit of the outer ring gear. During this time, the input shaft must rotate four times, made up of: One rotation to match the circuit that the planetary gears make around the outer ring gear, plus;
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Three rotations to match the rotations of the planetary gears as they circle around the outer gear ring.
Each planetary gear rotates three times as it completes a circuit of the outer ring gear. To match the planetary gears, the input shaft must complete four rotations, for each complete circuit that the planetary gears make of the outer ring gear. It must match the three rotations that the planetary gear makes as it circles the outer ring gear, plus a fourth, to keep with the planetary gear as it circles around the outer ring gear.
In this model, actors PLANET and BEARING have been copied to create the remaining two planet gear assemblies. They were then attached to the actor OUTPUT. Only one script entry is required for each of PLANET and BEARING, and it is applied to all copies of the actor. To better understand how this sequence works, first inspect the parameters that have been set. These are used in the scripting equations for the actors.
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View the pre-set parameters

1. If necessary, open the Animation Producer settings box by choosing Render > Animate from the Utilities menu. 2. From the settings boxs Settings menu, choose Parameters.
Animation Parameters for sample file plangear.dgn.
Here, the last three parameters were developed from the first in the list, vInput. In this first parameter:
360.0 * 4.0 specifies the angle through which input shaft
rotates for a single rotation of the output shaft (four revolutions).

/3.0 * maxFrame only a third of a revolution of the output is required, hence the total angle is divided by 3.0. It is also divided by the built-in variable maxFrame to break the rotation down into that for a single frame.
Referring parameters back to a common source reduces problems if changes ever have to be made. For example, to animate the model for a full revolution requires only that the 3.0 divisor be removed in the vInput parameter. Notice in the scripting information for each of the actors that they refer back to the parameters: INPUT vInput*frame OUTPUT vOutput*frame PLANET (vPlanet-vOutput)*frame BEARNG (vBearing-vOutput)*frame When these equations are expanded: INPUT = (4/3 * maxFrame) * frame OUTPUT = (1/3 * maxFrame) * frame PLANET = (-3/3 * maxFrame) * frame BEARING = [(-20/35 * 3)/3 * maxFrame] * frame
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Ignoring the common divisors and multipliers, it can be seen that, for every four rotations of INPUT: OUTPUT rotates one revolution. PLANET rotates (in the reverse direction) three revolutions. BEARING rotates (also in the reverse direction) 20/35 of the three revolutions of PLANET (determined by the ratio of their radii). OUTPUT rotates once for every four
rotations of INPUT.
BEARING rotates 20/35 of that

Components of plangear.dgn, showing how they move in the sequence. for PLANET (20/35 is the ratio of their respective radii).
PLANET rotates three times

for every rotation of OUTPUT.
INPUT rotates four times for

every rotation of OUTPUT.
Outer ring remains stationary.
Universal joint
This example is contained in the sample file, ujoint.dgn, which is installed in MicroStations \workspace\projects\examples\visualization\dgn directory. It animates an assembly in which two parallel shafts are connected, through universal joints, by an angled connecting shaft. While the velocity of the input and output shafts are the same, the connecting shaft moves at a non-uniform velocity. This
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example can be hard to envision from written equations, but the sequence makes it extremely obvious. It is a good example of inputting a complex motion equation to produce the visual simulation of the motion.
Model of assembly in sample file ujoint.dgn.
All actors, parameters, and scripting have been completed in this file, ready for recording. While the first and third shafts rotate at a constant rate, the connecting rods rotation is defined by the relationship used to define the parameter angleConnect. For this model, the following parameters are defined:
jointAngle angle between the input shaft and the output shaft. In this model the angle between the connecting rod and shafts at both ends is 60. vInOut angle of rotation per frame, of the first and third shafts, which rotate at the same rate, 360.0/maxFrame. angleInOut actual angle of rotation of the first and third shafts, at any given frame. Defined as vInOut * frame. That
is, the rotation per frame, multiplied by the frame number.

angleConnect the angle of rotation of the connecting rod,
calculated from the equation:

atan (tan (angleInOut)/cos(jointAngle))
When this sequence is recorded and played back, you will notice the non-uniform rotation of the connecting rod, compared to the input and output shafts, which rotate at a uniform rate.
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16
Path Control and Camera Movement

You can script actors to move along a defined path. Likewise, you can script cameras and their targets to move along defined paths. In this way you can control both where a camera is located, and where it is aimed.
Defining paths
To best learn how these features operate, work through the following exercise, using the sample file, defpath.dgn.

1. From MicroStations workspace\projects\tutorials\visualization\dgn directory, open the design file, defpath.dgn.
This design should have views 1-4 open and oriented as Top, Isometric, Front, and Right respectively. Levels 2 and 63 (only), should be turned on in each view (as shown below).
2. Use the Fit View view control to fit each view. 3. If necessary, open the Animation Producer settings box by choosing Render > Animation from the Utilities menu. 4. If necessary, open the Animation Actors tool box.
Sample design defpath.dgn.
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In this design the dashed line is the path around which you will throw a boomerang. You will also script the boomerang, parametrically, to spin as it moves around the path. For the exercise, the boomerang actor is pre-defined, ready for use.
Define the path for the actor

1. In the Top view, use the Window Area view control to zoom in on the boomerang and the other end of the dashed line. 2. In the Animation Actors tool box, select the Define Actor Path tool. 3. In the Define Actor Path settings window, double-click Brang.
The actor Brang highlights in each view.

4. Identify the other end of the path (dashed line). 5. Accept.
The Define Actor Path dialog box opens.

6. In the End Frame field, key in 90. 7. From the Velocity option menu, choose Constant. 8. Click OK.
Brang
Defining the path for the actor Brang.
To check that Brang has been attached correctly to the path element, preview the motion.
Preview the actor moving along the path

1. Use the Fit View view control to fit the Top view. 2. From the Animation Producer settings boxs View option menu, choose View 1.
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The dialog box closes, and the script entry for the path is added to the open script in the Animation Producer settings box.

3. From the Animation Producer settings boxs Settings menu, choose Preview.
The Preview Settings box opens.

4. In the Preview Settings box, turn off Clear View Between Frames. 5. Turn on Animated Elements and Static Elements.
This ensures that both the animated element and the stationary objects will display in the preview.
6. In the Animation Producer settings box, click the play button.
The actor moves around the defined path. Because the view is not cleared between frames, you see the location of the actor for each frame. This is useful for determining whether you have defined sufficient steps to adequately animate the motion, or to check for interference.
7. In the Preview Settings box, turn on Clear View Between Frames. 8. Again, click the play button.
The actor moves around the defined path, this time with the view cleared between each frame.
With Clear View Between Frames turned off, each frame is left displayed on screen, until the next update.
With the boomerangs path defined, the next task is to script it to spin. You do this using parametric motion, where a formula defines the amount of spin per frame.
Script the boomerang

1. In the Animation Actors tool box, select the Script Actor tool. 2. In the Script Actor settings window, double-click Brang.
The Script Actor dialog box opens.

3. If necessary, in the End Frame field, key in 90. 4. In the Z Rotation field, key in 60*frame.
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This will make the boomerang to rotate 60 per frame.
5. Click OK.
7The dialog box closes, and the script entry is added to the open script in the Animation Producer settings box.
6. Click the play button to preview the motion.
The boomerang spins as it moves around the path.
Double-click the actor name to open the Script Actor dialog box.
Click the OK button to enter the script entry in the Animation Producer settings box.
With animations such as this, you may find it necessary to check for clashes at various points in the sequence. You can do this using the controls in the Animation Producer settings box, but more flexibility is available with tools in the Animation Preview tool box. Using these tools you can freeze the actors at any frame in the sequence. With this tool, the actors move to their positions for the selected frame number. Note that this is different from previewing the motion, which is a display action only. After previewing, when you update the view, it returns it to its original state, with the actors in their original positions.
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Use the Freeze tool to check the animation

1. If necessary, open the Animation Preview tool box. 2. In the Animation Preview tool box, select the Freeze tool. 3. In the tool settings Current Frame Number field, key in 40 (press enter to complete the key-in).
The boomerang moves to its position for frame 40. This can be seen in all views. Simultaneously, the Animation Producer settings box updates to show frame 40 as the Preview frame.
4. Now, in the Current Frame Number field, key in 50.
The boomerang moves to its position for frame 50. This can be seen in all views. Using this method, you can quickly check for any interference.
All actors are affected by the Freeze button, whether they are visible in the view or not, and whether their level is displayed or not. Similarly, you can use the Animation Producer settings box to freeze actors at particular frame numbers. Use this method to return the geometry to its starting position.
Return the geometry to the start position

1. In the Animation Producer settings boxs Preview field, key in 0. 2. In the Animation Producer settings box, click the Freeze button.
The boomerang moves back to the start position. Other tools in the Animation Preview settings box let you quickly examine the animation sequence in any view. Similarly, you can step through the sequence frame by frame.
Play the animation in different views

1. In the Animation Preview tool box, select the Play Animation tool.
The animation plays in the selected view.

2. Enter data points in other views.
Entering data points in other views starts the animation playing in the newly selected view. The View number updates in the Animation Producer settings box.
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Step through the sequence

1. In the Animation Preview tool box, select the Preview Next Frame tool. 2. In View 1, enter several data points.
The boomerang moves to the next frame number for each data point.
3. In View 3, enter more data points.
For each data point, the boomerang moves to the next frame number in the newly selected view. Updating the views, returns the boomerang to its original position. The preview tools are display only, no geometry is moved. Only the Freeze tool moves the geometry to its position for a selected frame. In the previous example, you moved an object along a path. As well you used parametric motion to animate the object as it moved along the path. In the following exercise you will add a camera view to the sequence.
Scripting cameras
You can script cameras to film the animation. Also, just like actors, you can script cameras to move along a path, while being aimed at a target, which can be either stationary or moving.

1. Make level 1 the Active Level and, for each view, turn on the display of levels 2, 62 and 63. 2. If necessary, turn on the view attribute Constructions for each view. 3. Use the Fit View view control to fit each view. 4. In the Top view, use the Window Area view control to zoom in on the area displaying the green circle, and the start of the boomerang path.
Create a camera
1. Open the Animation Cameras tool box.
You can do this by tearing it off the Animation Tools tool frame (top right icon) or by selecting Tools/Visualization Tools > Animation Cameras.
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2. In the Animation Cameras tool box, select the Create Animation Camera tool. 3. If necessary, from the Standard Lens option menu in the Create Animation Camera settings window, choose Normal. 4. In the Cell Scale field, key in 30.
This makes the camera cell large enough to be readily visible. The scale factor is dependent on the working units setup of the design. The camera cell is dynamically displayed.
5. Snap a tentative point to the center of the green circle at the lower left of the Top view. 6. Accept.
The camera view cone is dynamically displayed, with the target point attached to the pointer.
7. Snap a tentative point to the start point of the boomerangs path (the dashed line). 8. Accept.
The Create Camera dialog box opens.

9. In the Name field, key in cam1. 10. In the Description field, key in camera at start. 11. Click OK.
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Creating the animation camera.
Having created the camera, next you script it. This procedure tells the animation process from which frame to view the action from this camera.
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Script the camera

1. In the Animation Cameras tool box, select the Script Camera tool. 2. In the Camera List, double-click Cam1.
The Script Camera dialog box opens.

3. If necessary, in the Begin Frame field, key in 0.00. 4. Click OK.
Double-click on the camera in the camera list to open the Script Camera dialog box. Scripting the animation camera.
Now the camera is focused on the beginning of the boomerangs path from frame 1. That is, throughout the sequence, the camera is aimed at the beginning of the path. In order to have the camera follow the boomerang, you have to script the boomerang to be a target.
Script the boomerang as a camera target

1. In the Animation Cameras tool box, select the Script Target tool. 2. In the tool settings Actor List, double-click Brang.
The Script Target dialog box opens.

3. If necessary, in the Begin Frame field, key in 0. 4. If necessary, in the End Frame field, key in 90.
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5. Click OK.
Scripting the camera target.
Preview the animation

1. Make level 2 the Active Level. 2. Turn off all other levels in View 3. 3. From the Animation Producer settings boxs View option menu, choose 3. 4. Click the play button.
Notice that view 3 becomes a camera view, displaying perspective, and the camera now follows the path of the boomerang as it flies around the scene. For the final part of this exercise, define a path for the camera to move along as it is filming the boomerang. The path already is present in the design file, on level 61.
Prepare to define the camera path

1. In the Top view, turn off levels 62 and 63. 2. In the Top view, turn on levels 1 and 61. 3. Use the Fit View view control to fit view 1.
Along with the model, the camera and a large green arc, which nearly circles the model, are visible. You define a path for a camera the same way as for any other actor.
Define the camera path

1. In the Animation Actors tool box, select the Define Actor Path tool. 2. In the Define Actor Path settings window, double-click Cam1.
The camera highlights.
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3. Identify the arc at its endpoint (slightly to the left and above the camera). 4. Accept the path.
The Define Actor Path dialog box opens.

5. If necessary, in the Begin Frame field, key in 0. 6. If necessary, in the End Frame field, key in 90.
The dialog box closes, and a script entry is added to the open script in the Animation Producer settings box.
Defining the end of path for the camera.
3
Again, you can preview the animation. This time you will see that the camera moves around the model as it follows the boomerang in flight.
To record the animation, first turn on level 3, which contains a shape representing the ground.
Target cells
Where there is no actor to use as a target for the camera, you can create and script target cells using the Create Target and Script Target tools in the Animation Cameras tool box. Targets are special cells on which the active animation camera focuses during a sequence. Targets are useful also for creating walk-throughs. You can control the direction of the camera by scripting a target for it to follow.
Further examples
Two fully scripted examples incorporating animation cameras and targets are contained in the design files, hirise.dgn and
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7. Click OK.

racecar.dgn, both of which are installed in MicroStations workspace\projects\examples\visualization\dgn directory.
High rise building In hirise.dgn, the thick yellow complex chain circling the building is the camera path, while the single vertical line is the path of a target.
Animation Producer settings box, displaying script entries for sample design hirise.dgn.
Target path
Rendered image of the building in the sample design hirise.dgn, showing paths for camera (solid line) and target (dashed line).
Camera path
Inspecting the script for this sequence, notice that the camera is active from frame 0. The target also is scripted for the entire sequence (frames 0-299). The path for the target, however, is scripted for frames 99-299 only. That is, for the first 100 frames, the camera moves along its path, focused on the stationary target. From frame 99 (the 100th frame), the target moves (upward) along its defined path. Thus, by the time the camera reaches the end of its path, it is focused on the upper part of the building.
Racing car In the racecar.dgn example, the car follows a path along the road. Keyframes are used to turn the front wheels and steering wheel, while the wheels rotation is controlled parametrically. The default script, racecar.msa, shows the scene from the drivers viewpoint.
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In all, three cameras have been created, as well as individual scripts for each of the cameras. One of the scripts, shiftcam.msa, incorporates all three cameras: one mounted on the car, and pointed forward to provide a drivers eye view individual script racecam.msa. a ground level camera providing a spectators view at turn one individual script crowdcam.msa. a third camera providing views from above (a blimp or helicopter) individual script skycam.msa.
Shiftcam.msa incorporates views from all three cameras.
Looking at the script entries in shiftcam.msa, the first camera, CARCAM, is active beginning with frame 0. The second, CROWD, viewed from the spectators viewpoint at the first turn, becomes active at frame 40. At the same frame number, a target, BODY, is scripted. Attached to the body of the car, it ensures that the camera follows the racing car. The third camera, SKYCAM, becomes active at frame 81 and again follows the target attached to the car. The Velocity setting for each camera is Infinite, causing
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16
Animating Materials and Lights

the sequence to cut directly from one camera to the next at the specified frame number.
View from car
Crowd view
Skycam view

You can animate settings associated with material definitions, as well as global and source lighting, but you must script each setting individually. For example, if you want to change the color and the brightness of a light source, you must script the two settings separately. Similarly, you must script any material definition settings separately. This allows you the flexibility to change each setting at different points of the animation, if required. In the following exercises use the design, animsets.dgn, which has the actor created and scripted. As well, most of the material palette and assignments have been defined. In these exercises, after assigning one of the materials, you then script the materials, and the lighting.

1. From MicroStations \workspace\projects\tutorials\visualization\dgn directory, open the design file, animsets.dgn. 2. If necessary, open views 1 to 4, and rotate views 1 to 3 to be Top, Isometric, and Front views respectively. 3. If necessary, make level 9 the Active Level, and turn on levels 10 to 13 in each view. 4. Use the Fit View view control to fit each view. 5. From the Utilities menu, choose Saved Views.
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6. In the list box, select the saved view MOVIE. 7. From the Dest(ination) View option menu, choose View 4. 8. Click Attach.
The saved view is displayed in View 4. This view will be used for previewing and recording the animation.

10. Turn on Shadows, Transparency, and Pattern/Bump maps for all views. 11. Close the Rendering View Attributes settings box. 12. Use the Render tool to ray trace View 4.
Ray traced view of the sample model used for the exercises in animating lights and materials.
This model is an advertising sign that oscillates through 90. The signboard is illuminated, from inside, by a single Area light source that shines through the transparent front panel. To begin the exercise, you add an image to the material definition for the front panel. You then animate this light, turning it on and off. Around the edge of the sign is fluorescent lighting that is simulated, using the edging materials Ambient setting. You script this lighting also to turn on and off, as well as to change color during the animation. To complete the exercise, you script the image on the front panel to be animated.
Select a pattern map for the front panel of the sign

1. In the Rendering Tools tools box, select the Apply Material tool. 2. From the Material option menu in the Apply Material settings window, choose Sign-movie.
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16

3. Double-click the material preview box.
The Define Materials settings box opens.

4. From the settings boxs Shading option menu, choose Ray Trace.
Because the material is transparent, ray tracing is the best option for displaying it.
5. If necessary, from the Map option menu, choose Pattern. 6. Click Select.

7. If necessary, from the List Files of Type option menu, choose JPEG (JFIF) [*.jpg]. 8. Using the Directories list box, select MicroStations projects\examples\visualization\dgn directory. 9. From the list of files, choose ujoint01.jpg. 10. Click OK.
The Select Pattern Map dialog box closes and focus returns to the Define Materials settings box. The Replace button enables because a change has been made to the material definition.
11. Click Replace. 12. From the settings boxs File menu, choose Save Palette. 13. Close the Define Materials settings box.
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With the material definition changed, render view 4 again to see how the change affects the image. Notice that now the sign has an image of a mechanical model with universal joints.
Ray traced view of the sample model with the pattern map applied to the sign.
Before continuing, preview the sequence to see how the sign will move.
Preview the animation

1. If necessary, open the Animation Producer settings box by choosing Render > Animation from the Utilities menu.
The pre-defined script entries are displayed in the list box.

2. If necessary, from the View option menu, choose View 4. 3. Click the play button.
Animation Producer settings box, displaying the pre-defined script entries.
Notice that the sign remains stationary for a few frames, rotates through 90, then back to the starting position for the last few
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frames. Looking at the script, you can see that this has been done using two keyframes, START and ROT90.
Scripting source lighting

When you script settings for source lighting, each setting must be scripted separately. For this example, script the signs internal lighting to switch on and off.

1. From the Animation Tools tool frame float the Animation Settings tool box (bottom left icon). Alternatively, select Tools/ Visualization Tools > Animation Settings. 2. In the Front view, turn on level 1 to display the enter data fields of the Area light source.
These will make it much easier to identify the light source. If they do not appear, turn on the view attribute Constructions for the Front view (View 3).
Floating the Animation Settings tool box.
First, script the light to turn on at the start. To do this you script the intensity to change from 0 to 1 in the first 4 frames (frames 0 to 3).
Switch on the light at the start

1. In the Animation Settings tool box, select the Animate Source Lighting tool. 2. In the Front view, identify the Area light source.
The whole sign highlights because the Area light source is part of the actor, SIGN. The tool settings box displays the settings for Light-316, the selected light source.
3. In the tool settings, in the Frame Number field, key in 0. 4. From the Interpolation option menu, choose Linear. 5. From the Velocity option menu, choose Constant.
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6. From the Setting option menu, choose Intensity. 7. In the Intensity field, key in 0.
Animate Source Lighting Settings dialog box.
8. Accept the settings with a data point.
The script entry is added to the open script in the Animation Producer settings box.
9. Repeat steps 2-8, but with Frame Number set to 3 and Intensity set to 1.
This has scripted the light to be off at frame 0, and to power up to full brightness by frame 3 (the 4th. frame). Next, turn it off at the end of the animation.
Script the signs light to turn off at the end

1. Again, as above, identify the Area light source. 2. In the Frame Number field, key in 31. 3. If necessary, in the Intensity field, key in 1. 4. Accept the settings with a data point.
5. Repeat steps 1-4, but with Frame Number set to 35 and Intensity set to 0.
If you want to see the result at this stage you can record the script. For a test recording like this, make the View Resolution a small value (say 100 in the X Resolution field). The movie frames will be small but rendering time for the frames is reduced. If you record the script, make sure you set Shading to Ray Trace to get the correct effects from the Area light source.
Scripting materials
If you checked your work so far you would have noticed that the edging around the sign is very bright. This is due to the material definition for the edging having an Ambient setting of 5, well
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16

above normal. It is a simple way to give the effect of neon or fluorescent lighting without using light sources. Next, script the Ambient setting for the edging material so that it too starts in the off position and turns on over 5 frames.
Script the Ambient setting for the edging material at the

start
1. In the Animation Settings tool box, select the Animate Materials tool. 2. In the tool settings, in the Frame Number field, key in 0. 3. From the Interpolation option menu, choose Linear. 4. From the Velocity option menu, choose Constant. 5. In the Materials list select Sign-edging. 6. From the Setting option menu, choose Ambient. 7. In the Ambient field, key in 0. 8. Accept the settings with a data point.
Settings window for the Animate Material Settings tool.
9. Repeat steps 2-8, but with Frame Number set to 3 and Ambient set to 5.
As you did with the lighting for the sign, you now do the reverse to script the edging materials Ambient setting back to 1 for the end of the sequence.
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Script the Ambient settings for the edging material at the

end
1. If necessary, again select the Animate Materials tool. 2. In the tool settings, in the Frame Number field, key in 31. 3. From the Interpolation option menu, choose Linear. 4. From the Velocity option menu, choose Constant.
6. From the Setting option menu, choose Ambient. 7. In the Ambient field, key in 5. 8. Accept the settings with a data point.
9. Repeat steps 2-8, but with Frame Number set to 35 and Ambient set to 0.
If you record the script at this stage, you will see the light for the sign, plus the edging, go from dim to bright, the sign rotate through 90 and back, and the lights dim again. As was mentioned earlier, each setting for a light or a material has to be scripted separately. Now, script the edging material to change color.
Script color changes for the edging material

1. If necessary, again select the Animate Materials tool. 2. In the tool settings, In the Frame Number field, key in 0. 3. From the Interpolation option menu, choose Linear.
From the Velocity option menu, choose Constant. In the Materials list select Sign-edging. From the Setting option menu, choose Color. When Color is chosen as the setting, a Color button appears. This displays the current color of the material.
4. Click Color.
The Modify Color dialog box opens.

5. Use the controls in the dialog box to set the color to Blue (Red 0, Green 0, Blue 255 on the slider controls). 6. Click OK.
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5. In the Materials list, select Sign-edging.

The Modify Color dialog box closes, and focus returns to the tool settings box, where the Color button now is blue.
7. Accept the settings with a data point.
Clicking Color opens the Modify Color dialog box.
8. Repeat steps 2-7 but with Frame Number set to 17 and Color set to Red (Red 255, Green 0, Blue 0). 9. Again, repeat steps 2-7 with Frame Number set to 35 and Color set to Blue (Red 0, Green 0, Blue 255).
This sets the color of the edging to be blue at the beginning, changing to red by the halfway mark, and back to blue for the finish. Only one more script entry is required, to animate the universal joint that is displayed on the sign.
Scripting an animated material

Standard pattern maps are simply bitmapped images that are applied to elements in a design. In the sample file, a rendered image of the sample file, ujoint.dgn, is the pattern map that is used for the sign material. In fact, this pattern map is frame 1 of an animation sequence of that design. The remaining frames are installed in the same directory. Their names include sequential numbers. You can use this sequence as a (moving) material in the current design by specifying a Pattern Map increment. As there were 36
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frames in the universal joint sequence, they will fit in exactly with the open script.
Animate the image on the sign

1. If necessary, select the Animate Materials tool. 2. In the Frame Number field, key in 0. 3. In the Material list box, select Sign-movie. 4. From the Setting option menu, choose Pattern Map Increment. 5. If necessary, in the Pattern Map Increment field, key in 1. 6. Accept the settings with a data point.
The script entry is added to the open script in the Animation Producer settings box. That completes the scripting for this sequence. The script can now be recorded. If you find that 36 frames does not provide smooth enough motion, try scaling the script (choose Scale Script from the Animation Producer settings boxs File menu). For example, scale the script by a factor of 2.
Further example
Another example of this form of scripting is the sample design, poolanim.dgn, which is installed in MicroStations \Workspace\projects\examples\visualization\dgn directory. Open this design and check the script entries in the Animation Producer settings box. You will see that there are three entries for frame 0, two entries for frame 14, and three entries for frame 29. All entries apply to a single material, Water - trans, in the material palette file, poolanim.pal, as shown below.
Frame Number
0
Setting
Pattern X Size Pattern Y Size Pattern Angle Pattern X Size Pattern Y Size Pattern X Size Pattern Y Size Pattern Angle
Value
1.00 1.00 0 1.05 1.05 1.00 1.00 360
14 29
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From this you can see that the pattern map is rotated through 360 during the course of the animation. At the same time, it is scaled up between frames 0and 14, and then returned to its original size by frame 29. The effect of these changes is to give the water in the pool a realistic rippling effect.
Ray tracing should be used to properly display the transparent water material.
Ray traced image of the pool in poolanim.dgn.
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17 Tree View / Timeline Tutorial

This chapter introduces the Tree View and Timeline applications.
Introduction
Tree View and Timeline provide an alternative method for reviewing and amending your animation scripts. Using Tree View, you can quickly access all the components that may be animated. Timeline lets you vary the beginning and end frames for the various script entries, graphically. As changes are made, they are reflected in the script entries of the Animation Producer settings box. Similarly, any changes made via the Animation Producer settings box are reflected in the Tree View and Timeline settings boxes. In the following exercises work with a sample design file containing 3 cars that are scripted to travel around a race track.

1. From MicroStations \Workspace\projects\tutorials\visualization\dgn directory open the design file tvtltute.dgn.
This design file has been saved with View 1, an Isometric view, open. Levels 2 and 10 only, should be displayed.
2. From the Utilities menus Render sub-menu, choose Animation.
The Animation Producer settings box opens. Notice that the Animation Producer settings box has three Path script entries, one for each of the cars in the design. The path
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Introduction
element is located on level 63. Preview the animation to see how they move around the track.
Isometric view showing the track and the three cars.
Preview the animation sequence

x In the Animation Producer settings box, click the Play button.
The three cars move around the track in unison. You can vary the time taken for a car to complete a circuit by changing the number of frames in which the path is traversed.
Make the yellow car go faster

1. In the Animation Producers settings box, double click the Path entry for YCAR.
The Edit Actor Path dialog box opens.

2. In the End Frame field, key in 30.
3. Click OK.
The script entry in the Animation Producer settings box updates accordingly.
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Introduction
4. Click the Play button.
The three cars move around the track, but this time the yellow car completes the circuit far ahead of the other two. It finishes at frame 30, while the remaining cars finish at frame 50. Look now at another way to adjust animation scripts using Tree View and Timeline.

1. From the Animation Producer settings boxs Settings menu, choose Tree View.
The Animator Tree View settings box opens. In the list box, the file name appears next to the Bentley logo.
2. In the list box, click the Bentley logo (or double-click the file name).
The tree expands to display available categories.

3. Click the Actors icon (or double-click the word Actors).
The tree expands to display items for each of the actor cars.
4. Click the GCAR icon. 5. For the GCAR branch, click the Properties icon, followed by the Path icon.
Looking at the tree, note the branch attached to the Path entry is Frames 0-50, which is the path script for that actor. You can edit this entry from the Tree View.
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Tree View / Timeline Tutorial
Introduction
Edit the script entry, from the Tree View settings box
1. In the Tree View settings box, select the entry Frames 0-50 for the Actor GCAR, using the right mouse button.
A pop-up menu appears at the pointer location.

2. From the menu, choose Edit.

3. In the End Frame field, key in 40. 4. Click OK.
The entry in the Tree View settings box updates, as does the corresponding entry in the Animation Producer settings box.
Editing the Path script entry from the Tree View settings box.
5. Click the Play button to preview the changes to the script.
The three cars move around the track at different speeds. You have seen how an existing script item can be edited from the Animator Tree View settings box. Similarly, you can create a script entry by selecting Add from the pop-up menu. In the previous exercise, a number of keyclicks were required to expand the tree to the required depth. There is a simple way to go directly to the required level of information. First, compress the tree back to the start point.
Compress the tree

x In the Animation Tree View settings box, click the Compress
Tree button. The tree compresses.
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Introduction
To the left of the Compress Tree icon, is the Tree Expand Options icon. You use this to select the depth to which the tree will expand.
Expand the tree to the Path Frames level

1. In the Animator Tree View settings box, click the Tree Expand Options button.
The Tree Expand Options dialog box opens.

2. From the Options option menu, choose Expand to Frames. 3. In the All Actors section, turn on Paths. 4. Check that all other settings are turned off.
5. Click Execute.
The dialog box closes and the Animator Tree View settings box displays the tree expanded to the Frames script entries for the Path entry of each actor. This is a quick method to display the relevant information for every actor. However, other actor properties also are displayed. For this animation, there is no need to display Target, Script and Keyframes branches. You can turn these off with the Tree Filter button. When Tree Filter is enabled, only those items that are animated are displayed.
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Introduction
Turn on the Tree Filter

x In the Animator Tree View settings box, click the Tree Filter
button. The tree updates to display only the Path and Frames for each actor.
With the Tree Filter disabled, all items are displayed (left) whether they are animated or not. With the Tree Filter button depressed (right) the tree displays only those items that are animated.
We have looked at editing a script entry using the Tree View settings box. Another option is the Timeline settings box. First, send the script entries to the timeline.
Send a script entry to Timeline

1. In the Animator Tree View settings box, select the entry Path for the actor GCAR.
The selected entry is highlighted.

2. Click the Send to Timeline button (in the Animator Tree View settings box).
The Animator Timeline settings box opens. The script entry for GCAR Path is displayed. You can select multiple entries to send to Timeline also.
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Introduction
Send remaining script entries to Timeline

1. In the Animator Tree View settings box, select the Path entry for RCAR.
The entry is highlighted.

2. Hold down the <Ctrl> key and select the Path entry for YCAR.
Both entries now are highlighted.

3. Click the Send to Timeline button.
Both entries are added to the display in the Timeline settings box.
Where you want to send all valid script entries to Timeline, you can use the Tree Expand Options function to select them automatically. Before continuing and looking at this feature, delete the current entries in the Timeline settings box and compress the tree in the Tree View settings box.
1. In the Animator Timeline settings box, click the Remove All Entries button.
All entries in the Timeline settings box are deleted.

2. In the Tree View settings box, click the Compress Tree button.
You can now expand the tree and select the action script items for transferal to Timeline.
Expand the tree and select the action items

1. In the Tree View settings box, click the Tree Expand Options button.
The Tree Expand Options dialog box opens.
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17
Timeline settings box showing the script entries.
Introduction
2. If necessary, From the Options option menu, choose Expand to Frames. 3. Turn on Select Action Items. 4. If necessary, in the All Actors section, turn on Paths. 5. Click Execute.
The dialog box closes. In the Tree View settings box, the tree expands. All action items (Path entries) are highlighted.
6. Click the Send to Timeline button.
The highlighted entries are sent to the Timeline settings box. Notice in the text column, at the left of the Timeline settings box, is a description of each entry. This corresponds to the entry in the Animation Producer settings box. For example, GCAR Path in Timeline corresponds to Path GCAR in the Animation Producer settings box. The right side of the settings box displays, graphically, the entries. For example, GCAR Path is represented by a red line running from frame number 0 to 40, corresponding to the script entry. At each end of this line are handles, in the form of small black squares. You use these to adjust the beginning and end frame numbers for the script entry.
Adjust the beginning frame script entry for GCAR

1. If necessary, in the Drag Precision field, key in 1. 2. If necessary, stretch the Animator Timeline settings box until the frame scale displays frame numbers at intervals of 5. 3. For the entry GCAR Path, click and drag the left handle to frame number 5. That is, click on the left handle and, while holding down the data button, move the pointer to the right until it is under frame 5.
The current frame number (and time) is displayed in the lower left corner of the settings box.
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Introduction
4. Release the data button to complete the change.
Notice that the entries in both the Animation Producer and the Animator Tree View settings boxes changes accordingly.
Adjusting the beginning frame number for GCAR Path.
Current Frame number and Time is displayed as you adjust the handles.
GCAR to finish at frame 30 RCAR to finish at frame 25 YCAR to finish at frame 28

6. In the Animation Producer settings box, click the Play button to review the animation.
Notice that the green car (GCAR) starts moving later than the other cars. Both it and the red car (RCAR) take 25 frames to complete the circuit, but GCAR starts and finishes 5 frames later. You can move the entire path sequence in one operation, thus changing both the beginning and end frame numbers. You do this by clicking on the line between the begin and end frame handles in the Timeline settings box.
(Graphically) adjust the path script for GCAR

1. For the GCAR entry, click on the line between the handles and drag it to the left, until the beginning is at frame 0.
Notice that the beginning and end frame numbers appear in the message area in the lower left corner of the settings box.
2. Release the data button to complete the move.
GCAR now starts at frame 0 and finishes at frame 25. Similarly, you can copy an entry. For example, copy each script entry to make the cars do two laps of the track.
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5. Using the same technique, change the finishing frames for the cars, as follows:
Introduction
Where the total frames exceeds that displayed in the settings box, you first use the view controls in the settings box to display a greater range.
Zoom out the Timeline graphical display

1. In the Timeline settings box, click the - control button once.
The script displays update to display a larger range.

2. Reset to exit the zoom out function. 3. Use the scroll controls to set the display with zero at the left end.
Timeline display after zooming out the view and aligning frame zero with the left end.
Copy the script entries

1. In the Timeline settings box, while holding down the <Shift> key, click and drag (copy) the GCAR path entry to the right of the existing entry. 2. Using the frame number display in the lower left corner of the settings box, adjust the entry by moving it such that the beginning and end frames are 26 and 51 respectively. 3. Repeat the above steps for the RCAR entry. 4. Again repeat for the YCAR entry, except that the range will be from 29 to 57 for the copied path entry. 5. In the Animation Producer settings box, click the Play button to review the animation.
Notice that the cars now complete two laps of the track. Currently, the velocity of each car is constant. You can adjust these settings also, from the Timeline settings box.
Change the velocity setting for GCAR

1. While holding down the <Ctrl> key, click on the first half of the line denoting the GCAR path entry.
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Introduction
2. From the Velocity option menu, choose Accelerate. 3. Click OK.
The dialog box closes, the selected section of the red line changes to green in the Timeline settings box. Colors are used to display the velocity setting for path entries. You can display the key to these colors in the Timeline settings box.
Display the Velocity Key

x In the Timeline settings box, click the Show Velocity Key
button. The settings box updates to display the key.
The Velocity Key
Previewing the sequence shows the green car starts slowly but then catches the red car by the beginning of the second lap. As you have seen, in this brief introduction, you can use Tree View and Timeline to quickly and simply modify animation scripts.
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17-12
Index
A
AccuDraw 12-14 Active Depth 7-14 Actor attach one to another 15-9 create 15-3 manipulate 15-7 parametric motion 16-8 path 16-19 preview motion 15-14 script 15-12, 16-10 test range of motion 15-7 animation cameras create 16-23 path 16-26 script 16-25 Animation Cameras tool box 16-23 Apply Material tool 13-12 Arc by endpoint, center, and sweep angle 5-5 Area light sources 12-23 copy 12-30 create 12-25 visibility 12-27
atan 16-17
Button check box 1-6 in dialog box 1-6 Reset 1-12
C
Cell 5-1 Active 9-24 designate Active 9-24 place Active 9-24 point 11-11 preview 5-2 use as label 9-23 Cell Library 5-1 multiple 5-1 use of multiple 5-1 Check Box 1-6 Circle 1-14 Closed Tee Joint 4-6 Copy, area light source 12-30
cos 16-17
Attach Reference File 6-2, 6-5 Attach Actor tool 15-9 Automatic Fill In Enter Data Fields 9-21
Create Actor 15-4 Animation Camera 16-23 design file 7-2 Custom Line Style define 11-5 name 11-6 stroke pattern see Stroke Pattern Cut All Component Lines 5-3
B
bump maps add to material definition 13-19 apply to material 13-19 height 13-8 select 13-7
D
Data Point 1-11 Define Actor Path 16-19, 16-26 Light 12-16
i-1
Index: E
DEFINE LIGHTS key-in 12-30 Deformation 16-2 Delete Element 1-18 Design File create 7-2 save as to create backup copy 2-2 Dialog Box non-modal (settings box) 1-7 Dialog Box Item (Control) 1-6 check box 1-6 field 1-7 list box 1-7 option button/menu 1-7 Dimension Element 9-5 Size with Arrows 9-3 typical 9-9 Dimension Settings alignment 9-6 text location 9-14 Drawing Composition 10-2 attach view by folding 10-5 create sheet file 10-2
F
Fence extend 6-7 Stretch 6-7 Field 1-6 File settings see Settings Group File Menu Exit 1-22 Save As 2-2 Fill In Single Enter Data Field 9-21 Fit View 2-3 Foot-candles 14-3 Frame count 15-20, 16-15 number 15-12 Freeze 16-3, 16-22
G
Global Lighting 12-1 ambient 12-2 flashbulb 12-2 Grass 13-20 Groups > Edit 11-2
E
Element delete 1-18 Selection 1-19 undelete 1-19 Element Mesh 14-6 Enter Data Field fill in automatically 9-21 EXIT 1-22 Exit 1-22 Extend fence contents (stretch) 6-7
H
Help browse 1-16 contents 1-17 display 1-18 hypertext 1-17 search for keyword 1-17 topics 1-17 tracking 1-18 window 1-18 Hypertext 1-17
i-2
Index: I
I
Image > Movies 15-24 Input Focus 1-20 AccuDraw window and 3-2 Interpolation 16-1
List Box 1-6 Lumens 14-3 Lux 14-3
M
Manipulate Actor 15-7 Marble 13-27 Material ambient lighting and 12-24, 16-36 apply 13-12 bump map see Bump Map color 16-37 copy definition 13-23 define 13-2 edit definition 13-10 grass 13-20 marble 13-27 pattern map see Pattern Map preview application to element 13-10 script characteristic 16-36 transparency 13-16 usage of existing definition 13-14 water 13-16, 16-39 Material Palette default directory 13-11 Material Table default directory 13-11
maxFrame 16-15
J
Joint multi-line 4-6
K
Keyframing 15-16 interpolation between frames 16-1 preview 16-3 velocity 16-1 Key-in 1-19
L
Light Source animate 16-34 attenuate 12-31 back 12-17 brightness 14-3 create 12-16 delete 12-20 fill 12-18 intensity 16-35 key 12-16 Point 12-16 scan for 12-21 script 16-34 setup 12-11 Spot 12-21 standard setup 12-11 Line 1-10, 3-2 delete 1-18 select 1-19 Line String 1-13 Line Style custom see Custom Line Style standard 11-3
Menu option 1-6 MicroStation PowerDraft buttons see MicroStation PowerDraft Buttons start 1-8 Motion along path 16-19 animation camera 16-26 hierarchical 15-11 parametric control 16-8 preview 16-19 range of 15-7 Move Reference File 6-5 Movie see Sequence
i-3
Index: O
MSA File 15-22 Multi-line cut all component lines 5-3 Preview actor motion 15-14, 16-19 application of material 13-10 keyframe 16-3 material 13-10 settings 15-14 Procedural Texture 13-22 3D 13-22 edit 13-27 edit values 13-27 three-dimensional 13-22 Projection, three point 12-15
O
Option Menu 1-6
P
Parameter custom 15-20 define 15-20 Parametric Motion see Motion Patch brightest unshot 14-12 size 14-6 unshot 14-12 Path actor 16-19 animation camera 16-26 Pattern Map animate 16-38 increment 16-38 rotate 16-39 select 13-7, 16-31 weight 13-6 Place Active Cell 5-2 Arc by Center 5-5 Circle 1-14, 1-18 Line 1-10, 2-9 Line String 1-13 Multi-line 4-4 SmartLine 3-2 Text 9-17 Place Text 1-15 Point cell 11-11
Q
QUIT 1-22
R
radiosity solving 14-1 light source brightness and 14-3 maximum element sub-divisions 14-8 minimum illumination threshold 14-16 monitor in progress 14-15 samples 14-14 stopping conditions 14-15 Radiosity, ray tracing and 14-1 Ray Tracing, radiosity and 14-1 Reference Files 6-2 attach to active design file 6-2, 6-5 move 6-5 scale 6-4 Render > Animation 15-2 Rendering > Radiosity 14-4 Rendering Database clear 14-15 keep in memory 14-15 Rendering Settings view attributes 13-14 Reset button 1-12 Rotate pattern map 16-39
i-4
Index: S
S
Save As 2-2 Save, script 15-22 Saved Views 10-1 Scale at which design is displayed see Zoom Reference File 6-4 Scan 12-21 Script Actor 15-12, 16-10 animated material 16-38 Animation Camera 16-25 edit 15-15 file 15-22 keyframe 15-17, 16-4 light source 16-34 material characteristic 16-36 parametric motion 15-12, 15-21, 16-10 save 15-22 Selection 1-18 Sequence, play 15-24 sequences. See animation sequences, flythrough sequences 15-24 Set Display Depth 7-18 Settings file see Settings Group Settings Group activate 4-3 component 11-3 create 11-3 Settings Menu Groups > Edit 11-2 Settings menu Rendering > Radiosity 14-4 Shadow boundaries 14-7 solar 12-7 Shot effect of more 14-10 samples per 14-14 SmartLine 3-2
solar sequences 15-24 Spot light sources 12-21 Starting MicroStation PowerDraft 1-8 Stroke Pattern dash stroke 11-7 gap stroke 11-7
T
tan 16-17
Text editor see Text Editor Window Text Editor Window clear 9-19 Text Settings group component 11-9 Texture multi-level interpolation 12-24, 13-21 Tool Box, Animation Cameras 16-23
U
Utilities Saved Views 10-1 Utilities menu Image > Movies 15-24 Render > Animation 15-2
V
Velocity 16-1 View attributes for rendering 13-14 magnification see Zoom rotation 7-23 View Attributes display depth 7-18, 7-22 View Cone 12-15
W
Water 13-16, 16-39
i-5
Index: Z
Window Area 2-5 Select Settings 4-3
Z
Zoom In 2-6 Out 2-6
i-6

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Ms Tutorialworkbook v7 1

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MicroStation/JTM

MicroStation/J Tutorial Workbook

MicroStation/J Tutorial Workbook

3. AccuDraw and Other Drafting Aids

MicroStation/J Tutorial Workbook

Table of Contents: Working with Cells

5. Working with Cells

6. Working With Reference Files

MicroStation/J Tutorial Workbook

Table of Contents: Labeling a Design

10.Automating Drawing Production

11.Settings Groups and Custom Line Styles

12.Lighting for Rendered Images

13.Creating and Applying Material Definitions

MicroStation/J Tutorial Workbook

Table of Contents: Introduction to Radiosity Solving

14.Introduction to Radiosity Solving

16.Animation Exercises and Examples

MicroStation/J Tutorial Workbook

Table of Contents: Tree View / Timeline Tutorial

17.Tree View / Timeline Tutorial

MicroStation/J Tutorial Workbook

MicroStation/J Tutorial Workbook

Part I: MicroStations Fundamental Tutorials

Your First MicroStation Session

Using the Mouse

MicroStation/J Tutorial Workbook

Primary tool bar Main tool bar View window (1 of 8)

Standard tool bar

Tool Settings window

MicroStation/J Tutorial Workbook

Your First MicroStation Session

The application window is arranged by default as follows:

Design File Settings box

MicroStation/J Tutorial Workbook

<Shift-Esc> <F6> or <Alt-Tab> <Shift-F6> or <Alt-Shift-Tab>

To move the input focus from one window to another

or Press <Alt-F6> until the desired windows title bar is highlighted.

Using Dialog Boxes and Settings Boxes

MicroStation/J Tutorial Workbook

Your First MicroStation Session

Menus in dialog boxes and settings boxes

File menu in Open Design File dialog box.

MicroStation/J Tutorial Workbook

MicroStation/J Tutorial Workbook

Your First MicroStation Session

Exercise: Starting MicroStation

Start MicroStation (Windows)

When MicroStation starts, the MicroStation Manager dialog box is displayed.

MicroStation Manager dialog box

Create a design file

The Data button is

MicroStation/J Tutorial Workbook

Create Design File dialog box

MicroStation Manager dialog box

MicroStation/J Tutorial Workbook

Your First MicroStation Session

MicroStations screen when mydesign.dgn is opened.

Exercise: Using a drawing tool

Place a line element with the Place Line tool

As you drag, a rectangular outline of the additional tools is displayed.

MicroStation/J Tutorial Workbook

Dragging the pointer to place a line.