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Diamond SponsorAUGIWorldThe Official Publication of Autodesk User Group InternationalJanuary 2014Advancing Your Skills Your Knowledge Your PowerAlso in this issue: Integrated CAM with HSMExpress The Creative Process in3ds Max The Potential forAdvancement in AECwww.augiworld.comUS 8.00

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product focuscontents6JANUARY 2014AUGIWorld246 3ds Max 2014: The Creative Process12 Revit Structure 2014: Creating AdvancedFamilies in Revit28 Revit Architecture: The Potential forAdvancement in AEC31 Navisworks Manage 2013: Measuring Up16 AutoCAD: Cleaning Up AutoCADDrawings34 AutoCAD Civil 3D 2014: Hitting All theKeys on the Piano24 AutoCAD Architecture 2014: Workingwith Point Clouds36 Inventor HSM: Integrated CAM withHSM Express2834columns4Editor’s Note42 Inside TrackJanuary 2014Cover image:New Zealand Parliament buildings and statue of Richard JohnSeddon. Photo Copyright 2013 – Robin Capper. Reuse of fullor partial copyright image, in any form, without prior writtenpermission is strictly prohibited. Visit Robin’s blog athttp://rcd.typepad.com/ .www.augi.com3

JANUARY 2014Editor’s efDavid Harrington - [email protected] EditorMarilyn Law - [email protected] EditorDebby Gwaltney - [email protected] Hello, AUGIWorld Reader!Welcome to the first issue of 2014! WOOHOO! We have a wonderfulyear planned. This year you will begin to see non-product subject matterfrom columnists along with our traditional Autodesk software articles. Asalways, each month we have a general theme to try to focus on our content and thismonth is no different. For January 2014 I asked our authors to consider sharing somevery advanced ideas and insight.3ds Max - Brian ChapmanAutoCAD - Curt MorenoAutoCAD Architecture - Melinda HeavrinAutoCAD Civil 3D - Christopher FugittAutoCAD MEP - William CampbellColumn: Inside Track - Lee AmbrosiusInventor - John EvansNavisworks - Michael SmithProduct Review - Lonnie CumptonRevit Architecture - Jay ZallanRevit MEP - Todd ShackelfordRevit Structure - Phil RussoBut before we roll into that I would like to thank Robin Capper, this month’s cover photographer. Robin captured some really interested shots on a recent visit to New Zealandand shared that with us. As mentioned before, if you have neat and interesting photos tograce our cover, just contact me and perhaps you too can be “here.”Advertising / Reprint SalesThis month we start out visual with an article by Ruben Dario Karamañites Arango,who shares the creative process he uses for his work with 3ds Max. Then we have ScottMelching showing off his “metal” in creating advanced families in Revit Structure.Vice PresidentR. Robert BellNext we have Walt Sparling doing a little early spring cleaning of drawing files when using AutoCAD. And partnered in the AutoCAD space is Michael Beall, who brings howto edit Properties content quickly. We follow that with Melinda Heavrin, who shareswhat she has learned about using Point Clouds in AutoCAD Architecture.Moving into Revit Architecture, Jennifer Storey tackles the potential for advancementin the AEC industry. And playing up the theme is Mark Hunter, who shows how tomeasure up when using Navisworks Manage. And then Christopher Fugitt bangs out achorus when hitting the keyboard to find solutions for using AutoCAD Civil 3D.Wrapping up the month we have John Evans who gets integrated CAD with HSMExpress (whatever that is ) and then Lee Ambrosius with the month’s look at newproducts and services hot out of development in our “Inside Track” column.There you have it! The first of many issues of AUGIWorld this year. And for thoseAUGI Professional Members who get AW delivered in print, thank you for supportingthe organization such that we can provide you a hard copy of the magazine. See younext month!Take care,David HarringtonAUGIWorld Editor-in-ChiefAutodesk, AutoCAD, Autodesk Architectural Desktop, Autodesk Revit, Autodesk Building Systems, Autodesk Civil Design, Autodesk Inventor and DWF are either registered trademarks or trademarks of Autodesk, Inc. in the U.S.A. and/or in certain other countries. All otherbrand names, product names, or trademarks belong to their respective holders.4Content Managerswww.augi.comKate Morrical - [email protected] ManagementPresidentDavid HarringtonExecutive DirectorKevin MerrittTreasurerDesirée MackeySecretaryMelanie PerryBoard of DirectorsR. Robert BellShaun BryantTommy HolderDesirée MackeyKate MorricalMelanie PerryMichael SmithWalt SparlingScott WilcoxPublication InformationAUGIWorld magazine is a benefit of specific AUGImembership plans. Direct magazine subscriptionsare not available. Please visit http://www.augi.com/account/register to join or upgrade your membershipto receive AUGIWorld magazine in print. To manageyour AUGI membership and address, please visithttp://www.augi.com/account. For all other magazineinquires please contact [email protected] by:AUGIWorld is published by Autodesk User Group International, Inc. AUGI makes no warranty for the use of itsproducts and assumes no responsibility for any errorswhich may appear in this publication nor does it make acommitment to update the information contained herein.AUGIWorld is Copyright 2012 AUGI. No information in this magazine may be reproduced withoutexpressed written permission from AUGI.All registered trademarks and trademarks included in thismagazine are held by their respective companies. Everyattempt was made to include all trademarks and registered trademarks where indicated by their companies.AUGIWorld (San Francisco, Calif.)ISSN 2163-7547January 2014

BIM LibraryARCAT has the most comprehensive collection of BIM objectsyou will find, available free of charge and without registration.The ARCAT BIM Library is also accessible in the ARCAT app,with editing capabilities in the AutoCAD 360 app.arcat.comfacebook

PRODUCT FOCUS3ds Max 2011The CreativeProcessFollow an artist as he creates the worktitled The Guna Yala Indian using 3dsMax software and other productsIntroduction Why is Autodesk 3ds Max one of thegreatest programs on the market? Because the tools blend so well that artists and other professionals can workwith it efficiently, minimizing time and effort.In this article we will enter a realm of technical skills, tools, pitfalls,and problems I had to face to create The Guna Yala Indian image.The Guna Yalas are native Indians of Panama and cultural iconswho shape Panama’s identity. Living on islands such as San Blasamong other regions and reserves, the Guna Yala people are themost pictorial and colorful of them all.6by: Ruben Dario Karamañites Arangowww.augi.comPhoto SessionsFirst of all, I want to thank photographers Javier Conte (his website is www.contefotografia.com) and Rita Willaert (you can findher on Flickr http://www.flickr.com/photos/rietje/) for their personal time and effort in helping to make this project possible.In the beginning of the project I called Javier Conte andtold him about the idea of generating a 3d still image basedon the Guna Yalas; he was interested so we coordinated thephoto sessions.At first, we spent some time searching for someone to model. Iremember looking for at least a month, but in the last week Javierremembered a friend that lived near him who agreed to help, so westarted the photo shoot.We began the sessions taking photos of the woman’s front view,side, back, close ups of hands, dresses, skirts, and handkerchiefs.Using two point light rigs with umbrellas and flashlights, we setup the scene so there was even illumination preventing projectedshadows onto our 3d model. This also helped to help create customized textures used for the 3d model.January 2014

The model was posed like Da Vinci’s “ The Vitruvian Man,” aneutral posture with the hands extended away from the bodyon both sides. This is currently the best known pose for rigging methodology.Modeling Phase 1: Head and DressAfter we finished the photo session, I selected the photos thatwould most help me digitally sculpt the woman correctly.I also researched anatomy references and size and comparisons ofheights in women. These helped me to develop a more accurate 3dmodel (using meters as my measure units).PRODUCT FOCUS3ds Max 2011Understanding anatomy and research is extremely important whenyou start modeling parts of the body, especially in humans and animals. The loops should flow following the muscle lines, which alsohelp determine the correct form of facial expression and providebetter control on the head rigging helpers.In this case I modeled the face with the expression she had in thephotograph. After I modeled the head I sent the .obj file to Zbrushfor further sculpting.To export obj files to Zbrush you can use the plug-in GoZ inZbrush, but if you are not familiar with its functions, try this: Goto the Max icon, click on export, then select OBJ format and in thepreset you can choose Zbrush and keep everything default. Youcan uncheck Export Materials and Create Mat-library inside theMaterial tab, then click export.Figure 1: The Guna Yala Indian 3d Model by Ruben Darío Karamañites ArangoFigure 2: The handkerchiefJanuary 2014www.augiworld.com7

PRODUCT FOCUS3ds Max 2011As for the dress shirt and skirt, I created a base model in 3ds Max, andthen I exported them to Zbrush to paint general wrinkles and base deformations. When I finished with the base model in Zbrush, I exportedonce again, but in this case to model a new topology inside TopoGun.With TopoGun, I drew polygons following the contours of the wrinkles, defining the loops better to get the consistency I needed for detailsat a higher scale. These were applied to sleeves and the upper part of theskirt where the wrinkles were more pronounced and where applying anormal or bump map would fail at creating the proper illumination.Modeling Phase 2: TheHandkerchiefModeling Phase 3: Arm PearlsOne of the most difficult tasks in creating this image was topush the limits in modeling techniques and managing incredibleamounts of object instances. Building up the bracelets was a longand tedious task.The first issue I encountered was to determine how these braceletsare truly built. The process is quite difficult—it consists of inserting a wool thread through the pearl’s hole and then at the end tieit up with a knot all the way from the wrist to the elbow, almostcompletely covering the forearm.The handkerchief on her head was really easy to do. I created asingle plane, converted it into an editable poly, and triangulatedit using the Tessellate modifier. Inside the Tessellate properties Ichose triangle and on the tensions I dropped it to 0.0 and put 4 inthe iterations tab to increase resolution.At the beginning I copied the arm and then subdivided it sothat the transversal loops will be as close as possible whiletrying to keep the distance of two pearls. I selected ring, thenselected the loop inside the editable poly properties so theparallel edges will be converted into splines using the CreateShape from Selection.After that I assigned collisions to the head and dress as rigid bodyinstances and the handkerchief as a cloth with gravity applied toit. Finally, I created an animated simulation with correct dynamicsand physics to simulate the cloth.The pearls were constructed as patches using splines and a Lathemodifier to make the holes in the center. I use these patches tomake copies of these instances and work them around the splinesusing the Align menu Spacing tool.The animated simulation started with the cloth suspended in airwith gravity applied to it; the head and dress had no gravity applied to them. I ran the simulation, which caused the cloth to layon the head and dress and eventually fall to infinity. I deleted all thekeys from the simulation I was not going to use and kept the onewith the handkerchief in the proper shape.The incident triggered viewport performance problems and an almost inoperable machine with a 1.3 GB NVidia GeForce videocard and a scene containing close to 800,000 polygons. This obligated me to find an alternative to handling the large amount ofrepeated patch instances 3ds Max failed to handle.Figure 3: The arm pearls8www.augi.comJanuary 2014

PRODUCT FOCUS3ds Max 2011Figure 4: TexturingThe performance problem appeared to be caused by the patches,which generally have less of a polygon count than other options,but seem to require more processing power.The solution was to make polygons and use the Turbosmoothmodifier for a higher resolution. With editable polys, the scene’spolygon count rose 3,000,000 more or less, at least three timesmore than when using patches, but my machine processed betterand moved evenly in the viewport. I also attached all the instancestogether to make a single object and displayed it as a bounding boxusing Object properties so I could keep working on the other arm.Texturing Phase 1: Zbrush UVMasterAfter the modeling stage and everything was set up, I began unwrapping (an important step for texturing). The tools in 3ds Maxfor unwrapping purposes are really good and easy to use, at leastfor selecting things and efficiently breaking UV groups and polygons. It has a great relaxing tool using the faces method and with1,000 iterations, UVs can spread strongly.In this case, I didn’t use the unwrap modifier inside 3ds Max. Instead I used Zbrush’s UV Master plug-in that comes with Zbrushversion 4R2. This plug-in allowed me to unwrap everything aftersculpting, which saved me some time.A great advantage of using the UV Master plug-in was that I justhad to paint the areas or the loops I wanted to efficiently unwrap.January 2014I also had the ability to automatically relax things evenly withoutusing checkered images to analyze polygon stretches. Finally, iteliminated the need to use sub-elements such as vertex, edges, andpolygons to move things around. This helped to avoid errors.After unwrapping, I used MARI 2.1 to paint. I consider MARIone of the greatest painting programs I have ever used, and extraordinarily useful tools come with the new version.Some examples of these tools are its new layer system, wherebefore it used channels to paint. Also available are filters such asmultiply, overlay, and screen, and an option to use color correctionmodifiers on each layer.Texturing Phase 2: MARI and MaxShadersRegarding the process of painting images on the 3d models in MARI,one of the first steps I did to the picture, for example, the front view ofthe face, was to remove all highlights and shadows and make the pictureas balanced as possible, helping to minimize glossy skin due to naturalskin oil and light exposure, which cut out skin detail in those areas.Using displacement maps, normal maps, and bump maps a greatamount of detail could be added. I altered the expressions usingother photos as reference, and applied proper color corrections, finally painting the image projections inside MARI.www.augiworld.com9

PRODUCT FOCUS3ds Max 2011I’ll talk next about displacement maps and bump maps. For thebiggest details—bone structures and big wrinkles, for example—displacements are the best option. The problem with them is thatyou need a great number of polygons for the map.Here I used the 3ds Max Displace Modifier. This was a good option because I could see the effect of the displacement maps onviewport and could assign how much strength, decay, and luminance center I wanted for better results.The Displace Modifier is easy to use, but I usually follow specific steps to use it. I usually load the .tif file of the displacementmaps—the shirt, for instance—and drop it into the Material Editor socket as an image and then drag and insert it inside Map. Theother important step is that I check “Using Existing Mapping” so itrecognizes the unwrapping I do in Zbrush or Max. Finally, I checkthe Luminance center to help keep the majority of the initial shapeand move strength to enhance features.For bump mapping I usually use a composite material so I can addit in the bump channel inside the SSS Shader. This helps me tohave control in the opacity values and strengths.Texturing Phase 3: SSS ShaderIn this section we will see some of the techniques I use for getting a proper setting inside the SSS Shader. I usually use the SSS’s(Subsurface Scattering Shader) Fast Skin, because it has lots ofproperties and also is the most accurate.These properties are used to simulate skin layers and, with someeffort, get results much closer to reality.There are various channels I use inside the SSS Shader. One is thebump shader and, as I stated before, it is used to create wrinkles byusing composite materials. Another channel that is really importantis the Overall Diffuse Coloration; here I import the original colorimage that I took from MARI. The effect for obtaining real skinis enhanced by a series of channels. These are the Epidermal TopLayer, which is a channel that basically is related to dead skin. As wehumans are constantly shedding skin, this image is used to simulateit. Basically it’s the original skin image with a very low saturation(almost a black and white image with a bit of red and yellow values).The other channel I use was the Subdermal Scatter Color whichis basically the skin layer beneath our outside skin. These simulate the lower veins, capillaries, internal injuries, and bruises. Theimage I use is the original skin image with strongly enhanced redvalues and a little bit of yellow as well.By default, the SSS skin shader has also specular channels thatcontrol the shininess of the skin, but the values are too high for realistic skin and if you render it “as is,” the skin will look like plastic.The image I use inside the Specular Weight#1 was a retouchedimage of the displacement maps with high contrast, but with grays10www.augi.comand white information in the areas were glossiness (exposure) wasstrong—for example, the tip of the nose, in the top eyelids, the tipof the ears and lips.Another great trick was changing the Reflection Weight values tominimum and importing an HDR image inside the Local Environment channel to create a Fresnel reflection effect that helpedfor realism.Rigging PhaseThis phase was really not too difficult, but as always it had its ownissues. One of the things I found most difficult was the natural position. It was relative to gravity, state of mind of the person I usedas reference, and the person’s expression.Rigging the body was not demanding because I modeled it in astanding pose. The fingers took the most time.A great trick is to model the hand with slight bending of the fingers so the rigging can be manageable from straight positions tofull fist positions. Flexing the fingers was delicate work because Ihad to learn where the knuckles bent and how the wrinkles reactedbeneath them for proper effect.With the Skin Modifier properties, painting weights has to be accompanied with good modeling. For example, in areas where theknuckles bend I created several loops so when the Biped Bone bentthe form would be maintained while creating the effect of the skinwrap around the internal bone and ligament of the fingers.DiscoveriesIt was a great experience managing all the steps to create this image. I found pitfalls that helped me learn, such as the multipliedcopies instances with patches, eliminating skin glossiness andshadow information in photo references, among other discoveriesthat appeared on a lower level.As I say to my 3d animation students, the learning process is difficult because of the amount of information available. It is important to push yourself to the limit by assigning yourself projectswith strong challenges. I believe this is the best way to learn. Withhours and hours of hard/intensive work and dedication, in time itwill come to you.Ruben Dario Karamañites Arangowas born in a small town called ParqueLefevre in a small country, Panama.He has studied and worked in Argentina as a 3d artist and worked inIndia as a Texturing Supervisor forSkyworks Studios. He is currently theartist making 3d renderings for theThird Set of Locks inside the PanamaCanal Authority.January 2014

PRODUCT FOCUSRevit Structure 2014CreatingAdvancedFamiliesin Revit When discussing the advanced applications that Autodesk Revit offers,the opinions are varied. When discussing which advanced applicationsare important, the opinions are equally varied. Eachdiscipline has its own idea of which applications are more advanced—and more important—than others. But whatever discipline, all can agree that Revit offers more capabilities, to moredisciplines, on a broader scale than any other software inthe world. Revit has something to offer—whether in Architecture, Engineering, Mechanical, Conceptual Modeling, and soon,Structural Steel Detailing.STRUCTURAL STEEL DETAILINGThe concept of detailing structural steel within Revit, and furtherdefining the idea of BIM, is becoming increasingly popular. With12by: Scott Melchingwww.augi.comthe evolution of BIM, the need for “one model” by designers isbecoming clearer with each project. The recent announcement oftechnology acquisition from Graitec, specifically its Advance Steeland Advance Concrete product lines, by Autodesk, underscoresthat need. While other programs exist that perform structuralsteel detailing, none perform it directly in the Revit environment,or even in the same language. Our hope would be that this acquisition would lead to it being done directly in the Revit environment,which is certainly possible. When fully realized, this developmentwill poise Revit to become the undisputed “King of the Hill” of theAEC industry.As the primary focus of our business, we utilize Revit for just thatpurpose. Granted, “out of the box” Revit currently doesn’t lend itself easily to this task (hence, the subject of this article); however,the vast depth of advanced Revit functions do allow for this, moreeasily than you might think.January 2014

Figure 1: Structural steel detailing in RevitVARIETY OF SELECTIONAs any detailer knows, no single connection willwork everywhere on a project. The entire concept ofdetailing is creating whatever elements are neededto connect a structure, while ensuring those connections meet AISC and/or LRFD criteria. That beingsaid, Revit is actually the perfect tool for this. Theadvanced parametric functions of Revit allow forthe creation of complex connection families that canbe parametrically controlled, through instance parameters and/ortype parameters, depending on the specific need. There really isn’ta limitation on the type of family that can be constructed in Revitusing advanced family building techniques.There have been many books published on the subject of familyconstruction. These are a great start, but the final determinationon how well you are able to develop custom Revit families will bedetermined by the amount of “seat time” you can devote to thetask. Family construction, for the novice, isn’t an easy task, but likeanything in Revit or in life, practice makes perfect. Soon, you willbe creating custom families that significantly reduce the amountof time spent in a project, increasing your profitability. Eventually, you will be creating custom families that allow you to offerservices that no one else can offer, at prices no one else can touch,all because you put the seat time into the family creation task anddeveloped a better mouse trap.ated in-house include parametric roof frames, stairassemblies, railing assemblies, railing brackets, girder and joist stabilizer plates, saddles for wood beams,girder/beam haunches, joist bottom chord extensions, cap plates, base plates, shear plates, angle clips,just to name a few—and all fully parametric. Thebeauty of Revit’s family creation tool is that whatever the need is on a project, if can be constructed inRevit. As a fabricator, if I needed something made,I went to the shop, picked the proper steel item, and created whatever I needed. As a detailer, utilizing Revit, I create elements in thevery same manner. The advanced capabilities of Revit really are adetailer’s dream.PRODUCT FOCUSRevit Structure 2014Figure 3: Miscellaneous Metals in RevitREVIT AS A PROTOTYPE TOOLRevit is perfect as a rapid prototyping tool. In the engineering office, Revit can be used to rapidly assemble a rough structural framefor the engineer’s review. After this review, the frame can be finalized based on the in-house detailer’s use of Revit for structuralsteel detailing. This vital step in the design process is one that isoften overlooked as unimportant, but the reality is, as we move toward full BIM implementation, the only logical placement choicefor the structural detailer is in the engineer’s office. The ability touse a detailer to create the initial model, then connect up and detailthat model after the engineer’s approval, is a currently unrealizedcost savings in both time and rework.MORE THAN A DETAILINGTOOLHow many of you have received the dreaded call,“Ourequipment won’t fit”? Often, the need arises to coordinate equipment sizes and locations with buildingelements long before the equipment is installed. InFigure 2: Structural connections in RevitMORE THAN A CONNECTORDetailing is much more than connections, and soare Revit families. Detailing also includes Misc.Metals. Examples of the families that can be creFigure 4: Rapid prototyping in RevitJanuary 2014www.augiworld.com13

PRODUCT FOCUSRevit Structure 2014some cases, buildings are constructed around equipment. With Revit, coordination of such elementsis an easy task. Many times it is possible to simplydownload the manufacturer’s equipment modelfrom Autodesk Seek or other online sites containing user-created Revit content. Sometimes, however,the model you need simply doesn’t exist. Create it.Revit’s advanced modeling capabilities allow, literally,anything to be made. Whether it is a grain silo, hammer mill, mash cooker, or yeast tank.all of these elements are easilycreated in Revit. As these models are created they are easily insertedinto the model, and coordination becomes a routine task. In the caseof a well-known Tennessee distillery, grain silos were created, in thefinished configuration, and moved around the site to ensure that thefinal positioning allowed for the proper ingress/egress of the dozensof tractor trailers that would be seen on a daily basis. Likewise, otherequipment models were created and inserted into the model to ensure that all the elements fit properly, and even maintenance needswere addressed through this process.Figure 5: Equipment coordination in RevitMORE THAN A COORDINATION TOOLRevit has also been used on historic preservation projects. Friendsof Old Seven (www.friendsofoldseven.org) was founded in an effort to spearhead the rescue and preservation of the historic Seven Mile Bridge in Marathon,Florida. As part of this effort, Revit was utilized notonly to reflect the current condition of the bridge,but also to show what the bridge could look like afterthe preservation efforts were complete. Consideringthat the bridge is more than 100 years old, every element created for this project was created completelyfrom scratch, using Revit exclusively.In addition to the existing 100 -year-old elements that had to becreated for the project, the proposed final use model included elements that currently do not exist, but would have to be createdfor this project. In both cases, Revit easily handled the creation ofthese elements. One of the unique elements for this project was ascale transport train to traverse the bridge, carrying tourists alongits historic route. Revit’s phenomenal family creation tools evenallowed for this to be created. A word of caution: Don’t open Revitexpecting to find a train creation tool, and you won’t find it in theEntourage folder either. This was a completely custom element inRevit; however, the fact that it CAN be created in Revit speaks tothe unilateral, unparalleled power of Revit.14www.augi.comFigure 6: Historic preservation concepts in RevitREVIT AS A SALES TOOLWe designers sometimes tend to forget that others either cannot,or do not, see our vision. Customers look to us to create their finalvision. This is not an easy task; if it were, everyone would be a designer. The often overlooked visual representation tools affordedby Revit can be the perfect sales tool. It may take a bit more efforton the front end to create a conceptual model for aserious customer, but what better representation ofyour proposal than a model showing exactly whatyou are proposing?The amount of time spent on the model is up to eachdesigner, but the ability to show a rendered photograph of the finished product or even a walkthroughvideo will always tell more than any conversationcan. The beauty of Revit is this: When you create a conceptualmodel, you have already started a working model. No more willyou have to take a SketchUp model and recreate it in Revit; theconceptual model will take its place. No more will you have toconvert a hand sketch to a model. That task has been eliminatedand you may have gained a sale because of it.Figure 7: Revit as a sales toolFINAL

Wrapping up the month we have John Evans who gets integrated CAD with HSM Express (whatever that is ) and then Lee Ambrosius with the month’s look at new products and services hot out of development in our “Inside Track” column. There you have it! The f