Understanding 3D Assembly & Toolpathing - A Vectric Tutorial

good evening everyone and welcome back to another episode of spindle tv my name is lainey shaughnessy if you're just joining me for the first time tonight i will be your host for the evening and uh tonight we are going to discuss 3d modeling uh some of my viewers are just getting started uh with cnc some of them some of you guys and girls have been around for a long time and a lot of times like with our new customers at digital wood carver and all we tell them to crawl before they run uh meaning you know kind of get started in the vetrix software whether it be whether it be vcard desktop pro or aspire you know make your signs v carving pocket cuts and things like that and then you know venture into 3d modeling because there's a few more steps and stuff to do so what i would like to do is i would like to open up this class and start with uh understanding the basics of 3d modeling using some of the clipart that comes with the software as well as importing models how to import uh you know 3d models and files and going through that orientation process not orientation like getting start orientation i'm talking like how to orientate a model that you import in go through that orientation window and then we're going to uh once we have that understanding and all then we're going to step it up we're going to build some models we're going to do some 3d modeling and we're going to do some assembly uh working between we're going to go kind of the introduction and vcarve pro just so everybody knows what's going on and then i'm going to switch over to aspire and talk a little bit about the aspire tools and we're going to do a little bit of assembly in there as well and end up with a finished product so if you are very familiar with 3d modeling and everything great you know stick with us there might be something that you could pick up but if you're not familiar with 3d modeling and you're kind of wanting to venture into it this may just be the class for you but i hope everybody sticks around and we have a good time tonight and of course by all means i do have a chat area here where i can see you guys and girls communicating with one another uh definitely uh you know ask questions and i'll be happy to answer them along the way that being said let's go ahead and get into the vetric software and we'll get started so let's jump over to uh camera three that's my camera over there and let's get v car pro started wonderful and let's get me down uh let's go lower left hello down here in the corner how you doing and uh we'll get started now if you're uh watching for the first time and you haven't watched over the last couple of weeks definitely uh in your if you're watching on youtube uh down at the bottom of your youtube screen window there should be like a little gear icon uh that's your settings for your viewing pleasure click on that and it might by default uh have a low resolution turn that resolution up 1080p you know get a higher resolution that you can handle so that everything that you're seeing on the screen is not blurry for you that you can see everything uh and all that wonderful stuff uh so we are here in the veterinary car pro software now the the things that i'm going to be talking about to begin with can be done in desktop pro and aspire and we're going to kind of do a little bit of model building and assembly and kind of understand what the relationship is between two components how we can uh add subtract merge high merge low things like how we can bring models together to create a scenery and then also we'll talk about clipping and stuff so let's go ahead and get started i'm going to create a new file here and in this file we're going to go i'm going to go a pretty decent size i'll go 20 inches long and let's go uh 15 wide let's go 24 by 15. and i'm gonna go uh what do i want to do i want to go we'll stick with three quarter inches thick to begin with now by default when we are doing a job setup by default we have three model resolution options we have standard high and very high in our job setup now this uh plays a role because in the 3d view of our project where we're going to see our models if we're in a low resolution that pixelation that may occur in that model that's going to translate to the quality of the actual finish cut okay so um we want to be mindful of that and and everything so either choose a very high resolution that's what i recommend being your default or you can even also get into higher resolutions which generally aren't 100 necessary unless you're building models which we'll talk about when we get in the aspire but to see those additional options when you go in to set up a job when you're at your home screen here in vettrick hold your shift key down when you click on create a new file and let's go back to our 24 by 15 by three quarters and down here in my model resolution you'll see we have two additional options we have an extremely high resolution and a maximum resolution and you'll notice that uh there's a little in in parentheses uh is that parentheses yeah parentheses i think it is um but uh it'll say like seven times slower three times slower fastest and in this case 20 times slower that has nothing to do with the carving time that more so reflects the resolution as far as when it's building those 3d images or showing that 3d image in there how long it takes it to create that image so in our standard resolution which is the fastest it's a very low resolution uh 2 million pixels i believe 1 million pixels it is faster than in the extreme which is 8 million pixels it'll take 20 times longer to create it okay so i'm going to go with the extreme here i'm not building any models but still i'm gonna kind of create a high resolution your seven times your very high seven times slower option is a decent option for just you know general 3d modeling and stuff so you don't have to get too hung up with going extreme or maximum things maximum you'll very very very seldom find a reason for that so with that being said and uh for those of you that are enduring all these heavy storms and cold weather and everything man i uh uh i hope you're safe right that's all i can say uh oversafe i was going to say i wish i were there with you but that would be an untruth and i don't want to do any untruths to you guys girls because i do not wish i were there with you but be safe of course especially if you're out on the roads in these kind of conditions all right let's go ahead and um in my project here i want to go ahead and start assembling models now in our clipart clipart uh tab that's another term for where all of our 3d model components a component and a 3d model kind of the same thing are stored but also we have additional clip art that comes with the vectric software such as 2d vectors we've got some game layouts and and we've got molding profiles and things like that so all of that kind of gets bundled into our clip art tab uh with all of our tools and stuff now you may or may not have purchased models uh from a website like design and make or etsy or ebay or something like that we'll get into x importing third-party model files in a moment those stls and objs and things but by default vectric models are dot v3 m and if you've never purchased a model off of a website like design and make that's owned by vetric it's kind of a sister company of vetric and all if you've never purchased a model from there when you do purchase models it gives you options it says do you want to in what type of file do you want v3m stl or i believe obj is even an option and if you're buying from design and make or if at any time it gives you the option of a dot v3m that's what you're going to want especially if you have desktop and pro desktop and pro i can only import one third-party model file into my designer project a third party model file would be like a stl obj dot x 3ds things like that but v3m those are native to the vectrix software and so i can import multiple v3m files into my project even if i have desktop and pro now with aspire we have a little bit few more benefits we can import multiple uh third-party model files and uh and also other other file types as well so we have a little bit of benefit with aspire and things but i'm working in pro so all the models and assemblies that i purchased from pro and things those are v3m files and so in design and make i have some different model assemblies that create you know different scenes or sceneries and things like that and um you know some of the scenes and stuff we want to bring in those models and kind of combine them together and create them together and all so let's go ahead and let's uh start off with a basic scene i'm going to drag and drop this lake scene in here and i'm going to size it up across my board okay that's a little too much there laney hold on a second let me size that back down a little bit uh let's get that let's get that uh size down just a little bit i'm gonna go right about there and let's get it centered so i'm going to go into my drawing tab and align to the center of my material and i'd like a little bit of a border a little bit of an edge around my project null so let's go ahead and now that i'm centered i'm going to hold my shift key down to keep it centered and i'm going to scale this down a little bit so that i have a little bit of a boundary around here now if you if you don't want to eyeball your boundary no problem let's go into the drawing tools let's take a rectangle tool and i'm going to click uh i'm going to snap my mouse to this corner here and hold down my left mouse button and i'm going to drag a rectangle to this corner so i've outlined my entire board with this rectangle making sure i have square corners and all and now i'm going to open up the offset tool and i'm going to offset inward about let's go with a three-quarter inch border all the way around and i'll create that offset let's go one inch let's undo that ctrl z to undo let's go one inch and uh create that offset all the way around so now i have that kind of border to work off of and stuff so now that i have that i can go ahead and size this up now the one great thing about uh the new or vetric software i believe it started in version 10 where we have clipping and stuff so um i'm going to move this up to right about here and i like it in that position and i'm going to go back to my alignment tool and just a line left to right make sure it's centered there but i could you know if there might be a certain scene that i want or a certain part of this scene i might i might not want you know a lot of this i might want just mostly the river or something well i can size this model up you know to where it's kind of a majority of the river is in there kind of taking up most of my scene and i have in my modeling tab down here my component tree where this model is the level that it's on i can turn on clipping and so if i select a vector and i'll use this border i can come in and with that vector selected i can turn clipping or apply clipping to that and what it will do is it will clip off whatever's outside of that vector so i can cut off what i don't want keep what i want i can even freehand draw outlines of the areas that i want and clip everything else away right so it's pretty cool that we can do that and uh let's make sure that i don't have any questions so far good if you have any questions just ask uh so what i've done here is i've got my boundary where i want my one inch border and i did scale up so i could get more of that river and stuff kind of get bring the scene closer if you will you know and i just use the clipping to get rid of everything else that's on the outside of it okay now that that level has a clipping associated to it i don't want to clip everything that i'm bringing in so what i'm going to do is right click and insert a new level this is like a layer when you're working with the 2d designs it's like a bunch of translucent stacks of paper on top of each other with different components on each one but when we look at it as a whole we can see the whole design and we can turn those layers on or off just like we can turn levels on or off by checking or unchecking them so i'm going to highlight my next level here level two and that'll be the level when i bring in these other components and stuff so let's go back to our clipart tab here and uh let's grab this uh wavy end uh right here this wavy end on this board and let's bring that in and i'm going to size this up here and i'm going to bring it here but i want to rotate it i'm going to rotate it so i'm going to bring it in and i want to rotate it so i'm going to hit uh the f9 key on my keyboard not f9 sorry the number nine key on my keyboard and i'm just gonna rotate this uh clock counterclockwise the number zero keys clockwise but i'm just gonna rotate this around uh basically i hit the f9 key uh four times and uh we'll get that there now of course i'm going to size it down a little bit i don't need it so big but what i want to make sure of is when i size it down that it um covers the lower part of my model my my my lake scene that it covers the lower part of my model and everything so that when i'm looking at this and you see how it combines we'll talk about combined modes in a minute but i want this to be kind of i want the lake scene kind of being in the background and i want this kind of raised up we're going to change the thickness and all that stuff in just a moment let's uh let's now i'll split the view uh so we should be able to see the upper and lower view here uh and things on what's going on but notice now that i brought this in let's go back to our modeling tab and on our tile here that wavy tile is what it's called i'm going to click on the black wrench and i'm going to go into the properties and i have a shape height right now currently of 1.26 inches well number one my board's only three quarters of an inch thick so can't have that let's go ahead and bring that down a bit i'm going to go just a half inch there or i might even go a full three-quarter but let's go a half because i want some kind of recess i want my frame and then i want this model to be kind of recessed back a little bit okay now notice how the models let's go back into a full screen view of this notice how my upper model here if i come in and let's deselect that if i tilt this a little bit notice how my latexine model kind of overflowed overflowed the model that i just added in and that's the how they combine right that's called an add mode in add mode you guys and girls who have been with me for a long time know that when we take something and when we add one model to another it's like taking a sheet a physical bed sheet and draping it over a car or another object that sheet is going to form whatever object is underneath it and that's exactly what's happening with the lake scene here it is draping over that other model and i don't want that i want the two models to merge together so what i want to make sure of is that my level 1 or my legacy my level one i'm gonna do the level instead of being in add mode let me see if my head's in the way here uh it's not i want to change that combined mode to a merge okay so that means that it'll merge with whatever's uh you know it's going to be with and the same thing with my uh level two i want that to merge also okay and once i merge those you'll see now that everything is now blending together okay cool uh hey crystalline and ronald and everybody that popped in and and again welcome everybody thanks for all joining and hanging out with me so now uh we have a model that is merged together it's blending together with one another uh and um so i'm happy with that now notice that uh my top of my trees here got trimmed a little bit and i'm fine with that because it's in the border but i may want to bring that down a little bit to get the points of those trees in there let's take a look at our 2d view and you can see that the point of that one tree is outside of that clipping border right that border that we clipped to so i'm going to go ahead and i'm going to take this and i'm going to hold down my shift key and i'm going to select the other component as well and i'm just going to use my down arrow key and i could use my mouse to drag them down and everything but i'm just using the down arrow key and i'm going to uh just bump them down okay and probably should have drug with my mouse because every time you bump it down it has to regenerate before you can make your next move and all that stuff but we're almost there one more time there we go now when i did that that has brought that model out of the clipping zone you know everything outside of that zone on that level one is getting clipped away so it brought it out of there and um you know uh now i can see the top of that little tree and stuff now mind you my outside range here this this guy here he's also i'd like to him to be clipped away too with my border because i'd like a frame all the way around so i got to decide okay do i since he is going to be in there maybe i just need to move him down uh to the clipping level um well let's uh let's drag them both down there uh the level that level one that's got the clipping on it so that way they're cut off all the way around as well yeah because i want you know when this gets cut i want my wooden my wood to have a frame around it if you if you will i can't physically build that frame uh with a model or anything if i was in a spire i could but now i'm just using the clipping okay so now that we have that let's uh go ahead and let's grab from our clipart let's grab our third model here and let's uh drag and drop uh him on the board more hurt could be a her [Music] okay um sorry if any of you are trying to call me i can't accept calls right now because i'm in a class okay so now i've brought in uh this other gentleman here my my little fly fisherman here let's go back to our modeling tabs and uh notice that he is kind of hiding in the in the woods a little bit there i mean if we zoom in you can see a little bit of red and a little bit of green now the red means that my model is selected the green outline is telling me that part of my model is obstructed by another model right it's merged and it's inside of that other model so what i need to do with him is i need to go into the properties and i need to give him a little bit of base height i got to bring him out so i have two options shape height and base height now shape height is going to extrude the shape and kind of puff it up or extrude the shape base height is just going to add some material underneath it right so in this case i want to do a little base height and so i'm going to come up and bring up a little under an eighth of an inch and as i bring up the base height you can start to see more and more of him start to come exposed so let's go a little bit more let's go around a quarter 0.24 and what i'm looking for is uh you know to bring him out now as i scale this model because i'm going to make him bigger because he's going to be in the forefront he or she could be a fisherman as well but this model is going to be in the forefront so i want it larger everything closer up is bigger everything further away is smaller so as i scale him up it's going to scale not only the x and y but also the z as well so if i come in here and select my fisherman i can uh size let me get this straight on so i can see everything there we go and i'm going to hold down my shift key and kind of scale him up and so as i'm scaling him or her trying to be politically right here uh you'll notice now he's getting thicker too you know uh if you look we're about 0.6 and also now he's really standing out so i may not need as much base height as i had before so let's reduce some of the base height because the model got thicker as i scaled him up and it's definitely him he's got a mustache but as i bring that down notice he starts to get lost in the trees right starts to get lost in the trees well now i have some decisions to make do i add a little tilt to the model like sticking a wedge under that model do i wedge it up and tilt it up do i do a little bit of fading so the model blends and disappears into another model or do i just kind of uh give it a little bit more base height and then do some tilting and fading right so we're kind of we got to figure out our combined method and so in the properties here what i'm going to do is you see this blue box right at the bottom here of the let's see if we can zoom in a little bit you see this blue box right here this box is similar to this box here and if i click on it it will open up my properties tab in this window and since i'm kind of primarily working in the 3d view i want to work with the properties in this 3d window so i'm going to close this window because i've got this one open now and now i can start to kind of manipulate and start to kind of mess around with things so first of all i'm going i am going to uh bring my model base up to a quarter of an inch 0.25 and just kind of bring it out just a little bit and i've got the back side of him is pretty good here it's just kind of the front side right at the front of his face and his fishing pole and all that so now i can start to do a little bit of tilt okay a little bit of tilt and so um let's add a tilt here now a tilt is like sticking a wedge okay a wedge under the model and wherever i stick that wedge there's a thin part of the wedge and a thick part of that wedge well when i have the hiccup sorry when i click on the set button i get a little anchor here with a number one next to it on my mouse and that means i'm it's my first click so wherever you click first that's going to be the thin part of the wedge once you do that first click and i want to i want the thin part of the wedge over here on the back side of him now my anchor changes and i have a number two next to it so this is my second click this is going to be the thick part of the wedge so i want to kind of be out here on the outside of the model and i want to just click that second part and now i can adjust the degrees of that wedge that tilt so let's go ahead and let's go 1.2 degrees not very much to begin with and you can start to see he's lifting up more and more and let's go 1.4 let's go 1.6 and we're starting to look good there okay and let me get him uh into a position where i finally want him let me move him down a bit and let me get him out in the water just a little bit more okay now looking at this i'm still getting cut off in the nose but i've got to be careful on how much tilt and fade that i do because of the simple fact of if we look at the fishing line here if i come in and tilt this board a bit you can see my fishing line is getting quite tall and it's really skinny okay so the more meat that i add to it the less kind of stable that model is going to be so i've really got to kind of start figuring some things out so what i'm going to do actually is is on my lake scene i'm going to go into the properties of that lake scene i want to see exactly how thick that late scene is lyxing is and it's a half inch thick i don't need it that thick so i'm going to go ahead and just reduce this down to about 0.4 oops too many decimal points there 0.4 and i'm going to bring that z height down a little bit on that shape height so that now my uh object is uh standing up you know above and i don't have to give it too much more tilt or fade now one of the great things uh uh one of the good things with aspire is we have a tool that allows us to add some draft to a model some angle instead of that straight skinny narrow piece we could add a little bit of base meat but we don't have that feature in desktop pro so we got to be careful and deal with what we've got in front of us accordingly so uh bringing that down to 0.4 brought my model out some more i still need to do a little bit of fading i haven't done any fitting yet to have him disappear into this ledge here but the one thing that you know i need to really kind of think about is is do i want this thin piece of material sticking that high up if i tilt this you can see how by sticking that wedge under there that tilt i've really tilted it up high and i've got a lot of base meat under that model so we got to start kind of adjusting and accordingly and everything so here's what we're going to do i'm going to click back on this blue tab here to bring the properties back up from my fishermen and i'm going to uh come in uh bear with me a second let's get back on our fishermen make sure it's the one that's selected so i can go in the properties of him and now that i've reduced that background a little bit by point four i'm going to bring down my tilt a bit so let's bring down that till a little bit let's go 0.08 let's see if we lose anything within our trees and stuff so no uh we didn't we still have our face let's get this kind of where we can all see it you know so by reducing that tilt i haven't lost anything let's go ahead and reduce that tilt a little bit more because that's going to help reduce some of that base meat that's under the fly rod line so let's bring that down a little bit and i'm gonna go point four and now i'm gonna take the roller wheel on my mouse and i'm going to um start to change that kind of one by one will it let me with my mouse no okay so the roller wheel won't work with my mouse too much let's bring that down to no tilt okay so now i'm at a zero tilt and my model is still well above the trees and everything nothing's getting lost or hidden so i can actually i'm just gonna turn the tilt off i didn't need it after all i just needed to go back and reduce my background a little bit okay all right so now with that being said can i reduce some of the base height can i bring some of the base height in and still maintain my fisherman and he's kind of the one i'm really concentrating on because he's in the forefront he's got to be above everything else so let's bring that down i'm going to bring it down to about um 5 30 seconds and can't do that you see once i do that and now i've lost his face and his arm right so i gotta kind of uh find that happy spot where let's go 0.18 a little under uh 3 16. uh still not much so i think i'm going to have to keep him right around a quarter let's go 0.21 nope all right so he's going to his base height is gonna have to be up based on based on everything as it stands right now so we are gonna have to bring him up uh and get him up there and that's fine we can deal with that now i have the issue of his legs i need his legs to be blended in to this base that's underneath okay and uh with that that is a fade i'm going to have him fade into i don't want to tilt him i don't want to bring out his head uh you know i don't want to put a wedge in there and tilt it i just want him to start to fade away into that other model all right so let's go ahead and let's click on our fade now this one's a little bit different when i click my first time it's the area that i want to keep and my second click is what i want to fade towards fade into so i'm going to click up here by his head one and then i'm going to come down here by his legs two and by default my fading is going to kick to 50 percent right and um i may not need that 50 but by default it jumps into 50 so i'm going to reduce that down to about 25 and then i'll work from there what i want is i just want him blending into the top of this ridge and just right there just right there at 25 his leg is just coming out of that top lip down here so let's go ahead and bring that up just a little bit so let's go 28 percent i just want them right you know to fade away into that surface a little bit more i think we're going to be at 30 and that should do us there we go and once again i just want him to fade right at that top edge okay alright so we have just successfully combined some model components together and now i want to step away from models and i want to add some text in here right now i'm adding a 2d component to my 3d design so far right so um yes joseph uh to interrupt joseph friendly are you going to discuss zero planes and how they work yes i surely will um we'll get into that in just a moment uh the with the uh model here matter of fact let's stick with this and talk about zero plane for a minute uh then we'll move into the text so on my model here my border is a one inch border all the way around and here uh and the bake back or the base of this model there's nothing so when this 3d design starts to carve it's carving from my three quarters of an inch down down down to create the models in the trees well when it starts to carve this area in here there's nothing there right so by adding a zero plane i'm adding a layer of material that has a zero shape height uh so if i click on that and add the zero plane in there i'm filling in this area with material okay so if we turn this uh to the side not that far let's tilt it back here i've basically added some material in here that is um number one i need to move it down to the clipping layer because i want it clipped away as well i still want my wood border around right but now i've added some material in the background now i'm going to add a little bit of meat now keep in mind my board is going to be three quarters of an inch thick my model when it's all said and done may only be 5 8 of an inch thick that means i've still got an eighth inch of meat underneath that model i'm not going to physically cut through my table right but what if my model was three quarters of an inch thick you know uh then at those trees it's going to cut through into my wasteboard table and there's going to be a big hole in the background i'll never forget a customer was doing a long project a it was a the last supper and the background behind the table and all the apostles and jesus and everything the background had an opening there was no zero plane or anything there beautiful piece of material thick model and everything as it carved through everything was looking great but when it got to the background it milled it all away so there was just a big old hole you could see through you could see all the model and everything was great here but the top portion around their heads and everything was nothing gone milled away because there was no kind of no zero plane there no kind of material there because the model was just as thick now this particular zero plane if we open up the properties tool um this particular zero plane has no base height and let's spin this thing around so we can kind of see up here uh on the kind of the top side and all spin around spin around get right there we're looking at it upside down now and if i give my zero plane some base height let's go an eighth of an inch i've got to be mindful of what that bass height is going to do is is it going to cover up any of my model how is it blending is it just is it just kind of pushing the model up what's happening well what it did was that zero plane pushed everything up now you can see that my by that eighth of an inch now you can see my fisherman is buried back in there again right so i may want my zero plane to merge with the other model okay so let's change that okay so i get my model back but now it's merged with the model and it's cut out everything there's there's there's the lake is gone the ripples in the water because it's just too thick right so let's bring that down to a sixteenth of an inch okay we're starting to get some of our ripple back let's go a 30 second 03. 0 3 1 2 5. and for those of you that don't know decimals and fractions and all that you can add in uh you can just type in the fraction and just hit the equal key on your keyboard and it'll do the uh fraction to decimal conversion for you okay all right so looking at this even at a 30 second and i do want to have some base there and everything right so uh it's covering up my mountains so what i'm going to do is i'm going to go into my mountains or my lake scene my lake scene and i'm just going to increase that lake scene by the same 30 second just to get it kind of back on top and now i have uh some material behind there that if my model was three quarters of an inch thick you know i've got some background wood right so i'll at least have a 32 inch of material right but we don't want that we want to carve our material out of you know you know as thick as possible now i've raised my lake scene up that 30 second you know so that it's not uh you know obscured by that zero plane but now that means i need to raise up my uh wavy end that's that board underneath by the same 30 second 03125 gotta kind of accommodate for that zero plane um and then i'm going to also my fishermen as well so let's add in i'm going to hit plus 0.03125 and hit the equal sign so i'm just adding that 30 second to that quarter of an inch to uh bring him up here all right and so now we're kind of back where we're but now we have some material back there we don't have just a void or a hole or anything so that's one use for the zero plane okay let's come in and turn this all off for a minute because we're going to start doing our text now but let me show you the second use for a zero plane let's say that i'm working with a piece of clip art that is in a dish or a dome a dish to be more specific let's go ahead and let's grab this light bulb here uh-huh okay and let's um let's go back in here and let's create a new level insert a new level and let's throw that light bulb back over there and turn level two back off so we don't have our fishermen fishing for a label he's got a bright idea that's what he's got all right so here we go we have a dish here that uh we have um no material around it right and so if i were carving this model and i let my bit go beyond the model you know uh boundary uh for whatever reason it's gonna go over and down it's going to plunge so when it's carving it's going to go over and down so if we were to create a tool path on this just as an example let's create a finish cut tool path on this i'm going to use um let's bring this up and click ok i'm going to use the eighth inch tapered ball nose eighth inch tapered ball nose where you hiding that right here and i'm going to use the model as the boundary okay but i want i want to kind of blend it at least i think that's what i'm doing right i want to kind of blend it so i'm going to let the bit go past the model by an eighth of an inch okay and let's go ahead and calculate that toolpath all right so now in our tool path here when we are uh carving let's preview that cut okay so the let's click on let's go back into here and look at this so the model was able to go up and beyond right and i didn't necessarily need the zero plane but in some instances the uh let's close out of this so we can go back to our model depending on how things merge in all that stuff that could have been disastrous for me so let's say that let's bring that back over and let's go point one eight beyond the boundary allowing that bit to go over the boundary and everything okay it's still holding up so i don't need the zero plane so that's good and everything which is good but in some instances depending on the model and all it could actually start carving down that model right and i don't want that i don't want any chance take any chance of that so i want to add in a zero plane let's grab a zero plane here and i want to fill that in with material okay so now that i have that zero plane now i can position my model within that zero plane i may want that model down a little bit so it kind of creates that um kind of lip or what have you i may want it up which in this case i always want the model at the top but i also may have a 2d model where there's two sided and i need a zero plane in the middle i need to create some meat in the middle so a zero plane could be added in between side one and two and given some meat so i have a two sided model i might want to plump it up and create some meat without having to add base height to each of my models so with the zero plane it basically all it does is it adds a surface of material with a zero height a zero height uh and we can utilize that to kind of fill in the areas uh especially when we're doing something that doesn't have any background around it and we need that so the model doesn't cut beyond um and the one thing that we need to be mindful of is if we do add a zero plane it is part of the 3d model meaning if i calculate this using the model as the boundary now that that zero plane's in it's carving the whole zero plane and everything and this is going to take a minute to calculate but we don't want that either uh there's no sense in our ball nose bit milling all of this so if you are going to use a zero plane let me hit stop on this if you are going to use a zero plane you need to create a boundary around your component okay and at the very least in your tool path use that selected vector as the boundary otherwise your bit's going to carve that whole surface because the zero plane is considered a model so the zero plane adds that surface layer in so we can see that nice smooth transition here uh between two models it creates that base meet that we might need to uh you know for our top and bottom sides and in the case of our other project it creates a background so i don't have just a gaping hole back there if my model happens to be the same thickness as my material and that is pretty much it if we look at the if we look at the get help on this tool which is the interactive manual and we go down to our modeling and we click on our zero plane basically all it says here is it creates a component that is the size of the job with zero height right that's all the information we get about it um and it is doing exactly that it's just creating a surface plane of material with zero height we can give it more height we can blend or merge and all and in this case let's turn that off in our fisherman scene turn my fishermen back on we've used the zero plane to give us some kind of background beyond the trees some kind of background beyond the trees so that way it's just not a gaping hole right you know and i don't think my model will look at the size of my model here in a minute but i don't think it's three quarters of an inch thick yet uh that's how thick my material is otherwise in my material setup if it is too thick i'm going to get an error code so let's see here yeah error so it's just just above three quarters so i'm going to go ahead and set my exact height to 0.74 i'm going to click apply so that a little bit and now we can close that tool and with that extra 10 000 of an inch i gave myself i want it at the top of the model i want it to get skimmed away okay now if because my model is .74 right that's from the very tip top to the very bottom of that surface plane all those things stacked together it's 0.74 i that 32nd right there is giving me a 30 second right that's that's all i've got now i could add the additional 10 thousandths to the bottom of that thirty second and get point oh four and you know uh one two five um uh just for some little extra meat there or what have you but now i'm not gonna carve through my material because i have i do have a little something but that might be too thin so does that mean if this is my model and this is my size do i want to go ahead and just carve out of a one inch thick material eight you know three seven eighths or something like that or do i want to reduce the model thickness a little bit more in my case i'm going to stick with three quarters and i'm going to resize the model down some but i have to understand the more i resize the model the more detail i sacrifice okay as that model gets smaller i'm sacrificing detail so i have to choose detail or a bigger piece of wood detail or a piece of wood i'm going to go ahead and size this down to 0.625 because having that little 32-inch skin back there just doesn't give me any confidence whatsoever and it's too thin right it's not realistic um and let's close this tool and now i'm going to take all that extra meat and put behind my material and behind my model so now i'm comfortable i have at least an eighth of an inch right a model material there uh when this model gets cut so i an eighth i'm fine with uh 30 second i'm not i don't know if that answers your question about a zero plane but that's all it does it gives you a surface uh a surface plane the size of your material with zero height you can add height to it to you know whatever whatever meets your needs and it's generally for something like this in this case uh the kind of the far background or splitting two models and getting some base height in between for a two sided project or on a dish or a dome adding that surface layer for that dish and dome okay so that's kind of that's really what it's used for all right let's get on to it in our design now so we got our design laid out here and everything i'd like to add some text here and so i'm going to go in and go into the 2d view and i'm going to grandpa tell me about the good old days let's see here let's go with a normal looking text i don't need something fancy like that let's go with a that's too square bear with me a second here and let's get this size down a little bit more appropriate uh i don't need all capital letters hold on let me learn how to spell it's not it's not uh it's not how you spell it grandpa grant i was saying grandpa that's my southern accent kicking in there uh let's go ahead and come in here i want something a little bit softer uh that might be too soft on something that's a little bit let's go with a monotype course that's always a good fallback monotype course of a uh let's go down the m's still not there still not there there we go all right let's throw that up here and uh let's add some more text in here all right let's bring this down to an appropriate size and let's see now that's not true you're probably sitting there watching this going well wait a minute i am the world's best fisherman but in my eyes my grandpa taught me how to fly fish he taught me how to fish he bought me my first fly rod all true stories and um i still have it to this day the one he bought me when i was a wee lad and uh i have his original fly rod that he taught me on that was handed down to me and all that wonderful jazz so he's the world's best fisherman in my eyes all right let's get this laid out and let's zoom out so we can see what we're looking at here center up there boy there we go and uh that will be fine okay so now i've got my design and i'm ready to do some tool pathing okay i'm ready to do some tool pathing now i used this boundary as my clipping boundary here i'm also going to select it as the as a vector boundary as well because i kind of want to stay within this boundary now if i use the model as the boundary since it is clipped that's the boundary right but i still it's kind of my backup so i'm going to go in here with a 3d rough cut and i'm going to use a quarter inch end mill and i'm going to use my selected vector as a boundary and i'm going to calculate this cut now this cut is going to be a selected vector quarter inch end mill i'm going to leave 40 thousandths of an inch of skin of material here i am going to do a z level raster now you know z level raster and 3d raster so a 3d raster is literally where my end mill would be doing the 3d cut you know allowing leaving whatever allowance that i have there like that 40 thousands and it's people like it i have never found a really a good reason that i i should do a 3d raster the z level raster is my end mill my workhorse just hogging away the waste material to get it out there so my ball nose bit can do what it's got to do there's no sense in my end mill doing the 3d cut and then my ball nose coming back and doing the 3d cut as well uh it's just a waste time and that if i did this and i'll show you the time difference between the two i'm going to do the z level raster calculation first so let's calculate that tool path as just a z-level raster where my bit is coming down taking steps down and hogging away the waste material so let's reset this and get rid of that light bulb and let's preview that cut and so my end mill is taking you know an eighth of an inch per pass and it's just literally gonna hog away the waist material where it needs to go away leaving that forty thousand seven inch skin between my the rough cut and my model i don't want that bit coming that close to my model so it's just literally hogging away that waste material right now let's calculate that same tool path with the 3d raster cut same parameters but we're doing a 3d raster let's calculate that again and oops hold on make sure let's let's do it right selected vector is my vector selected it is all right 3d raster selected vectors back okay yep that's right let's reset that uh preview let's reset that preview and preview that visible tool path so my rough cut is literally doing the 3d cut leaving that 40 thousandths of an inch skin uh it's going to still take passes but it's literally doing the 3d cut you know and [Music] in my humble honest opinion i don't know if my opinion means anything but it's such a waste of time it really really is because my ball knows bit's going to be doing all that i just need to hog away all the waste material i do not need my end mill coming in and and doing all that all that work but we're going to look at the times difference between the two just so we can get a general idea so you can kind of get an understanding and everything so let it go through i believe it is finished all right let's take a look at our times here the uh normal roughing cut hour and 30 minutes the 3d roughing cut three hours and 26 minutes so about two hours give or take a few minutes additional two hours additional time to do that and i don't need that additional time in there i don't need that additional time all i need is my rough cut bit to hog away that waste material and then my finished bit's going to come back and do the rest okay now notice that on my other rough cut here it did all of this area that was up here too it brought it down that quarter of an inch or the eighth of an inch whatever it is um and this one doesn't it's just doing all the deep heavy areas it's hogging away those areas and all if i were to reduce my pass depth right now i'm taking an eighth of an inch per pass if i were to reduce my pass depth on my quarter inch bit let's reduce that i'm taking 0.2 per pass if i were to reduce that down to let's say an eighth of an inch per pass or even a 16 let's go an eighth and click okay and calculate that my end mill is going to again do exactly what that was doing and it'll remove that let's preview the selected tool path okay it'll remove that extra you know material and everything for me and it'll even take out more material you'll see us cutting out more and more around this uh fishman it's kind of you know it's able to get into those smaller depths and stuff so it's taking out more and more um so get more detail in there okay now let that finish up okay so now i have this model and then my finish cut my finish tool path right here uh it's going to use the same selected vector as the boundary i'm not going to have a boundary offset on this i am going to raster like a printer back and forth back and forth i love cutting with the grain i don't like the offset cut with the grain against the grain with the grain against the grain that gives me a lot of cleanup that i've got to do afterwards i like cutting with the grain rastering and i'm rastering at a zero angle along that x-axis if i was rastering 90 it'd be along that y-axis now that's true for my machine it might be different from yours zero angle might be along your y or and all that but no sorry that is that's a false statement zero angle is along the x always 90 is along the y i want to go a zero angle and i'm going to calculate this and i'm going to use my eighth inch tapered bonneos if i want more detail out of my trees and stuff then the 16th inch tapered ball nose is going to be the winner in this fight but for right now we'll just calculate it with the eighth and this will be kind of a basic understanding now i want to show you the last thing i want to show you this is my bottom half of my model or a big portion of the bottom part of my model is flat right i don't necessarily need the ball nose bit flattening that area out why do i need it to do that flat area when my end mill can do that for me much quicker so i'm going to uh in just a moment we're going to add an additional vector in here and we're going to [Music] eliminate the ball nose bit having to do that flat area and just let our end mill take care of it and that's optimizing our tool path okay uh so we want to optimize our cuts the best we can there's no sense in our bits doing flat work our ball nose bits doing flat work when an end mill in a 2d fashion like a pocket cut can do it just as well i mean as well but quicker right all right while we while that is calculating let me answer a question um you even work with accent signage systems and automatic braille tool with cnc did it work well for you if you did um you ever work with accent signage systems and automatic braille tools with cnc did it work for you uh james stewart no i never have uh i've never worked with a braille system and all uh but i've seen uh uh videos and stuff of uh uh signs and stuff being made with braille fonts and you know and things and all that uh and or you know they're you know a a braille tool it's amazing right but no i've never had the privilege of working with anything like that as far as accent signage um are you talking about like like southern versus northern accent european accent that type of accent are you talking about accent like we have accented this board um to bring out its beauty with this model what kind of accent are you talking about because no the answer is no to that question also so i've never heard of an accent system signage uh so uh now i type in an accent y'all and ewins and all that wonderful jazz uh when you know when i'm making an appropriate sign for whatever demographic it's going to you all y'all young some mayonnaise we're almost there on the calculations so giving you all moments rest to uh think about the mayonnaise one for a minute all right fixing all those wonderful words why is the one-inch border so thin it's not uh so what you're seeing right now is a preview of the model that i built my one inch border is three quarters of an inch thick you're not seeing that border yet because we're not in the actual preview of the cut we're looking at just the model that i designed and of my whole material that model has been clipped to that region right there so all you're seeing is the 3d model in this view so once my tool path finishes calculating and we actually are previewing the tool path cut you'll see that my bot my my border is three quarters of an inch thick all the way around but you're not seeing that now because we're not in the finish cut preview we are in the model preview i'm looking at the model so let's go ahead and take a look at that preview and let's preview that selected tool path and let's pause that for a minute i'm gonna turn the quality simulation quality down a bit so it's still a decent quality but it's a little bit faster okay uh so that way we can kind of get move along on this and we're not sitting here watching just previews and stuff so as you can see we're now in the tool path preview looking at the tool path cut and my border my one inch water is a three quarter inch border all the way around okay all right all right let's create our last tool path here which is going to be the uh the text now this is a 2d tool path on a 3d model or within the same project as a 3d model right and it's typically it's or technically it's this one's physically on the model so what i need to make sure that i do is uh you know i'm going to be starting at zero top of my material and i'm not going to have a flat depth on this i'm going to be using a 60 degree v bit uh from my arsenal of tools no end mill for this no wind mills needed for that and i'm going to calculate this now i'm calculating without without taking one very important step for a reason um i'm calculating this to show you that when i go to preview this cut nothing right right because my 3d model carved away this top surface of the material here right so what i need to do is when i calculate this tool path i need to project it onto the 3d model meaning that i need it to go down to that new surface plane that was created by the 3d model and that is my zero that i'm starting at i need to start from that surface plane and cut to whatever depth it's going to cut to somebody could ask well can i just figure out what that depth is .5424 is what it is uh from three-quarter can i can i just add that cut depth like that quarter of an inch and start from there and all that yes technically you could but it would be best if you projected and just projected that whole tool path down onto the 3d model and started from zero from there so when i project that tool path it's now bringing this surface plane right here that this surface that my model is at that's my zero so now when i carve you know it's carving into that design right okay and uh and also we want to project a 2d tool path like a pocket cut profile cut vcarve things like that we may have to project them down onto the 3d model to have it follow the contour of that model or go down to the level of that surface that that model created and things okay now let's take a close look let's go ahead and close out of the preview here let's see what we can do to optimize our cut first thing first thing i'm going to do is i'm going to delete this 3d level raster cut with my rough bit i'm going to delete that i just need my z level raster oops i did i delete the wrong one let me see here i betcha i deleted the wrong one no i did i did good okay now the one thing that i want to do is i want to optimize my tool pass a little bit i can get a little bit of a quicker time out of this because i can eliminate this flat area from my 3d cuts and this will be the last thing we talk about and then we're going to go build a model and have some fun so stick around with me guys and girls we're about an hour and 10 minutes into this and we're going to be moving on to some bigger and better things but i just want to show how we combine models and and all of those things and it's the principles apply across all models tilt fade blend are we adding subtracting multiplying you know how are we blending these things together all those principles apply with every model you work with but it will vary depending on the model properties right so let's go ahead and let's look and see what we can do here first thing i can do is i can select this model and i can create a come into my modeling tab over here and i can create a vector boundary around it right and create a boundary around it and what that has done is if we come out of here it's created this vector boundary right here and it created that boundary and it even created it to my clipping right not the whole thing just the area that's being clipped okay so it's created this vector boundary around here and the one thing that i want to do now this top part is curved so i'm going to include that into the 3d model but from this light point here on the model from this light point on that's all top surface and everything you might not be able to see that transition but it's darker grayer grayer grayer and then it's kind of solid here right at that high bright point there you know that's where that curve ends and then it goes into that flat so what i do want to do is i'm going to take the vector that i just drew and i'm going to go let's go back into the 2d tools for this i'm going to go into node editing okay and i'm going to select all of these top nodes here and i'm going to bring my uh arrow key down i'm going to i'm going to use my down arrow key and i'm bringing this curve down to let's zoom in just past that kind of white area of my model if i click on my model here and just pass that white area into the flat area here okay now that i have that the now that i have that area there that is going to be my pocket tool path for my pocket cut my 2d tool path but i need to create kind of a similar boundary opposite of this for the 3d cut my selected vector for that so what i'm going to do is i'm going to come in here with this i'm going to copy and paste this vector so control c control v copy and paste ctrl c for copy ctrl v for paste and i've literally just pasted a duplicate right on here right and let's move over to another layer so you can see what's happening i'm going to take that copy that i made along with this vector here and i'm going to right click and i'm going to copy them to a new layer and i'll just call it layer 2 for right now and i'm going to let's make it red and let's click ok and up here i'm going to turn layer one off so all we see are those two vectors that i just moved over there are copied over there should i say and i'm going to take my scissors here and i'm going to trim away this lower level so this top part is going to be my 3d boundary where i'm doing my 3d carving and the lower part is going to be my pocket cut okay let's see how this would work first thing i need to do is i need to look at my job set up for a moment and on my job setup i'm working off the machine bed that means i'm touching off on my waste board so for me when i hover my mouse over this area right here and you see down in the bottom right at the bottom these numbers that are down here at the bottom of the screen very hard to see but you might be able to see them but my mouse over that spot is showing me that it's 0.5424 now from the top of my board it's not a half inch down right it's only about 0.21 inches down i have to take my three quarter inch board because i'm working from my zero is at the machine bed at the bottom of the board right so three quarters is the top of my board in this scenario so i got to subtract .5424 from three quarters and that'll give me my depth how deep that is so i got to just simply come in here and i'm at uh on my flat area here let's go in here my flat ear here 0.5424 so what i'm going to do is i'm going to create a pocket cut the cut depth is going to be 0.75 minus 0.5424 equals so my cut depth for this pocket is going to be 0.2076 that's going to cut that flat area down to the finished flat area i'm going to use a quarter inch end mill for that well enough and i'm going to calculate that tool path oops got to select the vector let's select the vector and make sure you select the right one and let's calculate that tool path all right so on my pocket cut i don't want to do an offset we talked about my liking and disliking of austin i want to do a raster cut with the grain back and forth okay and i want it to clear that area out and cut it down to its final dimension done my rough cut for my 3d cut doesn't have to deal with it now and my ball nose bit for my finish cut doesn't have to deal with it now it's done so now all i need to do is select my upper vector that i've trimmed and on my 3d cut here select my upper vector i'm still using the selected vector as the boundary but it's now that new vector that top part so i'm going to calculate that for the rough cut okay so you can see it's just doing that top part there and i'm going gonna do the same thing for my finish cut select that top vector now if you can't see that vector going hey which one am i selecting and all it's on layer two right so i can turn this off uh what was on layer two if i would have left it if i want to put it back on layer one if i would have left it on layer two i could have just i could just select it i don't need the model physically on the screen at that moment but i can see the pink dotted line you might not be able to on the screen but i do have that paint vector selected so let's go ahead and select that and let that calculate and while that calculates don't forget to save often so we'll do that next uh thanks michael for that mike pearson uh nice sign thank you sylvia uh michael's on it save and save don yes so with soon as this finishes calculating i will save because it won't let me i don't think it'll let me do it yeah i can't do anything while it's calculating so we'll save and then we're going to take and jump into aspire and we're going to import a 3d model and the same import and orientation that we're going to be doing can be done in desktop and pro as well okay so the way we import a model orientated you know for our design will apply to desktop and pro when we're importing third-party model files third-party model files like stls and objs and all but the reason why i'm jumping over to aspire is because i want to bring in more than one third-party model file i want to bring in a second one and i don't have it in a v3m option so i'm going to be building a couple of models together importing a couple models and probably making a couple as well and then i'm going to show you a little fun texturing tool uh for creating repeat repeat of patterns and sylvia klosterman who's watching she knows what i'm talking about so that'll be a fun project we're gonna we're gonna kind of create a nice little cool pattern and stuff and show you uh how to go ahead and do that right all right all right we're almost done calculating and we can almost done calculating and we can get into that more in a moment okay almost there cool beans now and i didn't i didn't look at how long our run time was on the first one uh the first 3d cut i saw what the rough cut was but i didn't see the finish to compare the tine that gum it that's okay let's go ahead and preview that finish cut now i made one one screw up and you can see it very clearly where i screwed up okay right here on the edge of my border you see that the edge of my border right there so when i on that vector if we zoom in that vector goes right out on that lower one okay it goes out further than uh you know on that on that pocket cut i did and so my in my 3d view um the two don't line up so i need to clean that up a little bit okay so let's go ahead and get that cleaned up some uh i'm gonna do that by going into my pocket tool path and um i'm going to create an allowance offset of a negative number and i'm going to sneak up on it because i honestly don't know what it is off the top of my head but i'm going to go a 30 second negative negative because i want to go past the line a little bit um point 0.03125 i'm going to go 30 second and calculate that really quickly and let's preview that oh i'm so close so close um let me look at this all right so on that pocket cut i want to check off uh do a last pass profile pass last and that should take care of it uh i don't know why i have that unchecked i think i was showing somebody earlier today what that was but i want to do a last profile pass to clean up that edge and i'm just just shy of being level so let's go ahead and do that one more time let's bring it over another another thousandths of an inch let's go uh 0.032 i'm going to sneak up on it no that was right that was ridiculous go 0.04 uh that was another ten thousands of an inch i meant not one thousand um preview the visible tool path almost there 0.0 oh i know i'm going to overshoot it right now [Music] 0.05 no actually let's go into a full straight on view yeah no that's it that's good enough all right so uh and now let's bring our um bring our last tool path in there and let's look at our let's look at our run times here uh and everything this will be kind of first let's look at our run times and all and so my pocket cut here uh is going to be an hour wait what do i have here bear with me a minute my pocket cut how how let's see what my pass depth is on my pocket cut here bear with me a second oh let's change that uh ethan i was wondering i was like why is that taking so long let me recalculate that i don't need to take a sixteenth of an inch per pass okay my pocket cut's going to be about 35 minutes uh to bring this down to its uh based on my speeds and feeds guys uh going to bring that down to its final depth my rough cut is going to be 2 hours and 58 minutes for that rough cut tool path let's make sure that on that rough cut tool path that i am doing a z level raster very good along the x great and then my finish cut is going to uh be the longest one it's going to take about eight hours uh with my bit and then my v car of about seven minutes so all together on my job on this job here for me and my tool pass piece of feeds if you're on a big commercial machine you can run hundreds of inches a minute right you know and things like that on mine can't right i have a 2440 that has a rapid rate of 150 inches a minute and stuff uh so we are at a total run time of about 12 hours versus versus if we went back and let me find my let me move this out of the way for a minute there we go versus if i did a selected vector [Music] calculate let that calculate one more time and then we'll move on do y'all remember what the time was all right we'll let that calculate and i want to calculate the other tool pass and we'll kind of do a time comparison before i do a time comparison let me go back in and write down that time here so uh we are at uh 12 hours 25 minutes okay so let's uh calculate that okay let's calculate this one ah come on now all right we'll let that calculate and while that's calculating it shouldn't take a few long we'll go we'll go back and compare the prices or the the times not the prices all right we're going to jump into aspire here now again i'm going to be importing 3d models in here and the import and orientation process is the same across the board the only reason i'm using aspire is because i'd like to bring in more than one third-party model file for this build uh and then we'll go from there um let's see here uh would the edge along the pocket look different uh since using an end mill via versus the taper well you're gonna see that uh tony uh the edge um is going to be uh cleaner there there's with the tapered bottoms bit there's going to be a lip on that there because it's a tapered ball nose bit so it's not going to get right up to that edge so there's actually going to be a lip between the rough cut and the finish cut on this recalculation so the pocket cut actually gave me a nice straight cleaner edge and everything i did have to do a offset allowance on that pocket cut to so it blends in but it was a you know that was a minor allowance uh for that versus what you'll see when that finish is calculating um and uh why can't you fix with node editing uh fix what uh you talk about why can't i fix that boundary with node editing i could do that i could absolutely do that fix that boundary and all but i wanted to uh create that allowance because i want my end mill to be able to do that profile cut and clean it up and blend it in with my eighth inch i'm letting that eighth inch that eighth inch tapered bow nose has got a new vector that it's working with so it's going to be out further than my pocket cut so i needed that pocket cut to go outward a little bit more uh that's that offset allowance so it blends it in if i would have done it with nodes i could have been there just kind of figure fiddling with it trying to figure out what how far i needed to go and and all that stuff uh when i and and when we pop back over there i'll show you what i'm referring to um if uh when we uh when we pop back over i'll show you what i'm referring to but on this project here we're going to create a new file um and i'm going to be building models so i'm going to hold my shift key down when i click on create a new file and uh this board here is going to be uh 32 inches in length it is going to be 11 and a quarter inches wide and i am gonna go thick on this one i'm gonna go about one and a half inches thick on this one for this model i'll be zeroing out on the machine bed my waistboard because most of the surface is going to get milled on this and i'll start from the bottom left corner because the center is going to get gone you know it's going to get milled away so i do want to have a reference point that i can reference from in case i lose x and y for whatever reason i'm going to change this to an extremely high resolution and that's going to be the job setup for this here our bcarve toolpath is nearly done we'll let it uh we'll let it finish up but here i'm going to draw in a rectangle we're going to start here with a rectangle and um i'm going to offset that rectangle inward just like i did with the other one i'm going to go in about on this one i'm going to go although i'm going to go about an inch and a half inch and a half border all the way around and from here let's go ahead and import our first model so i'm going to go to the modeling tab and i'm going to import a 3d model and this is going to be a third-party model file it'll be an stl model i'm going to import a model and we're going to start with this one here and the first thing that occurs is i have to orientate and size this model to fit my material okay this is a 3d two-sided model i'm going to be just using one side of it for this design for this project but i have to orientate it properly number one it's not oriented correctly it's orientated based on the way the creator created it so i need to orientate it for my needs so the first thing that i'm going to do is i'm going to uh i want to see the um right or the left side actually the left side of it okay and then i need to rotate it 90 degrees so i want to rotate it not that direction i want to rotate it that direction okay now that i have that i need to come in and size it to fit my project now this project is 85 inches long and my board is only 36 so and i just offset a border in there that was an inch and a half right on both sides so that's three inches so i'm around 33 inches is my inside area so i want i don't want to be right up against the inside area so i want to be at least under 33 i think i'm going to go uh 27 inches in length and click apply and then i'm going to center that model within my material looking at my red boundary here that's my that's my board and everything and uh i believe that will be suffice uh so now that i've sized it the way that i want uh and i've got it centered so meaning center that zero plane guys it's split right down the middle here this is split right down the middle and so um on this i need to that's what i want i'm cutting half of it off because i'm just using the top half and all but coming back into this full view here you see this light blue area this light blue area is below my zero plane right so what i need to do is i need to you know lower my zero plane slightly to raise that model up this is what it looks like you know your model's kind of faded and everything and that light blue actually is not in other models that's what that means but this is actually part of the model i forget it's a taper uh but i want this you know i don't want to be all the way above my zero plane that let's get into the y view here i don't want to be all the way above my zero plane which is this faint gray line you see right there it's a black line for you guys and girls that have a a non-black background i don't want to be too low below my zero plane i want to be right in the middle so i want to split that center there and i want to just make sure that above my zero plane that my parts are all there and there are some parts that blue is throwing me off because blue means that it's below the zero plane in some cases i am going to raise it up just a little so i'm going to drop my zero plane down just a little bit from center that's good and then i want to discard everything below that zero plane because i'm only going to use it as a one-sided model let me look at this straight on make sure i got all the detail that i want in here yes so i'm going to click ok to discard everything below that zero plane so that when it brings it in you know i have the model as i wanted okay now in this model one of the things i do like about aspire is you know i could use clipping to get rid of this bullet i don't want this bullet in here i could use uh clipping again on layers if i was in desktop or pro and i was importing a model like this and i had that stray bullet there that i don't want but in this case i can actually create a boundary around my selected model and create a vector boundary around my model and when i do that it creates this boundary as well well i'm going to ungroup these two vectors and i'm going to delete this one i don't want that vector this is the boundary that i want this outside perimeter here here and make sure it goes all the way around i want everything covered here here here and here and i'm going to use a tool that's called clear the area of the selected model that's outside the vector boundary so when i do that first of all i got to select the model when i do that when i clear that away it should delete that that bullet there okay so i just have you know just this now the one thing that uh looking at this when i imported in the size i didn't take in account how tall it was and stuff and also no big deal i can still size it while you know while i'm here but i do want this to fit within this boundary on my board and everything so i will go ahead and um let's deselect that outside border i will go ahead and size this down i'm going to hold the shift key and size that down to a more appropriate size and let's bring it over here right about there okay so i've got that model in there all right so now guys and girls this is a model right of a gun if you don't like guns it's not a real gun it won't hurt nobody it's a model so stick with me if you're even if you're not guns we're learning about modeling and stuff and it just happens to be the design i'm working with so hopefully all that stuff is good because it's it's a model right it's on a computer screen um all right we're gonna bring in our second model this time uh and the process is going to be the same uh in our modeling tools we're going to import and we're going to bring in our next model and when we import the model we have to orientate it again just like before okay so i'm going to first make sure i'm in the z view right i want to be able to make sure i i like i'm looking from the top of my board down and stuff i want to you know import that and make sure i'm looking there and i am now if you notice let's let's let's see if we can uh kind of zoom in down here or move this over you see this little red box right there that little red box in the corner that's my board this thing is came in in millimeters it's 330 355 millimeters by 370 it came in millimeters but it's kind of reading in inches right so the first thing i need to do is i'm going to click this button to scale from millimeters to inches and that's going to reconfigure this into inches and this model is actually 14 by 14 and it's square right well again my border my my board is only uh 11 and a quarter uh i think it was 11 a quarter yeah and uh i'm i lost three inches of that with that boundary that border i put around it so i need to be uh you know within that uh eight and a quarter inches and stuff like that so let's get this size down let's go um i'm gonna go seven and a half and click apply and i'm gonna center my model okay and now i'm gonna take my zero plane on this one my zero plane and this one and i'm going to slide it all the way down now i when i look at this in a side view the y button up here you can't see it on my screen because of the black screen but on my model here uh this model happens to have its own little plane of kind of a rough torn flag or paper or whatever it is you know background and all and so the model parts of the model are behind that right and so what i have to be careful of if i do decide to cut off some of that model by sliding this up i have to make sure that when i look at this in a straight on view that z view in this orientation that i'm not losing any of my model you know i'm not like cutting it out now this back area here is what i'm most concerned about because it's at a lower the lowest level so if i lowered my model too much you know uh in here all that blue area the light blue is above my model all the purplish uh kind of a um uh not lavender it's kind of a light purple whatever in in my screen it's below that zero plane right and i lost it if i import it in it's gone right so i need to make sure that i'm at least below my zero plane enough on this particular one 90 time percent of time we're just sliding that slide bar all the way down but i want to bring this up and i want to make sure that at least you know i'm getting some of this background here so that's going to be good for this i'll go ahead and click ok and we'll look at the model when it imports that'll really tell me what it looks like when it imports in uh and it'll tell me if i brought in too much too little too late that kind of thing all right let's get this into position here and we'll you know come in here now if i look at this in the 3d view okay if i look at this in the 3d view i've got kind of this smooth surface here and then it's starting to tear it's crinkling and it's tearing and everything as this eagle's coming through right and so uh i know that right now i haven't created my background model yet right so i know that uh this this stuff here is gonna kind of blend in and disappear right you're only gonna see the rippling of everything else when i bring in my other model stuff and i merge the two together or when i design the other model but if not i could in aspire i could kind of create a boundary around this area here and just remove everything else with the button that says you know clear area outside of selected vector i could clear it all out but i don't need to do that right this minute okay because i'm gonna i've still got some more modeling to do all right let's go back into our 2d view and yes when we looked at this the eagle model wrapped around the uh silencer of this gun right okay around the can and so the it's because it is adding remember that sheet draping over so i'm going to go ahead and right now while i'm in here i'm going to go ahead and change that to a merge so it blends together uh with it you know so it blends in and while i'm at it uh i will uh leave it at that all right so it just kind of merges in there now what i need to do is i need to go ahead and build the rest of my model so here's what we're going to do we're going to start with this rectangle here and we're going to go into the create shape tool now these functions now that i'm building shapes importing desktop pro aspire same thing import orientate bring it in then create your size it whatever you do bring your tool create your tool pass now i'm building models this is an aspire feature so here we go i want to flat uh background and i want to give it some meat uh and uh so i'm gonna have a base height of about a quarter of an inch and i'm going to click apply all right now if we look at this okay i've added this in and it's kind of an add feature right now i build it up a quarter of an inch and uh and everything so if i merged it with my model right then now it's my model's sinking into it right uh and that's kind of what i want i want to merge this one it looks weird right but i'm going to raise my other two models up i'm going to give them the proper amount of bass height to raise them up above this so i only get the detail that i want especially in the eagle okay so i do want this merged all right i don't wanna and that i want it merged all right so let's close that so i've got this boundary here now i'm going to um on this rectangle this outer border here and this inner border i'm going to create another model another shape so i'm going to create this shape and this one's gonna be full on uh the the full border here uh and it's gonna be i think my material was an inch and a half right so uh i'm gonna bring this up i wanna be able to skim off some of that material so i'm going to bring this up an inch and a quarter so uh my base height is going to be 1.25 and it's going to be a flat shape and again i want this to merge with the others okay so i'm going to click apply all right all right all right give me a shout out let me know you're still with me that you're not falling asleep yet we're kind of getting through this we've got a little bit more to go uh i promise you we're almost done kind of with the designing and there's a few cool things that we're gonna do and have some fun with it so let me know you're still with me all right let's take a look at what we've created so far and so now we have this big border on here right everything looks kind of like sunk in right now well we're not done with it yet right we still gotta raise up some things and all that good stuff and all and everything i'm just putting all the components together right now then i'll go back and tweak them accordingly all right let's do one more shape here but this time i'm going to pull from the clipart library now my clipart library i have what's called texture area tiles and in these texture area tiles my head's in the way so let me move over to the right side okay so um now when i'm looking at uh my screen it looks like i'm looking away from my screen but i promise you i'm looking at my screen and i'm looking at you right uh so we'll make eye contact but over here i have these texture area tiles where i can do some pretty cool things with them i can create full sheet tiles or texture areas with them and uh and have some fun well what i'd like to do is i'd like to come here to this diamond plate model and like to drag this in and throw this up here okay actually uh let's uh let's drag it down to the bottom down here okay and uh all right now i want to go ahead and let's size this down appropriately all right to whatever you know whatever size i want that would look you know uh uh decent you know what have you and stuff and um i want to create an entire sheet of this diamond in an actual diamond plate the pattern the diamond plate pattern all the way across my entire board here okay so uh we have a tool a very cool tool that very seldom gets used uh up here on our top row of tools called create a texture area component and this tool works hand in hand with our clipart texture area tiles okay and our texture area filled to our textural fill tiles but our texture area tiles those texture area tiles and the tool create texture area those go hand in hand okay and um and all that good stuff so what i want to do is i need to create that diamond pattern so on when i create this pattern here on this model i got to create the proper amount of spacing both on my x and y i got to create the right amount of offset uh in things and i also got to create the right orientation you know of these things they gotta turn and twist the proper orientation so on my spacing here uh this model i've gotta decide when the next one comes in how far is it gonna space is it gonna space uh you know half of it a third of it what's it going to be in this case we're going to go 33.3 percent right a third of this full model is what our space is going to be so we'll go 33.3 okay all right and then uh we're going to go a another on the y we're going to go 33.3 percent okay 33.3 now let me get my 3 work in there 33.3 now this is not correct up to this point there's one other thing that we have to do to one of these but i want to go ahead and create or want to apply this so you can see what we've done so far just by putting in that step over a third step up a third on your texture tile so let's go ahead and let's create let's just click apply here and let's create this texture tile and right now we have just all we've done is we've created let's go into the 3d view for this um no that's going to stay in the 2d view for a minute because the 3d view it's not we've got it merged we'll have to fix that in a minute but right now there's no orientation if you know the diamond plate we have one that goes this way one that goes this way one that goes that way and they're you know they're kind of twisted and turned but also at the same time on my spacing here i stepped one over 33 percent and one up 33 but one of them needs to step back a little bit okay one of them needs to step back a bit now let's look at let's figure out which one needs to step back first thing i need to do is i need to make a shift on one of these every other row every other row needs to shift in one direction or the other either up or down along the y or along the x okay now if you guys experience any buffering i am uh experiencing a little bit of a drag on my uh internet right now and uh so we might get some buffering if mary beth is on the internet we'll have her get off all right standby ladies and gentlemen some buffering is occurring uh so let me see if i can um get that uh my stream health back up i don't know if it's the storm but my internet just dropped dramatically standby yes yep standby i don't know if a storm is hit or something but we've i've lost a major chunk of my internet so we're gonna pause just for a moment okay okay so let's see if we can uh get back to where we were without buffering and uh see if that helps out okay sorry about that uh ladies and gentlemen um it's building back up i'm not sure what happened but my internet stream uh rate is uh coming back okay lord of mercy all right so like i was saying before we were interrupted by buffering is that i've got my pattern across here and i've got my spacing and all but they're not orientated properly so we need to do some orientation okay and the reflection the reflection down here is what changes my orientation and then on my x y shift every other row either x or y will shift a certain amount depending on what i choose right and so the one thing that i want to do is let's first of all let's get our orientation right so every other row i need to be facing the other direction okay every other row i need to be facing the other direction so i'm going to click on my both my y and my x here and i'm going to have it facing the opposite direction or the you know you know the opposite direction yeah from each other and i'm going to apply that pattern and everything and now you'll see now we've got our orientation right but we still don't have the correct offset for our pattern we're still not there yet right we're still not there yet we need to you know we've got a pattern somewhat going along but we don't quite have it yet so one of the uh things that we need to do is we need to shift now do i on my shift uh it's gonna be my uh up and down right so i need i need i need every other row every other model i need one to go up right and then back down and then up and down up and down i need to shift it up how far do i shift it i'm going to shift it by half the size of that model so i'm going to go up i don't want to go over anymore no shift on the xy but on the i'm sorry no shift on the x but i do want to shift kind of up on the y and i want to go half my model so i'm going to go 50 right and let's click apply and we'll get that shift right almost there right our pattern's coming along but in a diamond pattern if we zoom into this these guys that are shifted the other way from the you know we have one that's coming like this and we have one that's coming like this the positioning is it's in the center right and if you notice where this point is pointing it's pointing down here you know it's not quite there right and that's because on my spacing here that spacing i did on the x i need to i need to go backwards the other way right so it needs to be negative it needs to be a negative um 33.3 percent and i want to put that point three in there let's see if a software will allow me to get my point threes and point threes and i want to click apply and that's let it get there okay that's kind of the diamond plate pattern that we you know know and love uh and everything you know for the uh uh most part right that's the diamond pattern that we that we're familiar with you know that pattern on those diamond plate textures and things and uh so we've got the pattern here this diamond plate and everything you know going across our whole board well we're not going to uh we're not going to have it go across the whole board we got to clear out some of that model that component so let's go ahead and we we have merged it in uh with our model in the case of this i'm going gonna have to give this a base height because it's it's got to go up above the top right around the edge at all and uh so we had to long story short is we had to go negative 33.3 to bring the every other row back a third of that model we had to bring it back we had to go 33.3 up you know a third of the model up to get that position and then we needed to rotate the parts so they were properly orientated and then we needed to actually step up a little bit higher by 50 in the model we need to go just a little bit higher to get that pattern okay so that is pretty much our negative 33 uh our positive 33 no shift on the uh left to right on our x-axis but we did a 50 shift on the y and we orientated every other row to flip itself be backwards from the orientation you know that you know every other row it's going to flip so that creates that pattern now that we have that pattern we need to on that uh that that texture pattern that we have we need to come in and first of all let's do a little bit of organization and everything and let's name our components a little bit so uh on our component this component here that's that diamond uh pattern component number three let's turn it back on and let's uh call it our let's right click and rename this and call it our diamond plate all right the the model that uh was that surface plane outside border here that was our border so we'll rename that to our border the other component was the back uh the bottom end the the base let's call it the base rename that to the base and then our eagle we'll just go ahead and rename that to our eagle and then our gun to our ar 15. all right now uh one of you some of you said that i'm very interested in the models you imported big daddy fish uh cgtrader.com you can very inexpensive to purchase these two models from cgtrader.com okay i can't provide them and all that because they're not my models i purchased them i can demonstrate i can show them i can work with them but i can't give them away to you guys and girls on this one cgtrader.com is a great place to find models and that's where you would find these two okay all right so now once we have our now that we have our models named properly and everything i'm going to select the diamond plate model here and i'm going to hold down my shift key and select the boundary right here now i have a choice i could create the diamond plate in the inside of the model or around the trim of the model okay i could instead of this model merging i could create an ad to where the diamond plate actually folds in to the model right where it kind of combines and folds into the model so it's like the whole thing would be made of diamond plate let's look at our 3d view here and let's uh let's look at what some of our options are so number one right now in my properties on this model i am merging with the other models so that's why you see all those green little dots right there merging uh and so if i uh came in here and i added this let it revamp that okay it would be adding right it would be adding and everything uh into that and um you know kind of wrapping around and of course it's adding to my gun and the eagle as well the ar-15 and the eagle as well uh and uh you know i don't want that also you can see that it's like it's like paint dripping on the edges over here uh where it's just running down the edge and all that uh i don't want that if i you know if i do do something like this where i have the diamond plate down below and above then i'm going to do some clipping i'm going to create duplicates i'm going to do some clipping to get rid of some areas and others and all right i would clip to this border so it doesn't run down the edge like dripping paint uh and then i would clip to the inside board on this one so i have the back and all that and i just wouldn't have it on the inside rim right i can't get it to fold on the inside rim it just wants to drip down that inside rim right so i have to make some kind of sacrifices right so i may just want the diamond plate around the border the outer edge so if we did that i would take my selected model i would take the border here and i would remove or clip right if you were in a 2d view kind of thing or vector v pro but unfortunately the diamond plate pattern uh that tool to create that texture area that's an aspire tool but i could clear everything inside of that border away okay and uh all right and so now i have you know just this outside rim here or or vice versa if i undo that control z and again we haven't positioned our models and got them all built back up yet but or alternatively with that boundary selected and my model selected i could clear everything outside of that model away or that boundary away and i could create that diamond plate inside there right it all depends on kind of what i'm wanting to you know what i'm wanting to achieve or i could do a combination of both right where i have it on top and down in the background and all that stuff right in this case i'm going to do the trim and i'm going to do a different texture on the inside okay so we're going to undo that ctrl z and of course my other models my eagle would be on top of that diamond plate and my eagle would be kind of busting through that diamond plate if i had it in there that kind of thing and that might look pretty cool we could probably look at that in a minute when we get everything laid out and stuff right you know um we can kind of uh figure those things out uh in just a moment all right so let's first um let's come in here to our 2d view select our vector which is there and select our diamond plate and this time i'm clearing everything inside of that vector away right i'll just have it on the trim for now okay now on the uh eagle here this eagle uh around these dark areas and stuff you know like i said i've got this square boundary and everything so let's look at our 3d view and let's kind of focus on our eagle for a minute uh i'm going to go into the properties of the eagle and i'm going to start giving it base height i'm going to start raising it up i want to see that a little bit more of that tearing and everything so i'm going to give it some base height and so i'm going to start off with a uh 16th of an inch okay let's go with a eighth of an inch okay a little bit more let's go uh quarter we'll jump up a full quarter okay and let's bring that back down to point two three two two okay now as i start getting in here and everything uh as i start bringing this down now let's go down to 0.20 i need to be mindful of my tears and all that stuff i need you know i'm starting to lose a little bit of the ripple right here you can see the green it's starting to disappear right all these green areas are like my models disappearing but yet my this square border that's one thing i don't like about this model is you know i'm trying to bring it down let's go 0.18 so it blends in with this surface but by doing that i sacrifice some of my detail you know uh i'm still uh if i come in here and click on this i still got a square ring around here right uh and everything so i'm gonna bring it down a little bit more let's go point one uh six all right and um you know i've now brought everything down to this high rise right so now you know when i click off that and i look at this i still got the effect of the tearing right but i lost a little bit of the bubbling and rippling over here you know on this side and everything and so i want to take it one step further i want to come in here on my my eagle here and i want to go into the 2d tool path and i want to trace bitmap this thing uh and i'm going to do a black and white trace on the model and of course make sure you got the right model selected i'm going to do a bitmap tracing and i'm going to slide this slide bar you know in one direction or the other until i get some of the detail that i want but that's too far right i don't want that white square right so i need to back this off just a little bit and again kind of fighting uh you know i'm i'm losing the battle here a little bit you know uh with this the more i i'm losing those ripples i kind of want those ripples and stuff in there as well so what i'm going to do is i'm going to [Music] end up having to freehand this a little bit but let's bring this back to 9 right about there and i'm going to preview this tracing right i'm creating these vectors okay now on this vector here uh let's go ahead and ungroup it and first of all i'm going to get rid of this rectangle that's on the outside this rectangle here and i'm going to delete that and i want i want a little bit more of this rippling that's over here so what i'm going to try to do my best with and all i really care about is this border i don't care about all this other junk right here all this other junk and trash you know it can get deleted for all i care all i care about really is um you know this border here but i'm not going to sit there and try to node edit this thing all the way around or anything crazy like that so what i am going to do is i will do a little bit of note editing up here i want to take these guys up here and i'm just going to bump them down some out there but i'm now going to take my curve tool and i'm going to draw a curve kind of around to here space bar to finish that let me look at the 3d view for a minute and let me bring my model back up to uh the properties of my model the eagle let me bring that back up to oops wrong direction back up to here i just want to see where this stippling stops so right around that edge okay so um this edge is catching a pretty decent amount of that stiff stifling over here let's go to a split view and let me zoom in to both of these areas this one here and this here that i'm working with and so this is catching a pretty decent amount here on the side i want to come out just a little bit more and at the top i definitely want to grab more of this tear this v right here so let's take uh and let's go into node editing and i'm going to cut the vector right here and all the way down to the other end of the line i'm going to cut the vector right here and i'm going to delete all that squiggly line that's on the left side there i'm going to hit the delete key and get rid of that i might as well while i'm in here i might as well select all this trash as well delete that and that and that and let's get rid of some of this trash that's down here [Music] and let's create another curve actually let's just take uh we'll create the curve all the way around we'll just we'll draw our own curve instead of really working worrying about the border so let's kind of come i want it to look somewhat organic so i want some curvature yeah i should have just done this to begin with um and i'll snap it to there all right so i'll take my scissors and trim away uh this vector in here and that should be that i can get rid of these vectors in here i don't need any of those that are on the inside i don't want to get rid of any of those models so i can just delete everything inside that boundary and now i'm going to select this boundary this would be my clipping boundary if i was in v car pro or a desktop this would be my clipping boundary but in this case let me join this together as a let me find my it's open somewhere right here okay so this would be my clipping boundary but now it's going to be my clearing boundary i'm going to select my model with that boundary and in the modeling tools i'm going to [Music] buffer again there we go i'm going to clear everything outside the selected component away okay i'm going to get rid of everything that's on the outside of that selected component okay now now i can start to blend okay i can start to blend a little bit better i'm not going to get it perfect but then i i have in aspire i happen to have sculpting tools that i can kind of smooth things out so let's go ahead and let's get back into the properties of the eagle i just wanted to get rid of that square right uh so now back in the properties let's go ahead and start bringing this down a little bit not too much where we start to blend a little bit here i don't want to again you know as the more i bring it down the more i start to lose detail in these areas right here so i got to be careful about that so my only option let's go point two one i want to get this back in here [Music] 0.23 okay i can live with that i can live with that as far as that goes uh when you have it selected and it's red it kind of throws you off with that red and green uh let me bring this back to 0.21 that red and green you know it's like oh man i can really see that standing out but uh when we have a deselect and it's kind of blending we can start to see you know um things a little bit clearer so i want that tear at that v that's kind of my main thing and i do want this so what i am going to do on this this is the final adjustment i am going to make this a 0.25 that's as far as i'm going to go that should bring some of my stippling back down here at the bottom that's enough okay and then i'm going to come in and i'm going to turn off all my other models except for the base and the eagle they're going to stay on but i'm turning off the ar-15 the diamond plate all that stuff here so all i have are these two things visible and i'm gonna go into my uh i'm gonna select both of these and i'm gonna go into my sculpting tool now when i open my sculpting tool it's gonna say hey you need to bake these components before you can sculpt them and i do not want to bake my original components so i'm going to hit cancel i want my original components so they're separated so i can change them if i need them so what i do need to do in this case is just like we did with our vcar pro design is i need to insert a new level and i'm going to select these two models here my base and this and i'm going to hold the control key down and drag a copy into that other level now this copy i can bake those two together as long as i have my originals intact down here so i'll turn off my originals and i'll go into my sculpting tool and when it asks me to bake i'll be fine with that okay could you tilt the eagle yes i could tilt and i could fade but i can only tilt and fade in one direction okay i can only tilt and fade in one direction so in my sculpting tool let's go in here and kind of zoom into this in my sculpting tool it's going to ask me to bake my model i'm okay with that and when you're put when you're in sculpting and all trying to move your model around that's called twiddle i don't know why it's called twiddle but you're twiddling your thumbs twiddling your view right so if i need to move my view around i'm twiddling the view right all right i just think that's funny okay um so in this case i'm going to do some smudging and i'm going to do some smoothing so the first thing i'm going to do is i'm going to do some smoothing and i'm going to on my strength let's bring it back down to about 75 my diameter let's go a little bit bigger here and let's see what happens when i smooth uh you know one thing into another you know can i get some you know some kind of blending uh to where it doesn't look too too terrible can i get some kind of blend there yes but not to my liking so i'm going to go to the undo and i'm just going to wipe my mouse right over what i just did and it'll undo it okay and i'm gonna use some smudging here smudging means that i'm going to be kind of pulling uh you know some of the um model out you know i'm kind of just uh smudging this and i'm pulling this out to kind of create kind of a rough edge uh so it's not so uh symmetrical and and everything i want it to look like you know the paper is just kind of warping up uh and uh you know your direction of your smudge is gonna be kind of you know dependent on what you're doing or what you're trying to achieve and if i get too high in some areas i do have where i can remove material and stuff but right now i'm just kind of smudging some of this out and i got to be careful now let's twiddle the view right let's twiddle the view when i start smudging let me do an undo brush on this area right here when i start smudging and things i got to be careful that i'm not grabbing my other model and smudging it right i don't want to do that okay so we got to be careful of that all right so what i want to do is if i am going to kind of smudge this around i need to be smaller in my diameter right so if i'm going to be kind of pulling this around and stuff all right i'm still in the undo brush not this much i was wondering why is it undoing everything i just did here um so if i'm going to be kind of pulling this stuff out i need to make sure that you know i'm not pulling my model so i don't want that purple thing anywhere near my model and then once i get a little bit further away i can start to kind of increase my smudge a little bit and let's twiddle the view again i love that term let's twiddle the view so we can kind of see what's happening here you know let's zoom in get on this right we'll smooth some of this smudging out in a minute but let's continue working our way around let's continue working our way around and kind of pulling this out uh and everything you know we're just kind of pulling it out i could go in there and add little deposits i could add more stippling in stippling st stimpling uh i could you know pull in some more star you know put in some more stippling by using the deposit tool you know i could come in here and start uh depositing material you know depending on my strength i could start adding on more you know stimpling if i needed to uh you know whatever the case may be if i needed to let's undo that i'm not ready to do any stimpling yet so i'm going to just kind of start grabbing this and i'm just kind of pulling it out almost there guys i promise you where it's not going to be too too much longer i just want to get this eagle kind of blended in and then we'll uh work from there okay so now that i have this now i'm gonna take my smoothing tool and i'm gonna see if i can kind of uh you know if i start smoothing this out if i can start kind of blending it together now you see what i did down there i'll undo that in a minute but what i'm doing now is i'm smoothing that smear out so it just kind of looks like the paper is a little bit puffy right there or whatever it busted through i'm just kind of smoothing that out around that edge so it's not so rough i just want a nice little blend where this thing is just popping through right so it's kind of smoothing that out now over here where i kind of did this i don't want that so i want to undo my brush and i want to undo that okay and if i'm going to smooth that i need to make sure that i'm working with a small enough brush that uh you know i get my edges all right okay all right now that we have that i'm going to go ahead and click ok and i could go in there and i could really just add some more stippling to it if i needed to and all but i'm going to be happy with this this will be fine for now and i'm going to come back in and i'm going to turn on my diamond plate i'm going to turn on my border and my ar-15 and i'm going to zoom out so we can see the whole project here and all and you know we just got you know this eagle and i could go in and i could really start to i mean i could you know start to stipple this more to make it look a little bit more like it's like the rest of it so it's not even so puffy here i i could do a lot of work on this and i could spend a lot of time we don't have that kind of time tonight but you get the idea right uh and everything and plus i'm gonna be adding a little bit of a texture to this background that might that might help obscure some of this a little bit all right so hopefully you kind of you know get that because right now it looks a little rough around these edges and on i could smooth this out even more and kind of really get it to start to disappear i can add some stippling in there like it's just like busting through a little bit more uh there's a few things that i could do uh now that i've kind of done this you know i could take on my eagle and uh you know that uh uh um not no i can't because it's part of the base never mind i could say i was gonna say i could kind of bring that base down a little bit but it's all now from here it would be all um it would be all uh uh sculpting sculpting is the word i'm looking for uh to kind of get things to uh you know blend in and all all right let's go ahead and let's click off of this and you know we can kind of see there's still some things that need to be done around here but let's see if we add in some more texture in the background if we can get that to kind of blend a little bit better right so let's go to our clip art let's go to our clip art and this time i'm going to look at my texture non-tileable here uh and i'll also look at my texture fill area here and see if there's anything that really tickles my fancy you know uh and stuff uh as far as creating another textured pattern you know might there might be like a wood plank uh what have you or uh you know it could be something um just so you know like if i coming if i came in here let me log in bear with me a second i gotta log into my uh account so it'll download that model sells at digitalwoodcarver.com okay it didn't um it it wasn't uh my account wasn't linked uh so it helps when i link it all right let's go back down here there's the rock grain and then there's the wood plank let's bring the wood plank in now when i do this with the wood plank uh it's one of those things again uh i'm going to bring it down here and i'm going to create a a tiled area right uh now in the case of this on that uh that tiled area um let's bring that over a little bit on that texture tile area in the case of this um i just need to step over uh it's it's it's a tileable tile so i need to step over a hundred percent uh and i need to step up a hundred percent and uh there's no shift or nothing that needs to be done there and i can you know complete that uh plank all the way across did i miss something uh oh this tool might not let me do it uh bear with me saying it might be the uh no shift 100 percent okay so i won't use that tool for that one i'll use my uh copy array tool so i need uh zero gap this part is six and a half six and a half so i gotta go 6.5 offset by 6.5 and i want seven columns three rows give it a second save early and save often ladies and gentlemen save early and save often i'm kind of in a holding pattern right now so while that's thinking let's take a pause from this and let's go back and remember when i recalculated those two tool paths and everything we were at 12 hours and 25 minutes originally on that vcarve project that you know the grandpa's fishing sign and with the recalculated tool pass we are at 14 hours uh with just the these two let's add the v carve in there the pocket cut would not apply in this case uh so we're about uh 14 hours and 58 minutes so uh by adding in those vectors and everything we we were able to shave off from 14 hours and 58 minutes so basically let's call it 15 hours down to 12 hours and 25 minutes so we were about to you know take off two and a half hours by separating and creating that pocket cut and stuff okay so anyway back to here i i might have just screwed myself this is why you save early and save often and and and and and you guys warned me earlier you said hey laney don't forget to save early save often michael pearson said and i didn't say this when i got just jumped right in and started talking because you're gonna be like yeah you talk too much lane uh and right now i'm froze up if i click anything on here it's going to die uh let's go ahead and turn this off let's close this exit out of bcar pro and it is building i don't know what's why why it's complicating my life right now uh it's trying to build these models uh and everything but uh it's froze up so it's already 10 it's 9 53. come on veteran don't let me down we're two steps away from being done with this assembly work with me so now it'd be a great time to answer some questions um if y'all have any oh david kinsey wow are you saying wow he talks a lot or wow on whatever i'm doing on the software let me know just teasing but uh there we go there we go all right okay it's still going standby it's 50 done i didn't need seven columns i only needed five i don't know what i was thinking uh but that's okay i'll i'll carry i'll i'll get rid of whatever i want uh so now it's building the three columns up which i only needed two uh rose rose i only needed two rows and here we go it's coming along now yeah i'll check in in the morning thanks jim have a great day um the uh so now that we're now that we're here let's go ahead and um take our let's look at our 3d view real quick and on my 3d view here i have some gapping right that i really don't want i don't want that gapping in between and stuff uh so what i do want to do is um what i do want to do is i want to back this off some so i'm going to do this i'm not going to do it with this tool i'm going to go ahead and click close here and on these models and everything that are here uh we'll select one at a time okay so on this model here i want to back up so i'm just going to use the arrow keys on my keyboard to move that back until my model uh blends okay and i could bring it all the way back to here because that's technically kind of what it's designed for so i could have a little bit of that overlap but i'm just going to so if we look at it in the 3d view what i'm going to do basically on this is i'm just going to kind of step it back a little um and that's good enough for this class let's go ahead and back this one up let that regenerate let's go ahead and delete the ones that we don't need delete this this this this this on this one let's delete all of those wonderful let's take this one here and let's back it up some this one here let's back it up some okay and then let's take all of these select this this this and this and i'm going to bump that up to get rid of that seam okay and let's take this one bring it back to here this one bring it back to here if i would have created my gapping and everything properly when i use the tool i wouldn't have to do that but i went off the full distance and there's a bit of a lip there so i need to kind of overlap those lips we're almost done we got one more to do right here okay and uh i'm gonna be um happy with that let's go ahead and take all of these planks and this boundary hold down our shift key and select that boundary and let's clear everything on the outside away let it bake and of course i would spend some time with this getting our seams right and of course i got a big gap right here no not really it looks like it all right let's go into our 3d view okay all right so on our 3d view let's turn on our border this will make sense in a minute okay let's get our wooden planks our uh wooden plank here needs to be uh the combined mode is going to be a merge okay and on the wooden planks i'm going to start raising the base height up okay uh let's go point two five zero all right and on the aka uh this will be the only one that is going to be uh the ar has taken on the texture so i'm gonna go with the ar let's kind of bring it up here and i'm going to merge it change the combine mode to merge so it doesn't take on the wood grain and i'm going to raise the properties of it up i'm going to start raising that up okay and so on that you know uh we have a uh design here and uh uh probably could be a little bit more creative or a little bit more um yeah no my transmission ended up you guys uh could you increase the height of the eagle to drop it back some uh the detail yes i could uh tony says could you have increased the height of the eagle to drop the back and have some detail yeah i could have increased the height of the eagle i could have you know increased it much more mike smith my video is blurry uh that wasn't either change your change back to your higher resolution um let's see here lenny is bringing the model in a certain level and depth with that would have fixed the problem uh laney by bringing the model in at a certain level or depth would that have fixed the problem i had with the strap clips uh that were too tall or thin so sylvia klossman is asking you know um by you know on a similar project we worked on with hers her clips and everything were extruded well the clips where the strap goes were really extruded really tall and everything so uh we had to kind of eliminate those and recreate some new ones because they were just too tall reducing the height the depth basically of that z sylvia you would have lost the detail in the rest of the ar the m14 i think yours was but you know you lost the the the detail in it and everything so on this i don't want to reduce the height uh in you know in the case of this i don't want to reduce the height and lose the detail because if i reduce the height of the model let's say i bring this down to a shape height of 3 8 of an inch on that um i'm sacrificing uh the detail right you know i'm losing some of the you know the the finer details and things like that not a whole lot in this case this is a high definition model but still it could happen so i want to reset that back uh that base height better that shape height back to the 0.97 and i want to change this to 0.36 and get back to where i was okay all right okay so the final thing that i want to do is you see all this straight meat on the this ar-15 all this straight meat right here and everything uh it's there's you know uh i'm going to be using a tapered ball nose bit so i need to make i want to make it a little bit easier for my tapered ball nose bit uh to carve this without uh you know uh and still being able to get the detail so last thing that i'm going to do on this model and then we're going to wrap it up is i'm going to turn off all the other models except for that ar [Music] i'm going to turn off all the other models except for the ar and i'm going to add a draft now when we talked about this earlier uh our draft and uh this is where i can add a little bit of angle or a little bit of base meat to these things and so because i'm using a tapered bottoms bit i do want to add a little bit of a draft this is an aspire feature as well but i'm going to go with just a very simple uh 15 degree draft let's see here uh david says check your quality by clicking on the sample 1080. uh that was direct to cecil okay all right so we're almost done with the draft and then this will be the final assembly but basically how do the models the whole point of all this is i don't care what level you are if you're using the models that come with the software or if you use the models that you buy at etsy or turbo squid or cgtrader.com thingyverse design and make all these places you can buy models from and stuff when you import these models how do they combine how do they blend are you adding one to another are you subtracting one from another are you merging the two together so these are the things that's all there is to modeling is is just finding out how your model interacts with the other parts of the design once that's done and your design is done 3d rough cut 3d finish cut if you want to optimize your tool path and and do some pocket cutting like we did before you know to kind of minimize your tool path times and stuff create some vectors around flat regions and areas and do a pocket cut to those regions and when you hover your mouse over a particular part it'll tell you what that depth is down here it'll tell you what that z depth is so you know how to how deep your pockets and stuff need to go now in my case remember if you're working off the bottom of your material you do some math my project is one and a half inches thick this part of the mod the the gun right here is .94 inches from 0.94 inches up so if i take my 1.5 and subtract my 0.94 i'm about uh about .72 inches deep right that i would have to cut and everything if i did my math right one five sorry that's wrong one five i'm about about 0.156 inches deep .56 inches deep is that that would be my pocket cut so you just gotta do a little bit of math it's not not that big of a deal all right now by adding that draft you can see a little bit more of an angular uh cut here you know so it'll be a little bit smoother cut for my um uh for my ball nose bit and things um and uh you may like that you may not like that you might you know not like it having that angle here and all but let's go ahead and um come in turn on our rest of our level our border our diamond plate and our wooden plank and our eagle okay bring all that in and you can see when that wooden plank comes in you know it's gonna eat up half of that angle so you're you know it's not that big of an angle that you think it is uh let's get our eagle in here i got a big gap in my model right there but i've already baked this together so i'm not gonna go undo it and uh my eagle is covering up most of it but there's there is a big gap right there uh that would definitely show up my project but uh you know we've got an assembly here uh the last thing that i would do is i'd put another square right here another rectangle right here i would use the create shape tool to build that up with a flat shape uh flat shape and i want to go that's a quarter i want to go 0.375 click apply uh i want to merge it in there and click apply and that just gives me basically a place to put you know someone's name or whatever right so uh and uh if uh let's go a half inch up 0.5 click apply give it just a little bit of a lip and all that um now if i really wanted to be slick and all that stuff i would spend probably another 30 to 45 minutes on this uh not with you guys but on my own and i would take and uh bring my texture here i'd use my sculpting tool and i would bring that wooden texture over into these smooth areas uh i would do a little bit of sculpting a little adding and subtracting and i'd bring that texture over so to blend around this end much better where you would not even couldn't even tell that there's two separate models there that it just looks like the wood is just kind of splintered out uh and um you know that's all about sculpting you know just uh spending some time with it uh a lot of times it's hard to do with a mouse and all uh but um if you're into designing in models and stuff like that a uh a pen and a tablet uh really make uh sculpting and designing much easier sometimes it's hard with the mouse and all that but use what you got right all right everybody listen um so this is just kind of a just a basic class i mean this was a little bit more than basic in this last end but bringing models in combining them and all that wonderful jazz uh and uh you know creating your tool pass now the last step on this is just to look at our model make sure that it does not exceed the thickness of our material which is one and a half inch thick so in our material setup we have an error here because it is the diamond plate is making it stick up that extra 0.0749 so in here i'm just going to take my overall model i'm going to bring this to 1.49 inches i'm going to click apply i'm giving myself that extra ten thousandths of an inch uh click close on the tool gonna have the ten thousandths of an inch at the top of the material so it has to get skimmed away before that diamond plate and everything gets cut and once i've done that then it's a 3d rough cut uh i'll use the material as the boundary in this case because it's the whole material quarter inch end mill calculate that rough cut and then close out of that finish cut i'm going to use an eighth inch tapered ball nose for this uh material is the boundary because it's the whole material once again uh raster cut calculate the tool path done right uh there's really no flat region in here other than that little block that i just made last uh but you know it's really not worth the time just to you know have a pocket cut just do that so um and that's it you know so anytime we work with a model 3d rough cut 3d finish cut that pretty much is the same process every single time the only thing that changes is our model right all right everybody until next time hopefully you picked up something out of this long class uh this is the longest one we've had yet uh but uh hopefully you picked up something out of that and maybe it'll give you an opportunity to kind of experiment start playing with models and model assembly and have some fun with it alright everybody until next time have a great day don't make it play at dinner yet

Channel: SpindleTV

Views: 3,585

Keywords: CNC, CAD, CAM, Training, Digital Wood Carver, Laney Shaughnessy, Woodworking, Wood Carving, Spindle, Router, Vectric

Id: HNc3ioj2aLc

Length: 183min 34sec (11014 seconds)

Published: Tue Feb 16 2021