What are we going to do today?
The assumption behind this series, and these are kind of quick hits in and out, we want
to do a quick little project-based learning exercise and then let you get on your way
and start doing your own damage.
But the idea behind this is it's intended for people who are just getting started with
Rhino.
Maybe you downloaded the trial and you're staring at a blank screen trying to figure
out what to do.
Maybe you've had Rhino for a little while and you haven't made as much progress as you've
wanted.
There's something that's got you stuck or maybe you just started a new job and they
had Rhino and this is part of your job to learn Rhino, all that kind of stuff.
So we're talking about people who are, we're talking about really basic kind of beginning
skill set here.
So if you are a more advanced person, I'm hoping that I can throw a few tricks in there
that will make this useful.
If you're just getting started, then this is going to be right in your sweet spot.
So this is getting started with Rhino Fire for Windows.
My name is Kyle Houchens.
I'm a trainer and tech for McNeil.
So we're going to do a brief introduction, we're going to take some questions and then
we'll talk about tech support resources, training options and best practices and all
that kind of stuff.
So this is me.
My email address is kylovingneil.com.
I'm also the owner of the outside digital art and design, which is at the outside.biz.
I'm a product designer with 20 years of experience.
I went to the Center for Creative Studies in Detroit to be an automotive designer and
worked very briefly as an automotive designer and then popped over into the product design
field and it spent most of my time in the toy and entertainment industry.
I mentioned I'm a trainer and a tech for McNeil.
I do a lot of the level two training.
I do some of the level one training.
I've got some videos out, I've got an infinite skills video out, a few things like that.
So what are we going to use?
We're going to use the Rhino users guide, which is downloadable off of the Rhino website
under the learn tab.
If you go to the learn tab and then look at the Rhino users guide, this is chapter 18,
which is intended to be a self-guided tutorial and in this particular case, I'm going to
be your guide.
So let's jump into Rhino and talk about how to get this going.
If we look at the users guide, right, this, I put this in before, in the users guide,
you'll notice there's a top view and a side view.
If you right click on this, you should be able to save this image as, and I usually
just plop these on my desktop.
So this will come in as drag and fly, right click on this, save image as, this will come
in drag and fly side.
So that's the first thing that we're going to want to do.
And then that is, that's standard behavior for any web page.
If you go to any web page and there's a picture on it, you can right click on it and save that
picture as, and I usually just plop them on my desktop so they're easy to find.
So what we're going to do is we're going to take these two images and we're going to use
this to break the fear of clean sheet of paper syndrome, right, that fear is an artist you
get when you're looking at a clean sheet of paper thinking, oh boy, what am I, what am
I doing here?
So we're going to use those to set up some reference images in Rhino.
So let's go ahead and do that and then slide this out of the way.
If we go to Rhino and we start a, we start a new modeling window.
And if we hit the four, you'll notice that four view pops up.
That will get us back to our four views, if I double click on any window, it'll, it'll
expand.
If I double click on it again, it'll go back to its four view.
So let's start in the top view.
We have a top view image.
So let's run the picture frame command.
We're just going to type that in the screen.
And we'll go to the desktop and we'll go to the dragonfly top image.
And I'm just going to click and I'm going to hold down the shift key and you'll notice
that the shift key keeps it from spinning around on me.
So if I just hold the shift key, that's going to bring it in straight.
Let's expand this a little bit.
So let's drag this so that it is fairly lined up and you can even use the isoparams of the
reference plane as a guide to kind of, let's lay it down kind of right here on the origin.
That seems to make sense.
So this is great, but this image is a little bright.
It's a little, it's a little too opaque.
I'd like to, I'd like to mute it back a little bit so it's not quite so visible.
So I'm going to click on the object.
I'm going to go to my properties tab over here and you'll notice that there's a material
button, a little tube of paint.
I'm going to click that and you'll see that the material is listed as picture frame.
Well, if I slide down here to, let me expand this a little bit so you can read it, transparency,
I can just bring this up or down to affect how bright or dim that image is.
And I usually, for something like this, I just don't want it to be super crazy bright,
so I'm just going to drop it somewhere around 49 or 50%.
And you'll see that that becomes a little dimmer.
Let's go to the perspective view and just to get it out of the way, I'm going to drag
it down using Gumball so that it's out of the way, right?
It's out of my modeling envelope here, but if I go back to my top view, it's still placed
in top view like that.
So we're doing well so far, right?
So that's our first reference image.
Now for organizational purposes, what I typically like to do is I like to layer my images.
So let's go to the layer palette.
Let's double click on that, and let's change this to top image.
And then I'm going to pick this object, right click here, and I'm going to change the object
layer.
Now, the benefit of this is I can turn it on or off very easily.
The other benefit is I can lock it, and now I'm not going to accidentally select it, right?
So it's literally just a reference image floating in space now that I can turn on or turn off
whenever I want.
So let's go to the front view, and let's do this again, picture frame, and let's do
drag and fly side.
And now in this case, I'm going to snap to the edges of that image.
I'm going to assume that these images were set up to be scaled correctly.
If they are, great.
If they're not, no big deal.
And then I'm going to pull this somewhere again near the origin.
Go to the perspective view, and I'm going to slide this back in space.
Again, I just want to keep the origin kind of clean from this kind of stuff, because
I want to be able to see it, but I don't want it to get in the way.
Let's layer it.
Let's change the object layer, and then let's alter it going back to our properties.
We're going to crank the transparency up a little bit, again, somewhere around 50%.
Go back to our layer, and then let's lock it.
So we've just escaped from the trap of clean sheet syndrome, right?
We have reference images we can work for from now.
So once we've got that done, let's go ahead and start drawing some objects.
So if we go to the top view, and I zoom in a little bit, let's draw the profile of this
bug.
We're going to just use the curve command to do that.
And I'm going to start somewhere in here, and I'm not even going to worry about mailing
this down on the centerline yet.
Now a little trick in Rhino, it takes three points to make a corner.
So while you're doing this stuff, think about that.
So if I have a big corner to make, instead of just shotgunning this thing, right?
We don't want to do that.
I don't want to machine gun points down.
I want to kind of say, okay, this is dipping in, so I've got one point already.
So let's say that's the middle of my dip, and then I've got another point here, which
is the other end of my dip.
Now it's reversing, right?
It's going the other direction.
So now I look at, this is my first point, this is my second point, so maybe that's my
third point, and so on.
One point, one point.
And then that way, we're creating a little bit better curve than we would have if we
had just kept shotgunning points down there, all right?
And I exited that too soon, so let's go ahead and do this again.
Let's do this quickly.
Notice how I'm not just blazing crazy with points.
I want to keep my curve relatively manageable, because if I have hundreds and hundreds of
points down here, it's going to be difficult to manage.
I can always go back and turn my points on and pull them a little farther to get more
surface change, right?
I don't have to go nuts.
You want to try and get as much as you can out of as few points as possible.
Any time you can reduce the number of points, yet still get the surface change that you
want, do that, right?
There was an old joke in the car community about Colin Chapman, who is the head of Lotus
Cars, and when he used to make race cars, they used to joke that he would design the car
and then he would keep taking pieces out to make it lighter until it collapsed under its
own weight, and then it would put the one piece back in, right, that made it collapse.
Whether that's true or not, the mentality is correct, right?
You want to keep removing data, removing points, removing information until the shape
just falls apart, and then you want to put that part back.
So let's, we've got that curve.
Let's go ahead and mirror it, and I'm going to mirror it by typing zero, which is going
to nail it down around the origin.
Now let me show you a trick.
See this gap?
That means that this curve is not set up correctly.
If I were to make a surface, there'd be a hole in the end of this.
Now I did this with record history on, I should have at least, let's just double check it,
and so anything I do to my first curve is going to happen to my second curve, right?
I had history turned on, always record and update children.
So if I turn my points on here, watch what happens.
I pick this and I move it, it updates.
Well, watch this.
If I pick this and I have, right, if I click on the gumballs bunny tail right here, and
I have this set to snappy dragging instead of smooth dragging, which I believe is the
default, I can drag this, hold down, and use an O snap to snap this to here, and that's
going to then flatten this part out.
And maybe now I move both of these back up here.
So I've just gotten rid of that point, see that?
It's still open and we'll fix that in a minute, but let's do the same thing down here.
Let's take this and let's just snap it.
This is creating a tangent condition here, right?
So let's take this now, and let's drag this in this direction, and let's just snap those
together.
And if I turn on the points for this, you'll notice, see I missed it, but watch this.
I can select both of these now, and scale to zero, and that averages them right back
to the center line.
So this is a great trick, this scale to zero, if I pick both of these, click on the handle
and type zero.
Now I've just nailed that down.
I could also snap to grid, I could start at the origin, there's a bunch of different
ways to do it, but I really like this trick.
I can take these three points, see how they're not lined up?
If I click this and type zero, look, it flattens it right out.
Now I killed history when I moved the points on the other side, but that scale to zero
trick I really like.
Okay, so we've just taken this and we've made a nice symmetrical curve.
Let's go to perspective view, and start working on this shape.
Before we do that, I need to do a little adjustment.
You'll notice that this is kind of traveling right through, but this kind of bends off,
right?
This shape is not quite right.
So let's turn the points on for both curves.
Let's pick these points and let's use the bend command, and I love bend because it allows
you to make a really nice procedural bend on the points, so it makes a nice, really
nice edit.
We could do that on the other end too if we wanted to, it's not called for in the book,
but if you wanted to do that you could.
All right, let's go back to the perspective view.
Let's work on our profile.
Let's work on our side profile here.
So I need to draw this shape here, right in here, and then I need to draw this bottom
shape here.
So let's start on the top.
I'm going to use an O snap to snap at the end point here in perspective view, and this
is important because it allows me to identify exactly where that is.
Then I'm going to go back to the front view, see how my curve stayed live, and I'm going
to shift drag my first point so that it stays relatively tangent, and then I'm going to
start coming way out here, and I'm going to start just tracing this.
Now you may say, well, there's a lot more detail in that shape than you're capturing
with this curve.
And that may be the case, but what I'm trying to do is to generate a curve that will generate
a surface that's simple enough that I could then edit it and do some additional sculpting
on.
So I'm going to do the same thing.
I'm going to snap to this end point, which essentially ensures that this curve that I
just drew is set up down the center line.
Let's go back to the front view.
Actually, let's go to perspective view and start our bottom curve, snap, go back to
front view.
I have hotkeys set up for the views, by the way.
And let's just start tracing these shapes.
You don't need to go nuts at this point.
You don't need to machine gun 10,000 points onto this curve.
You just need to get something that you can use as a starting point.
I'm going to go to perspective view just to make sure that I'm catching that.
Set view perspective, and I'm going to snap to here.
So now we've got a nice little wire frame set up here.
We could do this a couple of different ways.
We could loft these curves together.
We could use the loft command and go 1, 2, 3, 4, and then we could change this to normal.
We could change this to closed.
And we'd get something like that.
That's not bad.
But let's see if we can do one better.
Let's use a different command called the CSEC or cross section command.
This is kind of a cool command because what it does is it takes the curve information
from Rhino and it creates like hull sections.
So if we run CSEC and we're going to pick the profile curves in order, right?
So this is important.
1, 2, 3, 4.
We wouldn't want to go 1, 2, 3, 4 because it would make it like a bow tie.
So we want to pick them in the right order, clockwise or counterclockwise.
And then let's go to the front view and watch this.
I can just draw a line and look what Rhino does.
It builds these little cross sectional curves and you'll see it better when we get into
3D space, but I can come in here and basically create
cross sections that help mimic the shape of this thing.
Check that out.
So what Rhino did was it created a spline around here and we've created a really nice
little wireframe.
Now we can use the loft command to get a little different result.
Check this out.
Make sure that you're clicking on the same side of the curve.
If I click over here, it's going to send the loft off in a different direction.
We can fix it, but try and click in about the same spot on each curve.
It'll make your life easier.
So see how this chain is running and all the arrows are going in the right direction.
If I had clicked over here, the chain would go and the arrow would be pointing in the
other direction.
We'd have to drag this over and then flip it.
You can do that.
You can edit all of these.
I can change the direction of this thing if I click on it.
I can change where it is or if I click on the, if I click on flip, I can flip this to
a different direction.
But in this case, it all laid out right.
So we're good.
I'm going to right click to accept and we're going to change this to normal and let's not
simplify it and see what happens.
See how many isoprams it has?
Each one of those isoprams is going to be represented by a row of points.
That's going to be way too crazy to try and edit, to try and do anything with.
So let's refit it.
We refit it.
Look at how much simpler the surface is.
Now you can say, well, you lost some detail.
Well, sure, we did.
That's fine.
But we can also add and subtract detail once we get there.
So let's use this as a basis.
So I'm going to just say, okay.
Now let's sell curve and hide them.
Or even better, let's do this.
Let's make a curves layer, change the objects to our curve layer and make that current again.
And then let's just hide them.
So now I've got a single surface, ooh, got a poly surface, that I can then turn on the
points for.
So I can edit this thing and I can start sculpting it.
So I can come in here, go to wire frame, and I can start pulling and pushing these points
to get some more detail.
So I can add a little fold here if I wanted.
If I pull this over and shift drag on a handle, check that out.
And I can start making these little fold details.
Now some useful tools in here.
If I pick one and I type cell V, I can come around and I can get all of those points.
Then I can start pulling and pushing and sculpting and doing whatever I want.
All right, I can start doing this kind of stuff.
If I get them closer together, those curves are going to tighten up.
If I push them farther apart, they're going to loosen up.
If I grab a whole set of them, if I grab all of these, make sure I've got them all.
When I scale to zero, watch what happens.
They pull together that way, scale to zero, pull together that way, scale to zero.
They pull together to a point and I just closed up that end.
If I adjust the position of this end, I can soften it up so that it's a nice rounded
end.
Once that's in, then I can stretch it, pull it, do whatever I want to it.
Adjust these.
Okay, so you get the idea.
So I just closed up the end of that.
Let's add a few more little segment things in here.
Let's scale this out a little bit.
Let's tuck it under, let's scale this one out a little bit.
This is where the art part of this starts to come in.
You can start messing with this stuff and see what feels bug-like while you're doing
it.
I've created a little segmented body.
Let's call that good.
I want to get two nuts with it, but maybe we can pull out this thing down here, whatever
that is.
Now we can adjust that and get it to feel nice and bug-like.
Stay with me still.
Cell B, please explain a little more.
It's actually cell V, like victory.
When you have points, there is a U direction.
If I were to pick and type cell U, it picks all of the points in this direction.
If I were to pick cell V, it picks all of the points in this direction.
So there's two commands, cell U and cell V. If I pick a point, depending on which one
I enter, I'll either get a whole row in the U direction or a whole row in the V direction.
That's how the directions on a surface are computed.
The reason that they have a U and a V direction is the surface may not be oriented in the
same orientation as the XYZ axis of the construction plane.
This is the construction plane, and this is oriented in XYZ space.
A surface may be oriented like this, right?
So this is not XYZ space, so now I need a different way to determine where I am on this.
So this would be the U direction, this would be the V direction, right, if I turn the points
on.
In this case, it's a single degree surface, so let's just change the degree real quick.
So now this has got points going in the U direction and the V direction, right?
So then I can describe what direction this is going on the surface.
Does that make sense?
The next step, if we go to the top view, let's just go to the top view, that would be an
easy way to start, and let's use a ellipse, and let's draw the ellipse from, let's actually
pick the command for once.
So start at the first axis, it's going to be here, second one's going to be about here,
I'm going to drag a shape out something like that, and then we need to do one more, which
would be from front view to kind of capture the front view shape.
Let's go to the top view, and let's turn the points on for this thing.
Now you'll notice that I don't have very nice points for sculpting, if I bring this out,
you see this big kink in it?
It's because the surface is not a high enough degree in order to be able to actually do
some sculpting.
So let's do that, let's change that for a second.
We'll just run change degree, and we're going to change it from a degree two surface to
a degree three surface in both directions.
Now we have a much nicer layout for points, in fact I can even rebuild it and get a few
more points just so I don't want to go crazy, four and ninety is probably too much, so let's
go nine, and let's use an odd number, and the reason I want to use an odd number is
because it's going to give me a center point, so let's use like, oh I don't know, nine.
Let's preview that.
So look at that.
So now I've got a little bit better setup for sculpting.
I can flatten the ends of this thing out so that they're nice and smooth, something like
that.
I'm going to scale this to zero just to flatten those points out, because if all those points
are nice and flat in a straight line then it'll be a little easier to deal with.
Let's grab the center line, and let's make him a little more bug shaped, so a little
like that, maybe we even pull this in a little bit, see how it's starting to develop kind
of that bug like shape from the top view, and you don't have to grab the whole row,
we can even just grab a few points and we can just push in something like this, and
we can grab just these two and we can make them a little pointier, maybe we do something
like that, and then let's just center him somewhere over the origin, okay, for something
like this, a little bit of asymmetry is not a bad thing, let's look in the side view,
and let's, instead of moving these, which can be kind of a gross edit, let's scale them
in one direction, so I'm going to just scale from here to like that, see how that's a
little softer edit, so let's do that, maybe we want to pull these back a little bit just
to give it a little bit funkier shape, let's go to side perspective and see how we're doing,
that's feeling kind of bug like right, maybe even, maybe I even want to pull just a single
point to give him a little bit more of a chin, I don't know if dragonflies have chins, but
mine does, so we've got that nailed down, let's attach the head to the neck, and maybe
what I'll do is just give myself a little better opportunity by pulling maybe just these
points out a little bit, so from the side view, gives me a little, like a place where
that makes sense for that to attach, right, kind of something like that, maybe I'll move
him just a little bit, it's my bug, I can do what I want, alright, so I'm going to trim
and make a hole, and I'm going to use a little trick, I'm going to just draw a polyline in
a U shape because I'm lazy, and then I can just do one trim, and then delete that, that
way I don't have to draw a curve and then draw another curve and then do a trim and
then do another trim and all that kind of stuff, alright, that little U shape trim
and U shape curve for trimming things like that, it's just my little cheat, so now what
we've done is we've cut a hole here, and we've cut a hole here, and we've exploded this,
so let's go ahead and join this back up into a single poly surface, and then we're going
to use a blend surface, this is my favorite tool in all of Rhino, blend surface right
here, I'm going to auto-chain the edges, and you'll notice that it just runs around there,
and runs around there, and when I click it, and if I hit the preview you can see what
it's going to look like, and I can adjust it in real time to get something that does
what I want it to do, I can change it from curvature to tangency, in this case it doesn't
matter, you know, you can go either way, curvature may be overkill, but it is going to make a
nice blend, let's pull something like that and let's say okay, grab everything, join
it, and now when we shade it, everything is connected, that's feeling kind of bug like,
I don't know whether bugs have necks, but like I said, mine does, so let's give them
some eyes, we're going to take the sphere, which lives here, and we're going to just
do it from the center, and I'm going to snap to the end of this, so that I know, and I'm
going to use the shift key, so that I know it's placed on the side of the head, I'm
going to rebuild it, and I'm going to use, let's use 8, 8 and 8, say okay, because that's
going to give me some more points, and in this case, the points aren't really oriented
very nicely for sculpting, so I'm going to click on my gumball, I'm going to rotate it
90 degrees, see how the points are now better set up for sculpting, because I can just squish
it a little bit in this direction, let's go to the front view, let's just use this little
icon on the gumball, that way we know we're not going in or out in space, we're only
just traveling along the surface, and let's just plop this up here, maybe, go to the front
view now, we scale it up a little bit, because he's got gigantic eyes, and we'll pull it
into the surface a little bit, go to the top view, I don't really like that orientation,
so I'm going to use the rotate command, because that works in the viewpoint, the gumball is
associated with the object, so it would have been difficult to do that, so let's mirror
it, hit zero, and then you can do some edits, because we had history on, anything you do
to it is going to happen to the other side now, this guy's got some eyes, okay, now the
book talks about capping the body, which you could have done if you just made a cap surface
on the end of this thing, we actually did that through point editing, which I like better,
because it makes for a smooth end, if you capped it you'd have a flat plane down here,
you can do either way, so we'll skip that, we'll skip the cap portion of it since we
did it the other way, we want to make our little pinchers, and in this case we're going
to just do that with a boolean, we're going to take a cylinder, and we're going to just
do something about like that, and let's rotate it, let's pull it in, and just editing it for
feel at this point, and once we're happy with it, make sure that it's cutting through all
the way around, we'll do a boolean, delete that piece, we've got our little pinchers,
now there's a bunch of different ways you can do that, you can build different pieces
of geometry, do whatever you want, but like I said, it's my bug, I make the rules, let's
talk about the wings, let's go back to the top view, maybe this is a good opportunity
to start organizing our file a little bit, maybe we say this is the body, and we change
the object here, maybe these are the eyes, and we change these here, and since I model
with a white background, I don't like white layers, so let's do a different color, and
then that way if I need to, I can turn the body on and off, like for the wings, I need
to be able to see the wings better, so I can just shut that off anytime I want.
I'm going to work on the default layer, just so that I don't put something on a layer that
I don't want to have it on, and in this case, let's make a new layer, let's call this wings,
and then if I make that the current layer, now everything I make on that layer is going
to go to that layer, it's sensible, so let's hide the body and draw our wings, again I'm
going to trace this, and I'm not going to machine gun points on here, because I can
always add detail later if I need to, and then I'm going to trace the other wing, and
it overlaps a little bit, which is fine, a little shape in there, okay so those are our
wing shapes, so let's see what we can do with those, there's a great tool called extrude
closed planar curve, which is exactly what we have here, if I grab this, I can just extrude
it a little bit, wings are thin, something like that, now watch this, this is a cool
trick, if I pick this curve and then immediately right click, it's going to do the same thing
over again, if I right click again, it's going to do it at the same thickness, see that,
let me do that again, so pick the curve, and then if I just, I'm not even going to enter
a thickness, I can pull it way down here, if I just right click, it's going to use the
thickness of the last time, if I wanted it thicker, then I'd have to click down here,
but I don't want that, so I'm just going to do the thinner one, so now I've got just
a little bit of adjusting to do, so let's do that, so let's take this and pull it like
this, because they don't want to touch, they want to overlap, maybe this guy moves a little
bit, maybe they both rotate up a little bit, we're going to want our body back so that
we can position it now, these typically come out of like up here on the back, so let's
drag something like that, and I'm going to use this sea plane icon, the little square
on the gumball to place that, and then maybe I'm even going to go to the top view, maybe
I'll even rotate this one back a little bit, just so it feels a little less stiff and mechanical,
should be able to see a little bit of air thrown, they shouldn't be touching, and then
let's just run the mirror command, we've got wings, so the cool thing about building those
on a layer is everything that we built on that wings layer is now still on that wings
layer, alright, so the legs, it's kind of a cool trick, and let's shut the wings off
now because they're in the way, I can use a polyline, just a straight polyline segment,
and I'm going to trace them in top view, just very quickly, now they're not the right
shape, they're just flat because I just drew them so these curves are just flat, they're
not following the shape that I want them to follow, so if I go to my perspective view
and I turn on the points, I can grab these points and I can start pulling them into a
little bit more fantastical shape, now here's something cool too, is that we're going to
use the pipe command to do this, to make the legs, the pipe command is historically enabled,
so I could even, let's take all these and line them up by using that zero trick and
then just pull them down, that way we know he's all, he's going to be sitting on the
ground in the same spot, and then pull these up a little bit, so he's on his tippy toes,
and then, see how I'm just adjusting these points just by feel, and at this point I've
kind of abandoned my reference because the legs in the top view and the legs in the side
view don't match, so now I'm off in artistic interpretation land, let's go to the pipe
command, and let's make, let's give him a little bit of a shoulder, and then we'll give
him just a little tippy toe down here at the end, now watch this, the pipe command being
historically enabled, if I go back and grab the original points of the curve, oh, I'll
do, and I have to shut up, turned on, oh it should, there we go, I was going to say history
failed to update, huh, interesting, looks like it's got its limits as to what it will
allow me to do there, should be able to do some little adjustments as long as pipe can
rebuild itself, so I can adjust that a little bit using the original curve, if you go too
big and it can't make the transitions between the two then, so it's still having a problem
with that one, that's fine, let's just trim it, so let's, let's do this, let's trim this
guy with a curve, let's extract this surface, and then that's loft between here and here,
there, try and tell me I can't do it, will ya, all sorts of different ways to get around
these that show up, and basically the reason that happened is because I was just asking
for too big of a transition from one end to the other, the radius of that object couldn't
turn that corner, which is fine, we just forced it to, alright, that one worked, go to our
top view, mirror, around zero, there we go, bring our wings back, usually dragonflies don't
rest with their wings flat like that, they usually rest with their wings kind of more
like this, so let's do that, history updated the other ones, cell curve, I'm gonna just
change this to our curve layer because it's hidden, and then since we have our images
on planes, we can turn them off, we can turn our ground plane on, swimming, set them up
on the origin there, and we've got our, got our bug, let's make them a little more interesting
looking, let's go to, let's bring up some materials, and let's make some new materials,
basic material, let's make him greenish, just gonna drag this to that, let's right click
and duplicate, make, and we'll give him some kind of pinkish eyes, and maybe make those
real shiny, maybe even a little bit transparent, let's right click on that, duplicate that,
we'll make his wings kind of a grayish color, maybe we'll throw just a little blue in there,
something kind of like that, let's make these fairly transparent, now let's select all of
these, different way to assign it, and then just say assign to selection, and then let's
make his legs, I'm gonna duplicate again, and this is just because I'm lazy and I don't
wanna go through the material, editor, doodad, and let's select his legs, or her legs depending
on which bug you're making, let's go to render view and take a peek, and if we were to run
a rendering, there aren't any lights in the scene right now, so Rhino's just gonna use
the default lighting, okay, that pretty much puts us at the end of what we're talking about,
right, that's pretty much what I wanted to show you today, so we covered a little bit
of sculpting, we covered a little bit of lofting, we covered a lot of editing and point editing,
we talked about not machine gunning points down, where we can always edit the curve to
add information, lots of positioning, some rendering material assignment, basic basic,
we're trying to get started, so there's tons of stuff to go from here.
