Simply Rhino are the Leading Experts in the use of Rhino and its key Plug-ins in the UK.
If you are having any problems we would be happy to help.
Here are some of your options when requiring help with Rhino:
Email Simply Rhino support:
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There are also related specific forums for Rhino for Mac, Grasshopper, Renderers, Developer Advice etc
All Discussion forums are searchable.
The Rhino Wiki is also an excellent source of technical material and general advice:
Please note that these requirements are different from those listed by McNeel. Our suggestions represent practical recommendations for professional users and are based on new Apple hardware specifications available at the time of writing.
The hardware specifications and recommendations below apply to professional users of Rhino (and other design software) this same group often creates complex and demanding models. Having spoken to a good number of Rhino for Mac users, many of whom were using underpowered hardware with disappointing results, we decided to create a matrix of the current Mac products that are most suited to the more demanding Rhino for Mac user.
It is certainly possible to “get by” with a lower specification Mac and experience restricted rendering (for instance), but for those purchasing up to date hardware most do not want to make that compromise (in our experience).
The best specification for running Rhino 6 for Mac ultimately depends on what you are using Rhino for but here are some pointers on the various facets that can influence performance.
The four hardware variables that we are commonly asked about and that have the most effect on performance are:
Operating System (OS)
Graphics Card (GPU)
For new Apple machines the above choices are somewhat limited by the fact that Mac notebook and desktop machines are pre-configured with limited options and, in some cases, not upgradeable.
The table below summarises the suitability of the current Apple Mac range for running Rhino.
If you are looking for a new Mac
Our suggestions for Rhino for Mac suitability are as follows:
|Model||Suggested Upgrade||Rhino for Mac|
|MacBook Air (all)||No|
|MacBook Pro 13"||No|
|MacBook Pro 15"||Yes|
|iMac 21.5" 1920x1080 display||No|
|iMac 21.5" 4k Display||Upgrade RAM from 8GB to 16GB*||Yes|
|iMac 27" 5k Display||Upgrade RAM from 8GB to 16GB||Yes|
|Mac Mini (all)||No|
* RAM in iMac 21.5” is not user upgradeable.
The ‘sweet spot’ for new hardware is the higher spec iMacs and 15” MacBook Pro models. These all have dedicated Graphics Cards (GPU) and fast processors (CPU). On some machines the base RAM specification is 8GB and we strongly recommend upgrading to 16GB – note that if you are looking for a 21.5” iMac then you should request this upgrade as a purchase option as the memory in these machines is not user upgradable. If you are considering the high end iMac Pro and Mac Pro in the quest for ultimate performance then we would suggest that you also looked at the Windows platform as there is a larger choice of high end CPU’s and dedicated GPU solutions for the professional CAD and 3D modelling market.
We would also advise that many of our customers report that the ‘Magic Mouse’ supplied by Apple with the desktop Macs is not suitable for CAD and modelling – a conventional wireless two button mouse with scroll wheel may be much more useful.
As well as operating hardware, the way in which Rhino models are built and large files referenced can make a huge difference on the speed and efficiency of working with Rhino and its associated plug-ins.
If you have an existing Mac
The specification outlines listed below may be useful.
Operating System (OS)
Mac OS 10.13.6 (High Sierra) or later.
The main specification value that affects CPU performance is the combination of processor clock speed and the number of processor cores – so, for example, a 4GHz six core processor will be faster than a 4GHz four core processor.
Even with multi-core processors, modelling applications such as Rhino will use only one processor core for some modelling tasks. Some complex modelling calculations are linear and do not lend themselves well to multi-threading i.e. splitting the calculation between a number of processors. Rendering applications such as KeyShot will, however, make use of all the available processor cores.
Apple has been using Intel processors since around 2006 and there will be three Intel processor families of interest to Rhino users.
Intel i5 – Budget
Intel i7 – Mid-Range
Intel Xeon – High End
The latest processors from Intel feature 'Turbo Boost' dynamic over-clocking meaning that when the CPU senses a maximum load it increases the processor clock speed. The i7 and Xeon processors also feature Hyperthreading; this a process where the number of physical processor cores is effectively doubled so that, a quad-core processor has eight logical processors.
If you have an existing Mac then our suggested minimum processor specification would be an Intel i5 Dual Core 2.3 GHz with a more useful processor being an Intel i5 Quad Core 3.2 GHz.
Graphics Card (GPU)
We strongly recommend that your Mac has a dedicated Graphics Card. The GPU handles the display of your work on your monitor. More powerful cards will be able to represent the various manipulations of complex models more smoothly, reducing or eliminating the display lag that can cause jerkiness with very complicated models.
There are two main graphics card vendors, NVIDIA and AMD. Apple currently uses AMD cards exclusively whereas some older Macs may have NVIDIA graphics. Unlike their Windows counterparts the GPU’s on Macs (including the Mac Pro from 2013 onwards) are not upgradable.
Please note the following GPU’s are NOT supported:
AMD Radeon HD 6750M, 6770M, and 6970M
Rhino for Mac will work with a minimum of 8GB RAM but we recommend 16GB of RAM as a useful practical amount of RAM for professional use with 32GB or more being preferred for more extreme use.
KeyShot is best known and highly regarded as being an intuitive photorealistic renderer that is a great solution for product design, furniture, packaging design, transportation and engineering – in fact anything that can be rendered in a studio environment.
KeyShot, however, can also be used for Sun and Sky architectural renders.
In this video, Phil Cook of Simply Rhino, takes a look at taking a proposed design for an information kiosk built in Rhino for Mac and rendering this in an architectural surrounding with KeyShot for Mac.
In this video we are using Rhino for Mac v5.3.2 and the latest service release of KeyShot 7 (December 2017).
If you use Rhino on the Windows platform and would like to learn about using KeyShot then you can view our Rhino for Windows and KeyShot video here.
In this video tutorial our senior Rhino trainer, Phil Cook, looks at flattening and developing curved surfaces in Rhino3d.
Both developable and non-developable (double curvature) surfaces are covered along with techniques to apply 2D curves and 3D objects onto 3D surfaces.
Hi, this is Phil from Simply Rhino and in this video, we’re going to take a look at developing and flattening surfaces in Rhino.
The first example we’re going to look at is fairly straightforward. This is a surface which is developable. That means that the surface will flatten out, without any shrinking or stretching and there are a couple of ways in which we can do this.
Now, before we start flattening out this surface, I first of all want to just pick the surface, go to my object properties, and increase the density of the isocurve display. The isocurves essentially represent a number of the parameter curves that are used to actually build the surface. Because our four sided NURBS surface here has a much shorter edge at the top, than the bottom, then fairly obviously, the isocurves start to converge as they progress towards the top of the surface.
Now, I want to make use of these isocurves so that we can see what happens as this surface is developed in a number of ways. So, I’m going to actually create curves from these isocurves, but I’m going to do that by first of all, switching layers here and then running a command from curves and curve from objects, called extract wire frame. This will create curves from the boundary curves, the surface edges and the visible isocurves.
Now, if I go to the actual object itself, object properties, and I’m going to turn off the isocurve display now, so that we can’t see any isocurves. I’m then going to just lock the layer in which the surface is sitting and I’m going to remove the boundary curves and then I’m going to remove every other curve going from top to bottom here, just so we have a more regular size of rectangular portion here on the surface.
First of all, let’s look at unrolling a surface, flattening this out, and this is what we would do if we wanted to create a pattern for this part. So, we do this from the surface menu, and we use this command which is called unroll developable surface. Now before I run this command, the develops pattern is always going to have a corner or a portion that sits on the origin. So, I’m actually going to move this object out of the way a little, just so we can get a better idea of the development as we progress. So, surface, unroll developable surface. I’m going to pick the surface I want to develop and then I can optionally select curves on the surface that I want to unroll. So, I’ll just use my filter for this just select curves only and I’ll pick those curves followed by enter, and you’ll see the developed or unrolled surface. Now, this is a fairly simple example of a developed surface and so our edge lengths here should be highly accurate. So, we can test these by going to analyse, and length, and we can pick for example, this top edge here, 92.580mm, and we can pick this edge here for a comparison, 92.581mm, so it’s a thousandth of a millimetre away from the target and we'd see similar results for the other edges.
So, you can see here that the pattern actually represents the way in which these isocurves are displayed on the surface. So, on the pattern, these isocurves are converging as they move towards the top edge of the pattern. That’s fairly straightforward.
Now, there is a second way that we create curves from a surface which is slightly different to developing the surface by unrolling and this is by creating UV curves. Now, the UV curves are the parameter curves that actually make the surface. So, we’re going to get a slightly different result here than the developed pattern. This is a curve from object command, and the command is 'Create UV curves'. So, I’m going to pick the surface that I want to create the UV curves from, and then just like the unroll command, I’m going to be asked to select the curves on the surface that we want to create UV curves from. So, I’ll go to my filter, isolate and select the curves. Select the filter back, and then just finish command.
This time, you’ll notice that we get a very rectangular result here. I’m just going to move this out of the way, and you’ll also see that the one edge length here is the same.
So, what we’re actually getting with the UV curves is essentially this surface without this shortened edge. So, when this surface is created as a NURBS surface, this edge is shrunk and because of the degree of the surface in V, which is top to bottom in this case, then we get the progression of the shape from the top edge to the bottom edge.
The UV curves are in very simple terms, the maximum length of the notional rectangular surface in the two directions, and here, the isocurves obviously display as a regular rectangular shape. Now, there is a benefit for us in being able to do that, because this gives us a means to an end to put curves back on to my target surface, because there is a reciprocal command which is called apply UV curves.
So, to demonstrate that, I’m just going to switch layers and I’m going to just create a small rectangle here which is snapped to one of the rectangular regions here and I’m going to take that rectangle and also the boundary curve here, and I’m going to change the object layer. I’m going to make sure that my centre snaps on. I’m going to draw an example ellipse here and it just sits inside this rectangle, and then I’m going to repeat this over the rectangular curve here. So, I’m just going to do this with the copy command and the various options on this copy command that allow me to copy at equal distances.
Okay, so then I’ll take this rectangle away, and so now I have a series of ellipses and I can apply these back on to this surface. Let’s just change the layer colour so we can see what is happening a little better. So, the command here is again, curve from objects and this time, it’s apply UV curves. So, I can pick all of the curves that I want to apply on to the surface. These curves by the way, need to sit on the xy plane, and then I can pick the surface that I want to apply them to. You’ll see in applying these to the surface that fairly obviously, these ellipses deform, get narrower, as we progress from the top to the bottom. So, this can be used as a means to an ends to, as in this case, apply a regular pattern on to a developable surface and then we can unroll that surface and it’s attendant curves and create the correct pattern for this three dimensional object.
Okay, now we’ve seen that first simple example, let’s now take a look at how the way in which a surface is built, influences the way in which the development behaves. Here we have a couple of three dimensional curves and a couple of straight lines and I’m going to build a very similar surface but build it in two different ways.
So, first of all, I’m going to use the edge curve command on these four curves on the left, to create an untrimmed surface and on the right, I’m going to loft these two two dimensional curves and I’m going to trim the top and bottom of the loft, to give me a trimmed surface.
Now, when we look at these surfaces like this, the two look very similar and indeed, their surface area is the same and their boundary is the same. However, if we select both surfaces and we increase the isocurve density, as in the previous examples, you can see that the surface structure in these two surfaces is quite different.
If we do something similar to previous, so we extract the wire frame from these two surfaces, let’s just put them on this layer here. Then turn this off and just remove these boundaries. Okay, and then let’s have a look at the development of these.
So, let’s first of all take a look at unrolling this surface and let’s make sure that we turn the isocurve display off of these as well. So, unroll developable surface, and then pick the curves. There’s the result and let’s repeat the process for this one over here, and fairly obviously, that’s the result of that one. So, you can see that although the curves on the surface are moving in different directions, the boundary is absolutely identical.
The difference occurs when we come to use the UV curve command. So, create UV curves, that’s this one over here, and create UV curves and we’ll look at this one over here. You can see this gives us a very different result, because this is an untrimmed surface and so these 16 rectangular portions here represent the 16 rectangular portions here. Whereas here, this is a trimmed surface and those rectangular portions would in fact extend beyond this curved boundary here.
So, the relevance of this is that if you are using the command where you are moving from 2D to 3D, so for example flow along the surface, if you can use an untrimmed surface like this example on the left, and a UV grid like this one here, then you can get a much more easily controllable result than you can on a trimmed surface. So, just to very quickly demonstrate, if we use this grid here, and we put an array of identical components on here, group them together, we can use flow along surface, pick the array, use the plane option here to mark the boundary, and click on the appropriate corner of this surface, and you’ll see that this array of objects deforms on to the surface and the objects reduce in size, basically, according to the structure of the surface.
If we flow the objects, again using the same process on to the trimmed surface, then what’s going to happen is that the flow is going to not recognise the trim and recognise the untrimmed boundary of the surface. So, it would be much more difficult to create a local set of components here, because all of these components would need to have some curvature to them, and most of the 16 components would need to be different. So, it would be a much more difficult routine to work out, than by using the untrimmed surface on the left.
Polysurfaces as well as single surfaces can be unrolled. Here we have a fairly basic model of a paper or card carrier bag, and let’s just move this again, away from the origin and look at the alternatives for unrolling this. So, again we can use the unroll command and when we use this command on a polysurface, the explode option and the label option comes in to play. So, here I’m going to say no to both the explode and the labels option, and just look at the result we get here.
So, here you can see that the coincendent edges are, where possible, kept together so that we can actually have a cut out pattern in this case, that we can fold and fold back in to the three dimensional bag. For complex shapes, we can turn on the labelling and the idea of this is that we’ll then get some annotation darts on particular edges, that we can match up to particular edges here and also if I turn the labels off, we can explode the faces that we are developing, so that each one of our faces is on a separate surface. So again, with that option, it may make sense to use the labelling so that we can see where each part fits relative to the next part.
All of the examples we’ve looked at so far, have been simple developable surfaces. These will flatten without any stretching or shrinking of the material and unroll, for example, like a sheet of paper. These surfaces are always linear in one direction. Now, if we try to use the unroll surface command on a double curved surface, we’ll see in the command line that Rhino will report that the unroll surface command won’t work on the surface because it’s doubly curved. The command line also suggests using the smash command. Now smash is one of the two commands in Rhino that will attempt to flatten a surface with double curvature. With the smash command however, one of the surface directions, either U or V, is always treated as being linear. You can make the choice in the command line option, or let the command choose, by using the natural option. So, let’s have a look at the smash command working.
Now, first of all, I’m going to go to my object, and just for clarity, I’m going to turn off the isocurves and I’m also going to show on a separate layer, some curves that I’ve already pulled off the surface that are extracted isocurves. So, again, we can see the structure of the surface.
So, let’s take a look at using smash. We can choose, if we have a polysurface, whether to explode and use labels and keep the properties, and indeed, we can use smash on an example like the paper bag that we looked at previously and achieve the same result as unroll.
So, here I’m going to pick the surface and then I have the option for the linear direction, and I can choose natural, which will let Rhino decide or I can choose U or V. So, let’s choose U and then I can select the curves on the surface that I also want to unroll and run the command. So, this is the result that we see here, and let’s just move this out of the way and let’s run this again, using the V option.
Okay, so you can see here, the smash command is doing some strange things with these curves on the surface. So, the structure of the surface isn’t really preserved during the flattening. What happens is this, is that if we look at the U example here, and we look at the boundary lengths, we’ll see that this length is considerably shorter and here is the same. So, it keeps the edge length of the one direction, and likewise with this command here, it will keep the edge length of this direction. So, this is the direction here in this case, that is being treated as being linear and you can see this by the almost straight lines that are running through here.
So, clearly this isn’t really going to give us a realistic development of this shape, because we would expect all four side of this shape to be curved. So, we could use this as a starting point and maybe start to work out our own development of the surface, but there is probably a better way of achieving this in Rhino.
Now, there is another command that we can use which is called unroll surface UV, and this is a version of the smash command that will actually preserve the UV direction of the target surface. The smash command is, itself, going to be somewhat arbitrary. So, let’s just have a look at unroll surface UV. Options are exactly the same as smash and let’s choose the U direction here. Pick the curves on the surface to unroll and take a look at this. Now, let’s just examine this in wire frame. Here you can see now that this command preserves the surface structure as compared to this one here. So, if you are for example wanting to use this as a means to an end to go 2D to 3D, then this is a better way of progressing. So, the UV direction is maintained and the structure of these curves on the surface is a little better. Let’s just have a look at this in the other direction. So, linear direction V, curves on the surface to unroll. I should have moved this out of the way beforehand. Okay. There we go. So, now you can see that these curves are actually now straight, whereas here, they are not equally spaced and they are slightly less than straight as well.
So, this is a command where you will get exactly the same boundary condition, but you will get a better internal representation of any curves that you have on the surface. Now, of course, if you want to use a similar process for using for example, flow along surface, then you can still use create UV curves. Create and apply UV curves. This command will work on any type of surface, whether it’s a single or double curvature. Of course, with this type of surface, it’s difficult to work out which side is which here. So, you might want to, for example, first of all, check the direction of the surface, and then maybe put some sort of marker curve on to the surface here, like this, and just take that curve and pull it on to the surface and then this is going to give me a reference as to which corner is which. Okay, so I now know that this corner equates to this corner here.
So, again, this is a valid way of being able to take a regular object and to push it back with using something like the flow command and have the object actually move in the UV direction of the surface.
So, we’ve seen that the smash command is fairly limiting and the smash command works really, only reliably on surfaces that have a very small amount of double curvature. If we have a surface as we’ve looked at which has got quite a pronounced double curvature, then the best results that we’re going to get for flattening this are going to come from a command called squish. Now the squish command allows for stretching and shrinking of the material as it is flattened out in to the pattern. Now, this command is a type in command only and has a number of options. So, first of all, I type in the command and you will see, I have some command line options.
The first option is to split the seams. So, if we have a shape for example, which is more convoluted than this shape, then we can open out those seams as we flatten out the surface to help us create a better pattern. Preserving the boundary will attempt to conserve the lengths of the, in this case, our four edges, and then we have a deformation option. This allows us free deformation which will both stretch and shrink locally where it needs to, to flatten out the shape, and then we can choose to stretch mostly, only, compress mostly, etcetera, and we can use our own custom set ups here. So, let’s choose free for the moment. Then we can choose a material, either a floppy or a rigid material, and this really is fairly self-explanatory. If we’re trying to deliver something for example, for a shoe upper, we would choose a floppy material. If we were trying to develop something for example, like a steel or a metal panel for the side of a bolt hole, we would use the rigid option. Outside up will put the pattern in the direction of the surface normal or in the reverse direction, if the down option is chosen, and the decorate option will give us some points on the surface which shows where in fact the surface has shrunk and where it has expanded.
So, let’s take a look at this command, and we’ll use the decorate option. Saying, yes, deformation using free on a floppy material and we’re trying to reserve the boundaries. So, we pick the surface and then as usual, we can pick any curves on the surface and then we can enter to run the command, and you can see here that we have a mixture of red and green dots. The green dots are where the pattern is stretched and the red dots are where the pattern is compressed and these annotation markers here, show me the percentage of where the maximum amount of compression is. We’ll also see a repeat of this in the command line as well.
Whatever layer we have active when we run the squish command is where the red and green annotation will be placed. So, it’s a good idea to do this on the separate layer and then you can keep this annotation and not have it affecting the surface or the curves on the surface.
Let’s now have a look at what’s happened with the edge lengths on this. So, the idea is that because of the options that we used here, then the command is going to try and maintain these edge lengths, but they are probably not going to be accurate. Now, if we just analyse the length of the curve on this edge here, and that is 234.842 and compare it to this edge here, you can see here it is 225.334. So, this edge length has increased and of course, you would expect that, because most of the pattern has actually expanded in order to develop our shape.
Now, there are ways actually that we may be able to constrain those boundary proportions, much closer to this if that in fact was a driving factor, and we’ll look at that in a moment. But before we do that, one of the things that is important to understand with the command, is that this surface here that is generated is actually going to be a trimmed surface. And for that reason, if we look to analyse the length of the surface edge, then this will select as one complete trimmed edge. So, it might be wise if you needed the four separate edges to make sure that you pick those as part of the curves on surface objects, or indeed you have these separately as a series of curves that you picked, just so that you end up with a curve here that describes that edge. It then makes comparing edge lengths a lot easier.
If we want to control the edge length a little better, we can look at using the custom settings when we use squish. So, we run the squish command and we’ll use a custom setting here for the deformation and we set the custom set up here and we choose a preset to modify. We have three presets, all of which will default to the same value to start off with. I’m going to choose A and we have a control for the boundary stretch, the boundary compression, the interior stretching and the interior compression. If I use increased value of around 200 for the boundary, and for the interior compression here, this will restrain the boundary and the surface from being expanded too much. Take the surface, and then the curves on the surface and have a look at the result. So, you can see that the pattern now starts to look different and you can see the way here, in which the isocurve that we extracted on the surface are now being treated slightly different at the edges. So, there is something of a penalty for trying to match these edge lengths here in the shape of the pattern. Let’s just have a look at what length we get. Here the target was 225, and here, if I pick that edge, now we’re 227, and here on this edge, we are 169 and here, we’re 165. So, you can see that by using these custom controls, we can create boundary lengths which are closer to the existing. But remember with a shape like this that you would expect the boundary length on the pattern to probably, particularly with a floppy material, be longer than it already is in the three dimensional shape.
Finally, let’s look at running squish and going back to the defaults, which is free deformation, preserving the boundary and not splitting the seams and using a floppy material. I’m going to turn off the decoration, and I’m going to once again, produce the curves on the surface. There is a reciprocal command to squish, which is called squish back, and this allows me to, for example, to put some curves on to the flat pattern, or indeed points on to the pattern, and squish them back on the three dimensional object. So, let’s just take a look at this.
So, if I use some text that I’m going to convert in to curves, and place this on here, scale this slightly, place this on here, then again by using a type in command which is called squish back, I can pick the 2D pattern and then the curves that I want to squish on to the surface, followed by an enter and you’ll see these push themselves on to the surface.
Now the advantage in the squish back and the squish command is that even if you’re not going to use the developed pattern as a means for production, it’s a really nice way of being able to iterate between 2D and 3D, and here for example, if we undid that squish back, and let’s say I wanted to make my text so it ran along this more closely, along this isoline here, then obviously on the pattern, I could use the bend command, select the text and maybe bend this twice, once this way, It might be better if we group this as well, pop this down to here and then bend it the other way.
Okay it needs a little bit more work in the middle, but you get the general idea, and then now, if we apply this on to the surface using the squish back command, we can get this text to fit a little more closely to the isoline.
So that’s a brief introduction to flattening and developing surfaces in Rhino. I hope you’ve found this useful and, if so, please ‘like’ this video. To be kept informed of new videos as they are posted you can subscribe to this channel. At Simply Rhino we deliver a series of classroom courses and can deliver bespoke training either on-site or in our own training room. You can find details of all our upcoming courses on our website. Thanks for watching.
Hi, this is Phil at Simply Rhino, and in this video, we’re going to take a look at installing V-Ray 3 for Rhino and more specifically, upgrading from V-Ray 2 to V-Ray 3.
If you are currently using V-Ray 2, you will be using a USB license key or dongle like this, and at the time of making this video, you will need to use the dongle for the version three upgrade.
So, here we have an installed version of V-Ray 2 in Rhino and there are a number of steps that we need to go through before we upgrade to version three. Firstly, we need to update the USB hardware lock and to do this, we can open up a web browser and then type in this address.
This will take us to a page showing the license details and at the bottom of the page, we’ll follow the ‘Upgrade your License’ link. This will prompt us to create a small WBC file that will be sent to either Chaos Group or Simply Rhino as directed. Once the WBC file has been processed, you will receive an updater file. This is another small text file called an RTU.
Generally, this will arrive to you via email. Drag the RTU file onto the desktop, and with the USB hardware lock installed, double click on the RTU file. You will be asked if you want to transfer the contents of the RTU file onto the hardware lock. Select yes. You should then see a message saying that the hardware lock has been updated.
Now we need to uninstall V-Ray 2 from Rhino and make sure that all render components, toolbars etcetera are removed. So, first of all, we’ll close down Rhino. Now, we can right click on the Windows menu and select programmes and features. Scroll down to V-Ray for Rhino. You should see the version two here, and uninstall. So, we’re going to uninstall V-Ray for Rhino and all of the associated modules and wait for this to uninstall.
Now, we can go to the Windows menu, and just check in our menu here that we don’t have any Chaos Group items left in our Windows menu.
Now, if we open Rhino, you will see that we still have some V-Ray toolbars. So, let’s see if we can remove those. Let’s go to our PC and the C Drive. Look in this case, for program files, Rhinoceros 5 (I’m using the 64 bit version), plug-ins, and you’ll see that there is a V-Ray for Rhino folder here. So, we’ll delete this, which will put it in the trash. Also, we want to go to our C Drive and program data. If I just go back one step, you’ll see that program data has got a slightly greyed out icon. Program data is a hidden file, so, you’ll need to go to your folder settings to make program data visible. Double click on program data and delete the folder called Asgvis. Now, empty the recycle bin.
If we now start up Rhino again, we’ll see that our dot tool-bars have gone, but we may still see some V-Ray toolbars that are still hanging around as it were. So, if we now type in toolbar reset, and then restart Rhino, we should have now cleared out all of the toolbars that we didn’t need. So, there is now no V-Ray toolbars in the list.
Now, sometimes it’s quite difficult to remove some of these toolbars, but if you go through the steps that we’ve done in this video, you should be able to clean out the toolbars completely.
So, we’re now at a stage where we’ve cleared out the V-Ray 2 installation. We have cleared out any stray toolbars, and we no longer have any Chaos Group items in our Windows menu. The next step is now to download the V-Ray 3 installer. To download the latest version of V-Ray for Rhino, open a web browser and go to chaosgroup.com.
Then, log in to the download portal by typing in your log in details that Chaos Group or Simply Rhino have advised you off. Then go to the downloads page and you should see a list of all the Rhino plug-ins that you have available, and download, in this case, V-Ray 3 for Rhino. At the download prompt here, you will be asked whether you want to run or save the file. It’s a good idea to save the file so that you have a copy of the installer.
Once the download has completed should see that this has been saved in your downloads folder. So, here, I’m just going to drag the installer on to the desktop. With the installer on the desktop, now I’m going to pause my virus protection and I’m then going to make sure that my USB license key or dongle is inserted into the machine, and then I can run the installer. Agree to the terms and one of the things that we need to do for an upgrade from two to three is use a customised installation, and we want to choose a local V-Ray license server on this machine rather than the remote license server, and run the installation. Okay, and run this through now to the finish.
Okay, now what should happen is that you should get to the equivalent of the local host page, and rather than enabling online licensing here, we just need to skip this step and you should see now the license server page. Here we can activate online licensing, offline licensing, and you’ll see that the dongle licensing is highlighted here. So, this page is accessing the local port, 30304, to which the USB license or dongle is connected, and the web address for this is slightly different to that which we would use for version two of V-Ray. We’re going to look at how we actually access this page a little later on, but for now, as we’ve said, this shows us that the dongle license is enabled, and if we click on here, we can see details of the dongle. Here we can see details of our V-Ray 3 license. Here we can see any details of any 1.5 or 2.0 licenses and we can see the number of render notes here.
So, we’re going to come back to this page in a short while. If I now come out of this page, the remaining components of V-Ray will install. Now go through the final steps in the installation to install Swarm and the other components until V-Ray finishes. Once the installation has finished, you’ll see a release log.
With the installation completed, we can restart our machine and re-enable the virus protection. Then if we start up Rhino, we should see the V-Ray plug-in will be detected and load. So, if we go to render and current renderer. Switch to V-Ray for Rhino. This will enable our V-Ray toolbars and drag these V-Ray toolbars up here and draw a bit of geometry, and press the render button. We should see that V-Ray should be up and running.
Now if we want to access the license details that we would have previously accessed by going in to a web browser, we can now use a shortcut from the Windows menu and then we can go to the Chaos Group here, and we can go to manage V-Ray Online License Server. Now, even if you’re not using the online license server, we just press the skip button and this gets us back to the page where we can change from dongle licensing to offline, online etcetera. So, remember that if you have the USB hardware key installed, you’ll always see the dongle option here being highlighted. If you wanted to, you could type in the web address directly, and that’s localhost:30304/-/. So, it’s slightly different web address to previous, but accessing the same port.
If we go back to Rhino now and just very brief look at the V-Ray for Rhino toolbar, you will see that a new asset editor has replaced the separate V-Ray options roll out and material and texture editor. If you have V-Ray Express installed, you may pick up some of the material from V-Ray Express in your materials browser. Now, at the top of the asset editor here, we have a materials section, lights, geometry, settings and then a button to render and open the frame buffer. If we go back to materials, there is now an inbuilt materials library and if we for example, go to car paint and open that folder, we’ll see all the car paint materials here, and we simply drag these into our document. Then to apply these materials, we right click on the material and apply either to selection or layer, pretty much as you did in older versions of V-Ray. Materials now will have quick settings where we can change for example, the base colour, the glossiness, the colour of the flakes etcetera, in a slider based, quick way. Or, we can click on the little arrow on the right of the asset editor here, and we can get to the more detailed options. So, if you’ve used V-Ray 2, these will be very familiar to you.
So, the idea with V-Ray 3 is that we have this simplified interface, so we can get rendering much more quickly. When we come to, for example, lights, geometry and options, the tab on the right will give us options for the settings that were covered in the V-Ray options roll out previously.
Okay, so that’s V-Ray 3.0 and its new simplified interface. I hope that you’ve found this installation video useful. Please do check back on our channel as new content is updated regularly. Thank you very much for watching.
These tests have all been completed using the Rhino 6 WIP* (Work In Progress), this WIP is the in-development version of Rhino which is available to all owners of Rhino 5 for Windows, should you wish to test, give feedback and potentially shape the next version of Rhino this WIP version is for you (download WIP here).
Four up to date NVIDIA cards have been tested with the Rhino 6 WIP*:
In order to test the real world performance advantage of the new Rhino v6 WIP display pipeline a large and highly detailed model of an industrial truck was manipulated on screen, this file had the following properties:
We also tested the cards in Rhino v6 WIP using a development version of Holomark by Jørgen Holo.
We intend to publish further reports and updates as the Display Pipeline for Rhino 6 continues to mature, if you’d like to stay up to date with this information and access this full current report please register via the form below. We'll send you the full PDF report and ensure you don't miss out on any updates by adding you to our monthly e-news list (should you wish to you can unsubscribe at any time).
*The Rhino WIP Version we used: Rhino v6 WIP Build 6.07150.8211 30/05/17
Anyone who purchased a V-Ray for Rhino 1.5/2.0 license after February 1st 2016 (and before April 5th 2017) is eligible for a free upgrade to 1 Workstation and 1 Render node of V-Ray 3.0 for Rhino.
If you purchased your V-Ray 1.5 or 2.0 license within the period above and would like to have your upgrade processed then please follow these steps:
• Make sure your dongle is plugged in and start the license server
• Open a web browser on the same workstation (Internet explorer or Mozilla Firefox for example) and type this into the address bar (this is a regular web site link):
http://localhost:30304/goupgrade Please type the link exactly as is it and press enter.
• When the "Success" page opens after the operation is done, save the remote context file (context.wbc) by right-clicking on the link and using Save Link As.. / Save Target As...;
What's new in v3.0?
New UI: Designer-friendly user interface for faster and easier workflows
Material library: Select from over 500 drag and drop materials to speed up your next project
V-Ray Swarm: Render with maximum power using V-Ray’s new simple and scalable distributed rendering
Denoiser: Automatically remove noise and cut render times by up to 50%
Virtual Reality: Render virtual reality content for popular VR headsets
Section cuts: Render quick cutaways and cross sections with V-Ray Clipper
Aerial perspective: Add depth to your images with realistic atmospheric effects
Grass & fur: Create realistic grass, fabrics and carpet with V-Ray Fur
Please note that these requirements are different from those listed by McNeel. Our suggestions represent practical recommendations for professional users and are based on new hardware specifications available at the time of writing.
The best specification for running Rhino 6 for Windows ultimately depends on what you are using Rhino for but here are some pointers on the various facets that can influence performance.
The four hardware variables that we are commonly asked about and that have the most effect on performance are:
Operating System (OS)
Graphics Card (GPU)
As well as operating hardware, the way in which Rhino models are built and large files referenced can make a huge difference on the speed and efficiency of working with Rhino and its associated plug-ins.
Operating System (OS)
Rhino 6 for Windows is a native 64-bit application and unlike Rhino 5 there is no 32-bit legacy alternative.
Windows 10 Professional is the preferred choice for Rhino 6 and if you are purchasing a new Windows system then this will be the default choice. The ‘Professional’ version offers additional features - such as encryption, remote log-in, creating virtual machines - over the more basic ‘Home’ version. Microsoft will support Windows 10 fully until October 2020 and provide extended support until October 2025.
Windows 7 SP1 and Windows 8.1 are the only other Windows versions officially supported by McNeel, however Microsoft no longer offer mainstream support on these products.
If you are considering Apple hardware then only supported solution is Apple Boot Camp; virtualisation is not officially supported by McNeel.
The main specification value that affects CPU performance is the combination of processor clock speed and the number of processor cores – so, for example, a 4GHz six core processor will be faster than a 4GHz four core processor.
Most modern processors from the two main manufacturers, Intel and AMD, are multi-core but even with 64-bit operating systems and multi-core processors, modelling applications such as SolidWorks, 3D Studio Max and Rhino will use only one processor core for some modelling tasks. Some complex modelling calculations are linear and do not lend themselves well to multi-threading i.e. splitting the calculation between a number of processors. Rhino 6 and Grasshopper 1 are, however, more supportive of multi-threading than Rhino 5 and the Grasshopper Beta and we expect this situation to improve further as development continues. Rendering plug-ins like V-Ray for Rhino, Maxwell and KeyShot will, however, make use of all the available cores.
Using Intel as an example there are three main processor families that will be of interest to Rhino users.
Intel i5 – Budget
Intel i7 – Mid-Range
Intel i9 – High End
The latest processors from Intel feature 'Turbo Boost' dynamic over-clocking meaning that when the CPU senses a maximum load it increases the processor clock speed. The i7 and i9 processors also feature Hyperthreading; this a process where the number of physical processor cores is effectively doubled so that, a quad-core processor has eight logical processors.
Graphics Card (GPU)
The GPU handles the display of your work on your monitor. More powerful cards will be able to represent the various manipulations of complex models more smoothly, reducing or eliminating the display lag that can cause jerkiness with very complicated models. GPU performance has become increasingly important with Rhino 6 and its associated plug-ins.
The display pipeline in Rhino 6 has been dramatically improved and it now takes full advantage of professional level GPU’s – see our video on the Rhino 6 display pipeline here. Rendering applications are now making use of GPU acceleration too, for example the Cycles raytrace renderer in Rhino 6 can be configured for GPU acceleration and V-Ray for Rhino has features that are designed to take specific advantage of NVIDIA’s proprietary CUDA core acceleration.
There are two main graphics card vendors, NVIDIA and AMD. Both manufacturers produce both consumer cards targeted towards gamers and professional workstation cards targeted towards the 3D CAD market. NVIDIA’s gaming cards are called GeForce and the pro cards Quadro. AMD’s gaming cards are called Radeon and the pro cards Fire GL.
We generally recommend NVIDIA graphics cards as these, particularly the workstation class Quadro cards, are well proven with Rhino. The consumer AMD cards are generally fine but may require certain Rhino settings to be adjusted to solve well documented display issues. To summarise, the safe bet is with NVIDIA Quadro professional graphics cards.
We have tested four current PNY NVIDIA Quadro cards with Rhino 6. See and download our full report on these cards here.
Also see McNeel’s document on Rhino 5 Graphics Cards.
We recommend 16GB of RAM as a useful practical amount of RAM for professional use with 32GB or 64GB being preferred for more extreme use. If you are modelling and/or rendering large scene’s then it will be worth investing in more RAM.
Our suggested mid-level practical system requirements for a new desktop machine for Rhino 6 are as follows:
Specific Hardware Requirements
As the UK ’s leading Rhinoceros specialist, we are often asked about system specifications and Simply Rhino is now proud to announce a new range of professional Rhino Workstations designed in collaboration with Scan Computers and featuring hardware from PNY including NVIDIA Quadro graphics cards.
For those looking for a mobile solution for running Rhino and the associated plug-ins, the same general advice as per this page applies. Laptops equipped with professional CAD capable cards are referred to as ‘mobile workstations’ and whilst these are not inexpensive they can provide the CPU and GPU performance required for serious modelling work.
An example of this type of machine can be seen in our video shown below which features the PNY NVIDIA Prevail PRO P4000 Mobile workstation running Rhino and V-Ray for Rhino.
For more Rhino3d videos, including our popular new series showing the new updates and features available in Rhino 6 please visit our Rhino3d.co.uk website here.
Rhino3d Video Tutorials Transcripts - To further support you as you learn and progress with Rhino we've transcribed each of our video tutorials.
Hi this is Phil from Simply Rhino. This is the third and final video in the tutorial looking at creating production quality surfaces from 2D design intent. The starting point for this exercise is a series of 2D drawings presented in Adobe Illustrator. We’ll look at quickly reconstructing some of the major construction curves in Rhino, before producing a series of surfaces from the minimum of curve input. The emphasis is on creating high quality surfaces relatively quickly before arriving at the final 3D solid model.
This tutorial is in three parts and this is the third and final part.
Okay so now we can start to think about trimming up our surfaces. So let’s first of all trim our outer body side with the top surface, so we’ll use the trim tool. Type in CRV to enable the curve filter. Pick the edge of that top surface and trim away the outer body surface. Repeat the process on the underneath and now that’s the main outer surface. Let’s repeat this process for the inner. So let’s take these off, turn on the inner surface and top surface inner. This time I’m going to generate an intersection curve from these two objects and trim from that. This makes it a little easier for me to see where I’m trimming and in cases where the geometry gets difficult it means that I’ve got a better chance of being able to create a clean trim. If we go to the right view here, turn on this section, we should be able to then take a curve or a line from both sides and trim away the underneath of our body and then create a surface from planer curves on the underside here. So that’s my inner surfaces of the pot.
Now I’m not going to join these together at the moment because we need to join the spout, inner and outer, separately. So I’m going to look at joining the outer side of the spout first of all. So I’m going to turn on the body surface outer and the spout surface outer and first of all, lets trim these up with each other. So pick the spout and the outer surface, generate an intersection curve and trim with that intersection curve. Join together and check this is watertight using show edges with naked edges and just pick a nice bright colour here and make sure we don’t see any of that colour along the edge.
So next I’m going to add a blend down each of these two sharp edges here and I’m just going to check that this front surface is joined on to the other two components before I do this and I’m going to go too solid, fillet edge and blend edge. I’m going to use a 4 millimetre radius and I’m just going to pick one of the edges first of all and just turn on the preview, take a look what this looks like, and the 4 millimetre radius is commensurate with what is going on in the outer edge of the handle. So add that, and next I can add a smaller blend around the junction of the spout and the body. So I’ll go to fillet edge and blend edge again. I’ll try 2 first of all. I use the chain edges option to pick all the edges at one and enter and enter again to get in to preview.
Two things I need to do here, first of all change the rail type to distance between rails. This will give me a consistent looking fillet here where my angular condition is varying and I’m just going to see if I can increase this slightly. If it’s too big it’s going to fail. That looks good, 2.5 millimetres nominally there. So let’s take a look at that.
Now it’s important with a blend like this that we do two things. First of all, we want to check that this is water tight around there and we also want to check this with an environment map, just to make sure that’s nice and smooth. Now I don’t want this blend to be too big. I want it to be nice and tight, because the overall product is quite crisp. That looks okay.
So now we can move on to looking at the inner surface of the spout and joining that to the inner surface of the pot. Before we join the inner surface of the spout to the inner surface of the body of the pot, I’m going to turn on the inner surface of the spout and just temporarily join it to the rest of our assembly and then add a small blend on the inside. So this blend radius here was 4 millimetres. Our wall thickness was 2.5 millimetres. So we should have a 2 millimetre blend on the inside of here to make this consistent. So let’s look at adding a blend edge here. Type in a radius of 2 and I’m just going to pick an edge here and I just want to change the rail type here to roll and ball which was the same type that was used on this outside edge and let that build and that looks nice and consistent there. You can see that this wall now looks a consistent thickness. Let’s repeat the process over here and that looks okay. I’ll just check in here for any naked edges. Okay that’s alright and then I’m going to just detach this surface here and show in the inner surface of the body. Take the inner surface of the body, and the inner surface of the spout, go to my standard menu and visibility and show just those objects, and just generate an intersection curve between these two and trim away the respective parts. Okay, and joint his together. I’ll just get rid of the intersection curve first of all and join this together and check for any naked edges. Okay, so clearly I didn’t join those together in the first place. Right okay, so that’s better.
So that’s joined correctly. So we could put a fillet around this inside edge, but it’s really not necessary. As I said, we are really creating a B-Surface purely so that we can a) create a solid model and more important so that we can work things out like the lid detail.
So let’s show in the rest of the geometry now and now let’s look at the base surface and then let’s join the base surface to the rest of the geometry, once again checking for naked edges. So we’ve just got the top to look at now and the handle. So even though I’ve just joined this all together, I’m actually going to just extract this part of the surface here and go to my visibility tools again here, and use invert and hide and I’m going to bring in the handle now, and I’m going to consider just bringing these two together. So we can do this again with an intersection curve. So curve from objects, intersection, pick the curve and trim away the handle and the inside part of the outer surface. The handle is going to be solid. The handle doesn’t have any thickness because clearly there isn’t enough room here to get a 2.5 or 3 millimetre wall thickness in here. So this handle would be a solid piece. Trim this away and join together. Just delete those curves and check for any naked edges.
Now we can add some blends where the handle runs in to the body surface. So solid, fillet edge, blend edge, I’ll use a 2 millimetre blend here. Use the chain edges option and take a look at this. So that looks okay with the environment map and then we’ll just run the show edges on here, just to make sure that’s all joined up. Then we can repeat that same process at the bottom edge.
Once we’ve repeated the blend around the lower part of the handle, we can just check again for the integrity of this. That looks fine. That’s then add the final components. So I’m going to show everything back in again, just hide what remains of the outer part and turn on the top surface inner and just make sure we can join this together. Okay that’s fine and then show back in the outer body and then the top surface outer. Select everything now and join and you’ll see in the command line here we get confirmation that is joined in to a closed surface.
So now we’ve got our basic sort of solid and we need to add some minor blends to these sharp surfaces and again we can just check these off the plans and elevations here. So I’ll turn on elevations in place and side elevation. Turn off the side cross-section and see if we can get a measurement from this radius here. So again, it varies but it’s approximating 1 millimetre. So let’s put a blend edge with a radius of 1 millimetre along this bottom edge and let’s put one here as well. There isn’t one shown on the CAD but this wouldn’t be sharp. So let’s make this a 0.5 blend. Just take a look at this. So that looks fine. Take that curve away. Okay so that looks good. Let’s look at the end of the spout here and again let’s check this off on an elevation. So again it’s a varying radius here. Let’s see if we can get a measurement across the perpendicular here. Let’s go to analyse and distance and just see what that distance is. Just turn on project to make that work properly. So 0.4 across there so, probably something like 0.5 with a distance between rails. Let’s try that to start off with. So solid, fillet edge, blend edge, 0.5, chain edges, pick the outer edge and enter. Enter again to go in to preview. While we’re in preview, let’s just compare that with what’s going on here, it’s actually slightly bigger than that. So let’s settle 0.65. Okay that looks a little better. Let’s see if we can create something along the inside here as well.
Now this is the area that is likely to cause us some problem here. So let’s just see if we can go in and take a radius from here. We might need to actually go in here and extract an isocurve. Just toggle the direction here. Get a more accurate idea of what the radius is. So it goes down to 0.2 there. So let’s see what we can get away with here on this inside edge. Okay so let’s try and see if we can use the same radius as on the outside, not quite. Let’s try 0.5, that’s fine. So let’s accept the 0.5 radius there and just check first of all this is still solid. We can just check this off now in the object properties and let’s just have a look with an environment map here. Okay, that’s good. So that looks reasonably smooth.
So apart from the top edge now, we’re all done. So let’s take a look at the top edge, turn on the CAD again and see what radius we have here. Again that’s a blend and we’re going, probably from 0.7 there. So that’s probably something like a 1 millimetre blend. Let’s try that. And while we’re in preview, just have a look at that. It’s a little bigger than that. Not as big as 1.5. Let’s try 1.3. Still too big. 1.1 – 1.2 is pretty close. Okay so that looks good as well.
So this is looking nice and crisp now, everything is fitted together as a solid. I’m going to just leave these parts until we do the lid surface. So let’s now take a look at creating the lid. Now we already have the main top surface and the inner surface for the lid, the curved surfaces. So let’s just take a look at the detail that we require here. The outside boundary of the lid is going to have an elliptical shape to it and then it’s going to have a projection which is D-Shaped, which sits inside of here. So let’s look at creating the outer boundary first of all. So before I do that, I want to check my elevations in place and I want to look in my right view here and just turn off the surfaces and this is the kind of general detail here.
So what I want to try and create first of all are these two surfaces here. So this edge and this edge here and I can draw these just with a couple of lines. Now I just want to check first of all that this distance here, this recess distance is consistent here because the CAD is a little bit shaky round here as you can see. So that’s okay. It’s a consistent distance of 0.41. So what I can actually do is draw directly over the top of this CAD and I’m going to turn off my elections in place and I’m going to connect these two curves.
So I’ve already created a layer here called lid detail which is on my surfaces. I’m going to turn this on and make it active and one of the nice things about rail revolve is that the rail and the cross-section don’t actually need to touch each other. So to create my elliptical outer edge of the lid, I can use this profile curve that I’ve just drawn and I can rail revolve this around the existing ellipse that we used to create some other parts of the geometry. Type 0 in the front view here and just draw the axis vertically and then I can turn on the outer lid surface and I can trim these up with each other. So I’ll just turn the curves off temporarily.
Okay so join these together. Just check by turning on the other surfaces here that this fits correctly. That looks good. Obviously the merit of building this part and this part from the same surface is that we’ll have a perfect continuity across there. Then we can look at putting the general D-Shape fitting in to here. So if we go to our top curves and just look at this in plan view, let’s turn off the surfaces, we can see the D-Shape that we used for the main body of the pot for the cut out in the top of the pot. So of course we need a clearance between here and I need to consult my elevations in place to see what that might be. It’s 0.75 and let’s check it’s consistent on this side and it is. We need to check this distance across here, 2.83, 3 there. So a little bit of inconsistency there. Let’s make this feature 3 millimetres.
So I’m not going to look at creating the offset of this D-Shape. I need to create two offsets, one at 0.75, the second at 3 millimetres. I’m going to use the standard offset which is to a tolerance and if I use the absolute model tolerance here which is 0.001 of a millimetre, I’m going to have a curve that’s very, very dense. I probably don’t need to offset to that accuracy, so I’m going to reduce this by one decimal place here. So I’m going to offset to 0.01 of a millimetre and my distance here is 0.75. You’ll see there’s slightly fewer control points here. My next offset is 3 millimetres inwards from here, but rather than offsetting the previously offset curve, I’m going to offset the original curve by 3.75 millimetres, the reason being that again, if I offset this curve, it’s got quite a few control points in to it. I’ll get even more points here whereas if I offset this curve that’s cleaner, I’ll have fewer points here and achieve the same accuracy.
So we’ve now got our offsets and I’m going to highlight these two curves here and turn on my elevations in place and just pull these down to their correct base position. So I’m going to use the move tool, hit TAB to constrain the direction and then snap to here. Then I can turn on my surfaces, turn off my elevations in place and I can pick the outer of the two offsets here and use an extrude surface with the extrude curve with the straight option and make sure I do this on the right layer, and pull this upwards. Just make it slightly over long and then take the inner curve which is here and extrude this up slightly higher. Turn off the curves layer and then I can just extract this surface and create an intersection curve between these two and use that to trim with. So I want to trim away that surface there and then that little piece of extrusion there. So I can join the outer part of the lid together and now let’s show the lid surface inner, hid the outer part and trim these with each other. Use an intersection curve and create the trim. Just get rid of my intersection curves here and show the other components. Okay, and then I can just go to this view here and go to surface from planer curves and just select those two boundaries from there and then hopefully I should be able to join everything together in to a closed poly-surface.
So that’s the main part of my lid. I now just need to create the main D-Shape at the back of the lid. So if I turn on my elevations in place and have my cross-section and my plan view on, we can see this D-Shape here. I’m just going to try and take a radius from this here. If this is coming from Illustrator, there’s a good chance this won’t be circular, it will be a Bezier. So it’s round about 7.5. So I’m going to turn on my top curves here, draw a circle with a radius of 7.5 millimetres and I’m going to just position this. I’m going to snap to my intersection or quad point here, hit the TAB key and snap to the front of that. Let’s look at moving this up in this elevation to its correct position. So you can see it’s not quite in the correct position here. There’s a discrepancy between the plan and the elevation. But I’ll just extrude this. I’ll turn on the lid detail and I’ll extrude this and I’m going to just put a cut through this. We’ll just shade this up here. Ghost mode would be better. I’m just going to take a straight line through here and trim straight through this and then cap that surface. Okay, and then turn off my 2D curves and elevation in place, unless it’s what we’ve got here.
Okay, so again, I can chop through here and relieve the back of that. Cap this again and then I can union these two together. Okay, once these have been unioned, you can clean up these co-planer faces here by going to solid tools and running merge all co-planer faces. And let’s just remove any unwanted curves and we’ve now got that feature well and truly in there.
Now all that remains now is just to add some small blends and fillets just to soften these areas. So I’m going to turn on the main body components here and I’m just going to add a pair of blends here. Now these probably don’t need to be very big. Let’s try something like a 0.5 millimetre blend and I’ll use distance between rails here to keep this reasonably small and shake that up and just run an environment map to see what this looks like. Okay, I think that looks quite nice. Okay, and let’s just then concentrate on this and we’ll put a slightly bigger – we can just use a fillet here, a 1 millimetre fillet around this edge here and then let’s concentrate on these two here. So let’s put a fillet here and let’s make this about 5 millimetres. That means that we probably should have a 2 millimetre fillet on the inside face of this as well. Just check here that this is still closed, that we haven’t opened up anything inside here by filleting.
So while I still have it fresh in my mind that I’ve used a 5 millimetre radius there, I’m going to go to my layers here and put a 5.75 fillet here. So that’s with the 0.75 clearance. Go back to the lid detail and let’s just soften off this area around here.
So I’m going to put a 2 millimetre fillet down this edge and the corresponding edge over here and a 1 millimetre fillet around these other two edges and I’m going to build them all at the same time so I get a good corner condition. So I’ve got a solid fillet edge. Start with the 2 millimetre radius on those two edges and then a 1 millimetre radius on these two. Check the preview and enter to accept.
Okay so next up I need to just fillet these three remaining edges. First of all, I’m going to put a 0.5 millimetre fillet on this inside edge here and on this edge here. And then here I need to put a reasonably large radius. So let’s start with about 1.5 here and I’ll use my chain edges option and go in to the preview. I’m just going to increase this slightly. The reason I want this edge to be soft here is, I don’t want this edge to stick inside the corner of the lid. So I want to open this edge out as much as possible to soften it off as much as possible. That looks quite good. Just check this with an environment map. Looks fine. And then let’s look inside the pot itself and just fillet off these edges. So I’ll put a 0.5 on this edge. So this is the edge on here where on the lid I’ve got the large radius, to make sure that we don’t stick in that corner. Then I can put a larger radius here so we don’t have the same problem on this face. So let’s maybe make this 1.5 and use the chain edges option and that looks fine. We could put a smaller 0.5 radius on this edge if we wanted to as well. Just check that this is still all closed and check with the environment map. That looks good.
So the last remaining task now is just to model the handle for the lid. So I’m just going to turn off the body surface and then just turn on the elevations in place again and the lower part of the handle here is ceramic and then the top is like a metal disc. So we only really need to model this boss on here. So I’ll go back to my curves layers here and top curves and I can just trace over this with the line. Just check the thickness here. Okay, so that’s 3 millimetres. So turn off the elevations in place and just turn off temporarily the lid detail and I’ll just connect these two lines and I’ll just draw a straight line up from 0 and just trim this. So I can offset this by 3 millimetres and I can just revolve these two. So I’ll go back to my lid detail here choose a revolve. Turn off the project constraint and just revolve those two components. Turn off my curves and just temporarily extract the top surface and just with my visibility tools, I’m just going to invert selection and hide objects, create an intersection curve here, trim these away with each other and join, and then show the remaining objects, temporarily extract the inner surface and repeat this process here. Curve, curve from objects, intersection, trim and join. Okay, so show in all of the geometry now, join everything together. Check that this is a closed polysurface, and then we want some very small radii around here. Let’s just check against the elevations in place, what they should be. It’s a 1 millimetre radius, and 0.5 on the top. So I’ll use a blend edge here, 1 millimetre and then a 0.5 around the top and then here we should have the 1 millimetre plus the wall thickness. I’ll use a fillet here, we don’t need the complexity of a blend and we just need to make sure that this is going to blend correctly here. That’s fine. Just remove that curve.
Okay so that’s the lid detail created and now we can just create the top handle, and again this is really just a disc of a given thickness on here. So I can turn off the side cross-section. I just need the side elevation on and you can see the disc just sort of sits over the top of that handle. So that is the radius for the disc. Let’s move this up in to position. Okay, and then extrude that.
So finally, we can just put some small fillets on the top and bottom of this and just to make it look as though this ceramic piece fits in to the metal work here, I’m just going to do a bouillean difference making sure delete input says no here, and then I can just hide the lid detail, put a very small fillet here. Okay, and then that will make that look a little more convincing now as we look up there.
Okay so next up we can turn on the surfaces and let’s just do a quick visualisation of this to finish off. Just create a new set of layers here, call this V-Ray and create a new sub-layer, call this Studio and make it active. Okay so I’m just going to use V-Ray at its default settings for this. I’m going to go to V-Ray, go to my options, go to global switches and make sure that my defaults are loaded. The only setting change I’m going to make here is that I’m going to uncheck override view port. Everything else is going to be at default settings here. So I’m going to load a V-Ray ground plane and I’m going to use V-Ray Express to just create some materials quickly. These two components here, I want to have a white porcelain and then this component here can be a blurry steel, and then the ground plane, I’m going to use the wrapper floor material.
So let’s now check this out in V-Ray RT and this will look fairly uninteresting at the moment. So let’s use here a V-Ray HDR environment which is a combination of a dome light and a HDR to give this some additional improved illumination, and these standard environments that come with V-Ray Express are really quite nice. You can see that this is bringing really nice subtle lighting to this. So we can probably go back to shaded now and do a production render of this at a larger size.
So there we go, that looks fairly good for a starting point with a basic render. So that’s just a default with one of the HDR environments and dome lights that come as standard with V-Ray Express used. So really almost no set up whatsoever to get this rendering.
Thank for watching and please do check back for more Simply Rhino tutorials.