The Value of "Clean Modeling"

David Heim is a veteran book and magazine editor specializing in woodworking. After a 28-year career at Consumer Reports, he moved to Fine Woodworking magazine. David has been writing about and teaching SketchUp for over four years, and says he never begins any project until he has previewed it in SketchUp first. This is one of several upcoming SketchUpdate guest posts from David on modeling principles for woodworkers.

I first heard the phrase clean modeling from Dave Richards at 3D Basecamp 2014. As Dave explained it to me later, clean modeling is a simple concept that basically means, “learn to sweat the small stuff.” If the model isn’t “clean,” small flaws could interfere with the changes you or someone else may want to make in the future. Let’s take a closer look at clean modeling principles via a Shaker trestle table I did a few years back. It looks pretty good, right? Actually, it’s a good example of why clean modeling is important.

Although this model of a Shaker table looks pretty good, it actually contains a number of flaws; finding and fixing them is what clean modeling is all about.

Missing Faces. I thought enough of the trestle table model to share it on the SketchUcation woodworking forum. Someone quickly cut me down to size, pointing out that my turned legs were missing faces. It’s a good thing no one looked closer. In fact, there were several problems with the model. Let’s begin with the missing faces. It happened because I was working with small geometry at a 1:1 scale. I could have saved face, so to speak, if I had scaled up the leg profile before extruding it.

The blue areas (left side) show where faces were not created properly. The right side shows the successful result of the scaled up Follow Me technique.

You can heal these faces by tracing over some of the edges with the Line tool, but it’s better to scale up certain components before using Follow Me or running Intersect Faces. Dave Richards typically copies a component to be extruded or intersected, scales it up 100x or even 1000x, and then edits the copy. After that, he deletes the copy; the original will show the edits properly. Generally, I’ve found this scaling method ensures a model won’t wind up with small missing faces.

A closer look. Inspecting the bottom of the arched feet reveals more small problems. If I run ThomThom's Solid Inspector extension, it shows me a stray line at one corner. It’s only about 1/64” long, but it shouldn’t be there. The same goes for a sliver of a stray face on the opposite corner. Extraneous lines and faces like these can pop up sometimes when performing certain tasks — like Intersect Faces mentioned above. These little lines are hard to see, of course. I could say, “So what? No one will ever see them.” Maybe, but I need to get rid of them if I want a clean model.
Ed. Note: ThomThom recently released Solid Inspector². Also, try “StrayLines.rb” from www.smustard.com.

The Solid Inspector extension reveals a minuscule stray line at the base of the foot. This extension is a useful tool for identifying extraneous geometry that could be erased.

Orient faces. Obviously, visible faces must be oriented properly. But the same goes for faces that aren’t meant to be seen: the sides of holes, recesses, mortises, and the like. As you create those elements, take the time to be sure the correct face is showing. If a surface is facing the wrong way, you can right-click on it and choose Reverse Faces.

Soften/Smooth curved faces. Often, when you Push/Pull a shape that results in a curved face, you’ll also create edges separating the facets of the curve. You can hide those edges, but the face will still look faceted. It’s better to eliminate the edges with the Soften/Smooth Edges technique.

Hiding the edges on a curved face leaves the surface looking faceted (middle object). For a truly smooth face, use Soften/Smooth Edges.

Set component axes. If a component doesn't perfectly align to the axes, be sure to set the axes when you create the component. This is especially important if you’re planning to use the CutList extension. It relies on the size of the bounding box to reckon the size of the component. An oversized bounding box will lead to inaccuracies in the cutlist.

Clean-up. Finally, reduce the file size: purge unused components, use multiple copies of components instead of numerous groups, and compress textures. ThomThom's CleanUp³ extension helps expedite this process. If my advice strikes you as too obvious, that probably means your models are pretty clean already.

Guest authored by David Heim

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What are Fast Styles?

Let’s say you’re presenting an idea in SketchUp, but perhaps you’d prefer a loose conceptual look or a hand-drawn visualization — you’d rather not show what you’ve created in a way that makes it feel finished or final. Styles in SketchUp control the display settings which alter the way your model appears.

You can choose from a collection of predefined Styles, mix attributes of various Styles to make your own unique Style, and assign Styles to Scenes for handy access. The thing is, some Styles render faster than others. Because of this, you may want to use certain Styles (or Style settings) in certain situations during modeling and presentation work.

The Style shown above is called “PSO Vignette”; you can find it in the “Assorted Styles” category of the Styles Browser. This Style looks great, but it’s meant for illustration — not navigation. (Mountain Lake Retreat model by MB Architecture via 3D Warehouse)

This led us to the idea for Fast Styles: a combination of Style settings that won’t slow you down while modeling. In SketchUp 2015, you’ll notice a small green stopwatch icon in the bottom right corner of a Style thumbnail that meets the criteria of an official “Fast Style.” SketchUp now auto-detects Styles that use less processing power — this earns them the new badge.

These Styles are Fast Styles; note the new green badge.

To create your own Fast Style, you’ll need to get your hands dirty in the Styles Browser. When creating a Fast Style, you should avoid Style choices that will cause performance decline as your model complexity increases — settings like Sketchy Edges, Profiles, and Watermarks. Check out our Knowledge Center to learn more about these settings and Fast Styles, and remember to save the changes to your newly configured Styles!

However, a Fast Style doesn’t mean a boring Style. We whipped up a few custom Fast Styles and tossed them into this SketchUp model. Go to Window > Styles and jump into the "Select", "Edit", and "Mix" tabs to see what's there and mix some new Styles of your own.

This Style was created by simply changing the edges for the default “Blueprint” Style. The white Edge Setting from the “Camo” Style was applied to a copy of the Blueprint Style to create this new fast version.

A Style like the Fast Blueprint above might be a good choice when you want to present your SketchUp model in a stylized fashion, but you’d also like the benefits of smooth navigation and Scene transitions. Of course, you can still use Styles that have not earned the Fast Style badge — the benefit of working with Styles and Scenes together is that it’s easy to jump from a Scene meant for illustration to a Scene you might want to interact with. Now, with Fast Styles, you've got another trick up your sleeve for working and presenting quickly in SketchUp.

Posted by Josh Reilly, SketchUp Team

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New Book: SketchUp to LayOut

Take it from me—book writin' ain't easy. Matt Donley has done the SketchUp-using world a huge favor: his SketchUp to LayOut is an easy-to-follow, easy-to-afford e-book that should fit right between the other LayOut tomes on your bookshelf.

My own For Dummies book devotes two chapters to LayOut, which is an acceptable introduction, but which is by no means comprehensive. Michael Brightman's The SketchUp Workflow for Architecture and Paul Lee's Construction Documents using SketchUp Pro and LayOut are both aimed at professionals who want to produce complete construction documents without using other CAD software. Matt's book is the missing link. Whereas other LayOut books have addressed only architects, Matt wisely includes examples for three markets: architects, woodworkers and designers who work on kitchens and bathrooms. Smart.

SketchUp to LayOut starts with a guided tour that does a great job of welcoming folks who have never seen the software before. Very quickly, though, Matt jumps in with both feet, shining a light on the connection between SketchUp and LayOut by focusing on model viewports. As LayOut's raisons d'etre, viewports are all-important, but very few people have mastered them. This book does a great job of rectifying the situation.

Matt Donley is the man behind MasterSketchUp.com. He launched the book last week with a webinar watched by almost 500 people; you can catch the free video recording on the publication’s website. He's selling the e-book itself for $39, but you can buy it with a bundle of useful hatches, textures, styles, templates and other resources for $67. Paying $99 gives you access to a library of video tutorials that Matt is planning to create over the next few months. I can’t wait to watch them.

Congratulations, Matt. See you at 3D Basecamp!

Posted by Aidan Chopra, SketchUp Evangelist

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Modeling a laser-cut Halloween costume for my son

October is the time of year that all of my creative energy is focused into a single, solitary purpose: the design and making of an unreasonably complicated Halloween costume for my son. This year, I was determined to reflect his outsized interest in aviation by building him his very own airplane. Something with an open cockpit. Something with a propeller. Something vintage. I started by touring the 3D Warehouse, collecting models of airplanes that might be good candidates. I settled on a WWII-era F4F-4 U.S. Navy fighter because I liked its shape, and because the model I found (by D.James) was beautifully executed.

 I found this Grumman F4F-4 on the 3D Warehouse. It was modeled by D.James.

Opening it in SketchUp, I began the process of simplifying the plane down to its most basic forms by hiding or deleting stuff I didn't need. The landing gear and propeller went. So did the wire-looking thing (I'm not much of an engineering buff) that connected the tail to the cockpit canopy. Eventually, I grouped the remaining bits of airplane together and put them on a single layer that I called "Reference."

The first step was to strip away the details that I didn’t think I’d need.

Next, I set about creating a brand-new model of the fuselage and tail by using the Circle, Push/Pull and Scale tools to create a form that (more or less) matched the existing model. I worked right on top, using the original geometry as a snapping guide for the new. This didn't take as long as you'd think, and it resulted in a simple form that I could easily manipulate later on. For the wings and stabilizers (the smaller wings on either side of the tail) I traced basic, flat shapes; I knew I wouldn't end up making them aerodynamically correct, so I didn't bother giving them a realistic thickness. It is, after all, illegal for a two-year-old to pilot aircraft in the state of Colorado.

D.James’ model is very complex, so I made myself a simpler version (grey) by modeling directly over the original (blue). The wings and the horizontal stabilizers are just flat faces.

Not being able to find a decent model of a small child anywhere online, I used a toddler-sized cylinder as a scale reference as I scaled down the entire vehicle to fit him. "Rough" doesn't begin to describe the level of accuracy I employed at this stage of the engineering process; I basically held a ruler next to his waist and decided that he could squeeze into a ten inch tube. I did NOT at any time actually squeeze him into a ten inch tube. Mostly because I didn't have one handy.

At this point, I set about changing the proportions to increase the airplane's overall level of adorableness. To do this, I grouped together the body, wings and tail bits, made a copy off to the side, and used the Scale tool to stretch and squish the whole thing.

Starting with a squashed cylinder to represent a toddler, I used the Move tool to change the proportions of the airplane until it looked wearable.

At this point, I'd pretty much decided that the airplane would be made out of laser-cut cardboard (more on that later), so I continued modeling with the assumption that the wings and stabilizers would be 2D shapes, and the body would be a more organic, 3D form. This part of the process was the most time-consuming and fiddly—it was just a matter of tweaking the shape of each element until I was happy with the overall proportions of the plane.

The intermediate state of the airplane is actually very basic.

As I settled on a material and construction method, I spent a lot of time on the website of a New Zealand and US-based company called Ponoko. They offer laser-cutting and 3D printing services, and their material selection is terrific. Ponoko has also been a good friend of SketchUp since they launched several years ago. Frankly, I'd been waiting for an excuse to try them out; their offering seemed really slick.

Before I could go any further on the airplane project, I needed to know more about the material I'd be using: its precise thickness, what sheet sizes are available, and its cost. Weight and budget were my major concerns, so I settled on double-layer corrugated cardboard with a thickness of 0.264 inches (6.7mm) and a maximum sheet size of 31.1 x 15.1 inches (790mm x 384mm). Sheets that size cost $3.50 apiece, which is cheap, plus file setup and cutting, which is decidedly less so. When I uploaded a test file to Ponoko to see what this undertaking might cost, the average price per sheet of cut parts was about $25.00. I figured I'd need about ten. This was turning out to be a very expensive cardboard airplane.

The double-layer corrugated cardboard page on Ponoko’s website. Make note of the material thickness for accurate modeling.

Back in SketchUp, I set about figuring out how to build the project out of interconnected, flat pieces. I started with the easy parts: the horizontal section of the body, which included the wings, and the vertical section, which included the tail. These two components were the structural parts of the plane, so I made them out of three layers of cardboard, laminated together for stiffness and durability.

The horizontal fuselage sheets (which include the wings) provide the airplane’s back-to-front structural strength. The vertical pieces are necessary for forming the nose and tail.

To design the rest of the plane's pieces, I copied the 2D profiles that made up the fuselage, made them into faces, and extruded them to the same thickness as the cardboard. Each piece was an individual group at this point; I didn't bother making named components until I was further along.

The ellipsoid “fins” that march down the length of the airplane are the key to defining the fuselage’s sleek, rounded shape.

Next, I used the maximum sheet size for the cardboard to figure out which parts would need to be subdivided and re-assembled after they'd been cut. This task was made a bit simpler by the fact that the biggest pieces of the plane—the horizontal and vertical "slabs" I'd started with—were each made up of three thicknesses of material. I just figured out a design that would hide the seams on the outside, visible layers, while allowing the middle layer pieces to overlap enough to form a strong sandwich when I glued everything together.

Parts which would ideally have been cut from a single sheet of cardboard had to be broken up into smaller pieces due to the small maximum sheet size for that material. These were then sandwiched together with glue. The resulting triple-layer laminates ended up being very stiff.

One of the last steps in the design process was to design the slots that would allow all (or at least most) of the pieces to interlock together. Figuring that the kerf (the width of the cut made by the laser) would be very small in this material, I decided to make the slots exactly as wide as the material thickness. This part was actually kind of fun—it's the closest I've ever come to modeling a 3D puzzle.

There are lots of ways to cut slots in the pieces; I used the Line and Push/Pull tools in combination with the Copy and Paste in Place commands.

At this point, I began the delicate process of converting my groups into components; piece by piece, I exploded each group and then immediately made it into a component with a meaningful name. Where I had a pair of identical, flipped parts (this was actually the majority of the airplane), I made sure both were instances of the same component. The airplane is made out of 58 individual parts, but only 32 unique components.

Because the airplane is so symmetrical, most of the parts are flipped and duplicated component instances.

Just for fun, and because I knew it would look really cool, I copied the plane onto a duplicate layer, and used the Move tool to arrange the parts as though they'd been exploded out from the object's center.

All of the airplane’s parts, exploded outward for visibility.

To have something laser cut by Ponoko, you give them a vector file (EPS or SVG) with all of the parts laid out flat. They provide Adobe Illustrator templates for all three of their standard sheet sizes, which makes things a bit easier. In order to go from a 3D, assembled object in SketchUp to a series of 2D cutting files in Illustrator, I needed to disassemble the plane piece by piece. Figuring that it would be easiest to have the assembled and flat versions adjacent to each other, I made a copy of the airplane off to the side and proceeded to take the copy apart with the Move tool. I used the Move tool's rotation grips (and occasionally the Rotate tool) to spin pieces around so they lay flat.

I made sure not to forget any pieces by literally taking apart an assembled copy of the airplane, laying the parts flat on the ground as I proceeded.

Almost there. I drew a rectangle that matched the sheet size of the cardboard, turned it into component, and made a dozen copies. Then I went through the laborious process of figuring out how to lay out all of the airplane pieces in an efficient way. Having done some experimentation on Ponoko's website, I'd discovered that it's significantly cheaper to produce two copies of the same cutting file than it is to make two different sheets. Good thing, because it turns out that most of my airplane parts are symmetrical; they're mirrored copies that exist in pairs. To take advantage of this, I arranged all of the symmetrical pieces on five sheets and produced two copies of each; all of the "singles" fit on only two more. In total, I had twelve sheets of parts.

The grey rectangles represent 31” x 15” sheets of cardboard. Notice that there are five pairs of identical parts sheets, plus only two unique sheets (in the upper left corner). This significantly reduced the laser cutting costs.

Digging around on Ponoko's website a little more, I discovered a mention of something called "nodes" which help to keep slot-assembled parts from wobbling and falling apart. Basically, it involves adding rounded bumps to the slots in your pieces. The size, position, and number of nodes depends on your material and its thickness, and the website didn't provide any specific tips for my double-layered corrugated cardboard, so I made an informed guess and crossed my fingers: I settled on a node height of 1/16th of an inch, which, multiplied by two, represented about a quarter of the 0.264" thickness of the sheet. That's a lot, but I figured that cardboard is a pretty compactible material. I was lucky; the nodes ended up working perfectly.

Nodes help to keep the parts snug when the final object is assembled.

One at a time, I copied each sheet to a new SketchUp file, set my camera to a top, parallel projection view, applied a simple, white Style with no profiles edges or other effects, did a Zoom Extents, and exported a PDF at 1:1 scale. Then I opened each PDF in Illustrator, copied just the parts, and pasted them on a new layer in the template provided by Ponoko. I went through this process a total of seven times—once for each unique sheet I'd be sending them.

The sheets are exported out of SketchUp Pro as 1:1 scale PDF files. These are then opened in a vector illustration program like Adobe Illustrator or Inkscape.

In order for Ponoko to convert an Illustrator EPS (their required upload format) into whatever file they send to their laser cutters, you need to make sure all of the edges in your drawings are colored and sized correctly. Blue lines tell the laser to cut, whereas red lines are used for engraving. Just follow the instructions on the template and you'll be okay.

After uploading my files, putting in all my credit card details, finalizing the order, corresponding a few times with the friendly staff at Ponoko, and waiting a couple of weeks, a box arrived at my house. I opened it up and was nearly knocked over by the smell of laser-cut cardboard. It's an odd odor; not terrible, but definitely not pleasant. I quarantined the pieces in the spare bedroom and went to work punching everything out.

The accuracy of the cutting was astounding. I've never laser cut anything; I expected the pieces to look good, but the quality of what I got made me alternate between grinning and literally giggling. For a person who spent hundreds of hours in architecture school hacking away at cardboard, foam core, basswood and plexiglass with an X-Acto knife, the extravagant expense of laser cutting instantly justified itself. I was hooked.

I couldn’t believe the quality of the laser-cut parts that arrived on my doorstep.

It took longer to peel the paper backing off of the individual parts than it did to assemble the actual airplane (not counting the time it took for the glue to dry completely). With only a couple of exceptions, the parts slotted together exactly the way I'd designed them to. It was the most gratifying thing I've made in years.

It took me only a couple of hours to put the airplane together. The next version will have less glue—that was the most time-consuming part of the process.

As a devout follower of the Church of Making Things Overcomplicated, I decided early on that the airplane should have a custom-designed instrument cluster. And a steering wheel. And a working, motorized propeller. This is already a monster blog post, so I'll end the description of my process here. To conclude, a few photos of the end result.

The final result weighs somewhere between five and six pounds, but that includes the steering wheel, the propeller motor, and four AA batteries. My son (who’s two-and-a-half) had no trouble wearing it.

 I designed the instrument cluster entirely in LayOut, using layers of translucent details to simulate reflections, highlights and shadows.

Posted by Aidan Chopra, SketchUp Evangelist

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Fabbing with friends: a WikiHouse for World Maker Faire

When we first heard about WikiHouse, we knew we wanted to build one. When WikiHouse’s co-founder gave an inspiring Ted talk this past May, we were inspired to build one. And when we read the WikiHouse modeling standards (make groups, use layers!), we knew that we just had to build one.

So as we sat down with the WikiHouse team this summer and talked about how we could collaborate for World Maker Faire, our goal was a no-brainer: design and build our own WikiHouse in just over a month.

The SketchUp WikiHouse for World Maker Faire. View more photos of this project here.

Kicking off the project, it was quickly evident that between the SketchUppers and the WikiHouse’rs, there were more than enough architects to go around. Aside from the reality that no one on the team had a CNC router in his garage, we knew we’d need a project partner with tons of CNC experience -- and one who wouldn’t laugh off the idea of hammering together a thousand cut pieces in the middle of Maker Faire.

Enter our friend Bill Young over at ShopBot Tools. We’d been itching to do a project with Bill since he caught us spreading saw dust all over Maker Faire Bay Area earlier this year. Bill’s practical experience with wood selection, tolerances, and project planning are nicely measured by his ability to engrave anything (onto anything) while generally believing that most things are possible. With the right mix of optimism and practicality, we started trading SKP’s back and forth, hashing out the trade-offs in various design concepts.

Concept 1: A custom tarp could be tricky, and would we even hear ourselves over a CNC in one bay?
Concept 2: Using 'Add location,' we noticed the lookout would showcase a cozy stretch city highway.
Concept 3: We were charmed by an iconic design with exposed sections, but this required too much wood and time.
The Constructible Model: Just right with all the right hooks, tabs, and S-joints.

With an ‘as-built’ SketchUp model set and 160 sheets of plywood sitting in Bill’s shop, it was time to derive cutting sheets and turn up the ShopBots. (Note: if you’re looking to prep your own model for CNC, the free WikiHouse plugin for SketchUp turns grouped geometry into neatly laid out cutting sheets).

Soon after we began cutting, it became clear that our two central constraints were time and lumber. Thankfully, our design and tools were well-suited to these pressures. The WikiHouse design standards call for modular elements that could easily be added, subtracted or adapted -- and because WikiHouse uses SketchUp as a platform, making in-progress changes was painless and quick. With a quick pivot for build phasing (agreeing what to cut next based on how much wood and time remained), the sawdust started blowing and the sheets started piling.

Ply piles in progress: only a small accumulation of the full project. See more photos from our cutting phase.

Some 1,150 cut pieces later, we are on our way to New York City after a fantastic month of collaboration between architects in the U.K., software engineers in Colorado, and woodworkers in Virginia. When we reach World Maker Faire, we’ll be joining forces with friends from the SketchUp community to show what open design tools, open design platforms, and a bit of courage can accomplish in just two days.

The right tools for the job: custom cut and engraved wiki-mallets for World Maker Faire.

Didn't make it to World Maker Faire? Follow the build progress.
Want to see more photos of our project to date?
Watch a timelapse of the SketchUp WikiHouse build.

Posted by Mark Harrison on behalf of the SketchUp Team

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New book: Rendering in SketchUp

Several years after publishing his first book, SketchUp expert Daniel Tal has released a new title, Rendering in SketchUp, tackling the rather large topic of, well... rendering in SketchUp.

"Rendering in SketchUp: From Modeling to Presentation for Architecture, Landscape Architecture, and Interior Design." Say that three times fast.

Rendering In SketchUp has a goal of being both a starter guide and a handy reference manual on rendering. At just over 640 pages, the book is accompanied by a website and free, downloadable ‘companion chapters.’ The full package comes in at about eight hundred pages.

Who in their right mind would read so many pages (let alone write that much)? Well, rendering is a big deal to many SketchUp users, so it’s not surprising to find that some daring folks have already read through Daniel’s book in its entirety -- you can see the initial reviews on Amazon.

What these readers found was an easy-to-use, beginner manual that also serves as a detailed reference guide for rendering. As one reviewer stated, you can jump in and out of the book as needed. It’s a true reference manual on how to turn SketchUp images into beautiful renderings, so it makes sense that the book is full of beautiful images, 650 of them in fact.

Across textures, lighting methods, post production tips, specific render settings and broad concepts, Daniel's book covers all aspects of the rendering process. It even has a nifty chapter on simple but advanced detailing (don’t use that texture for the roof shingles, model them!).

Rendering is a bulky topic, so a comprehensive guide like this one could be pretty overwhelming. Daniel, however, does a wonderful job of organizing his book, taking you through each step of the process in a logical fashion. Place textures, add detail, set lighting, apply rendering values to surfaces, render, and then post process the results.

Does the book cover all of the rendering applications for SketchUp floating around the universe? If it did, the book would probably jump from weighing 2.8 pounds to 20. (As it is, you might find it handy to check out the Kindle edition).

Instead, Rendering in SketchUp provides a universal approach that works with most (if not all) rendering programs. The book focuses on integrated rendering programs: rendering software that works within SketchUp. Daniel also provides provides specific chapters, overviews and settings for Shaderlight and Twilight Rendering software with a detailed inclusion of SU Podium. With this approach, you can apply Daniel’s methods across a healthy spread of rendering choices.

So this book has it all, right? Well, rendering is a huge topic. Daniel is one of many experts with his own approach and opinion. But if the task of turning SketchUp models into high quality images has always intimidated you, Rendering In SketchUp is not only a great starting point, but also a smart path to mastery.

Learn more about Daniel’s universal approach to rendering in this in-depth webinar.

Posted by Chris Dizon, SketchUp Sales

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New Book: Architectural Design with SketchUp

Back in March of 2011, when Wiley (a publisher of many books about SketchUp, including my own) asked me to review Alex Schreyer's proposal for a new title, I jumped at the chance. Alex's outline was mouth-wateringly full of promise; aimed squarely at architects and other designers, he promised not to spend hundreds of pages teaching the basics. Instead, he focused on aspects of SketchUp that were a) not well covered by existing books and b) very, very interesting to millions of experienced SketchUp modelers everywhere.

The completed volume does a beautiful job of presenting material that devoted SketchUppers badly want to learn, but which isn't very easy to explain. Put it this way: I'm pretty good at SketchUp, and in the hour or so I've been thumbing through Alex's book, I've learned about 50 things. I can't wait to read the thing from cover to cover.

Architectural Design with Sketchup is organized into four main sections—these are actually listed in the book's subtitle: component-based modeling, plugins, rendering and Ruby scripting. I'll talk about each in turn.

Component-based modeling

This section of Alex's book is a great primer for using groups and components to build assemblies of objects. The thinking here is that by modeling every element of a complex construction—the example he uses is a foundation/floor detail—you're effectively "building" your design before you actually build it. You save time and money and therapy sessions by making your mistakes digitally, and you end up with a better design. This isn't exactly a new concept, but Alex does a terrific job of providing concrete guidance for how to do this kind of modeling; it's the detailed how that's missing from most other resources. Other aspects of component-based modeling that Alex fails to shy away from: building dynamic components, applying materials and generating reports that list every part in your design with SketchUp Pro.

Using plugins effectively

One place where even accomplished SketchUp modelers stumble is in identifying the plugins that might help them do their work. There are zillions of plugins out there, but before this book, no one had assembled a comprehensive, alphabetical listing of dozens of the most popular, most useful extensions. Not only does Alex list them; he also provides a good, brief description of what each is for. This is the section of Alex's book that I'll study most carefully—it might even be the source of inspiration for a few posts on this blog.

Photo-realistic rendering

Admit it: If you're not already an avid renderer, you've at least thought about how nice it would be to master that particular skill. But where to start? There's never been more choice in renderers, and everyone knows that rendering is a lot more complicated than just clicking a button and waiting a few hours. The settings, presets, lighting environments and other widgets that go along with making a halfway decent rendering require an indecent amount of background knowledge. It's half science and half craft. With Alex's book in hand, I think we all might finally have a shot at learning this stuff.

Another thing I should mention: This book is 100% in color. If you think that makes a big difference when you're trying to learn about rendering, you'd be 100% correct. I wish my book was in color...

Scripting

Here's where things get a little wacky. When I saw in Alex's proposal that he intended to include an entire section on scripting, I thought, "Ruby for designers? Did Alex mix up his medications?" I was pretty dismissive about the whole idea in my feedback to Wiley.

Well, it's a good thing I was wrong. Twenty months later, it's a different world, and being able to read and write simple code has never been more important. In teaching the fundamentals of Ruby scripting, Alex intelligently focuses on using scripts to generate forms that are otherwise arduous or impossible to model in SketchUp. He doesn't assume you want to create entire standalone plugins; this is really just about using the power of algorithms to make stuff when you can't think of any other way to do it. The material is by no means easy, but Alex deserves a world of credit for making it as easy as possible.

I recommend this book without hesitation to anyone who really wants to be able to make SketchUp do everything it's capable of doing. It's clearly written, well-illustrated and comprehensive. And the icing on the cake: There's a companion website where you'll find sample files and a direct line of communication with the author. Buy this book and take the first step toward becoming a more useful person.

Posted by Aidan Chopra, SketchUp Evangelist

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Creating complete construction docs in LayOut

When we profiled architect Nick Sonders' amazing use of LayOut to create full sets of construction documents for his houses, we knew we were on to something big. The deluge of "TELL ME IMMEDIATELY HOW HE DID THAT" sentiment that ensued prompted us to follow up in two ways:

We invited Nick to present his workflow at our 3D Basecamp event last month. The house was packed and Nick was great, but the audio in the video recording was a little rough, so...

Our videograhper Tyson traveled to Truckee, California to record an in-depth series of videos that document Nick's process in delectable detail.

Half tutorial, half motivational speech and half religious experience (for SketchUp people, at least), the "Sonder Series" is 150% better than anything else we've created for aspiring LayOut users. If you believe in your heart that your SketchUp models deserve to live on, that CAD drafting separate 2D orthographic views is a terrible way to spend your evenings, and that there has to be a better way, this is your path forward. Pop some corn and kick back for some serious edification.

The first video is below; the other five are on online when you're ready.

Posted by Aidan Chopra, SketchUp Evangelist

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Modeling SketchUp roofs on a click with Build Edge PLAN

If you’ve ever taught someone to use SketchUp, you’ve probably drawn the basic SketchUp house and then breezed over the details when it comes to detailing the roof. The truth is that designing roofs is not always a straightforward task, even for experienced modelers.

We’ve explored some solutions for boosting roof design productivity on this blog, and today we’re happy to share a new plugin, Build Edge PLAN, that employs a bit of BIM for quickly creating dynamic walls and roofs. Here’s a quick look at how it works, courtesy of Aaron from Build Edge:

If you couldn’t sit still for the video, here’s the skinny: Build Edge PLAN plugin makes it easier to...

Draw Walls: Rather than outlining walls in a 2D view, and using Push/Pull to extrude them to full height, PLAN can draw complete 3D walls based on your desired dimensions. Each wall can be input as quickly as drawing a single line.

Edit Walls: Even if you are precise when it comes to grouping objects and creating components, modifying walls in an existing structure can be a trying process. With walls created by BuildEdge PLAN, you can move one wall, and all of the attached walls (not to mention the roof) will stretch to stay connected.

Model Roofs: Modeling a pitched roof in 3D is not a straightforward task. Properly projecting surfaces so that they intersect each-other to form a proper roof is time consuming, and if you want to model for framing, including proper heel heights and overhang geometry can be a challenge. BuildEdge PLAN simplifies the process by generating roof geometry from a simple roof outline. Just specify the slope and heel geometry of each side of the roof, and the plugin does the heavy lifting. PLAN also lets you set properties of each roof side individually, so there is plenty of wiggle room for customization.

Roof Creation in Build Edge PLAN: Roofs are created by outlining their profile; selecting individual sections allows for customization

Edit Roofs: Since BuildEdge PLAN recognizes walls and roofs as they are input, you can modify the house as a whole, and move walls or change properties of a roof on the fly. This allows you to quickly change the look of the entire house or any individual properties. For instance, switching from a hip to a gable is literally a single click.

Currently, Build Edge PLAN is only available for PC (a Mac version is in the works). The folks at Build Edge have some quick tutorials to get you going and are pretty great about helping modelers to get the most out of their plugin; give it a try, and the next time you teach someone SketchUp, don’t skimp on the roof.

Posted by Mark Harrison, SketchUp Marketing

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Save the date for 3D Basecamp 2012

If you sometimes try to orbit the spreadsheet you're working on, you're one of us. If the phrase "Follow Me that profile along this edge" makes sense to you, you're one of us. If building a model is easily the best part of your workday, you're one of us. We're people who really, really like SketchUp, and every couple of years, we get together to meet, learn and be inspired.

The fourth-ever SketchUp 3D Basecamp is scheduled for October 15, 16 and 17 of this year. It's happening in our hometown of Boulder, Colorado, and everyone's invited. We haven't ironed out all of the details yet, but we thought we'd let you know so you can mark your calendar. It's the most fun you'll have this year.

Want us to let you know when more information is available? Click the red button!

The video below is a recap of the goings-on from our last 3D Basecamp in 2010. As you can see, a great time was had by all:

Posted by Aidan Chopra, SketchUp Evangelist

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Announcing the Madrid SketchUp Plugin Conference

When someone writes a plugin for SketchUp, he or she isn’t just looking to cram a few more icons into your toolbar. Plugins help users solve important design and workflow problems, so plugin developers have to be as keyed into the needs of SketchUp users as we are. Our Ruby API is a canvas, but it is the ingenuity of developers that makes the plugin community truly remarkable.

Today, I’m happy to announce that Íscar, the Spanish SketchUp Pro reseller and Authorized Training Center, is hosting the first-ever SketchUp Plugin Conference this fall.

The details:
Íscar’s conference will take place September 5th - 7th, 2012 in Madrid, Spain. The event is focused on the needs of plugin developers, distributors and resellers, though it’s open to everyone. The conference will be a venue for developers to present their plugins, share tips with other plugin authors, and even find new distribution channels for products. Users will see demos of the latest and greatest plugins, and have a chance to compare notes with people from around Europe and the rest of the world.

This conference is not being organized by the SketchUp team but we are co-sponsoring it, and a few of us will be in attendance. We may even cook up a presentation or two.

Register for the conference here. Questions? Check out this FAQ.

Posted by Chris Cronin, SketchUp Business Development

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SketchUp Pro Story: Bob Lang, Woodworker

Robert W. Lang is executive editor of Popular Woodworking Magazine, and the author of several books including “Woodworker’s Guide to SketchUp.” Bob blogs about Woodworking and SketchUp at his website ReadWatchDo.com. We asked him to tell us a little bit about his process and why he uses SketchUp Pro.

Building furniture is a rewarding process. Most of the challenge is problem solving; time in the shop is always in short supply and quality materials aren’t cheap. Good problem solving at the start allows a more efficient build and prevents costly mistakes.

The efficiency of SketchUp means I don't spend as much time designing and planning as I used to, which gives me more hours in the shop. Those shop hours are also better because I have a reliable reference that answers almost any question that might come up while I build. (Except for “where did I leave my pencil?”) I can concentrate on the physical work without being sidetracked with an hour or two of head scratching to solve a design or engineering problem

Early in my career, I fancied myself a designer and vowed to only create original designs. Then one day I read something from Gustav Stickley to the effect that if you wanted the ability to design new work, you needed to thoroughly understand everything that had been done before. Twenty-five years later, my work is mostly reproducing designs from the Arts & Crafts period of the early 20th century. This chair (below) is a Stickley piece, and despite its simple appearance there are a lot of subtleties to the overall design. These quirks are what make this furniture intriguing—the closer you look, the more you find.

When I'm planning a reproduction, I work a lot from photographs. My process is mainly the same one I used years ago with pencil and paper. Importing a photo, scaling it to actual size and measuring the photo on screen are far easier (and more accurate) than staring through a magnifying glass and using a proportional rule.

If possible, I work from photos I've taken myself; these are different than photos taken for publication. I'm looking for information, and the best source of that is a straight-on view. I'll do some things in Photoshop, sometimes correcting for lens distortion, but mostly I adjust the image to make it easier to discern details.

After I import a picture into SketchUp, I scale it so that parts I can measure with the Tape Measure tool match known dimensions. I place the images on a separate layer, so I can easily turn them off and on as I build the model. I usually build the model near the photos, but for some parts I work on top of them. To get the outline of the corbel under the arm, I traced the shape on top of the image, then extruded it to the proper thickness with Push/Pull.

I import photos into SketchUp and scale them to a known dimension. Sometimes I model next to the photo, and sometimes I trace directly over the photo.

Sometimes the photo will reveal something I'd rather not see. The next image is from early on in the process, right before I discovered that the lower rail between the front and back legs isn't parallel to the floor, as I have it in the model. That slight angle adds a lot to the appearance of the finished chair. It's the chair's way of saying “Come and have a seat!”, but it makes building the side assemblies considerably more difficult. Instead of five identical vertical slats, each one is a bit longer than its neighbor. Additionally, the shoulders of the tenons have to be cut at an angle rather than square.

With the photo available within the model for reference, I can check dimensions and details while I work. In this case I realized my first attempt missed an important but subtle detail.

Eventually, I have a model that I'm happy with; I consider this the halfway point of the process. The second half is extracting information from the model. Everything I want or need to know about every part of this chair is there on screen. Now the task is to pull out the information I need (or want to show someone else) and to put it a manageable form.

In the shop I tend to spread out until the project I'm working on covers every available horizontal surface. I follow much the same process when working in SketchUp: I make copies of the entire model (or portions of it) off in empty space somewhere to serve different functions. I create scenes for each of these views, with layers for dimensions, so I can export or print only that portion of the model. If you back up and look at everything, it's pretty chaotic.

Zoom Extents makes it look like I’ve made a horrible mess, but I generated several scenes in a short period of time, each showing important details by copying portions of the model and moving them into empty space.

That said, each scene has a lot of value; there are a number of ways scenes can be used. In my work on books of measured drawings and for Popular Woodworking Magazine, scenes are exported to Adobe Illustrator to use for two dimensional drawings (plans, sections and elevations) or three dimensional exploded views.

This is a typical Scene that I will print and take to the shop to use as a reference for each part of a complex assembly. The model contains precise information about every part, and if I forget to print a dimension I’ll fire up the laptop, open the model for a closer look and measure the parts in the model.

For a project build video, I exported an animation of several scenes and used that clip in the finished video to explain the construction process. For my own use in the shop, I print 3D views of groups of parts and stages of the process for reference. For the side assemblies of this chair, I printed exploded views as well as details such as the image of the leg joinery. In SketchUp, it doesn't take long to create these extra views. So far, when I wonder “Can I do this with the model?” the answer has been, “Yes I can, it works very well, and it doesn't take very long”.

Instead of standard cutlists, I create views such as this to accurately lay out the parts. It might take 5 minutes to drag each leg out of the Components window and add dimensions, and it saves hours in the shop. It’s surprising how close this is to having real parts to refer to.

One unexpected benefit of using SketchUp is that it turns out to also be a great tool for teaching woodworking. Unlike a valuable antique, a 3D model can be taken apart to study how it goes together. When I teach a class on building a piece for real, one of the main lessons is the sequence of doing the work. This is a crucial skill for successful building; knowing which parts to layout and cut first, how those first parts affect the following parts, and how to group parts together in sub-assemblies to make the final assembly simple. With a good model, an inexperienced builder can work all of that out before getting to the shop, learn the lesson in less time and not risk wasting valuable materials or shop time. The boost in confidence from this makes a significant difference in both the quality of the time spent building and in the quality of the finished product.

Reproducing a Stickley Morris chair is a lot of work, but there is a built in reward when the job is done.

Over the last 30 years, I’ve invested a considerable amount of money in tools to do my job. A large portion of that has been spent on computer hardware and software. Looking back, the best investment has been the money I spent on SketchUp Pro. I started using SketchUp thinking it might be an effective drafting tool, but it's turned out to be much more than that. This simple-to-use software program is the best thing I’ve found for all phases of design, engineering, planning and communicating.

Posted by Steve Dapkus, SketchUp BizDev Team

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