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From Wikipedia, the free encyclopedia. Retrieved December 16, Archived from the original on November 15, Retrieved December 10, Archived from the original on Retrieved May 18, Maya books. Archived from the original on November 25, Retrieved December 11, Microfilmmaker Magazine. Archived from the original Software Review on July 20, Design engine. Archived from the original on August 22, Archived from the original on January 10, Upgrade Workshop Without.

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Automation in Construction. Retrieved 25 February Building Information Modeling. Archived PDF from the original on 14 July Retrieved 8 April August Cost Analysis of Inadequate Interoperability in the U. Capital Facilities Industry. National Institute of Standards and Technology. Archived from the original on 19 June Retrieved 25 May IFC4 Special. BuildingSmart International. March Archived PDF from the original on 15 September Archived from the original on 8 April Retrieved 8 October Building Sciences Monthly e-Newsletter.

Archived from the original on 9 June Archived from the original on 12 December National Institute of Building Sciences. Archived from the original on 6 May Retrieved 27 April Fulfilling employer's information exchange requirements using COBie. Code of practice". Archived from the original on 15 September Retrieved 26 May Geospatial World. Retrieved 25 August Archived from the original on 10 August Archived from the original on 16 October Retrieved 17 October Archived from the original on 30 May Retrieved 9 January Archived from the original on 3 April Retrieved 29 May Archived from the original on 26 October Retrieved 24 January NBS: Knowledge.

BIM Thinkspace. Archived from the original on 26 February Journal of Building Information Modeling : 12—4. Archived from the original PDF on 13 October Retrieved 25 January Journal of Computing in Civil Engineering. In Caldas, Carlos H. Computing in Civil Engineering. Procedia Engineering. ISSN Archived from the original on 29 March Retrieved 9 December Archived from the original on 6 December Hong Kong Housing Authority. Archived from the original on 29 January Retrieved 28 January Development Bureau.

Archived PDF from the original on 8 November Retrieved 8 November Archived PDF from the original on 15 December The Economic Times. Archived from the original on 17 October Retrieved 15 October Archived from the original on 21 October Retrieved 4 December Archived from the original on 11 March Retrieved 12 February Archived from the original on 10 December Archived from the original on 14 December Lee, et al. SmartMarket Report. Archived from the original on 15 February Retrieved 6 December Retrieved 22 March The BIM Hub.

Archived from the original on 22 December Retrieved 19 December Archived from the original on 5 June Retrieved 5 June Archived from the original on 22 November Retrieved 22 November Le Moniteur. Global BIM. BIM Crunch. Archived from the original on 14 January SolidWorks Advanced Course Contents. Auto Cad Essentials. Nce Defined the Area of the New Sites.

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Pan over to the building at the bottom of the lake. Click the lower- Objective left polyline to select it. Click the endpoint grip, move it down a short distance, and click again see Figure 5.

Press Esc, and then click the Undo button in the Quick Access toolbar. Click the Arc tool in the Draw panel, hold down Shift and right-click, and choose Nearest from the context menu. Click points A, B, and C in Figure 5. Press Enter twice to end and restart the ARC command.

Type J for Join , and press Enter. Select all ive objects that comprise Objective the outer path three arcs and two polylines. Press Enter, and the command line reads as follows: 14 segments joined into 1 polyline There are 14 segments if you include all the arcs that make up the two polylines.

You are left with a single polyline marking the outer edge of the path. Press the spacebar to repeat the JOIN command. Select the three objects along the inner edge of the path, which include two polylines Use JOIN to connect and the arc above the pentagon. Press Enter, and multiple segments collinear lines even if there is a gap between are joined into one polyline see Figure 5. JOIN is the The streamlined JOIN command makes the older workflow unnecessary.

Multiple object types can be joined at once. The resulting object type depends on what was selected. Instead of stretching a cord from two pins to a moving pencil point which is how you draw an ellipse by hand , in AutoCAD you specify the lengths of its major and minor axes see Figure 5. Zoom into the area in the lower left where the remaining point objects are located.

The size of point objects is recalculated when the drawing is regenerated. Certification Objective 3. Open the Ellipse menu in the Draw panel, and choose the Center method. Click the center point, the end of the major axis, and the end of the minor axis, shown in Figure 5. Every ellipse has four 4. Expand the Modify panel and click the Break button. Select the quadrant points corre- ellipse.

The command prompt reads as follows: sponding to the cardi- nal directions: north, BREAK Specify second break point or [First point]: south, west, and east. Click First Point on the command line. Right-click the Object Snap toggle in the status bar, and select Quadrant from the context menu. Click the quadrant point opposite the point object marking the end of the major axis see Figure 5.

The lower half of the ellipse remains, leaving an elliptical arc. Select the elliptical arc. Press Enter to accept the default when asked if you want to align the block with the selected object.

Type 13 for the number of segments , and press Enter. Delete the three points used in drawing the ellipse, the elliptical mand always creates arc itself, and the white circle, which is the original Shrub block. Fortunately, it is easy to switch between CVs and Fit Points editing modes, so you can make up your mind about which method to use to suit the situation. A control frame connects CVs and represents the maximum possible curvature between adjacent CVs.

Shape Splines 93 You will now draw a CV spline around the lake. Begin by opening Ex Click the irst point anywhere along the edge of the lake. Continue clicking points all the way around the lake. When you get close to the irst point, type C for Close and press Enter. Click the spline you just drew to reveal its CVs see Figure 5. Position the cursor over a CV, and observe the multifunction grip menu.

Select Stretch Vertex, move the cursor, and click to relocate CV curves are typically roughed in initially that particular CV. Try adding and removing vertices using the corresponding choices in shape immediately afterward. Reining a vertex transforms one vertex into two adjacent vertices. Try reining vertices in areas where the curvature is changing rapidly.

Another way to affect the shape of a spline is to adjust the weights of individual CVs. Zoom out until you can see all the vertices, locate the red one, press Enter repeatedly to choose the default option Next , and move the red CV one position at a time until your chosen CV turns red. Shape Splines 95 Type 2, and press Enter see Figure 5. Type a value appro- need to enter depend priate to your particular situation, and press Enter.

We set a weight of entirely on exactly 0. CVs when creating the curve in step 2. Increase the weight of this CV. The curve is drawn closer to the control frame near the weighted CV. Type X for Exit , and press Enter. Continue adjusting the spline until it closely matches the outline of the lake. Type IM for Image , and press Enter. Close the External References palette. The pond is now represented by a blue curve rather than a blue image see Figure 5.

The SKETCH command is admittedly difficult to use with a mouse, so if you have a stylus and a drawing tablet, try using them for a more natural drawing feel.

Controlling the shape of a it curve on the most basic level is a matter of adding more it points in strategic locations. There are a few advanced options affecting the shape of a spline in between it points Tangent, Tolerance, Kink, and Knot Parameterization , and you will use Kink in this exercise to establish sharp points on the spline.

Zoom into the area at the bottom of the lake. More speciically, zoom into the grouping of ive points. Expand the Draw panel, and click the Spline Fit tool at the top left. Toggle on Object Snap mode in the status bar with Node snap on , and click the top point, the point on the right, the bottom, and then the one on the left. Type C for Close , and press Enter. The it curve looks very much like a circle, although it is not perfectly round see Figure 5.

This will be the start of an abstract tree representation. Expand the Modify panel and click the Edit Spline button. Select the curve you drew in step 2. Choose Fit Data from the dynamic input menu.

Then choose Add from the next dynamic input menu that appears. Click the curve in between the top and right points. To use this feature, click the spline to select it, hover the cursor over the rightmost point, and choose Add Fit Point from the menu that appears.

Hold Shift, right-click, and choose Nearest from the context menu. Click a point between the right and bottom points. Repeat the previous step twice, adding additional it points between the bottom, left, and top points see Figure 5. Click Fit Data from the dynamic prompt menu. Press Enter three times to exit the com- mand fully. Click each kink grip, and move it in toward the center to create an abstract representation of a tree see Figure 5. Blend Between Objects with Splines 99 Blend curves join the endpoints of the two objects with a curve having either tangent or smooth continuity.

There is a subtle difference between these types of blending. A blend curve with tangent continuity has its control frame parallel to the control frame of the adjacent curve. A blend curve with smooth continuity not only has its control frame parallel to the control frame of the adjacent curve, but the control frames have equal lengths. A CV spline with tangent continuity blends between the two arcs. Click two adjacent arcs to create another blend curve see Figure 5.

Continue blending all the adjacent curves in the tree. All objects have properties that control their appearance—properties such as color, linetype, lineweight, and so on. The layers to which objects are assigned usually con- trol general object properties, but these properties can be set on a per-object basis as well. When you draw a line, you are ultimately specifying its geometric properties the start point and the endpoint. Geometric properties are the most important factor governing how objects look and determining where the objects are in space.

In addition to geometric properties, all objects share a short list of general properties: layer, color, linetype, linetype scale, lineweight, transparency, and thickness. Although general properties are assigned on a per-object basis, they are usually controlled by using layers.

Exercise 6. Figure 6. Zoom into the reception desk at the center of the small ofice plan. Click the Desk-High layer name to activate the Layer drop-down menu see Figure 6. Select the Desk layer in the drop-down see Figure 6. Observe that the line whose layer property you You can change the properties of multiple changed now appears violet, like the other objects on the Desk layer.

However, only the properties that the selected items have in common are displayed. Expand the Layers panel and click the Merge tool. Click one of the brown lines in the upper portion of the reception desk and press Enter. Click the violet line you changed to the Desk layer in step 5 and press Enter. Do you wish to continue? Choose Yes from the dynamic prompt menu. Be careful, though, to 9.

The display is regenerated. Expand the Properties panel, and click the List tool. Pan over and information. Select the View tab on the ribbon and, on the Palettes panel, click the Objective Properties tool to open the Properties panel. Select the Business Development text object you selected in step Many of its properties appear in the panel see Figure 6. Property values that are editable are displayed on a black background when selected. Press Esc to deselect the text object.

You can now close the command shows some Properties panel. Objects are always drawn on the current layer, and there is only one current layer at any given time. Every drawing has at least one layer, layer 0 zero , which is current by default when you create a new drawing. Select the Home tab on the ribbon.

Click the Rectangle tool on the Draw panel, and click a point a few inches no need to measure Press Shift, right-click, and choose the None from the lower-left corner of the room. Select the rectangle you drew in the previous step, and change its Layer assign- ment to Furniture in the Quick Properties window that appears.

If you plan on drawing more than one object, a more eficient approach is to set the current layer before drawing so that the new object will have the proper layer assignment automatically. Open the Layer drop-down menu in the Layers panel, and click on or to the right of the word Furniture to set this layer as current see Figure 6.

Pan over to the Marketing space. Click the Rectangle tool on the Draw panel, and click a point a few inches without measuring from the lower-right corner of the room. Type ,72 or , for metric , and press Enter to create a credenza in Marketing see Figure 6. Select the rectangle you drew in the previous step, and verify that it is on the Furniture layer in the Quick Properties window that appears.

Pan over to the closet in Marketing. One of the lines representing shelves is missing. You will draw the missing line on the same layer as the existing shelf line.

This approach is more efficient than learn- Toggle on Endpoint and Perpendicular running object snap modes on ing the layer name by the status bar, if they are not already on.

Click the Line tool on the Draw panel, and draw the line shown in ting its layer current. Draw this line. Alter the Layer Assignments of Objects Alter the Layer Assignments of objects Although you have already changed the layer assignments of objects using Quick Properties, there are more eficient methods, some of which do not require you to remember a layer name.

Type DS, and press Enter. Select the coffee table in Marketing. Notice that the entry in the Layer drop-down in the Layers A preview of property panel changes to layer 0; this does not mean that layer 0 is current changes appears on Millwork is , only that the selected item is on layer 0.

Pan over to the lounge room. Click the Match tool in the Layers panel, select the coffee table in the lounge, and press Enter. The coffee table is now assigned to the same layer as the sofas Furniture. Certification 8. Click Settings on the command line; the Property Settings dialog box appears. You can match many properties in addition to layers with this tool see Figure 6. Merging Layers You can merge the contents of multiple layers into a single layer.

First, select the layers you wish to merge in the Layer Properties Manager using the Ctrl key to select multiple nonsequential layers , right-click, and select Merge Selected Layers To. You are then presented with a dialog box where you can select the single destination layer from a list. The source layers are automatically purged after their contents are merged into the destination layer. Control Layer Visibility In traditional drafting, separate drawings would have to be made for the loor plan and the relected ceiling plan to represent the loor and ceiling of the same space.

In AutoCAD, simply displaying some layers while hiding others allows you to create some of the drawings required to describe the space graphically. Toggle off the Desk layer as well. Click outside the Layer drop-down menu to close it. Control Layer Visibilit y 3. Choose Yes from the dynamic prompt. Open the Layer drop-down menu in the Layers panel, and set layer 0 Even though it is off, the Porch layer is still as current.

Click the Zoom Extents tool in the Navigation bar. Notice that there the drawing. The gap disappears 7. Open the Layer drop-down menu in the Layers panel, and freeze because the Porch layer the Porch layer. Press Esc to close the is no longer calculated drop-down menu. Click the Zoom Extents tool in the Navigation bar again. Click the Lock tool in the Layers panel. Select one of the lights. The Lighting layer is now locked.

Type E for Erase , and press Enter. Click on a different light, and observe a tiny padlock appear near the object. Click the Isolate tool on the Layers panel, and then make a crossing selection through one of the windows. Press Enter, and all the other layers disappear see Figure 6.

Select each one of the nine sill lines on the inside of the building and press Enter. Click Name on the command line. Click the Unisolate tool on the Layers panel. The layers return to the way they were before you used the Isolate tool. Click one of the sills on the outside of the building to turn off the Sill layer and press Enter. Zoom into the entry, and click the Measure tool in the Utilities panel. Click points A and B shown in Figure 6. The tooltip reads 5" Type O for Offset , press Enter, type 5 or Click the header line in the window opening, and then click below it to offset a line on the outer edge of the wall.

Continue clicking each header and a point outside the building to offset a second header line in each window opening. The relected ceiling plan is complete. Expand the Layers panel and open the Unsaved Layer State drop-down menu. Select New Layer State in the drop-down menu see Figure 6. The closed drop-down now says Relected Ceiling Plan. Click the Turn All Layers On tool. Click the adjacent Thaw All Layers tool. Apply Linetype 5. Click the Freeze tool in the Layers panel, and select the following objects: light, switch, header, and computer.

The layers Lighting, Electrical, Header, and Equipment are frozen. Type Furniture Plan in layers. Open the Layer State drop-down menu, and select Relected Ceiling layers. Plan see Figure 6. All the layer states associated with the Relected Ceiling Plan are immediately toggled. Apply Linetype In traditional drafting, you draw short, interrupted line segments when you want to indicate what is called a hidden line.

Hidden lines represent objects that are above the section plane. For example, objects such as upper cabinets, high shelves, or roof edges are shown as hidden because they are above an imaginary section line cutting the building horizontally.

In AutoCAD, lines are not interrupted broken into multiple little pieces to indi- cate hidden lines. Instead, continuous lines are assigned a linetype, and this style makes lines appear as if they are interrupted. One advantage to this is that you can adjust the scale of the line breaks without having to redraw myriad little lines. Open the Linetype drop-down menu in the Properties panel, and Objective select Other at the bottom of the menu see Figure 6. In the Linetype Manager dialog box that appears, click the Load but- ton.

Hidden now appears in the Linetype Manager dialog box because this particular linetype style has been loaded in the drawing ile; click OK to close the Linetype Manager dialog box. Zoom into the closet in the Marketing space, and select both lines on the Millwork layer, representing a high shelf.

Open the Linetype drop-down menu in the Properties panel, and select Hidden from the menu. Now the two selected lines have the Hidden linetype assigned. Type 48 or 50 for metric , and press Enter. The factor 50 is appropriate for metric drawings. Select the horizontal shelf line, right-click, and choose Properties from the context menu. Change Linetype Scale to 0. Use LTS to set the linetype scale affecting the entire drawing.

Higher values scale linetypes smaller. Press Esc to deselect the horizontal shelf line. The breaks in the horizontal line are half as large as those in the vertical segment see Alter the linetype scale of specific objects by Figure 6. Close the Properties panel. Lower values scale linetypes smaller. Assign Properties by object or by Layer Properties such as color, linetype, and lineweight are typically assigned by layer rather than by object.

There is a special property value called ByLayer that passes control over speciic properties to the properties managed by the layer to which the objects are assigned. Assign proper ties by Object or by Layer Exercise 6. Open the Linetype drop-down menu on the Properties panel, and select Hidden see Figure 6. Draw a line of arbitrary length any- where on the canvas. Open the Linetype drop-down menu on the Properties panel, and select ByLayer. Draw another line, and observe that it has continuous linetype.

Select the continuous line drawn in step 2, and change its Linetype or lineweights property to Hidden see Figure 6. Draw another line, and verify that it has continuous linetype. Click the Layer Properties tool in the Layers panel. The Layer Properties Manager appears see Figure 6. Collapse the layer ilter tree to save some space in the panel.

Double-click the blue parallelogram next to the new layer. Right-click any one of the column headers to access a context menu. Choose Maximize All Columns from this menu.

Upper layer indicates it is the current layer. Click the Freeze column header again to reverse the Sorting columns is sort order. All columns are sortable. Click the word Continuous in the Linetype column in the Millwork- layers that have common properties.

Upper layer. Click the larger red swatch where indicated in Figure 6. Close the Layer Properties Manager. Zoom into the closet in the Marketing space, and select both shelf lines. This system works completely independently of object and layer properties. This pro- cedure is useful in situations where you want to focus on a chosen set of objects without visual distraction while you perform a task.

Click the Isolate Objects button on the status bar and select Isolate Objective Objects from the menu that appears. Select all of the objects inside the Kitchen with a crossing selection see Figure 6. Click the same icon on the status bar as you did previously and select Objective Hide Objects from the menu. Select the word Kitchen and the door and see them disappear. Click the Stretch button in the Modify panel.

Make a crossing selection from point A to B as shown in Figure 6. Toggle on Ortho mode if it is not on already. Click an arbitrary irst point, move the cursor downward a short distance to establish the vertical direction for the STRETCH command, type 12 30 in metric and press Enter. Select the same icon in the status bar, which now has the tooltip Unisolate Objects, and choose End Object Isolation from the menu that appears. The hidden and isolated objects are now once again visible. Manipulating blocks is an eficient means of working not only because it reduces the number of items requiring selection, but also because blocks can potentially control numerous references from a single deinition.

In this chapter, you will learn how groups are a lexible means of organizing collec- tions of objects, which often include blocks as members. You will also learn how to select and manipulate a group as a whole, or access the members of the group individually whenever needed. This is because you have a higher level of organiza- tional control over blocks than you do over individual entities. In this sec- tion, you will draw a chair and a door and then deine them as blocks.

Then you will convert the chair into a block deinition. Zoom into the leftmost room above the desk. Click the Rectangle tool on the Draw panel, and then click an arbitrary point above the desk which is represented by the yellow rectangle as the irst corner point.

Click the Explode tool on the Modify panel, select the rectangle you just drew, and press Enter. Click the Fillet tool on the Modify panel, and click Radius on the command line. Type 3 or 7 for metric , and press Enter to set the il- let radius; then click the left and bottom edges to create an arc. Click the bottom and right edges to create another arc. Figure 7. Expand the Modify panel, click the Join tool, select all the objects making up the chair you are drawing, and press Enter.

Toggle on Ortho mode on the status bar. Select the polyline you joined in step 6. Hover the cursor over the top-middle grip, and select Convert To Arc from the multifunction grip menu that appears see Figure 7. Move the cursor upward, type 3 or 7 for metric , press Enter, and then press Esc to clear the selection. Click the Explode tool on the Modify panel, press Enter, select the chair, and press Enter again. The polyline is converted into three lines and three arcs. Click the Offset tool in the Modify panel, type 2 or 5 for metric , and press Enter.

A spline object smoothly joins the arcs. Press Enter to repeat the BLEND command, and select the two arcs near the right endpoints; another spline object is created see Figure 7. Click an arbitrary point on the drawing canvas as the irst point of the Stretch operation.

Move the cursor upward on the drawing canvas, type 3 or 7 for metric , and press Enter. The seat depth is reduced. Select the entire chair with an implied window. Type Chair in the Name ield. Every block must have a name. Every block has a base point, which should be related to its geom- etry. Hold Shift, and right-click to open A preview image of the the context menu; select Midpoint. The Block Deinition dialog box reappears, showing the right of the Name field coordinates of the point to which you snapped see Figure 7.

Choose the Delete radio button in the Objects section of the Block Deinition dialog box. Select Scale Uniformly and Allow Exploding. Blocks defined there can be inserted into the drawing as block references.

Changes made to block definitions stored in the block table affect all block references in the drawing. Exercise 7. Pan over to the middle room. Zoom into the door opening along the bottom edge of this room. All door openings in 2. Toggle on Running Object Snap mode on the status bar.

Click the Rectangle tool in the Draw panel. Type 1. Click points A, B, and C as shown in Figure 7. Type B for Block , and press Enter. The Block Deinition dialog box appears.

Type Door in the Name ield, and click the Select Objects button. Select the rectangle and the arc and press Enter. Select the Pick Point button, and click the door hinge. Select the door, and observe that it has only one grip because it is The Convert To Block now a block reference see Figure 7.

Type UN for Units , and press Enter. Open the Insertion Scale drop- down menu, and select Inches or Centimeters for metric if it is not already selected see Figure 7. Pan over to the room on the left with the table. Select the chair icon to insert this block see Figure 7. Hold Shift, right-click, and choose From in the context menu. Click the midpoint of the upper desk edge, type 0,3 or 0,7 for metric , and press Enter.

Click the Move tool in the Modify panel, select the Chair block, and press Enter. Type I for Insert , and press Enter. Click point A in the leftmost room, shown in Figure 7. Verify that Ortho mode is on in the status bar; if not, toggle it on. Move the cursor to the left to rotate the door into the proper orientation see Figure 7.

Click canvas approximately at point B to insert the door. Click point C, shown in Figure 7. Specifying a negative Type and press Enter. Click the Copy tool in the Modify panel, select the door at the bottom of the middle room, and press Enter. Click points A and B shown in Figure 7. Select the new door in the rightmost room. Press Esc to deactivate grip editing mode. Edit Blocks You can edit blocks after they have been deined and inserted into the drawing as block references. In addition to editing geometry, you can assign loating properties to control property inheritance, nest blocks within blocks, or explode blocks entirely.

In fact, this is one of the reasons to use blocks: eficient control over multiple objects from a single edit- able deinition. In the following steps, you will alter the door block and see all its references update automatically. Zoom in on the lower door in the middle room. Select the door, right-click, and choose Edit Block In-Place from the context menu.

Click the Rotate tool on the Modify panel, select the door itself the rectangle rather than the arc , and press Enter.

Click the Trim tool in the Modify panel and press Enter. Click the portion of the wing that extends beyond the door to trim it off, and press Esc to end the TRIM command.

Explicit object properties assigned to objects in block deinitions are retained when those blocks are inserted onto different layers in the drawing. Although the Mac user interface is not covered in this book, its commands and capabilities are similar to those in AutoCAD for Windows albeit with a slightly reduced set of features. The two Windows versions look nearly identical and function in almost the same way.

Click the Application menu to open it. Type polygon, and observe that the text appears in the search box at the top of the Application menu. The search results see Figure 1. Certification Objective F ig u re 1. Click the red X at the extreme right edge of the search box to make the initial Application menu interface reappear. Here you can create new or open existing drawings, export or print drawings, and more. Hover the cursor over Open, and then click Drawing Figure 1. The Sheet Set Manager appears when the sample file is opened see Figure 1.

AutoCAD has many palettes to organize tools and reusable drawing content. Click the Sheet Views tab along the right edge of the Sheet Set Manager, and observe that tabs provide a means of accessing additional interface content. In its present state, the Sheet Set Manager is a floating palette. Drag its palette bar, and relocate it on screen. Click the Auto-hide toggle, and watch the palette collapse to its vertical palette bar; this saves space on screen.

Hover the cursor over the palette bar, and watch the whole palette reappear so that you can access its content. Now toggle Auto-hide off. Click the Palette-properties menu and select Anchor Left. The Sheet Set Manager palette is docked along the left edge of the user interface.

You can use many options to organize the user interface to match the way you work. Select Sheet Views on the Tabbed interface. A new drawing appears in the drawing window.

Click the Open button in the Quick Access toolbar. Select any drawing in the Manufacturing folder and click Open. Move the cursor over the current drawing tab and click Brush Roller Sub Assy to reopen the layout.

Click the Save button on the Quick Access toolbar. The drawing is saved locally on your hard drive and a backup copy is also automatically uploaded to your Autodesk account. Close the sample files by clicking the X in the upper-right corner of the drawing window. However, leave the empty Drawing1 open. Paper space is a two-dimensional area analogous to, and having the dimensions of, a sheet of paper. Model space, on the other hand, is a single three-dimensional volume where everything is drawn in actual size.

Model space is typically scaled down in viewports and displayed in the paper space of layouts. Most of the drawing you will do in AutoCAD will be in model space. A drawing can have only one model space, whereas any number of layouts displaying model space through viewports can be saved in the same file.

The ribbon is therefore an important feature that was introduced to AutoCAD Choose the 3D Basics workspace from the drop-down menu in the Quick Access toolbar. The ribbon replaces all the Classic menus and toolbars see Figure 1.

Close the Tool Palettes if it is open. Workspaces Workspaces not to be confused with drawing spaces are stored sets of user interface controls, which include floating palettes and the configuration of the ribbon. People use workspaces to configure the interface quickly for the task at hand. Tabbed interface Typical panel Minimize ribbon F ig u re 1. Click the Minimize Ribbon button, and observe that the full ribbon changes to display tabs and panel buttons see Figure 1.

Hover the cursor over the panel buttons. The buttons expand to reveal all the tools shown on the full ribbon. Panel buttons Panel titles Ribbon tabs F ig u re 1.

Use one of the minimized modes to save space on the screen. AutoCAD is based on commands. If you know the name of a command, you can type it instead of finding it in the GUI. Click the Minimize Ribbon button again. The panel buttons change into panel titles. Click the Minimize Ribbon button once again.

Click the Home tab to reveal the full panel temporarily. It disappears after you move the cursor away. Click the Minimize Ribbon button one last time. The full ribbon interface is restored. Click the Edit button at the bottom of the Edit panel to reveal additional tools. Hover the mouse over one of the tools to display a tooltip that identifies the tool and describes its function. Holding the cursor still a while longer reveals an image that illustrates what the tool does see Figure 1.

Observe that the bottom of the tooltip shown in Figure 1. The ribbon, menus, toolbars, and palettes are all graphical alternatives to typing commands. Press and release the Alt key. Keytips appear on the ribbon see Figure 1. Pressing any of the letter combinations activates that part of the GUI.

Type IN, and observe that the Insert tab is selected without moving the cursor. The bottom line, Command:, is called the command line. It is the active line where commands appear, regardless of whether they are typed or triggered from the GUI. The complete history of commands scrolls upward as new commands are entered.

The application status bar contains a coordinate readout on the left and a number of status toggle buttons, as shown in Figure 1. The icons that have arrows adjacent to them open menus. Toggle off all the status bar toggles so that none of their icons are highlighted in blue.

Open the customization menu by clicking the rightmost icon on the status bar and deselect Clean Screen, Coordinates, Isometric Drafting, and Annotation Monitor from the context menu that appears. You can control which buttons appear on the status bar using this menu.

Coordinate readout Status toggles Customization menu F ig u re 1. Type POL, and observe how the AutoComplete feature highlights commands in alphabetical order as you type see Figure 1. Use the arrow keys to move up or down through the list, and press Enter when you find the command for which you are looking, or click its name in the list, instead of typing the entire word.

Take a look at the InfoCenter at the top right of the screen see Figure 1. Click in the search box and type solid. Multiple online books are searched and relevant results appear in the left panel. Click the Help button on the right edge of the InfoCenter. The Help Table of Contents page opens in your browser.

All AutoCAD documentation is accessible through this interface. The hyphen is used to separate inches from fractions of an inch rather than feet from inches. One decimal unit can be equal to one millimeter, one centimeter, or any metric unit that you decide.

Click the New button on the Quick Access toolbar. Most commands have aliases that minimize typing. Commands and their options can be typed in upper- or lowercase.

Select Architectural from the Type drop-down menu. Metric users should select Decimal length units. Click the Insertion Scale drop-down menu, and select Inches or Centimeters for metric. Click OK to close the Drawing Units dialog box. Chapter 2 Basic Drawing Skills This chapter teaches you how to draw basic shapes, such as lines, rectangles, circles, arcs, and polygons.

You will learn how to correct mistakes, navigate two-dimensional space, and use coordinate systems to draw accurately. Exercise 2. Begin by opening the file the file Ex Type 1 and press Enter. The Navigation bar appears on the right side of the user interface see Figure 2.

In is an option of the ZOOM command. The last used tool appears on top. Click the Zoom In icon again, and the view is magnified by another factor of 2. Click Pan in the Navigation bar, drag the mouse from left to right, and then press Enter to end the command. For an alternative method, press and hold the mouse wheel and pan the drawing to center the refrigerator on the canvas as shown in Figure 2.

Drag up in the document window to zoom in until the refrigerator fills the screen, and then press Esc. Pan to the lower-left corner of the refrigerator by right-clicking, choosing Pan from the context menu, and dragging in the canvas. Press Esc to end the command. Click points A and B, as shown in Figure 2. The area of the rectangle you draw is magnified to fill the canvas. Roll the mouse wheel forward to zoom in further, and drag the mouse wheel if necessary to reveal the object in the lower-left corner of the refrigerator see Figure 2.

Type Z, and press the spacebar. Type P and press Enter to execute Zoom Previous. Repeat this process until you can see the entire refrigerator. As with all performance tests, results may vary based on machine, operating system, filters, and even source material. While every effort has been made to make the tests as fair and objective as possible, your results may differ.

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