Panduan sketcup

Google SketchUp® 7
Hands-On
Advanced Exercises
By Bonnie Roskes
Exercises, tips, and tricks that will help
take your designs, models, and presentations
to a whole new level.

a 3DVinci Publication
www.3dvinci.net

Table of Contents
Chapter 1: Chapter 1: Introduction
How this Book Came About . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
How this Book is Set Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Google SketchUp 7 Hands-On: Basic Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Google SketchUp 7 Hands-On: Advanced Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
About the Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Chapter 2: Advanced Intersect and Follow Me
Creating a Table Leg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Placing Skylights in a Roof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Creating a Faucet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Rounding Sharp Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Engraving: 3D Text with Intersect With Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Creating Portholes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Creating a Log Cabin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Creating Flat-Sided Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Creating Notches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Building the Cabin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Door and Window Cutouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Chapter 3: Advanced Groups and Components
The Outliner: Organizing Groups and Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Setting Up the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Making Changes to the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Window Components: Cutting Thick Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Cutting Walls with a Single Component. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Opening in a “Hollow” Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Opening in a Thick Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Window with Glass in a Thick Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Cutting Walls with a Nested Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Wall of Unknown Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Wall of Known Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Cutting Faces in a Curved Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Using Components for Symmetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Making Symmetric Buildings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Symmetry without Seams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Replacing and Reloading Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

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Google SketchUp 7 Hands-On: Advanced Exercises

Chapter 4: Advanced Materials and Textures
Texture Positioning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Fixed Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Positioning a Texture around Curved Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Example 1 - Positioning a Tiled Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Example 2 - Positioning a Single Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Editing Textures and Unique Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Tips for Efficiency with Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Chapter 5: Working with Digital Images
Texture Positioning with Free Pins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Using Images for Face-Camera Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Editing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Using Photos to Create 3D Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Creating 3D Models with Free Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Creating a Painted 3D Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Creating a Painted Playhouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Photo Match. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Photo Match with an Unpainted Model and One Photo. . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Photo Match with an Unpainted Model and Two Photos. . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Building a Model from a Photo: Example 1 - Playhouse. . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Building a Model from a Photo: Example 2 - Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Building a Model from Two Photos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Projecting an Image onto a Topographical Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

Chapter 6: Sectioning
Sectioning Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Using Sections for Interior Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Using Section Planes to Create Floor Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Using Section Planes for Repeating Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Creating a Striped Vase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Creating a Striated Pyramid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Simultaneous Section Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
Using Inferences to Create Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Chapter 7: Styles and Sketchy Edges
Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
Pre-Defined Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
Editing and Creating Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
Mixing Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Watermarks and Backgrounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Exploring an Existing Watermark Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Creating a Watermark Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Logos and Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

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Table of Contents

Sketchy Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Exploring Sketchy Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Creating Sketchy Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Sketchy Edge with One Graphic (Manual) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Sketchy Edge with One Graphic (Style Builder). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Sketchy Edge with One Graphic for Each Length (Manual). . . . . . . . . . . . . . . . . . . . . . . . . 188
Sketchy Edge with One Graphic for Each Length (Style Builder) . . . . . . . . . . . . . . . . . . . . 190
Sketchy Edge with Two Graphics for Each Length (Manual). . . . . . . . . . . . . . . . . . . . . . . . 192
Sketchy Edge with Two Graphics for Each Length (Style Builder) . . . . . . . . . . . . . . . . . . . 193
Tips for Creating Your Own Sketchy Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Chapter 8: Presentation and Animation
Scenes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Using Layers to Hide Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Using Layers for Labelled Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Using Layers to Explore Design Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Using Layers to Simulate Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Layers of Groups and Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Walk-Throughs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Creating Walk-Through Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Adding and Updating Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Using Sections and Styles in an Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Animation in Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Dividing the Model into Parts (Groups and Components) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Sectioning Each Model Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Chapter 9: Sandbox Tools
Creating a Sandbox (TIN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Sandbox from Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Smoove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Sandbox from Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Drape and Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Drape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Stamp in 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Adding Detail to a Sandbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Organic Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

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Chapter 10: Miscellaneous Advanced Exercises
Creating a Steel Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Downloading the Structural Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Creating the Column - Beam Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267
Adding Floor Joists and Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Completing the Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272
Creating a Spiral Staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274
Aligning Any Two Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279
3D Geometric Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Starting from a Cube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Starting from a Golden Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282
Starting from a Polygon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Creating a Model from 2D Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Creating the Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289
Adding Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292

Chapter 11: Dynamic Components
Where to Find Dynamic Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .297
Using Dynamic Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Furnishing a Dynamic Room. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Dynamically Decorating a House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306
Dynamic Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306
Dynamic Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308
Dynamic Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315
Dynamic Fencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Creating a Dynamic Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Preparing the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Creating Material Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320
Creating Ball Position and Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322
Creating Material Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325
Adding User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326
Finishing the Dynamic Component. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328
Sharing a Dynamic Component. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328

iv


21. The last step is to cut holes in the base to
accommodate the handles. Hide all of the handles,
then remove the faces covering the holes.

25. Now you can trim the handles as you did before, and
remove the intersection circles from the base.
26. Undo again to the untrimmed handles and base, with
no intersection edges.

22. Here’s another way to get the same results. Use
Undo to return to this: the base and untrimmed
handles, with intersection edges.

This method will create a more realistic faucet, with
separate solid pieces rather than hollow shells.
27. We will now shorten the handle so that it just barely
protrudes into the base. Edit a handle, and use the
guide point to draw a vertical circle. (Remember, you
can Shift-lock a circle’s orientation before you click
its center point.)

23. Select all intersection edges at one handle (you may
end up selecting other edges as well, which is OK.
Copy the edges (Edit / Copy).
28. Move this circle slightly toward the end of the
handle.

24. Edit the handle where you selected the edges, and
paste in the copied edges using Edit / Paste in Place.

12

29. This time use Intersect / Intersect Selected (not
Intersect with Model), so that you get intersection
edges with the circle, but not with the faucet base.
Then trim extra edges.


10. Choose Edit / Paste in Place to place the text edges
on the box.

11. Paint each letter face new color. Then, to select them
all, right-click on any letter and choose Select / All
with same material.

14. Close the text component again. Switch to X-Ray
view again and move the text staight back so that it
protrudes very slightly into the box.

15. Explode the component and trim away the fronts of
the letters. You’re left with an engraving of the text
within the box face. The sides of the letters have the
color you used for the 3D text component, and the
letter faces have the color you used for the faces
along the front of the box.

12. Cut these faces (Edit / Cut).

16. Now that you’ve engraved this box the hard way,
let’s see an easier way to do it. Use Undo to return to
the original 3D text component, protruding into the
box, with no intersection edges.
13. Unhide the text, and open it for editing again. Then
choose Edit / Paste in Place to place these faces on
the backs of each letter.

22

Chapter 3: Advanced Groups and Components

18. Make a component for the window front, again
gluing it to Any face and checking Cut opening. The
component’s cutting plane should be along the back
of the frame.

19. Use the guide lines as a reference to move the front
component atop the back component.

20. Erase the guides. Then move the front component up,
using the same distance as the thickness of the back
frame (6 inches, in my case).

21. Make a component of these two components, gluing
it to Any face. Do not check Cut opening, and set the
component axes and cutting plane along the back of
the front frame.

22. Erase the window.
23. To make the walls that will house this window, make
a rectangle in Top view and offset it by the thickness
of the back frame (6 inches again, in my case).

24. Pull up the walls.

59


25. Insert a few windows. No faces of the walls are cut.

26. Select and explode all of the windows. This releases
the front and back components, which are each set to
cut their respective faces, and you can see through
the windows.

27. From the back of the windows, you can see that the
frame fits perfectly within the wall.

60

28. This step is totally unnecessary, but it’s neat. To
make the windows look like stained glass, bring one
of the front components into some blank space, or
edit one that’s already there. Paint each pane a solid
color, and edit each color to be translucent.

This is how the windows look with the new colors.

Chapter 4: Advanced Materials and Textures

6.

Pull the back face of the box so that it intersects the
curved face. Then run Intersect with Model to
create the intersection edges.

7.

10. To fix the positioning, let’s try to project the texture.
Display the hidden edges, and right-click on one of
the middle segments. Choose Texture, and
Projected is not checked. Choose Projected to make
the material here, well, projected.

Erase the sides faces of the box, so that you are left
with this:

11. Turn off the hidden edges, sample the projected
texture, and click anywhere on the curved face. The
sign now fills the face with projected image.
8.

9.

Sample the material on the flat face.

And click the inner curved face to project the
material onto it. The image size is correct, but the
positioning is a bit of a mess. The flat sign face is no
longer needed, so erase it.

12. There’s a problem, however. Look closely at the first
or last letter of the sign. The “G” below is stretched
because it is on a diagonal face that has a projected
image from a flat face. So to get a true wrapping of
this sign, we can’t use projected textures.

81

Chapter 5: Working with Digital Images

18. You can select each edge, or double-click the face
and Shift-click the face again to unselect it. With the
edges selected, right-click on one of them and choose
Hide. Now we have a natural-looking tree.

20. As before, place the origin at the bottom of the trunk,
and set the red direction to the right. This is
important: for the green direction, maintain the
existing relationship between the current red and
green axes. In my example, look at the existing axes
indicated by the blue arrow below: the green axis is
90 degrees counter-clockwise from the red. So for
the new axes (see the red arrow below), the green
axis also has to be 90-degrees counter-clockwise
from the red.

19. Make a component from this tree, and this time
check Always face camera. Also check Set
Component Axes.

If you don’t maintain the red-green relationship,
future components won’t be inserted the way you
want (they’ll either be facing the wrong way or
upside-down).
21. Create the component, move it down to the ground if
necessary, and insert a few more.

97


17. Now for the front of the bus. Click the bus thumbnail
in the Materials window and apply it to the front
face. The position of the texture on this face is
random, though you know how to fix it. But there is
a better way.

20. Position the texture on this face. The pins along the
common edge are already located correctly. But the
two pins indicated below need to be moved to the
correct corners.

18. Use Paint + Alt/Cmd to sample the correctly
positioned texture on the side.
21. Drag these pins into place.

19. Now click the front face. The photo still needs to be
adjusted, but its placement is correct along the edge
shared with the side face.

(If your photo isn’t facing the right way, or is upside
down, start positioning it, right-click, and try Flip /
Left/Right or Up/Down.)

104

22. The top face can be done the same way. Sample
either the side or front face material, and apply the
material to the top. The image is already aligned
along the two edges common to the side and front
faces, but needs adjustment in this corner:


8.

To complete the main par of the table, we need to
remove what’s not included. To make tracing easier,
change the edge color (Styles window, Edit tab,
Edge settings), and trace the rectangle below the
table top and between the vertical supports.

11. Make this part of the table into a group. This will
prevent other objects from sticking to it, and will
make it easier to select later.

12. Now we will create one table leg. Draw a rectangle to
create this vertical face.
9.

Pull this rectangle through.

10. The faces that were not painted, or are painted
incorrectly, will be painted a solid color. This color
should be red, but I’m using white so that other
objects will be easier to see. To paint the outer faces
on the other side and back, sample the correctly
painted faces first.

13. Go back to the photo’s scene tab, right-click on the
new face, and choose Project Photo. This applies
the photo only to the new face.

14. Trace around the front face of this leg:

120

Chapter 6: Sectioning

17. Close the group and toggle off section cuts.

18. The last two section planes will be used for getting
the necessary views for placing furniture. Activate
Section Plane again, and orient it to the ground
plane. Hold Shift, and place the plane just below the
roof.

Now you can see into the room on the second floor,
and all of the other planes have returned to the
display.

19. Toggle off the section plane display, and add some
furniture. (The easiest way to find furniture is to do a
quick search in the Components window for the
piece you want, such as “queen bed author:google.”)

20. Toggle section planes back on. Then make a copy of
the horizontal plane you just made, placing it just
below the second floor.

21. This section plane is not automatically active, so
right-click on it and choose Active Cut. (You can
also activate a section plane by activating Select and
double-clicking the plane.)

TIP: If you want to keep certain section planes from being
displayed, you can hide them like any other SketchUp object.
Hidden section planes will not return to the display when you
toggle section plane display; you will need to manually unhide
them.

139


To see what these styles look like, activate them one
by one. “Company Watermark” has a logo overlay in
the lower right corner, and a grainy overlay
throughout.

8.

Activate “Base Style” again, and click Create new
style to create a new style based on “Base Style.”

9.

5.

Assign this new style a name.

NOTE: Watermark styles are covered in “Watermarks and
Backgrounds” on page 168.

6.

“Marker with Depth Cue” has marker-like sketchy
edges that become less thick the farther they are from
the camera. No axes are displayed, there is no sky or
ground, and the view is Hidden Line.
10. With the new style active, click the Mix tab. This
opens the lower pane of the Styles window, which
should be set to In Model.

7.

“Reddish Brown” has an orange background, and its
face colors are orange for the front, pale yellow for
the back.

165


6.

Save and close the file. Then make similar changes in
the “documentProperties.xml” file.

7.

Save and close the file, and make a new .zip of the
contents inside “temp.” Rename this .zip file “Circle
Triangle Chain.style.” and move it into the “Sketchy
Edges” folder. Delete the “temp” items.

The edges are now evenly split between circle and
triangle chains.

Sketchy Edge with Two Graphics for
Each Length (Style Builder)
For this style, we’ll fill in a template generated by the
Style Builder.
1.
2.

8.

Open Style Builder, and choose File / Generate
Template.
Make sure all five lengths are used, and set 2 Strokes
per set. The Stroke width, as we’ve seen, is 16.

Return to SketchUp and activate this new style.
3.

Click Save As, and save the template as a graphic
file.

193

Chapter 8: Presentation and Animation

15. Because the scene was not saved with a specific
view, you can orbit to any view and click the scene
tabs to try out the two floors.

Using Layers to Simulate
Animation
SketchUp does not have the capability to actually move
objects in an animation (well, not without a plug-in or
dynamic component), but you can use layers and scenes to
simulate objects moving.
1.

In the Components window, search for “ceiling fan
roskes.” For the model shown below, click the
thumbnail to insert it directly into the current file.

NOTE: The “Ceiling Fan Animated” model contains the
completed version with the scenes we’re about to create.
Because this model has scenes, it should not be inserted directly
into an open file, it should be opened in another instance of
SketchUp.

2.

Explode the model.

211


8.

Change the time to an evening hour, and the shadows
pass to the other side of the house.

9.

Create the “Winter PM” scene.

10. Now switch to a summer month and morning hour,
and create a new scene.

12. Because the view was not saved in any scene, you
can view any part of the house, such as the patio, and
check out the shadows that appear at various times of
day and year.

13. Shadows also appear inside the house.Use the
walk-through tools to make your way inside, and
click the scene tabs to see how the shadows pass
through the rooms.

11. Switch to an evening hour and create another scene.

NOTE: You may have already noticed, but shadows can cause
your model to move slowly. This is because SketchUp needs to
recalculate shadows every time you orbit or zoom or walk. If
shadows are slowing you down, turn them off, then turn them
back on when you have the view you want.

228


9.

Do the same for a point with the same elevation on
the other side of the lake.

10. Now complete the road line with a tangent arc on
either side of the line.

12. Erase the rectangle and roadway center lines, so that
only the boundary lines remain.

13. Turn off X-Ray view, and choose Camera /
Perspective.
14. To compare Drape and Stamp, make a copy of the
entire model. Drape will be used on TIN, Stamp on
the other.

Drape
1.
11. Select the three roadway curves and use Offset to
make roadway boundary curves 3 meters on either
side. (If your units are not meters, enter 3m.)

2.

3.

256

For one of the TIN models, select its roadway
boundary curves - there should be six total.
Click Drape (Tools / Sandbox / Drape).

Click the TIN. Even though it is grouped, you can
still select it as a whole (you could select it
ungrouped as well).


The Outliner should look like this: four tread
components and one group of posts (the group was
renamed as “Posts” in this example).

18. To create a railing, start by opening a tread
component (not the top one) and adding a vertical
line from the outer bottom corner, approximately
aligned to the center of the post below. (It might be
easier to visualize this in X-Ray view.) The vertical
line appears on all treads.

16. Select the tread above the posts to see which one it is
in the Outliner.

19. Draw another line connecting the vertical line to the
end of the line above it.
17. In the Outliner, drag the post group below the tread
that was highlighted.

This makes the posts a sub-component of the tread.
And because all treads are identical, they each get
their own group of posts.

20. For the railing section, draw another circle, centered
at the bottom of the vertical line.

277


15. Rotate and Move it into the corner, and apply some
color if you want.

18. Wall cabinets should proceed along the wall above
the appliances. So make a copy of the 2’-6” cabinet,
and make the copy unique. Edit the copy to remove
the wall cabinet and counter.

16. The next cabinet is supposed to be 2’ wide so copy
the 1’ cabinet, make it unique, edit it, and move its
entire right side one foot to the right. Next to that,
insert two copies of the washer, and one range.
19. The next wall cabinets should have the counter
included, to go over the washer and dryer. So copy
the original 2’-6” cabinet once again, and make it
unique. Edit it to remove only the wall cabinet,
leaving the counter.

17. Next, insert a 2’6” cabinet.

295


7.

Fence materials are not available on the Component
Options window, so open the changed fence and
change its materials.

9.

Now right-click the thumbnail for the new fence and
choose Replace Selected.

Now all fences have the new spacing and materials.
(This picture shows the “Posts” layer hidden.)
8.

Now open the In Model folder of the Components
window, and find both fences - the original and the
new one. Right-click on the original fence thumbnail
and choose Select Instances.

10. To extend one fences to the correct length, activate
Scale and drag the handle for the unfinished end to
meet the post of the neighboring fence.

Now all original fences are selected.

318

Once scaled, the posts self-copy to maintain the set
spacing.

Chapter 11: Dynamic Components

Creating Material Behavior

4.

The attribute is the wall material, entered below as
“Bouncer!WallMat.” Then each material name
comes next, each within quotes and separate by
commas. Type this carefully!

5.

After pressing Enter, test out the walls by using
Interact to click on them. Both walls should scroll
through all four materials.

6.

We want the same behavior applied to the stand. But
we don’t need to type this syntax out again; we can
copy the one we already entered for the wall. Select
the wall’s material behavior syntax and copy it
(Ctrl+C, Cmd+C).

7.

Add an “onClick” attribute to the stand, and paste in
the syntax (Ctrl+V, Cmd+V).

When the user uses Interact on the ball it moves, and
when the user click on the wall or stand, we want its
material to change. So we need a different type of
“onClick” behavior for these objects.
1.

2.

3.

Start with the wall: add an “onClick” attribute. Then
place your cursor inside its definition field.

For the definition syntax, find the SET function,
listed under “onClick.”

Insert this syntax into the definition field.

325

Panduan sketcup

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