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The countless tools and automation features included in Autodesk Inventor allow designers to create detailed models of their ideas. Autodesk Certified Professional, Adam Cooper, will take you through the many facets of this autodezk software so that you can draft your product designs with precision and efficiency. From basic sketching to designing full assemblies, this course is perfect for the beginner with an interest in 3D modeling for mechanical projects.
Skip to main content. Start your free trial. Learning Autodesk Inventor by Adam Autodesk inventor 2017 tutorials for beginners pdf free. Video description The countless tools and automation features included in Autodesk Inventor allow designers to create detailed models of tutoriwls ideas. Learn which tools to use, читать to use them, and where to find them Understand basic sketching operations and best practices Explore and practice with Inventor's part modeling capabilities Learn how to use the assembly modeling tools to bring your parts together Make an impact with exploded views and animations of assembled designs Create fabrication drawings to bring your project to the physical world Take advantage of the newest features introduced with Inventor Adam Cooper is a Mechanical Engineer and Certified CAD instructor backed by decades of experience in the Automotive and Industrial tutroials.
Specializing in injection moulding, assembly line integration, robotic automation, and industrial machinery, Adam has a deep knowledge of the real-world applications and the many tools that Inventor has to offer. Show and hide more. Publisher resources Beginnfrs Example Code. Table of contents Product information. Жмите сюда it now.
Autodesk inventor 2017 tutorials for beginners pdf free
In the default condition, the drawing area will have three icons on display: i. The user coordinate system icon at the bottom left corner. The cross hairs or drawing cursor which may be at any position on the screen depending on whether the user has touched the mouse or not. The view cube at the top right corner. This is very useful in 3D drawing because it facilitates viewing the object from multiple directions. Quick Access toolbar This includes the basic file-handling functions that you find in virtually all windows application programs.
It occurs at the immediate right of the application menu. It carries such functions as workspace switching and title, new file, open file, save and undo among others. If you are online type a query there in case you get stuck. In the lower-left corner of the drawing area, you see an L-shaped arrow. This is the UCS icon, which tells you your orientation in the drawing.
This icon becomes helpful as you start to work with complex 2D drawings and 3D models. The X and Y arrows indicate the X- and Y-axes of your drawing. Command Window. As you type in commands on the command line, or pick commands on the ribbon panels, a message is displayed on the command window telling you what to do next. When you issue any command it may also display a list of options related to that command. By so doing it prompts you on your next move.
Thus it is also known as the command prompt. The command window and the ribbon complement each other i. However the command prompts that appear on the command window prevent the user from getting confused. To the extreme left it carries the coordinate readout which indicates to the user the current position of the cursor. Towards the right next to the coordinate readout is the drawing aids panel which carries such tools as object snap, object snap tracking, dynamic UCS and polar tracking among others.
These aids assist the user in managing snap and tracking actions. They are activated or deactivated by switching them on or off respectively. To the extreme right of the status bar we find another panel which contains the model and layout tabs, annotation scale and workspace switching tool gear wheel icon among others.
You can switch between workspaces by using the Workspace Switching Tool. You can also customize the workspace the way you want and then save it. It will be appearing on the list of workspaces during switching and you can select it as an option.
Workspace switching tool takes the form of a gear wheel located at the bottom right hand corner of the active window. Clicking on it produces a drop down list of other alternative workspaces.
Clicking on either changes the workspace to the selected Alternatively you can switch the workspace by clicking on the downward arrow besides the name of the current workspace on the quick access toolbar. The general file handling commands include file saving, file opening, file closing and printing of drawings. You are the required to navigate through the folders in the save in slot to select the folder in which you want to save your drawing.
Type in the file name and then click save. If you modify a drawing you may wish to save it again but retaining the original template. In this case select save as from the file pull down or the application menu. Give it a name that signifies its current status i. Click save. As with any Windows program, you can save it under its original name by click on the Save tool on the Quick Access toolbar or under a different name by choosing Save As from the Application menu, thereby creating a new file.
Some will require modifications at virtually every stage. Others involve a series of iterative stages before settling on the final copy. In these circumstances, AutoCAD offers the required flexibility as opposed to manual drawing.
To keep track of all the modifications, the Save As tool is very essential. A dialogue box appears asking whether to save the changes on the drawing. When a command prompts you for a point, you can use the mouse to specify a point, or you can enter a coordinate value at the command prompt.
If the dynamic input is switched you can enter coordinate values in tooltips near the cursor. Two-dimensional coordinates can be entered as either Cartesian X, Y or Polar coordinates. In 2D, you specify points on the XY plane, also called the work plane. The X value of Cartesian coordinate specifies the horizontal distance, and the Y value specifies the vertical distance. The origin point 0, 0 indicates where the two axes meet. Polar Coordinate System Polar coordinates use a distance and an angle to locate a point.
Absolute and Relative Coordinates i. Absolute coordinates Represents a specific point in the current work plane relative to the origin point 0,0. To enter an absolute coordinate, type the values as a Cartesian coordinate X,Y or Polar coordinate distance, angle. Relative coordinate A relative coordinate is a point specified with reference to the last point specified.
We emphasize that it is with reference to your last specified point and not to the origin. This is the distinguishing aspect between relative and absolute coordinates. Dynamic Input When dynamic input is on, tooltips display information near the cursor as it moves. It is called dynamic input because the information moving with the cursor is updated with the motion of the cursor.
If you type the X value and press tab, the X field box displays a lock icon, The Y field is active and you can enter its value. This procedure applies to any other set of fields for instance distance and angle. Overview When drawing in both 2D and 3D, you may wish to: a. Get a closer look magnify your drawing. View hidden details c. Bring the whole drawing into focus.
View the hidden details of your 3D drawing. For a, b and c use the zoom and pan tools as follows: i. Zoom in to magnify and zoom out to minimize the size. Zooming out enables you to see the details that are currently spilt out of the screen or make the object smaller in readiness to add details.
The pan tool allows you to drag your drawing to a convenient location on the screen. For d use the orbit tool. It is the tool that enables you to view the objects in your drawing from different angles. It is very essential, when drawing in 3D. Accessing the tools A. Zoom a. To zoom a view with a single click. Display a wheel.
Right-click the wheel and click Steering Wheel Settings. Click OK. Click the Zoom wedge. The magnification of the model is increased and you are zoomed in closer to the model. If you hold down the Shift key while clicking the Click Close to exit the wheel. To zoom a view in and out by dragging.
Click and hold down the Zoom wedge. The cursor changes to the Zoom cursor. Drag vertically to zoom in or out. Release the button on your mouse to return to the wheel. NB: The mouse wheel is a very convenient way of zooming in and out. This software will help you develop and enhance basic modelling and drawing capabilities.
This is simple but very powerful suite that will largely help you to get rid off your blocks. Can't install.. I have the same problem. Not impressed.. Says I DL'd a 32 bit installer and my system is 64 Bit. For a beginner it is fantastic. I make 3D models and it has been fairly easy to learn. P ros: Simple drawing screen More. Sometime, the double faces will display differently in the view port, making it easier to recognize them. The first thing you need to do is create a plane in the top view 7 key.
While in edit mode, make sure all vertices are selected vertices are yellow. Do this a few times. Select a single vertex somewhere near center. Select Smooth Falloff. Select other vertices and falloffs for more hills and shapes. This will smooth the mesh in display and final output. Your job is to create that logo. This is the basic scene, but as you work through the chapters, you will be encouraged to add more elements and details to your lighthouse and landscape to make it your own.
Again, we will be using this file for the next several chapters, so keep it safe and save often! We will use the left viewport for working in and the right top one for camera and 3D views.
Adjust the viewport size similar to shown. For now, you may want to turn off the 3D widgets. Remember that you can close and open the Tool Shelf and Transform panels at any time. Often, you will be unable to see all of the buttons and panels in the Transform and Tool Shelf bars.
Scroll your mouse wheel in the panels to view everything. The plane you created on the previous page will be used for our ground. Our next step is to scale it up a bit. To do this precisely, we will use the Transform Panel. Change the Scale X,Y, and Z to Close the Transform Panel.
You may need to zoom out to see the entire plane. In the Tool Shelf, click Subdivide 6 times. Your plane should be well subdivided. Selected While holding down the LMB, select half the vertices as shown. Keep the edge random similar to what is shown so it looks like a rough shoreline. If you select too many vertices, remember that by holding down the mouse wheel, you can deselect vertices. Your plane will now just look like a line. Move them up about 2 Blender grid blocks. Use your right side viewport to spin around and get a nice look at the landscape.
Randomly pull the edges of the cliff up and down to different levels. You may even want to do some of this with proportional editing off. Try selecting a few vertices back on the high flat land and create some hills. Leave a flat area close to the cliff to place the lighthouse later. Press it and you should see a much better looking landscape you must be in object mode to see the smoothing.
Start by adding an Empty object in the top view 7 number pad key. An Empty is basically used for targeting purposes and does not render as a visible object.
Scale it up a bit. Now, RMB click on the camera to select it. We will add a Tracking constraint to the camera to always point toward the Empty. Both objects will be highlighted. A dashed line indicates the link. With the camera selected only, move it around- it always points to the Empty. If the link appears to work backwards, it means you had the Empty selected first. Use the UNDO command to back up and try again. Try to get the camera low so it looks as though you are viewing the shore line from a boat.
Place the Empty on the cliff line. Use the picture below to frame up your view. You do not want to see any edges on your rendering. Feel free to develop and refine the landscape contour any way you wish. The more time you spend with it, the quicker you will become comfortable with the program and the more realistic it will become. Use the default setting of 32 vertices, radius of 1, and Fill Type- Triangle Fan.
These setting will be fine for what we are making. Depending on what you are making and what it will be used for, you may require more or less vertices. You will now need to switch to the Front View 1 so the circle appears as a line.
If you filled the circle, it will extrude on the Z axis automatically. Extrude the lighthouse about 3 Blender grid blocks high and LMB click to place them.
This is your lighthouse- feel free to adjust sizes as desired. Remember to stay in the front view throughout this process! Rotated views can cause a distorted lighthouse. It is now time to make the small walkway around the top. This will place the new extruded vertices right on top of the old ones. Pull your mouse away from the lighthouse and scale the walkway outward as desired.
LMB click when you have a good size. Extrude again to give the walkway some height. Continue extruding and shaping to get the light area and the roof. The point of the roof will actually have 32 vertices which you could scale very small so that it appears to be a single point, but we will use a Tool Shelf command to correct this. You will see that 31 vertices are being removed, leaving only one at the center.
The lighthouse looks good, but angular. It will take more than Smooth Shading to make it look good. Some edges actually need to stay sharp. This is where Auto Smooth becomes important. Select the lighthouse again. Ignore how the lighthouse look on the screen.
Some things are smooth that should remain sharp and some other strange edge effects. You will notice a degree angle below the Auto Smooth button. Leaving it a the default of 30 degrees should work well, but feel free to experiment with other setting. Basically, this setting determines which faces are smoothed and which ones are kept sharp.
We are finished with our lighthouse for now. If you have the time, feel free to modify the lighthouse, change the style, add more features, etc. A good possible addition could be to use Torus and cylinder meshes to create a railing around the walkway. Remember, the Torus mesh features can be adjusted in the bottom half of the Tool Shelf. They will retain any materials you have placed on them, but will be one object.
Also available in the Tool Shelf. Separating Meshes: In order to break up a mesh, you need to be in edit mode Tab Key and select the vertices you wish to separate from the rest of the mesh.
You also an option to separate all loose parts. Select the option of what you wish to delete. Adding Faces: Sometimes, you need to fill in holes in a mesh by creating your own faces. To do this, go into edit mode and select the vertices you wish to face together you are limited to 4 vertices in a group. A face will be formed. Here is an example of 2 cubes joined together with a space that needs filled between them.
In edit mode, select the 4 vertices hold down shift key and right click on them , then type F. A face will be created. Ctrl-F will give a Face Specials menu of options that will allow a larger set of closed vertices to be faced with additional options. Using Alt- F will fill a larger area automatically. RoboDude Says: Adding and deleting faces and vertices are the basics in any model construction. It is important to become comfortable with these operations while knowing how to accurately work within your viewports.
In other words, A mesh can be made combining 2 meshes different from the Join command. When using Join, the 2 shapes still retain all vertices. When using Boolean, a new shape is calculated union and removes interior geometry. A mesh can also be used to cut a hole in another mesh difference and a shape can also be made from where the 2 shape intersect with one another intersect.
In the sample shown below, a cube and a sphere have been placed overlapping each other. With the cube selected, we will be applying a Boolean Modifier. This is the first time we have accessed the Modifier buttons. If the resolution of your computer if not set so that you are able to see the Modifiers button, hold down your mouse wheel to scroll over the buttons to gain access to it. You will see a variety of modifiers that can be added and many will be discussed later.
For now, select the Boolean modifier. In the Boolean panel, you will see a block where you can select the object you wish to use to modify the cube. Clicking in the box will give you a drop down of all objects in the scene. Selecting the sphere will display the changes to the cube. We are going to use Boolean operations to cut some simple windows in your lighthouse. Using your principle views of 1, 3, and 7, place the cube in a good location for a window.
With the cube still selected, make note of the cube's name, displayed in the lower left corner of the viewport. We will need to know that name later.
The name can also be changed in the Transform window. Go to the Modifiers Panel and add a Boolean Modifier. Select the Cube from the list under Object. You can even use different mesh shapes to cut other window and door shapes.
Remember to add the Boolean Modifier to the lighthouse and not the cube! They need the logo to be 3D and useful for their promotional needs. For this exercise, you will be creating a 3D logo for a favorite team, company, product, or school while using many of the techniques discussed in this chapter. Your first step is to do an internet search for an image you wish to model from. I will be using a Blender Logo for my example.
Check the box and open the panel. Load your image and it should show up in the background of the 3D window. The image will only display in a principal ortho view 7,1, or 3- 5 key switches between ortho and perspective.
You will notice that you can control which views the image displays in, if you want to display a movie or image as a background, the transparency of the image, the size and X,Y offset. Delete 1 vertex so all you have are 3 vertices. Your next step is to move the 3 existing vertices to the edge of the shape where you wish to start. The more care you take in shaping, the better the logo will look.
Continue around the shape until you get back to the beginning. This will connect the 2 ends and close the shape. You will now have the basic shape. From there, continue to extrude and close the inner edge as you did with the outer edge. Notice that the Blender logo also has a blue inner circle. We will also copy and extrude a circle for that ring. If you have other details to add, do that at this time. Always stay in the Top View! Before we face the mesh, we will need to separate the vertices into different meshes that will receive different materials.
For my example, I will select the inner ring that will get a blue material. After separating all the vertices, go back to Object Mode. It's now time to face the mesh. If the shape is complex, not closed, or has double vertices somewhere, this option may not work and forces you to find the problem or face it manually.
Do this for all meshes, then switch to the Front View and Extrude the meshes to a desired thickness, like you did with the lighthouse. You logo is finished for now. We will not be addressing this as an actual exercise, but after reading the chapter on Materials and Textures, you can come back and add color to your logo. There are still a lot of commands and techniques to learn to improve your 3D modeling skills and many of these will be addressed in future chapters, however, practice is the key to become a skilled artist.
Answer the following questions in as much detail as possible. Your first task in this chapter had you working with basic meshes, trying to create a sculpture, much like you would have used building blocks as a child.
What was your biggest challenge then and how would that challenge be different now that you have completed the chapter and have a little more experience? How did your lighthouse and landscape turn out? Are you pleased with your results? What was the most difficult aspect of that project and how did you overcome that challenge? The logo challenge activity is designed to have you create a 3D logo much like ones you would see at sporting events, in movies, and on T.
Find a 3D animated logo on the internet that interests you. Do you have a better understanding now of how a logo like that is made? How has this chapter shaped your understanding of 3D modeling? Have these activities inspired you to create any projects of your own? What would you like to create? As you make your 3D models in Blender, your goal will probably be to generate render an image or a movie as a final result.
The software that determines how your scene will look is the render engine. The render engine will need to know how to handle materials on your objects, how the lighting in your scene should react with reflections, refraction, bounced ambient lighting, shadows, etc. While there are several 3 rd party engines out there that can work with Blender, there are actually two engines built into the program: the classic internal renderer and the newer cycles renderer. Every render engine will generate different results depending on how it calculates the scene.
Some render engines will take a lot longer to generate an image than others. Cycles handles lighting much better than the internal renderer, providing more realistic results. That will depend on what you want for results. The classic internal engine will give you faster results, but with less realism.
The cycles engine will give you more realistic results, but requires more set up time and much longer render times, depending on your computer and graphics card possibly minutes as opposed to hours. Because this book is written for use in the classroom, all of the activities here use the classic render engine. Time is a valuable commodity in school and we need to render as quickly as possible to meet deadlines. Like most schools, we do not have the best video cards on the market, making cycles a tough choice for us.
Cycles is a work in progress and getting improvements with every new release. Some students do choose to use cycles. In this chapter and the next, we will discuss the basics of the cycles renderer and how to set up basic materials.
With that knowledge, you can decide which render engine you would like to use for the activities. Both render engine will give you great results! The Blender Game engine rendering will be discussed in a later chapter. We will only discuss some basic material settings in this chapter so you can experiment with the render engines.
Materials will be detailed in the next chapter. Remember, we are focusing on the classic internal renderer right now. Basic Material Settings To add a material, first select the object you want to work with, then go to the Materials panel in the Properties window. You will see more options open up. Right now, we are only interested in changing color and glossiness.
Diffuse: Diffuse is actually the color that is given off by the object- the color you see. If you want the object to be red, set it here. You will also see settings for the way the material is calculated default-Lambert and the intensity slider. The Ramp button will allow diversity of color. By clicking on the color sample in diffuse or in any other block dealing with a color , the color wheel will pop up.
You'll also see an eyedropper for picking a color elsewhere. The Preview panel can be used to see the results of your setting changes. You can also change the default sphere preview shape to something else.
Specular: Specular settings control the glossiness of the object is it flat or shiny? You will see a color sample, calculation model and ramp as in Diffuse.
The color sample indicates the color reflected back usually kept white. Intensity controls the amount of glossiness while the hardness slider controls the hardness and softness of the glow. Check the sample as you change these settings to see how it changes appearance. RoboDude Asks: How can I see all the panels on the screen? While the classic render engine is still the default in Blender, Cycles continues to receive most of the recent development and will likely become the default renderer in the near future.
Since cycles can produce more accurate results with reflected light and other effects, it is more memory and is processor intensive. This is where your computer hardware makes a big difference and a place where many high school labs can fall short. In our lab, we have fast dual-core computers, loaded with RAM, but with integrated video cards. Due to school district budgets, I think many schools are in the same boat. Because of this factor, we can render simple scenes in Cycles, but as scenes become more complex, we experience problems and need to rely on the classic renderer.
Render farms, or Network Rendering, discussed in Chapter 8 can help you get through larger projects as well. Expect detailed project in either render engine to take minutes to hours to render a single image as you add more detail.
Because the CPU is doing everything to run your computer, the amount of memory and the processor speed of your computer will determine how fast your projects render. If your computer supports GPU, you can experiment to see which one works best for you. If not, you are limited to CPU rendering. You can try to update drivers, update your video card, or live with CPU rendering.
Render settings for Cycles in the Render settings for Cycles in Properties window. Nodes can be confusing to work with, but you can set up your basic materials and textures in the Properties window, similar to the way we construct them with the classic renderer to make life easier.
You can then adjust your results by adding and adjusting nodes in the Nodes window. As you work with Cycles, this will become easier. With a little research on the internet, you will find a lot of tutorials for creating specific effects with nodes.
In-Viewport Rendering: A nice feature of Cycles is that you can view your render results in the viewport without the need for pressing F While this feature also works to some degree in the classic rendered, you can control the results better in Cycles.
While the complete explanation is complex, what is essentially happening in Cycles is that the image quality will continue to improve over time with each sample and you can control the number of samples found in the Render Properties menu in the viewport and in the final render F Depending on your computer speed and the complexity of the scene, the higher the better, but you need to find a balance of quality and time. Professionals may render samples in the thousands.
Try a lower sample rate. This is because traditional Blender lamps project from a pin-point location where real lamps project from larger areas, like a light bulb would project more from a spherical object.
Planes work great to light Cycles scenes. Basic Material Settings in Cycles: As mentioned before, Cycles is a node-based render engine, but we can use the Materials properties panel to do some basic setup, similar to the classic render engine. After switching to the Cycles renderer, adjusting your processor CPU or GPU , and setting the Samples, you are now ready to apply some basic materials. With the object selected, go to the Materials property panel.
You will notice settings are presented differently than in the classic renderer. An elaborate term that basically means what happens to the light when it hits an object. Is it reflected, absorbed, or transmitted through the material for transparency or refraction. Diffuse is used exactly like it is in the classic render engine- the light reflected, with no glossiness.
Below the surface setting you will see a color swatch, roughness smooth or rough and default normal mapping. Clicking on the Diffuse block, more options are displayed.
While we we look at more details in the next chapter, we will examine 4 surface options here: Diffuse, Glossy, Emission, and the Mix Shader. In real life, we see the light emitting from our lamps.
In the classic render engine type lights, we never see the actual lamp. If you create a sphere or pane to represent your light source, you would place an Emission shader on the object and adjust the strength of the emission. Diffuse: The cube to the left is using a Diffuse surface material with some roughness applied. The roughness may not be very apparent depending on how many samples you are rending at.
Try a higher sample rate for better quality discussed on page Glossy: A sphere has been added to the scene on the right with a Glossy surface material added with a blue color.
A glossy surface by itself will be a perfect mirror. This is where it is important to mix your surface shaders. Mix Shader: A Mix Shader was selected on the left. In this example, Diffuse and Glossy shaders were used on the cube, which gives the cube color and reflction. A Mix Shader could also be added to the 2nd slot to mix even more together. Here are some of the basic parts of the Node Editor window. More details will be discussed throughout the manual and activities. Tool Shelf- Displays the many nodes available.
Display of connected nodes. Hide view. Inventor crashing at start. Sketch Switching to "Display precise value" Randomly??? Parameters: using assembly parameters inside the created parts. Dimensioning style. Is it possible to create a radial pattern of concentric arcs? Inventor sketch block adaptive? Worst Popup Ever. Appearance on bolts? Filter by Labels. Trending Topics Autodesk Inventor Professional Top Solution Authors.
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