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How to Apply a Jaguar Skin to a Woman

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 01:15:00 +0000

On this Photoshop tutorial you will learn how to apply a jaguar skin to a woman by using Photoshop Tools.

Final Image Preview

Step 1

Start by creating a new document with 1920px width and 1200px height. Fill canvas with black color on background layer.

Step 2

Open woman photo and copy to our main canvas with black background. With woman layer selected go to Edit > Transform > Flip Horizontal to flip photo.

Hold Shift button to reduce photo size proportionally horizontal and vertical to similar size as you can see below. We need to extend woman’s hair with Smudge Tool. Select Soft-brush, 3px and set foreground color to white (#ffffff).

Step 3

Now we are going to extend woman shoulder. For this, select Brush Tool, hard round brush with 20px, set foreground color to #9e6e39 and draw shoulder shape.

Load selection of current layer by going to Select > Load Selection. Select Brush Tool (soft-brush with 45px in size and color #d5c7b8) and apply brush to highlight shoulder edge.

Remove selection with Ctrl+D.

Step 4

Our next step is to prepare photo to apply jaguar effect. Select Polygonal Lasso Tool to create selection of the woman. With selection made, click on button Add Layer Mask located on layers palette.

Go to Select > Load Selection to make selection again. Hold down Alt key (a minus sign will replace plus sign on cursor) and select woman face still with Polygonal Lasso Tool. We are going to substract from selection and we will keep only hair, ear and neck. To finish click Ctrl+J to duplicate selection into a new layer.

Step 5

On duplicated layer apply Image > Adjustments > Brightness/Contrast.

Update Hue/Saturation settings by going to Image > Adjustments > Hue/Saturation.

Select Burn Tool (150px, Range: Midtones, Strength: 35%) and darken the edge of hair.

Step 6

Open Jaguar photo. Copy photo to our main canvas. Select part of the photo with Rectangular Marquee Tool and press Ctrl+J to copy selection to new layer. Hide Jaguar layer by clicking the eye icon.

Change layer blending mode to Multiply and place it similar to what I have.

Increase Hue and Saturation by going to Layer > Adjustments > Hue/Saturation.

We are going now to apply texture to body. Select Eraser Tool and with a soft round brush remove visible parts of jaguar texture on neck and shoulder.

With Polygonal Lasso Tool clear hair area of texture by selecting and clearing it with Delete button.

Step 7

Now we are going to add texture to woman’s face. Select hidden layer with jaguar and make it visible again. Set up opacity to 70%. Select Rectangular Marquee Tool to create selection similar to mine. After that, invert selection (Select > Inverse) and press Delete to clear selection.

Remove selection by using Select > Deselect (or Ctrl+D). Go to Edit > Free Transform (Ctrl+T) to increase layer. And after that, use Distort if needed to have something similar to what I did.

Duplicate layer with Ctrl+J and flip it with Edit > Transform > Flip Horizontal. Move it to the left like I did.

Select Eraser Tool and with a soft round brush eliminate distinction between both texture layers.

Set layer opacity to 100% again on both layers. Merge both texture layers by selecting them (Select first layer by clicking on it, keep pressing Ctrl and click on second layer) and press Ctrl+E. Change layer mode to Multiply. Finally change Hue and Saturation settings by going to Image > Adjustments > Hue/Saturation.

Step 8

With layer selected, go to Select > Load Selection. Apply Layer > Layer Mask > Reveal All.

Select Eraser Tool, soft brush, opacity: 100% and correct mask form.

Set Brush Opacity to 4%. Clean up a bit on nose area.

Step 9

Select Pen Tool (make sure you are working with Paths instead of Shape Layers) and draw a shape similar to mine.

Right click and select option Make Selection. Create new layer, select Brush Tool with a soft round brush (Opacity: 6%, foreground color: white) and apply on selection.

Remove selection with Ctrl+D and with Eraser Tool selected (Opacity: 8%) clean borders.

Step 10

Hide this layer temporarily by clicking on layer eye. Select Pen Tool again to create lips form. When you have finished drawing right click and select option Make Selection.

Make layer visible again by clicking on layers eye. Clear selected area by pressing Delete. Deselect with Ctrl+D. Select Blur Tool to blur lips edges.

Step 11

Select layer with jaguar texture and use the Dodge Tool to make eyes brighter.

Use Eraser Tool to fix and make eyes clearer.

Now we need to update eyes color. Select layer with woman photo and with Polygonal Lasso Tool create selection of one eye pupil. With Shift pressed, create selection of second eye pupil.

Apply Image > Adjustments > Hue/Saturation to selection.

Final Image

How to Change Shape of an Ornamental Plant

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 01:12:00 +0000

Would you like to know how to create the desired shape of an ornamental plant by using only Photoshop tools? Then this Photoshop tutorial is especial for you.

Final Image Preview

Step 1

Download and open both photos in Photoshop. On the duckling photo use the Polygonal Lasso Tool to select the young duck shape. Once selected, press Ctrl+C to copy the selection and on the garden photo press Ctrl+V to paste.

Reduce the opacity of the duckling layer to 50% to make the background visible.

Step 2

Select the Polygonal Lasso Tool. On the background layer select part of the plant and copy it to a new layer with Ctrl+J. Place this new layer above the duck layer and position the duplicated content above the duck’s head as you can see below.

It’s important to note that illuminated parts of the plant should be located in areas of convex shape, that is on the wing or back of the duckling.

If the shape doesn’t match the form of the duckling, then you should change it with the Polygonal Lasso Tool and then transform with Edit > Transform > Rotate and move it to the correct position.

Next, place the plant parts over the shape of the duck’s body.

When the whole shape of the duckling is filled with plant fragments, merge all layers into one except the background layer and the duck layer. Use the Clone Stamp Tool to remove borders around the plant fragments. After that delete the duckling layer, we don’t need it any more.

Step 3

To make a natural look, create a new layer under the plant layer, now use the Brush Tool with a small diameter brush to make small twigs around the plant. Get color samples with the Eye Dropper Tool.

Step 4

To finish off this tutorial we have to replace the old plant shape on the background behind the created plant in the shape of a duck. To do this go to the background layer again and then get the Clone Stamp Tool. Hold down the Alt key — the cursor will change to a target. Click the point you wish to use as a sampling point. This will be used as the reference point for cloning. Click and draw where you want the cloned image to appear. As you draw, a cross will appear on the original image while a corresponding circle appears where you are drawing.
Remove the old plant from the background image and this tutorial is complete.

Final Image

Transform a Female into a Dark Elf

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 01:00:00 +0000

In this Photoshop tutorial you will learn how to make drawing-style picture in a fantasy style from one photo. This tutorial is not difficult but it is more suitable for people who have some experience in Photoshop drawing.

Final Image Preview

Note: if you have a graphics tablet you can use it and you will get better results. But you can also do this tutorial with a computer mouse.

Step 1

Start by opening the photo in Photoshop.

Let’s start by changing the proportions. Go to Filter > Liquify and work on changing the shape of the face and make the eyes bigger. Make sure Forward Warp Tool is selected and use it to increase the size of the eyes.

Step 2

Select the Healing Brush Tool to remove skin defects if they are present on the photo.

Step 3

We need to reduce brightness and increase contrast with Image > Adjustments > Brightness/Contrast.

Change the color balance by going to Image > Adjustments > Color Balance.

Go to Filter > Liquify again to increase the fantasy effect on the photo (eyes, lips and face shape especially).

Step 3

Create a new layer (Ctrl+Shift+N). Select the Brush Tool and press F5 to open the window with Brush Presets or go to Window > Brush. Select Soft Brush, 80px and 20% hardness. Change foreground color to #230b47. Choose Shape Dynamics option and update Control to Pen Pressure (if you have a graphics tablet). If not leave the Control option off and we will work with the computer mouse. Apply the brush to the photo background. Finally, change layer opacity to 70%.

Duplicate layer with Ctrl+J. Change the layer mode to Soft Light and opacity to something around 50%-60%.

Step 4

Create a new layer above all other layers. Now we need to create the ear shape. Select the Eyedropper Tool and click on the face area to get the color sample. Now with the Brush Tool (soft brush) start creating an ear shape and use other colors and different brush sizes to get a more real ear.

Keep creating the ear shape.

Finally we need to get some texture to apply to ear. Go to the original photo and with the Rectangular Marquee Tool selected make a small selection of skin. Copy selection.

Paste the selection on our psd file and a new layer will be created. Place the new layer on top of all other layers and place the skin exactly over the ear. Use Image > Adjustments > Desaturate to desaturate.

Change layer mode to Soft Light.

Load selection of the layer with the ear (press Ctrl and click ear layer thumbnail on layers palette).

Select the ear texture layer. Invert selection with Selection > Invert and press the Delete button to clear selected area. Remove selection with Ctrl+D.

Step 5

Create a new layer on top. Select the Brush Tool (soft round brush) and paint over the hair and neck with white. This layer will be called “hair”.

Change layer blending mode to Color.

Create a new layer on top. Set foreground color to #e8ddfc and with the Brush Tool selected (soft brush, opacity: 10%) apply brush to face.

Change layer blending mode to Color.

Duplicate layer “hair”. Move on top of all layers and change blending mode to Overlay.

Select Brush (diameter of around 3-4px) and draw new hair with white (if you have a graphics tablet use it). Check next screenshots.

Step 6

Repeat the same process now for eyebrows and name the layer “eyebrows”.

Step 7

Duplicate “hair” layer with Ctrl+J.

Merge both “hair” layers into one. After that select the Smudge Tool (Strength: 65%) and use the Spatter 59px which is one of the standard Photoshop brushes to make the hair smoother and more realistic looking.

Step 8

Create a new layer above all other layers. Select Brush Tool (Opacity: 70%) and draw more hair with a 1 pixel brush using white. It will give a more natural look to the hair.

Duplicate the layer with Ctrl+J and move it a little bit.

Create a new layer again. Choose the Brush Tool (Soft brush with opacity 10-20%) and paint over sections of the hair, where the largest amount of hair is present. Once done, select the Eraser Tool (Opacity: 35%) to clear a little bit where the hair ends.

Step 9

Now we need to bring more volume to the hair. Create a new layer and set blending mode to Multiply. Select the Brush Tool (Opacity: 20% and soft round brush) and darken the hair around the face with black. Apply Brush Tool also to lips.

Create a new layer on top of previous layer and change layer mode to Color. Select some very bright color for the eyes and paint slightly.

Step 10

Now we are going to make the face more voluminous. Create a new layer on top of all other layers and change layer mode to Soft Light. Use the Brush Tool (Opacity: 10% and a soft round brush) to darken the shadow side of the face use black (#000000) and lighten the highlights with white (#ffffff).

Step 11

Now we have to consider reflection on the picture. As we can see the background is purple, so we should have the same color shade on hair, clothes and face. To do this create a new layer, assign blending mode to Soft Light, take a sample of the background color using the Eyedropper Tool, then add a purple hue to all of the picture using the Brush Tool (Opacity: 30-40% with soft round brush).

To finish off the tutorial we have to remove the button from the clothes. Create a new layer and select the Clone Stamp Tool (select the parameter Sample All Layers) and remove the button using this tool.

Final Image

And we are done with this tutorial. Hope you liked it.

Introduction to selecting object

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:53:00 +0000

Before you start to use the AutoCAD Modify commands, you need to know something about selecting objects. All of the Modify commands require that you make one or more object selections. AutoCAD has a whole range of tools which are designed to help you select just the objects you need. This tutorial is designed to demonstrate the use of many of the selection options. As with so many aspects of AutoCAD, developing a good working knowledge of these options can drastically improve your drawing speed and efficiency.

Selecting Objects by Picking

Perhaps the most obvious way to select an object in AutoCAD is simply to pick it. Those of you who have used other graphics based utilities will be familiar with this concept. Generally all you have to do is place your cursor over an object, click the mouse button and the object will be selected. In this respect AutoCAD is no different from any other graphics utility.
When you start a Modify command such as ERASE, two things happen. First, the cursor changes from the usual crosshairs to the pickbox and second, you will the the "Select objects" prompt on the command line. Both of these cues are to let you know that AutoCAD is expecting you to select one or more objects.
Select objects: To select an object, place the pickbox over a part of the object and left-click the mouse. When the object has been picked it is highlighted in a dashed line to show that it is part of the current selection and the command line reports "1 found". You will now see the "Select objects" prompt on the command line again. At this point you can continue adding more objects to the current selection by picking them or you can press or the Space Bar to complete the selection.


The Crosshairs	The Pickbox	Highlighted Object

When you pick one or more objects in response to the "Select objects" prompt, you are effectively creating a selection set. Selection sets are an important concept in AutoCAD because they can be used to great effect, especially when drawings become large or complicated.

An Example

Follow the example below to get an idea how a selection set can be created by picking objects.

Draw Two Circles

Draw two circles using the CIRCLE command, from the pull-down menu or from the Draw toolbar. The size and position of the circles does not matter.
Command: CIRCLE
Specify center point for circle or [3P/2P/Ttr (tan tan radius)]: (pick a point in the middle of the drawing window)
Specify radius of circle or [Diameter] <8.3453>: (pick another point to define the circle circumference)
Command: CIRCLE
Specify center point for circle or [3P/2P/Ttr (tan tan radius)]: (pick the center point of the second circle)
Specify radius of circle or [Diameter] <37.9174>: (pick another point to define the circle circumference)

Erase the Two Circles

Erase the two circles using the ERASE command, from the pull-down or from the Modify toolbar.
Command: ERASE
Select objects: (place the pickbox over a circle circumference and left-click)
1 found
Select objects: (place the pickbox over the second circle circumference and left-click)
1 found
Select objects: (press to complete the selection and erase the objects)
Creating selection sets by picking objects can become quite tedious if you want to select a large number of objects. Just imagine having to pick a hundred or more objects in a large drawing! Fortunately AutoCAD provides a number of selection options which can help you select objects more efficiently.

Window Selection

The Window option is invoked by typing W in response to the "Select objects" prompt. Window allows you to define a rectangle using two points in exactly the same way as the RECTANGLE command. Once the window is defined, all objects which lie entirely within the window will be selected.


The Window selection box is shown as a rectangle with a solid line	Only objects entirely within the window will be selected

Command Sequence

Command: (start one of the Modify commands such as ERASE)
Select objects: W
First corner: (pick first corner)
Specify opposite corner: (pick second corner)
Select objects: (at this point you can either select more objects or to complete the selection set and continue with the current command.)

Crossing Window Selection

The Crossing Window option is invoked by typing C at the "Select objects" prompt and is a variation of the Window command. The command sequence is exactly the same but objects are selected which lie entirely within the window and those which cross the window border.


The Crossing selection box is shown as a rectangle with a broken line	Objects within and crossing the window will be selected

Implied Windowing

Although you can explicitly invoke the Window and Crossing Window selection boxes by entering W or C at the keyboard when prompted to "Select objects", in practice this is rarely done. Both of these selection options are so commonly used that AutoCAD provides a method of implied windowing so that you don't have to use the keyboard at all. You can test this out without using any command. If you pick a point in space on the graphic window, you will notice that AutoCAD automatically assumes that you want to define a selection window and uses the pick point as the first point of that window. If you move the cursor to the right of the pick point you will get a Window selection box (solid line). If you move the cursor th the left you will get a Crossing Window selection box (broken line). With a little bit of practice the use of implied windowing can make the whole drawing process very efficient and you will rarely find yourself having to explicitly invoke the window selection options from the keyboard.

The Undo option

It often happens that you inadvertently add objects which you don't want to a selection set during its compilation. When this occurs in the middle of a complicated selection it can be pretty annoying. Fortunately AutoCAD allows you to undo the last selection made during the compilation of a selection set. All you need do is enter U at the next "Select objects" prompt to remove the objects previously added.

Selecting All Objects

The All option is invoked by typing ALL at the "Select objects" prompt. You can use this option to select all the objects in the current drawing, no picking is required. Objects on Locked or Frozen layers are not selected but objects on layers which are simply turned off are selected.

Fence Selection

The Fence option allows you to draw a multi-segment line, like a Polyline. All objects which cross the fence will be selected. The Fence option is invoked by typing F at the "Select objects" prompt.
Command:
(start one of the Modify commands such as ERASE)

Command Sequence

Select objects: F
First fence point: (pick first point)
Specify endpoint of line or [Undo]: (pick second point)
Specify endpoint of line or [Undo]: (pick another point or to end fence selection)
Select objects: ( to complete the selection set or add more objects)

Window Polygon Selection

The Window Polygon option, invoked by typing WP is similar to the Window option except that you can define an irregular polygon shape within which objects will be selected. As with the Window option, only objects which fall entirely within the polygon will be selected.

Command Sequence

Command: (start one of the Modify commands)
Select objects: WP
First polygon point: (pick first point)
Specify endpoint of line or [Undo]: (pick second point)
Specify endpoint of line or [Undo]: (pick third point)
Specify endpoint of line or [Undo]: (pick another point or to end polygon selection)
Select objects: ( to complete the selection set or add more objects)
A polygon is formed by picking at least three points.

Crossing Polygon Selection

The Crossing Polygon option can be used in exactly the same way as the Window Polygon option but it has the same selection criteria as the Crossing Window option, i.e. objects will be selected if they fall entirely within or touch the polygon boundary. This option is invoked by typing CP at the "Select objects" prompt.
Note: Lines, polygons and windows drawn using the selection options do not exist as drawing objects. Once the selection has been made they disappear.

Using a Previous Selection

AutoCAD always remembers the last selection set you defined. This is very useful because you may need to make a number of changes using different commands to the same group of objects. In order to re-select the last selection set you can use the Previous option. The previous option is invoked by typing P at the "Select objects" prompt.

Selecting the Last Object

You can select the last object created by entering L at the "Select objects" prompt.

Object Cycling

When drawings become complicated it is sometimes difficult to select the particular object you want because it is either very close to or overlies another object. In such a case it may happen that the other object is selected and not the one you want. Object cycling is designed to overcome this problem. If you make a pick whilst holding the Control (Ctrl) key down, AutoCAD will respond with "<Cycle on>". If you continue to pick, each object near the pick point is highlighted in rotation. Just keep picking until the object you want is highlighted, then right-click or , AutoCAD responds "<Cycle off>", the required object is added to the selection set and you can continue to select more objects as normal.

Adding and Removing Objects

AutoCAD provides two methods for adding and removing objects to and from a selection set. As you know, objects can be added to a selection set simply by picking them or by using one of the methods outlined above. You can remove selected objects from a selection set just as easily by shift picking. If you hold the Shift key down on the keyboard while picking a selected object, that object will be deselected (removed from the current selection set). You can tell when a selected object has been deselected because it is no longer highlighted. You can remove more than one object at a time by holding down the Shift key while using implied windowing. However, none of the other selection options which require keyboard input will work using the shift pick method.
If you need to remove a more complex selection from the current selection set you should use the Remove option to switch to Remove mode. If you enter R at the "Select objects" prompt, AutoCAD will respond:
Remove objects: Objects now picked or selected using any of the above methods will be removed from the current selection set. When you have finished removing objects, you can return to Add mode by entering A at the "Remove objects" prompt.
You can use any combination of picking, selection options and add/remove modes to define your selection set. Once you are happy that you have selected all the objects you need, just hit to complete the selection process and to continue with the current command.

Setting the Linetype Scale

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:46:00 +0000

In many cases your linetypes will display just as you want them. However, it is inevitable that at some time you will need to change the scale at which your linetypes are displayed. By default the linetype scale is set to 1.0, this means that each linetype pattern will repeat every 1.0 drawing units. To make the pattern appear larger, change the scale to a larger number. Setting the linetype scale to 5.0 for example causes the linetype pattern to repeat every 5.0 drawing units so that the pattern will appear 5 times larger. Conversely, setting the scale to 0.2 causes a repetition every 0.2 drawing units which will make the pattern appear 5 times smaller. See the illustrations below :

To change the linetype scale, click on the button to bring up the Layer & Linetype Properties dialogue box. If the "Details" section of the dialogue box is not visible, click on the "Details>>" button to reveal it. The dialogue box should now look similar to the one shown above. You set the linetype scale by changing the value in the "Global scale factor" edit box. Once you have changed the scale factor, click on the OK button to return to your drawing. AutoCAD automatically regenerates the drawing to display all linetypes with the new scale factor.
You may have noticed from the Layer & Linetype Properties dialogue box that you can also set the linetype scale by object, using the "Current object scale" edit box. Whilst this is perfectly easy to do, the results can sometimes be unexpected, since the linetype scale of any object is a function of both the Global and Current scales. For example, setting the Global scale to 2.0 and the Current scale of an object to 0.5 results in the same appearance as if both scales were set to 1.0, the default values. In short, unless you have a really compelling reason to change it, keep the Current object scale set to 1.0, this will avoid any confusion in the future.


Linetype scale = 1.0	Linetype scale = 2.0	Linetype scale = 0.5

As with other settings, AutoCAD allows the user to set the Global and Current linetype scales using the keyboard. Use the LTSCALE command to change the Global scale and the CELTSCALE command to change the Current linetype scale. It is often quicker to use the LTSCALE command when you are experimenting with linetype scales, this avoids having to navigate the dialogue box each time.

Controlling Layer States

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:44:00 +0000

One of the best aspects of working with layers is the flexibility with which you can control their visibility. So far we have looked at the colour and linetype properties of layers. However, there are a number of other properties all of which relate to whether or not objects on a layer can be seen and/or modified. The current state of these properties are all indicated by icons in the various layer lists. You will already have seen them if you have been following this tutorial. The meaning of these icons is shown in the table below:

Icon	Name	Description
	On	The layer is visible unless it is also frozen
	Off	The layer is invisible but objects are still regenerated unless it is also frozen
	Thaw in all viewports	The layer is not frozen
	Freeze in all viewports	The layer is invisible and objects are suspended from regeneration
	Thaw in current viewport	The layer is not frozen in the current viewport
	Freeze in current viewport	The layer is frozen and invisible in the current viewport but may be visible in other viewports.
	Thaw in new viewports	The layer is not frozen in new viewports when they are created
	Freeze in new viewports	The layer will be frozen in any new viewport
	Unlock	The layer is unlocked
	Lock	The layer is locked and objects cannot be selected or modified

Creating a New Layer

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:43:00 +0000

To create a new layer, click on in the Object Properties toolbar, the Layer & Linetype Properties dialogue box, illustrated below, appears. This is a tabbed dialogue box and can be used to control either layer properties or linetype properties depending upon which tab is selected. The Layer tab is always selected by default. Now click on the "New" button. A new layer called "Layer1" is automatically created in the layer list below layer 0. As you can see from the illustration, the layer name is automatically highlighted for you so that you can give the layer a more meaningful name. When you have entered an appropriate name, press the key to complete the operation. You have now created a new layer and given it a name. Notice that by default it has been assigned the colour white and the linetype "Continuous".
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There are a few restrictions to consider when you are naming layers. The most annoying is that you cannot use spaces within layer names. So, for example, the layer name "Tree trunk" is illegal. However, it is common practice to replace the space with either a hyphen or an underscore, both of which are valid layer name characters. So, the layer names "Tree-trunk" and "Tree_trunk" are both acceptable. Some other special characters are also not allowed. If you do use an illegal character, AutoCAD will alert you with the error message box illustrated above. Notice that it very helpfully tells you which characters are legal. Basically, if you stick with letters and numbers you won't experience any problems. In addition to the hyphen and underscore mentioned above, the dollar sign is the only other symbol allowed.

The only other restriction relating to layer names is the number of characters used. Layer names can be between one and thirty-one characters long. This should give you plenty of scope to devise understandable and descriptive names for your layers. It is good drawing practice to name your layers sensibly, bear in mind that other people may have to work with drawings which you create. If you enter a layer name longer that 31 characters, AutoCAD will display the error message box shown on the left.

Layers are always listed alphabetically in layer lists, the user has no other way to control the list order. It is worth bearing this in mind when naming your layers. Keep similar object layers together by devising a hierarchical naming structure. For example, if you are drawing a tree symbol which comprises a number of elements, your layer names might be, "Tree_canopy", "Tree_text", "Tree_trunk" etc. This will cause all the Tree layers to be displayed together, see the illustration on the right. This is quite important because in complicated drawings there may be many layers and searching for the right group of layers can waste a lot of time.

Using Co-ordinates

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:38:00 +0000

Introduction

A good understanding of how co-ordinates work in AutoCAD is absolutely crucial if you are to make the best use of the program. If you are not familiar with co-ordinates and co-ordinate systems, take some time to familiarise yourself with the basic concepts.
Co-ordinates fall into two types, namely Cartesian and Polar. A basic understanding of these co-ordinate types will help you to use AutoCAD to construct drawings more easily. In addition, these two co-ordinate types come in two distinct flavours. They can be either Absolute or Relative. Knowing just when and where to use the various types and flavours of co-ordinate is the key to efficient drawing with AutoCAD.

Cartesian Co-ordinates

Despite the fancy title (named after the French philosopher and mathematician René Descartes 1596-1650), the Cartesian co-ordinate system is the standard co-ordinate system. The position of a point can be described by its distance from two axes, X and Y. This results in a simple point description using two numbers separated by a comma e.g. 34.897,45.473.
In the example on the right the point described lies 34.897 drawing units to the right of the Y axis and 45.473 drawing units above the X axis. The first value (34.897) is known as the X co-ordinate because it's value is measured along the X axis. The second value is known as the Y co-ordinate because it's value is measured along the Y axis. The X and Y axes are two lines of infinite length which intersect
at the origin point. The co-ordinate value of the origin point is always 0,0. When viewed in plan the X and Y axes are always perpendicular to one another with the X axis in a horizontal position and the Y axis in a vertical position (See illustration). X co-ordinate values become negative to the left of the Y axis and Y co-ordinate values become negative below the X axis. All co-ordinate values (both X and Y) are negative in the lower left hand quadrant and positive in the upper right hand quadrant. Normally we try to work in the positive quadrant. Although this is not essential for AutoCAD to operate, it does tend to make life easier because we don't need to worry about negative numbers.
AutoCAD allows you to use co-ordinates to draw objects rather than using pick points. For example you could draw a line like this:

Command Sequence

Command: LINE
From point: 34.897,45.473
To point: 54.896,65.395
To point: (to end)
This sequence draws a line between the two co-ordinate points specified. Note that if you enter a co-ordinate that is off the screen the line will still be drawn to the required point. You will then need to zoom out in order to see the whole line. You can also start the Line command by clicking on the Draw toolbar or from the pull-down menu ().

Polar Co-ordinates

Polar co-ordinates achieve the same result i.e. the description of the position of a point. The main difference is that polar co-ordinates use one distance and one angle to describe the position of a point rather than the two distances in the Cartesian system. The distance and angle measurements are made relative to an origin. This results in a point description which looks like this 34.897<30 where the first figure is the distance (in drawing units) and the second is the angle. Notice that the separator in the case of polar co-ordinates is the "less than" mathematical symbol. If you look at your keyboard you will see that this symbol is typed by using Shift and comma.
AutoCAD angles start at 3 o'clock (i.e. along the positive portion of the X axis) and increase in an anti-clockwise direction. You can specify negative angles if you need to define an angle in a clockwise direction although this is not really necessary because angles are circular, hence an angular value of -30 degrees will give the same result as an angular value of 330 degrees (there are 360 degrees in a full circle).

The UCS Icon

In the bottom left hand corner of the AutoCAD drawing window you will see a symbol like the one shown on the right. This is called the UCS (User Co-ordinate System) icon and it is there to remind you which is the X axis and which is the Y axis. The empty box at the intersection of the X and Y axes is there to remind you that you are using "World" co-ordinates and that the UCS icon is not positioned over the true origin of the current co-ordinate system, probably because it is off screen.

Absolute & Relative Co-ordinates

Both Cartesian and polar co-ordinates come in two flavours, absolute and relative. The distinction is quite simple, absolute co-ordinates relate to the X and Y axes and the origin of the current co-ordinate system, whilst relative co-ordinates relate to the current pick point. When you are specifying co-ordinates you need to tell AutoCAD which type you want. Absolute co-ordinates are typed exactly as in the examples above. To specify a relative co-ordinate you need to use the "at" symbol as a prefix. In the case of the two examples above a relative Cartesian co-ordinate looks like this @34.897,45.473 and a relative polar co-ordinate looks like this @34.897<30. Relative co-ordinates are very useful for drawing objects which you know the size of. For example, you could draw a square of 12 units with its lower left hand point at 30,40 as follows:

Command Sequence

Command: LINE
From point: 30,40 (an absolute Cartesian co-ordinate)
To point: @0,12 (a relative Cartesian co-ordinate)
To point: @12<0 (a relative polar co-ordinate)
To point: @0,-12 (another relative Cartesian co-ordinate)
To point: C (to close)
Try this sequence out and watch the square drawn as you enter each co-ordinate value. You can also use this method to quickly draw a rectangle of known size. Say you needed to draw a rectangle 20 drawing units wide and 10 drawing units high and you didn't mind where exactly the rectangle is drawn, you could do this:

Command Sequence

Command: RECTANGLE
Specify first corner point or [Chamfer/Elevation/Fillet/Thickness/Width]: (pick a point near the middle of the drawing area)
Specify other corner point or [Dimensions]: @20,10
Note that the relative X co-ordinate determines the rectangle width and the relative Y co-ordinate determines the rectangle height.

The Status Bar

The status bar at the bottom of the AutoCAD window always shows the current co-ordinate value at the cursor point. Watch the co-ordinate values change as the cursor moves across the drawing area. You can turn the dynamic co-ordinate display off and on using the F6 key on the keyboard.

Pattern

apasipepgapuak@gmail.com (Apa Sipep) — Wed, 10 Oct 2012 00:22:00 +0000

Make Pattern in solidwork program was very easy.

Many features - supporting features are already available in solidwork.

Pattern itself is made item by repeating the selected features in an array based on the features we want.

We can create linear patterns, circular patterns, curve pattern, fill pattern, or use a sketch or a table point coordinates to create a Pattern.

To reproduce the features in SolidWorks select the Properties option in the Visual PropertyManager.

With multibody, we can use the pattern to some body in the same document.

For the Circular Pattern, select the features and axis as the center of rotation, and define:

Number of items and the distance angle or angle total number of items and to create patterns.

To Curve Driven Pattern, select the features and the edge or sketch segment in which to pattern these features. Then we can determine the type of curve, curve method, and method of alignment.

For Pattern Sketch, choose where to fill a seed by a sketch feature points on the face model.
For the Table Pattern, add to or take the previous item with XY coordinates to fill the feature.
For Pattern Fill, fill the area defined by the pattern features.
We also can create patterns, and a mirror copy of the patterns and the control and modify patterns.

Boss/Base Loft Feature

apasipepgapuak@gmail.com (Apa Sipep) — Tue, 09 Oct 2012 23:52:00 +0000

How to make Boss/Base Loft Feature

The Loft feature is an important tool for surface modeling . With the Loft feature you can create organic shapes with multiple 2D and 3D sketches and guidecurves.

The Loft feature is an important tool for surface modeling . With the Loft feature you can create organic shapes with multiple 2D and 3D sketches and guidecurves. Today we will take a look at this feature.

Open a new part with model units set to millimeters
Go to: File > New > Part
Create a 2D sketch
Select the Front Plane in the feature tree (menu at the left side) and create a sketch by clicking on the 2D Sketch icon
The display changes so the Front plane faces you.

Create a shape with the Spline tool
Go to Tools > Sketch Entities > Spline
Use multiple Spline points to create a contour as shown in the picture
Make sure that the endpoint of the Spline is connected with the startpoint of the Spline to create a closed contour.

Click at the Sketch button in the upper right corner close the 2D Sketch
Create a new plane parallel at the Front Plane
Go to: Insert > Reference Geometry > Plane or click at the Plane icon
Select the Front Plane as shown in the picture.
Change the Offset Distance into 110 mm.
Click OK

Create a Circle sketch
Go to Tools > Sketch Entities > Circle or click at the circle icon
Draw a circle as shown in the picture
Close the Sketch

Create a 3D Sketch
Click at the Dropdown menu under the 2D sketch option to select the 3D Sketch icon
Create a shape with the Spline tool
Go to Tools > Sketch Entities > Spline or click at the Spline icon
Draw a two-point Spline without any midpoints.
Change the dimensions of the blue Spline arrow to create a curve as shown in the picture.
Close the Sketch

Now it’s time to draw the Loft
Go to Insert > Boss/Base > Loft or click at the Loft icon
Select Sketch1 and Sketch2 as loft profiles
Enanble the Show preview option
Drag at the green balls if you can’t see a preview

Add a Guide Curve
To define the shape of the Loft it’s possible to add (multiple) Guide Curves.
Click in the purple Guide Curve box and select 3DSketch1 in the feature tree or the model

Click OK to apply your Loft

The best way to discover all the possibilities with the loft feature is to practice a lot. Do you have any questions about the Loft feature? Leave a message below and I will answer them.

Creating Set Sheets

apasipepgapuak@gmail.com (Apa Sipep) — Mon, 08 Oct 2012 08:22:00 +0000

How may sheets could a sheetset set if a sheetset could set sheets? Well actually sheetsets can set sheets, so let's find out.

Concept:
Sheet sets are the digital version of the rolled up groups of drawings shoved in the back corner behind you. Actually they are the next logical progression from Pack 'n' Go. This time though, you are just sending the layouts and not your actual CAD file. There are a lot of variables involved when you use these, but you will give you an idea of what's involved. Sheet sets can be published as DWF's or opened up in ACAD 2005 (.dst extension).

COMMAND	KEYBOARD	ICON	DESCRIPTION
Sheetset	Sheetset		Opens the Sheetset Manager

Procedure:
The first thing you would do is check that you have all your 'ducks in a row' concerning the drawings and layouts that you plan to publish. It sounds obvious, but you don't want to keep creating Sheet Sets after you find the layouts are scaled wrong, duplicated or whatever.
Start the command, SHEETSET, or use the File > New Sheet Set menu option to invoke the command (for those that like icons, it looks like the rolled up sheets shoved in the corner behind you. The palette will open as shown below - select the New Sheetset option.

After that , you'll see what could possible be the largest dialog box you've ever seen with so little info:

In this example, use some existing drawings that are part of the default samples provided. you Press "Next" and get taken to Step 2.

This seems fairly simple, give your set a name(1), a description(2), tell AutoCAD where to save the file(3). There is a button for "Sheet Set Properties" that gives you some more options on the set (below) - you can even create your own custom fields here.

For the sake of simplicity, this lesson will not cover this, but it is straightforward to create your own fields.

The next tab is where you can select the "folders" where your drawings are saved and add them to the Set. In your AutoCAD installation folder, select the sample folder shown below.

You now can turn on or off the layouts as you need to them.

The last step is to confirm what you just did in the final tab of the wizard.

You see a list of layouts that will be part of this Sheet Set - if it's what you want, press "Finish".

After finishing the wizard, you are back in AutoCAD and ready to work with the Sheet Set.

If you double-click on a sheet name, it opens up in a layout tab. you have other options as well if you right-click on a sheet.

The view list (second tab down) allows you to zoom directly to any saved view that was part of the layout (a new, great use for views).

In the Publish menu there is a button that lets you "Publish to DWF". This will publish whichever Sheets you have highlighted (all in one file). You can also right-click and select Publish for individual sets.

In the "Details" section, you have the option of either viewing the file information, or a thumbnail.

SECTION VIEWS

apasipepgapuak@gmail.com (Apa Sipep) — Mon, 08 Oct 2012 08:12:00 +0000

In drafting there are a lot times where you want to give a lot of information, but not all of the views are helping to get your message across. Sometimes you just need to slice the object(s) down the middle and show what the guts look like. Using this method, you get a cross section of the part, or a "Section View".

Take a look at the drawing above. You'll see a complex assembly drawing and two different section views. On the far left, you see the line that indicates where Section B-B is. On the right side, you see the section view. Does it make sense to you? What you are seeing is the cross section view of the metal beam part of the of the bracket. It's shown so that you can see what size the area is without having to look at the entire side view of the assembly. Section views are used for clarity.

Look for the indicators for Section A-A. Then look at the top right view. You'll see that the beam part is shown as well as the hole that is drilled through it.

Section views are used in Mechanical and Architechural drafting. Anytime you need to show some detail that isn't readily seen from an exterior view, "cut it up" and draw it.

Looking at Section Views

If you understand Orthographic Projection and Hatching (you read the other two tutorials, right?) then you should be able to handle section views easily. Have a look at the image below and see if it all makes sense.

What you see is a very simple block with a hole drilled. This shows that the section view and the front view are almost the same. In fact, I just copied the Front view down to begin the section view. I changed some linetypes and then hatched it.

If you have more than one part in your view, you will need to make sure that it stands out. Here I have the same part as above, but with another piece placed inside it.

Here's an example of how a section view can be used in Architechural drafting. By using standard hatch patterns, someone else can look at the drawing and see that this shows a concrete foundation with earth on one side.

I think by now you're getting the idea of how section views and hatching help to tell the story of what you are drawing.

Drawing Section views in AutoCAD

For this exercise, we'll start with a simple drawing. Begin by drawing the part below, and as you're drawing, think about what the section view will look like. You do not need to draw the Isometric view, it is just for reference.

To draw the "Cutting Plane" that marks the section, draw a line and then use the leader command to make the arrows. Add text for the "A"s. Ok - what is your section view going to look like?

The Cutting Plane points up from the front view, It doesn't mean that it's pointing at the top view, but in this case it works. Also note the the Cutting Plane is in the middle. So if you chose the Top View, you're correct.

Copy the Top View. Straight up will work fine. You can keep the dimensions. It's a good idea to make sure that it is directly above the other view in case you have to stretch part of it. Then you can do both views at once.

What lines need to be changed? Do you still need hidden lines?

This is what your Section view should look like before hatching:

Is it still making sense? You needed to trim the line where the shaft on the right joins the part, because in the section view, this is solid. You needed to change the lines for the two holes from hidden to solid because they are not hidden any more. You should now be ready to add a Hatch patten to the view.

The Hatch command might be a little different depending upon the version that you are using. This example shows AutoCAD 2012.

Start the Hatch command and pick in the spots shown below. You want all three areas picked at the same time so that the hatch creates one object instead of three. This is needed so that you can edit the hatch and all the areas will look the same.

The areas picked will fill up with the last used hatch pattern and settings that were used. That's fine, we'll edit them now.

This is a big toobar / ribbon for this command. There are really only three items you need to be aware of to make it work:

Pattern: The pattern should indicate what material is used in the area that is hatched.
Angle: Most of the time this will be 0 degrees, but sometimes you want to change it.
Scale: This is the one that gets changed a lot. If your hatch pattern 'looks solid' - then you usually have to increase the scale because the lines are too close together. If the hatch pattern 'looks empty' - then you might have to scale it down because the lines are too far apart. The scale will vary depending upon what size your drawing is.

If everything went well, the Section view you have should look like this:

It's up to you if you want to put your hatch on a separate layer. It can help a lot as you get into more complex drawings. As you learn about printing through Layout Tabs, think about how having your Hatch can be useful on it's own layer - and maybe more than one layer.

Other uses for Section Views

Here is a section view that is used to show a break in a solid bar and a pipe. This is a common way of showing long pipes that don't fit in your drawing, just add a break, but dimention the full length.

Here's an exercise for you: reproduce the image of a foundation below:

More exercises from Textbook of Machine Drawing. Draw these parts out in Orthographic View and then draw the Section view.

Conclusion

Section views are not usually very difficult to draw, because you should have a lot of the information first. You will draw your sections last and try to base them off of existing drawings first.

If you have the opportunity, look at drawing sets and see where they are used. If you are drawing something try out a section view, it's good practice for Hatching and also for developing your "CAD" eye.

Isometric Text

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 17:35:00 +0000

Isometric Text

How to make Isometric text?

First, create two styles. Use oblique angle 30 deg for one style and -30 deg for the other.

Now place your text (single or multi line), change the rotation to 30 deg or -30 deg. It depends on where you want to put it. See next image as reference.

Specify rotation angle of text <0>: -30

Try to create it with several style and text angle combination. Well, basically these three are all you need.

Isometric Dimension

What about dimensions? You also have to create two styles. One of the style use 30 deg text style, and the other one use -30deg.

Now place aligned dimension.

Now we have to do a little modification.
Activate DIMEDIT [enter], choose OBLIQUE, then give 30 or -30 as oblique angle. Once again, depends where your dimension is.

Command: DIMEDIT
Enter type of dimension editing [Home/New/Rotate/Oblique] <Home>: O
Select objects: 1 found
Select objects:
Enter obliquing angle (press ENTER for none): -30

See this image as reference.

Now if you examine the drawing carefully, the dimension arrows don’t look right. They don’t look isometric yet.

Creating a Door

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 17:30:00 +0000

In your AutoCAD file, create a new layer: A-Door, with color: blue, and lineweight: 0.09 mm. Set this layer as current layer.

Draw a 50×150 rectangle as the frame. Copy it to it’s right with 700mm distance. Draw a rectangle 30×650 as door panel. Then draw an arc for swing symbol to complete it.

The last thing we are going to add is a wipeout. Activate it, and draw a rectangle wipeout that covers the whole door width.

You will see the door frames are covered by the wipeout. Select the wipeout, right click, then from context menu select draw order>send to back.

Why do we use wipeout? We are going to host our door to a wall. We don’t want to trim or modify our wall after door placement. And modifying the wall length will be reported incorrectly. So we add wipeout to cover our wall later. We will try this at the end :)
Now as usual, create a block from this object. We will create it as dynamic block. Give it name ‘Single Door’. You can define insertion point wherever you think appropriate. Open your block in block editor.

Adding Parameters and Action

We are still using linear parameter. Add a linear parameter as below.

Delete the left arrow. Or you can change ‘number of grips value’ to 1 in properties palette.

There are 3 action we need to add, based to this parameter:

1. Add a stretch action to stretch our door width. Similar to what we do with adding action to dynamic block wall. This time we only need to create a small rectangle to include the right door frame and the wipeout.

2. Add scale action to resize the arc door swing symbol. This action is very simple to add. Just select the parameter, then select the arc. [ENTER] to finish.
3. Add another stretch action for resizing the door panel. Only select the door panel when this action ask you to select object.

Parameter and Action Properties

Placing those action is easy I believe. But we are not finish yet. We are going to limit the size. We don’t want AutoCAD users to change the door size without a guidance. We will change some parameter properties just like we did when we create column. Select the parameter. Change the Dist type to ‘List’ and click the … button to input distance value list.
Don’t forget to change this parameter name to something like ‘width’ or ‘door width’.
*You may want to use Increment. But since the last time we used it, I think it will be better to use list now.

Add more values to define your door width.

The last one, is changing an action properties. Not only parameter has properties! Remember the stretch action for the door panel? Where do you think the door panel will be stretch? Horizontally!
We need to change a property to override this behavior. Select this action, open your palette property. Under overrides category, change the angle offset to 90 degrees.

This will override the stretch action, it will stretch the door panel vertically even the parameter is stretch horizontally.
Ok, we are done! Save block, and close block editor.

If you have difficulties with the tutorial, you can watch this video. But sorry, this video don’t use WIPEOUT. But shouldn’t be a problem, because we are emphasizing on parameters and actions.

One more thing. We still can see our wipeout frame. Let’s turn it off. Activate wipeout, then type F [ENTER] to activate frame option. Type OFF [ENTER] to turn it off.

Command: WIPEOUT
Specify first point or [Frames/Polyline] <Polyline>: F
Enter mode [ON/OFF] <ON>: OFF
Regenerating model.

Try to stretch your door and don’t forget to try placing your door at walls!

Devil's Eye

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 17:22:00 +0000

This is how to make a Devil's eye in PhotoShop

"Devil's Eye"

First steps

Well first off you need an eye to work on(get a big and high resolutioned one). Or you can grab this one.

First duplicate the eye layer(and work on the
duplicated one so you can toogle back and forth later, and see the changes),to do this go to your "layer/channels/paths" window,right click the word background and chose "duplicate layer". I marked the window with red.

Then select the burn tool and set it's range to midtones
and exposer to 35%(the burn tool is labeled 1 and its options are circled), then burn all around the edges of the iris(the start of the eye, the colored part not the white part) till it's almost black but not quite black,then increase the size of the brush and burn the
pupil(the black part of the eye)

it should resemble this now.

Then use the burn tool around the
whole eye(right on the eyelash line) and apply it like eyeshadow till
it starts to look heavy and dark,
like this,

Then grab the dodge tool set its range to midtones and its exposer to 35%(this is the same place the burn tool is located,just right click the burn tool icon and click on the dodge tool or you can hold down the ALT key while you burn and instead of burning it will dodge) and go inside/inbetween of the iris and pupil and make it glow.

Now create a new layer(to do this go to your "layers/channels/paths" window and click on the icon I circled

and set the blending mode to color(to do this you make sure that the new layer is active or highlighted blue, and at the top of the layers channel you'll see a box with an arrow pointing down and inside
the box it will read "normal" click on it and a list of options will come up, change "normal" to "color"(is it all the way towards the bottom) click it, and reduce the opacity(it is located at the right of the box you just changed) of that layer to 50%, now get a nice bright
color(on your tools just double click on the top color box),now click the paintbrush tool make the mode of brush normal and set the opacity of it(the brush) to 100 and the flow to 100 and choose a brush size so that it fits inbetweeen the iris and the pupil(and keep all the sizes of the brush to a rather soft edge)and paint inside of it(I chose an orange/yellowish color).

Now click on to your "background copy" layer again and select your dodge tool again and go right around the edge of the pupil(with a very small brush) a few times.
To get this,

Then increase the brush size and go all around and inbetween the iris and pupil where you colored.

With the "background copy" layer still active, go to
"filter-render-lighting effects" and click it,you'll see a diagram of your eye,now make the light come from the top of your eye(this is the only way I can explain it,you'll see an oval with four little squares and it will have a mouth like pacman)(LOL),the mouth of pacman is the focal point of light,put the mouth/slit above the top of the eye or any direction you think it looks best,now for the rest of the diagram,(lots of stuff huh?) well don't let it all scare ya(we will be out of this window in a jiff), you'll see two boxes to the right, pick the top one and change the color to a dark/pale looking color(I chose a dull orange)and hit ok.
This is the reaction

Now your eye should look pretty creepy about now, but if it looks to colorful you can try this: with your background copy layer still active go to "create new fill or adjustment layer" I circled it here

(that is located right under
your background and layers pallet and looks like a "ying yang" sort of, it is a circle that is halved and is black on one side and white on the other), click it and go to hue/saturation and click that,now go to the saturate and decrease it till you have a more likable product and hit
ok.
You should have something like this now.

Now go to your color layer and make it active(highlighted blue),with it active hover your hand/arrow over the square(the little picture of your color layer) and hold the control button down and click it(you'll see in the main picture(the big one)that the color you have painted in is now selected with the little ants(the little moving things that make you know that you have selected something), now as before click on "create new fill or adjustment layer" then click on the brightness/contrast one,increase the contrast some and decrease the brightness some till you get something you like and click ok. I kinda liked this option. :)

Now if you don't like the color you can change it,just hover your hand/arrow over the color layer you made and control click it again(you will see the ants dancing again on the main picture),and go to the "create fill or adjustment layer" then go to hue/saturation and use your hue slider bar till you get your prefered color and click ok. And there you have it an evil eye! Sorry for all the long drawn out explaining but it may be necessary for some people(I know I could have used it in some of the tutorials I've tried). This tutorial is aimed at the begginer(like myself) so they can more fully comprehend and understand. (P.S. if you have any questions just ask and I will try to explain it some more).

Add A Realistic Rainbow To A Photo

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 17:04:00 +0000

Here's the photo I'll be starting with:

The original image.

Here's what the image will look like after adding a double rainbow:

The final rainbow effect.

Let's get started!

Step 1: Add A New Blank Layer

With the image newly opened in Photoshop, if we look in the Layers panel, we see that we currently have one layer, the Background layer, which contains our image:

The photo sits on the Background layer in the Layers panel.

The first thing we need to do is add a new blank layer above the Background layer. To do that, click on the New Layer icon at the bottom of the Layers panel:

Click on the New Layer icon.

Photoshop adds a new blank layer named "Layer 1" above the Background layer. Double-click directly on the name of the layer and change it to "Rainbow", since we'll be adding our initial rainbow to this layer. Press Enter (Win) / Return (Mac) when you're done to accept the name change:

Rename the new layer "Rainbow".

Step 2: Select The Rainbow Gradient

As I mentioned, Photoshop ships with a ready-made rainbow gradient for us to use. It's not one of the gradients that Photoshop makes available to us by default, but all we need to do is load it in manually. To do that, select the Gradient Tool from the Tools panel:

Select the Gradient Tool.

Then, with the Gradient Tool selected, click on the Gradient Picker in the Options Bar at the top of the screen:

Click on the Gradient Picker in the Options Bar.

This opens Photoshop's Gradient Editor which shows us small thumbnails of the gradients we can choose from. By default, the rainbow gradient isn't one of them, so let's load it in. Click on the right-pointing arrow in the top right of the Gradient Editor:

Click on the small arrow.

A list of additional gradient sets appears. The one we want is Special Effects. Select it from the list:

Select the "Special Effects" gradients.

Photoshop will ask you if you want to replace the original gradients with the Special Effects gradients or simply append them to the bottom of the list. Click Append so you'll still have the original gradients available, and the new Special Effects ones will be added below them:

Click "Append" to add the new "Special Effects" gradients in with the original gradients.

With the new Special Effects gradients added, the one we want - Russell's Rainbow - is the last one at the bottom. If you have Photoshop's Tool Tips enabled in the Preferences (they're enabled by default), you'll see the name "Russell's Rainbow" appear when you hover your mouse over the gradient's thumbnail. Click on the thumbnail to select the gradient, then click OK to exit out of the Gradient Editor:

Click on the "Russell's Rainbow" thumbnail to select the gradient.

Step 3: Select "Radial Gradient" From The Options Bar

To make the rainbow gradient appear as an arc when we draw it, go back up to the Options Bar at the top of the screen and click on the Radial Gradient option:

Select "Radial" from the Options Bar.

Step 4: Drag Out A Rainbow With The Gradient Tool

To add the rainbow colors to the image, all we need to do is drag out a gradient. I want my rainbow to appear as if it's touching the ground behind the group of trees on the left of my photo and then arching high above the larger tree on the right. To do that, I'll position my mouse almost at the edge of the photo near the bottom right corner, in line horizontally with the bottom of the trees on the left. I'll click on that spot to set the starting point for my gradient, and with my mouse button still held down, I'll drag all the way across the image to a point just beyond the left of the trees. Holding my Shift key down as I drag will limit the direction I can drag in, making it easy to drag horizontally:

Dragging out a radial rainbow gradient from right to left in the image.

When you release your mouse button, Photoshop draws the rainbow gradient. It doesn't look terribly realistic just yet, but it's a start:

Photoshop draws the gradient when you release your mouse button.

Step 5: Change The Blend Mode Of The Rainbow Layer To "Screen"

Go up to the blend mode options in the top left of the Layers panel (it's the drop-down box set to "Normal" by default) and change the blend mode of the Rainbow layer to Screen:

Change the blend mode of the rainbow layer to Screen.

The colors of the rainbow will now blend in better with the photo behind them:

The rainbow after changing its blend mode to Screen.

Step 6: Apply The Gaussian Blur Filter

Let's blur the colors of the rainbow together so it looks more realistic. Go up to the Filter menu in the Menu Bar at the top of the screen, choose Blur, then choose Gaussian Blur:

Go to Filter > Blur > Gaussian Blur.

This opens Photoshop's Gaussian Blur dialog box. Drag the Radius slider at the bottom of the dialog box towards the right to increase the amount of blurring being applied to the rainbow, keeping an eye on the image as you drag the slider so you can see a preview of what's happening. Continue dragging the slider to the right until the transitions between the colors look more soft and natural. The actual Radius value you end up choosing will depend a lot on the size and resolution of your image. For me, a value of around 50 pixels works well. Click OK when you're done to close out of the dialog box:

Drag the Radius slider to soften the color transitions in the rainbow.

Here's my image after applying the Gaussian Blur filter:

The rainbow now looks more realistic after applying the Gaussian Blur filter.

Step 7: Add A Layer Mask

Click on the Layer Mask icon at the bottom of the Layers panel:

Click the Layer Mask icon.

Nothing will happen yet in the document window, but Photoshop adds a layer mask thumbnail to the right of the main preview thumbnail on the Rainbow layer. If you look closely, you'll see a white highlight box appearing around the layer mask's thumbnail. This tells us that the mask, not the layer itself, is selected:

The layer mask thumbnail tells us that a mask has been added.

Step 8: Choose The Black To White Gradient

With the Gradient Tool still selected, right-click (Win) / Control-click (Mac) anywhere inside the document window to quickly access the gradient presets thumbnails, the same ones we saw a moment ago in the full Gradient Editor dialog box. Select the Black to White gradient by clicking on its thumbnail (third from the left, top row). Press Enter (Win) / Return (Mac) when you're done to close out of the gradient list:

Click on the Black to White gradient's thumbnail to select it.

Step 9: Choose "Linear Gradient" From The Options Bar

Go back up to the Options Bar and this time, click on the Linear Gradient option:

Click on the "Linear" gradient icon.

Step 10: Drag A Black To White Gradient On The Layer Mask

A real rainbow would usually appear to get brighter as it reaches higher into the sky, so we're going to give our Photoshopped rainbow that same effect by dragging a black to white gradient from the base of the rainbow (the point where the rainbow and the ground should meet) to the top of the image. To do that, with my Gradient Tool selected, I'll click my mouse somewhere along the bottom of the trees on the left. Then, with my mouse button still held down, I'll hold down my Shift key as well and drag straight up to the top of the image. Holding down Shift makes it easy to drag in a vertical direction:

Drag a black to white gradient from the base of the rainbow to the top of the image.

When I release my mouse button, Photoshop draws the black-to-white gradient. Since the gradient was drawn on the layer mask, not on the layer itself, we don't see the actual gradient in the image. Instead, the rainbow now appears to start near the bottom of the trees on the left and gets brighter as it reaches higher into the sky:

The rainbow no longer extends all the way to the bottom of the photo thanks to the layer mask.

Step 11: Duplicate The Rainbow Layer To Increase Its Brightness

To increase the brightness of the rainbow, simply press Ctrl+J (Win) / Command+J (Mac) to duplicate the layer. If, after duplicating the layer, you find the rainbow is now too bright, dial it back a few notches by lowering the opacity of the duplicated layer. You'll find the Opacity option directly across from the blend mode option at the top of the Layers panel. I'm going to lower mine down to around 70%:

Press "Ctrl+J" (Win) / "Command+J" (Mac) to duplicate the rainbow layer, then lower the new layer's opacity as needed.

Here's my image after duplicating my rainbow layer and then lowering the opacity:

The rainbow now appears brighter.

Step 12: Group The Two Rainbow Layers

Let's do a little housekeeping in the Layers panel by grouping the two rainbow layers together. Grouping related layers makes it easier to keep the Layers panel organized. With the top layer selected, hold down your Shift key and click on the original Rainbow layer directly below it to select both layers at once. You'll see them both highlighted in blue, letting you know they're both selected:

Select both rainbow layers.

Then go up to the Layer menu at the top of the screen and choose Group Layers:

Go to Layer > Group Layers.

Photoshop will group the two layers together in the Layers panel. Photoshop names the new group "Group 1". By default, the layer group will be closed, preventing us from seeing the two layers inside of it, which is fine for now:

The two rainbow layers are now inside "Group 1".

Step 13: Add A New Blank Layer

We have our initial rainbow. Now let's add a second one to create a double rainbow effect! First, we'll need a new layer, so click once again on the New Layer icon at the bottom of the Layers panel:

Add another new layer.

The new layer will appear above the layer group in the Layers panel. Double-click on the new layer's name and change it to "Second rainbow", then press Enter (Win) / Return (Mac) to accept the name change:

Rename the new layer "Second rainbow".

Step 14: Re-Select The Rainbow Gradient

Click once again on the Gradient Picker in the Options Bar at the top of the screen:

The Gradient Picker is currently showing the black to white gradient.

When the Gradient Editor opens, click again on the Russell's Rainbow thumbnail to select the rainbow gradient, but don't close out of the Gradient Editor yet. We need to make some changes to it:

Re-select the Russell's Rainbow gradient.

Step 15: Flip The Order Of The Colors In The Gradient

Whenever we see a double rainbow in nature, the colors in the second rainbow are always in reverse order, which means we need to reverse the order of the colors in our gradient. With the Gradient Editor still open, click on the blue color stop directly below the gradient preview bar and drag it towards the left. Then do the same thing with the green and yellow color stops, dragging them towards the left. It doesn't matter how far you drag them as long as there's some space between them. This is just to make sure they don't overlap each other as we reposition them. Leave the red color stop in place:

Drag the blue, green and yellow color stops towards the left just to spread them out temporarily.

Click on the red color stop to select it, then enter a value of 82% into the Location option. This will place the red color stop in the same location that the blue color stop was in originally:

Click on the red color stop, then enter 82% for the Location.

Next, click on the yellow color stop to select it, then set its Location value to 85%. This moves yellow into the spot originally held by green:

Click on the yellow color stop, then enter 85% for the Location.

Click on the green color stop to select it, then set its Location value to 88%, which moves green into yellow's original location:

Click on the green color stop, then enter 88% for the Location.

Finally, click on the blue color stop and change its Location value to 92%, placing it in red's original spot:

Click on the blue color stop, then enter 92% for the Location.

Directly above the gradient preview bar are more stops, filled with white, black or some shade of gray. These stops control the transparency levels (opacity) of the colors throughout the gradient. Click on the light gray opacity stop (second from the left) to select it, then change its Opacity value from its original 20% to 0%. Click OK when you're done to exit out of the Gradient Editor:

Click on the light gray stop above the gradient preview bar and change its Opacity value to 0%.

Step 16: Drag Out Another Rainbow Gradient

With the colors in the gradient now reversed, we're ready to create our second rainbow. First, I'm going to hide my original rainbow from view temporarily by clicking on the layer group's visibility icon (the eyeball) in the Layers panel:

Clicking on the visibility icon turns layers or layer groups on or off in the document.

Then I'll drag out a rainbow gradient just as I did back in Step 4: First, I need to re-select the Radial Gradient option in the Options Bar so the gradient will appear as an arc:

Select the Radial Gradient option again.

Then I'll click and drag out my second rainbow in the same location as the first one:

Dragging out a second rainbow gradient in the same spot.

When I release my mouse button, Photoshop draws the gradient, looking very much like the first one except that this time, the order of the colors is reversed:

The second rainbow gradient with its colors reversed.

Step 17: Change The Blend Mode To Screen

Just as we did with the first rainbow, change the blend mode of the new rainbow from Normal to Screen:

Set the blend mode to Screen.

The colors of the rainbow now blend in better with the image:

The second rainbow set to the Screen blend mode.

Step 18: Apply The Gaussian Blur Filter

Since the Gaussian Blur filter was the last filter we applied, we can quickly re-apply it with the same settings by pressing Ctrl+F (Win) / Command+F (Mac). Just as before, the color transitions now appear softer and more natural:

The rainbow once again appears more realistic after blurring the colors.

Step 19: Copy The Layer Mask Onto The Second Rainbow Layer

We need to add a layer mask at this point and draw a black to white linear gradient on the mask to hide the the rainbow below the point where it should be touching the ground and have it appear to increase in brightness as it reaches further into the sky, just as we did back in Steps 7-10 with the original rainbow. But why go through all that hassle again when we can just copy one of the layer masks we've already created onto the second rainbow's layer! To do that, I'll first need to open my layer group by clicking on the small triangle to the left of the group's name:

Click on the triangle to twirl open the layer group.

With the layer group open and the two layers that make up the original rainbow now visible, hold down your Alt (Win) / Option (Mac) key, click on the layer mask thumbnail for the "Rainbow copy" layer and drag it up to the second rainbow's layer:

Hold down Alt (Win) / Option (Mac) and drag the layer mask thumbnail onto the top layer.

When you see a highlight bar appear around the second rainbow's layer (shown in the previous thumbnail), release your mouse button. Photoshop copies the layer mask onto the second rainbow's layer:

The layer mask has been copied from one layer to another.

If we look at the image in the document window, we see that the bottom of the rainbow now fades out just above the trees, just like the original rainbow:

The image after copying the layer mask to the second rainbow's layer.

Step 20: Move The Second Rainbow Into Position

All that's left to do now is to move the second rainbow into position. Select Photoshop's Move Tool from the Tools panel, or press the letter V on your keyboard to quickly select it with the shortcut:

Select the Move Tool.

Before I move anything, I'll turn the original rainbow back on in the document by clicking once again on the layer group's visibility icon in the Layers panel:

When a layer or group is hidden, the eyeball in the visibility icon is also hidden.

Then, with the Move Tool selected and both rainbows now visible in the document, click inside the document window and, with your mouse button still held down, drag the second rainbow into place. I'm going to drag mine up and to the left so only a small part of it appears in the top left corner of the photo:

Use the Move Tool to drag the second rainbow into place in the image.

Step 21: Lower The Opacity Of The Second Rainbow

Finally, since I don't want my second rainbow to appear as bright as the original, I'll lower its opacity down to around 70% at the top of the Layers panel:

Lowering the opacity of the second rainbow.

And with that, we're done! Here, after lowering the opacity, is my final Photoshop double rainbow effect:

The final rainbow effect.

And there we have it!

Changing Hair Color

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 16:58:00 +0000

Steps for Changing Hair Color

This is the final output.As you can see, there are two different colors on the hair-Green and Red.


Changing Hair Color-Final Output

1) Choose a good image


Good Hair Image

2) Choose the Pen Tool to select a particular area of hair. After that press Ctrl+Enter to make selection.
.

Pen Tool

3) Add a new layer(Ctl +Shift + N) and paste(Ctl+ V) the copied area on the same place.


Paste copied Hair on same place but New Layer Fig 1.A


Paste copied Hair on same place but New Layer Fig 1.B

3) Go to the Image menu,choose >Adjustments>Variations>and choose any good color you want. Here I have choosen green color. Now you will see that the edges will be very sharp,we need to merge it with the real hair. To do this, choose the eraser tool, reduce the opacity value to around 20 %and erase sharp edges.
Erase sharp edges using eraser tool

4)Now our Green colored hair is perfect. Check out the image below:


Green Shade on hair

You can use the same method mentioned above to make a different shade. Check out the image below:

Brown Shade on top portion of hair

How to make variable spring

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 16:44:00 +0000

This is how to make variable spring

Step 1
1.open new design
2.draw circle
3.draw line
4. select pull
5. select revolve
Step 2
6. select line
7. select circle ( select surface, not circle line)
8. select revolve helix
Step 3
9. taper angle: 30
pitch: 7 (if circle diameter is less, in this example, circle is 6 mm)
height: 14
10. enter or click in the empty
Step 4
11. taper angle:30
pitch: 20
height: 50
12. enter or click in the empty
Step 5
13.taper angle: -30
pitch: 20
height: 50
Step 6
14. taper angle: -30
pitch: 7
height: 14
Step 7
enter or click in the empty
Step 8
Final result...

Rendering Part models in SolidWorks

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 16:38:00 +0000

This is how to render best rendering part models

Step 1
Start SolidWorks and open the model to render.
Step 2
Tools>>addins.
Step 3
Check the Photoview 360º.
Step 4
Click Edit Scene.
Step 5
Align the Floor. Click OK.
Step 6
Click Appearance, Scenes and decals.
Step 7
Under scenes select the scene.
Step 8
Select the face to apply appearance and then click appearance icon.
Step 9
Select face to apply appearance to face.
Step 10
Select all faces on which to apply appearance.
Step 11
Click Appearance scenes tab.
Step 12
Select the type of appearance.
Step 13
Again select the part. Click appearance icon.
Step 14
Select body to apply appearance to the body. Since we have already applied appearance to some face so they will be excluded.
Step 15
Select the appearance for rest of body.
Step 16
Now selecting the rod.
Step 17
And applying apperance to its faces.
Step 18
Click OK.
Step 19
Repeat the steps for applying apperances to other part.
Step 20
Click Options.
Step 21
Change the render quality and size here.
Step 22
Now press F9 or click Hide FeatureManager.
Step 23
Zoom to fit or press middle mouse button. Click Final render.
Step 24
And we have render. Click Save Image to save it.

How to Model a Paperclip

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 16:18:00 +0000

This is how to model a Paperclip in SolidWorks

Render of the final Paperclip

Open a new part with model units set to millimeters
Go to: File > New > Part

Create a 2D sketch
Select the Front Plane in the feature tree (menu at the left side) and create a sketch by clicking on the 2D Sketch icon
The display changes so the Front plane faces you.

Create a circle
Go to Tools > Sketch Entities > Circle or click at the Circle icon
Create a sketch which starts at the Origin.
Change the diameter of the circle into Ø 9 mm by clicking at the dimension button
Click Right Mouse Button > Select to finish the circle.

Create a straight line
Go to Tools > Sketch Entities > Line or click at the Line icon
Create a vertical line as shown in the picture.
Change the length of the line into 22 mm by clicking at the dimension button

Create a centerline
Go to Tools > Sketch Entities > Centerline or click at the Centerline icon
Create a horizontal centerline as shown in the picture.
Change the length of the line into 3,9 mm by clicking at the dimension button

Create another circle
Go to Tools > Sketch Entities > Circle or click at the Circle icon
Create a circle which starts at the left endpoint of the centerline as shown in the picture.
The circle turns black which means that it’s fully defined.

Create another straight line
Go to Tools > Sketch Entities > Line or click at the Line icon
Create a vertical line as shown in the picture.
Change the length of the line into 15 mm by clicking at the dimension button

Create another straight line
Go to Tools > Sketch Entities > Line or click at the Line icon
Create a vertical line as shown in the picture.
Change the length of the line into 31 mm by clicking at the dimension button

Create another centerline
Go to Tools > Sketch Entities > Centerline or click at the Centerline icon
Create a horizontal centerline as shown in the picture.
Change the length of the line into 5 mm by clicking at the dimension button

Create another circle
Go to Tools > Sketch Entities > Circle or click at the Circle icon
Create a circle which starts at the right endpoint of the centerline as shown in the picture.
The circle turns black which means that it’s fully defined.

Create another straight line
Go to Tools > Sketch Entities > Line or click at the Line icon
Create a vertical line as shown in the picture.
Change the length of the line into 24 mm by clicking at the dimension button

Trim the line you don’t need
Go to Tools > Sketch Tools > Trim or click at the Line icon
Hold left mouse button and drag the cursor over the line parts which you want to delete. Trim the three parts as shown in the picture
The sketch is now finished.
Click at the Sketch button in the upper right corner close the 2D Sketch

Create a new plane
Go to: Insert > Reference Geometry > Plane
Select one of the endpoints of Sketch1
Hold the Control button and select the purple line as shown in the picture
The new plane appears in blue
Click OK

Create another 2D sketch
Select the new Plane1 and create a sketch by clicking on the 2D Sketch icon

Create a circle
Go to Tools > Sketch Entities > Circle or click at the Circle icon
Create a sketch which starts at the endpoint of Sketch1.
Change the diameter of the circle into Ø 1 mm by clicking at the dimension button
Click at the Sketch button in the upper right corner close the 2D Sketch

Create a Swept Boss/Base
Go to: Insert > Boss/Base > Sweep or click at the Sweep icon
Profile : Select the blue Sketch2
Path : Select the pink Sketch1
Click OK

Congratulations, you just finished your own Paperclip!
Well, that’s all for today. I hope you learned something from this tutorial! Feel free to leave a message below.

Simple Simulation

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 10:45:00 +0000

A simple Solid Edge simulation

Step 1
Open your L-Bracket.step file, then click "Simulation" tab
Step 2
Click "New Study"
Step 3
Dont change the default parameter, then click "Create"
Step 4
Choose the material, for example choose "Steel" as the material
Step 5
Click "Fixed", click the 2 holes face, then press "Enter"
Step 6
Click "Force", click the upper face of bracket, for example apply 1000 N. then press "Enter"
Step 7
Click "Solve", then wait the progress
Step 8
Finish

How to drive a Solid Edge model from Excel

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 10:40:00 +0000

This is how to drive a Solid Edge model from Excel

Step 1
Start a new part file and make sure you’re in Synchronous.
Select the circle tool and lock to the Top plane with F3, as shown.
Step 2
Draw a circle centred on the origin that is 180mm diameter, as shown.
Step 3
Extrude the region up 10mm using the Synchronous steering wheel, as shown.
Step 4
Draw another circle on top of the existing face that is 100mm diameter, as shown.
Step 5
Extrude the circle up 110mm using the steering wheel, as shown. Add a Smart Dimension from the top face to the bottom of the part. It should be 120mm. Lock the dimension by selecting the dimension and clicking the Lock icon, as shown.
Step 6
Add the other Smart Dimensions as shown to define the Inner Diameter, Flange Thickness, and Flange Diameter. We will lock these dimensions later using the Variable Table.
Step 7
Add a hole 16mm diameter in about the position shown. Do not yet worry about the precise location.
Step 8
Click the Coplanar Axis Face Relate command as shown to align the new hole with the main base plate of the part.
Step 9
Select the hole and the outer face of the part as shown. Use QuickPick to select the XZ Plane (Base) as the reference plane.
Step 10
Click the Symmetric Diameter tool as shown to dimension the pitch circle diameter of the hole.
Step 11
Select the outer cylindrical face of the part and then the hole to add a symmetric dimension. Note that you can toggle the display of full or half diameter with the button as shown.
Step 12
Now we will pattern the hole in a Circular Pattern with 4 occurrences. Select the hole and then click the Circular Pattern tool as shown.
Step 13
Enter the count as 4 if not already the default as shown
Step 14
The part is now complete, as shown. We will now link the variables to Excel.
Step 15
Open the Variable Table as shown.
Step 16
Now create an Excel file as shown.
Step 17
In Solid Edge again, make sure that all variable filters are on to show all variables in the file, as shown.
Step 18
Now lock all the dimensions shown and rename them according to the image below. Note that the order of your variables may be different. Take care that you name the proper variables.
Step 19
Now we’re ready to link a variable from Excel to Solid Edge. Select cell B3 in Excel and Copy it (Ctrl+C), as shown.
Step 20
With the cell in Excel still highlighted as Copying, select the Outer_Diameter variable Formula cell in the Variable Table in Solid Edge and right-click. Choose the Paste Link option, as shown.
Step 21
Click OK to accept the message from Solid Edge about Live Rules, as shown.
Step 22
Do the same thing for all the variables we want to link to Excel. The variable table should look as shown below.
Step 23
We’re done! Notice that the dimensions we’ve linked to Excel have changed colours in the view. They are now purple to indicate the link, as shown.
Step 24
To test things out, make the following changes to the Excel file:
Step 25
Notice that the Solid Edge model updates in real time!
Step 26
Some notes:
1) The link between Solid Edge and Excel is a hard-coded row & column number (e.g. B3). So if you add rows or columns to your Excel file, your links will not work as expected.
2) If you need to make changes to your Excel file and Solid Edge file together you need to open the Excel file first. Otherwise Excel will open up your file Read-Only.

How to model a hinge

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 10:33:00 +0000

This is how to model a hinge

Step 1
First of all we create a new part iso.
Step 2
click on sketch and select top plane, and sketch the following rectange
Step 3
after you complete the sketch, click ok and select extrude and extrude it 2mm.
Step 4
Sketch on the top face of the base 3 circles as its showed below.
Step 5
cut extrude and chamfer of 1mm
Step 6
create a sketch on the face of the part,
Step 7
draw a circle and extrude it.
Step 8
then sketch on the cylinders face and create a circle same as in the previous step and cut extrude it...
Step 9
Create a pin on the cylinder.
Step 10
Create a new part and draw the same circles on the base of it (the base is same as in step 2)
Step 11
Chamfer...
Step 12
Go to the upper face and sketch a circle and extrude it.
Step 13
Cut extrude.
Step 14
Cut extrude the pin hole..
Step 15
Create a new assembly and join the two parts.
Step 16
ready

How to make nuts

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 10:25:00 +0000

This is how to make nuts

Step 1
open a sketch to front plane draw a circle and a hexagon then extrude it
Step 2
open a ketch on the body and draw a small and bigger circle.
Step 3
use cut extrude command and select the area between circles
Step 4
click on draft and enter draft angle 60
Step 5
mirror the cut extrude
Step 6
open a sketch to front plane and draw a sketch like this. it will be tooth profile
Step 7
now we will add helis. open a sketch top of body and draw a circle
Step 8
use insert>>curve>>helis command and select circle and enter values
Step 9
use cut swept command. select the tooth profile and select the helis
Step 10
open a sketch to front plane and draw a thing like this. then use revolved boss command
Step 11
your perfect nut is ready. Enjoy:))

How to make chain

apasipepgapuak@gmail.com (Apa Sipep) — Sun, 07 Oct 2012 10:22:00 +0000

This is how to make chain

Step 1
firstly open a sketch to front plane and draw sketch like this
Step 2
use trim command
Step 3
use circular pattern command
Step 4
connect the circles and use circular pattern command again
Step 5
and extrude the sketch
Step 6
open a sketch side of part and draw 2 circles
Step 7
extrude it
Step 8
go back side, open a sketch. close the back side with extrude
Step 9
use fillet command
Step 10
you can add a thing like this
Step 11
all done:)) your chain is ready. very simple