American history Essay

In the course of American history, the American people have been confronted with different threats to its politics, economy and way of life. At present, the continuing threat of international terrorism and the unceasing wave of Anti-Americanism are constantly putting the lives of simple Americans towards fear and uncertainty, notwithstanding all the different social issues they face each passing day, such as gay marriage, abortion, and stem-cell research, among many others. These threats had their own counterparts in previous years, and it is worthy to note that different side of the American political fence all had their own positions on various matters of serious concern then, and seemingly, those old issues remain as hotly debated up until this moment. The paper will examine the actual threats and pre-conceived threats by Americans through the different decades such as racism, immigration, government regulation, evolutionism, and many other issues and social questions that have made the United States the brimming democracy of ideas it continues to be until today. Evolution and the Origin of Man and the Earth In the twenties, a most important concern has been the continuing discourse on evolution vis-a-vis fundamental Christian preaching on the ancestry of human beings. In Reverend Dixon’s Sermon on the Evils of Darwinism and Evolution, he is clearly mistaken for lumping the theory of evolution per se, with the racist theory of social Darwinism of Herbert Spencer. He is clearly mistaken in doing so, because never had the theory of evolution posited that evolution is merely a matter of survival of the fittest, thus, the weak may necessarily be oppressed, thus, may be destroyed in the conduct of human evolution. (165) Such a position is clearly misinformed, because what the theory of evolution merely suggests is that humans, as per the evidence culled in the development and evolution of other species, may have descended, not from the biblical Adam, as many fundamental Christians believe, but from apes and monkeys. The trouble with Reverend Dixon, and all other purveyors of the biblical interpretation on the origin of man is that their answers to the scientific question on evolution was never based on a scientific reply itself, but merely on a reassertion of Bible verses that never could man have descended from apes, precisely because he descended from God himself. Then and now, the reason why creationism remains absolutely discredited among scientific circles is the basic fact that no scientific reply has ever been posited to the Darwinian challenge on the origin of man. The evolutionary scientists are no less Christian by continuously asserting their Darwinian position. Defense Attorney Darrow’s interrogation of Prosecutor Bryan during the Monkey Trial is helpful in better understanding the fundamentalist Christian views of the day, which permeates much in the evolution debate of today. Darrow’s line of questioning clearly seeks to debunk the literal biblical interpretation of fundamentalist Christians, which in this case might be Prosecutor Bryan. While Bryan asserts that the creation of the world occurred six-thousand years ago, Darrow insists that the Chinese civilization had been in existence thousands of years more than that, and rightly so, but Bryan remains unfazed with such statements, firmly believing, in mocking fashion, that the truth is on his side. (167) In the discourse of the origin of man, and the creation of the world, fundamental Christians have remained unfazed, in the face of overwhelming scientific evidence, especially on the age of the earth, that the truth as stated in the Bible is the only truth that needs to be believed by any God-fearing person. Such a position is dangerous, because it creates a faith that is blind and dogmatic, and obscures believers from the well-intentioned truth provided by science in determining previously unknown facts about humans and the natural world in which they exist. Unfortunately, this position remains the subject of intense debate until today, with creationism advocates appealing School Boards and lobbying Capitol Hill to cut funding for the instruction of evolution, and/or to provide equal educational exposure to creationism and its corollary theory, Intelligent Design. White Supremacy and Racism Another threat during the twenties was the rise of white supremacy in the face of a nascent anti-racism and black civil rights movement as represented in the literary works of Langston Hughes and F. Scott Fitzgerald. The Klan treatise on Americanism is nothing but empty rhetoric on the need to assert white supremacy in all corners of America, through patriotism, Protestantism and the glorification of the white race. (171) The trouble with their position on Americanism is that much of their assertions are based on their normative conception of the world and its history, without due regard to other history narratives on the founding of America, the role of Protestantism in exposing the excesses of Roman Catholicism, and the absolute poverty of a discourse based on the mere historic successes and failures of races. It is clear, however, the Klan remains stuck on their unrepentant Southern position on the continuing subjugation and slavery of African-Americans to be treated like chattel, and the relegation of other colored races as mere secondary citizens to American whites, precisely because the conflicts and contradictions that occur in this world is race-based, instead of class-based. It is a successful racist position though, because rich whites American obfuscate the apparent class contradictions between peasants and landowners, regardless of race, in order to completely gain the trust of poor white Americans against the hapless African-American who remains to exist as chattel in the racist eyes of the white supremacist. On the other hand, the Klan’s position on Protestantism is without any causal connection to their white supremacist cause, except for the assertion that without Protestantism, there would have been no America. (171) Sadly, it is based on this simplistic formulation on Protestantism vis-a-vis Americanism that the Klan discriminates against whites who do not share their same belief system, in much the same manner that, precisely because other races are non-white, they deserve to be discriminated, ipso facto. Nonetheless, such simplistic and flawed logic is also the reason by which the Klan has only remained and self-degenerated in the poorer, uneducated sections of the American South, and never really expanded into the large coastal cities where racial prejudice is much less because of continuous racial intermingling and higher levels of educational attainment. It must be stated, however, that despite the apparent rise of white supremacy in the American South, the seeds of the black civil rights movement of the fifties and the sixties had been planted as early as the twenties, through the prose and poetry of Langston Hughes. In his poetry, One-Way Ticket, it laments about the situation in the American South, and the persona would rather be in the cosmopolitan cities where African-American are better respected and given their fair share of human dignity, in comparison to the lynching and ridicule of the South. (173) It is a good thing, nonetheless, that the struggle between white supremacy and black civil rights had been quite successful for the latter, not only from Brown v. Board of Education and desegregation, but until today, with the election of Barack Obama, African-American, and 44th President of the United States of America.

Maslows Heiharchy of Needs in Ordinary People Essay

Knowing someone that has died is extremely hard. It’s even worse when that person is in your family. When someone dies, the family is obviously going to grieve. While they are grieving together, they don’t grieve the same way, at the same time. For example, when my grandpa died in 2009, my grandma was in denial and carried on regular life for a day or two. She even did the laundry and ironed his clothes. When my mom found out about her dad, she went into depression. After a little bit, my mom got really angry and upset while my grandma went into depression for about two years. They were grieving together, but at different rates through different phases. They have both accepted the fact that he’s gone but that one day they will see him again, so there’s no need to be upset. In Ordinary People, Conrad, Calvin, and Beth also have to grieve. Throughout this grieving process, Maslow’s Hierarchy of Needs comes into play. Every person in the story is trying to reach for self-actualization. For example, Calvin’s need of esteem showed when he and Beth were getting ready for the day at the beginning of the book. He was thinking about how he was orphaned at age 11, and thinking about all of the roles he plays as an adult. â€Å"Calvin Jarret, forty-one, U.S. Citizen, tax attorney, husband, father.† (Guest, 7). He also showed his need of esteem when he thought specifically about fatherhood and why he messed up with Conrad by not listening to him enough. â€Å"Responsibility. That is fatherhood. You cannot afford to miss any signs, because that is how it happens: somebody holding too much inside, somebody else missing signs.† (Guest, 9)

Assignment Essay

1) By creating a new position between the CEO and the location managers the position can deal with the day to day tasks and operations needed for the store to operate properly. This will allow Dalman and Lei to spend less time assisting the location managers. By Dalman and Lei efficiently delegating the work, they will be able to spend more time on the strategic aspect of building and growing the business. 2) Both hiring within as well as seeking someone from the outside have their advantages and disadvantages. By hiring within the person who moves up is already working for the company as well as be familiar with some the needs and goals of the business. The negative aspect of hiring within would be possible issue with jealousy among co-workers. The advantage to hiring from outside you get the advantage of a fresh set of eyes coming in and seeing things from different perspectives. The disadvantage would be that they would not be familiar with the company and how it works. 3) Both Dalman and Lei should make the decisions. As the owners of the business they should be the ones deciding how they want their business ran. Dalman is currently playing and active role in this position as is, this should help them determine what they may want to change about how it is currently being ran. This would allow for a nice transition in to the change. Weather Dalman and Lei decide to hire from within in or find someone from the outside; it should be a joint decision that takes the growth of the business into full consideration when making the choice. 4) The levels of authority that Sandwich Blitz Inc have including the new position would be: CEO, CFO, Staff accountant, Operation manager, Site Managers, Team supervisor, Customer associate.

Acceptable Use and Behavior Policy Essay Example | Topics and Well Written Essays - 750 words

Acceptable Use and Behavior Policy - Essay Example To protect confidential information and its financial interests, the company has adopted a number of acceptable use and behavior policies that not only enable it to mitigate the threats but also allow the employees to flexibly conduct their daily businesses without affecting the productivity. This paper discusses the physical security policy, vulnerabilities, audit policy, log management, system administrator policies as well as the various security incident handling procedures at Firion Company. Firion has implemented a number of physical security policies that are primarily aimed at improving the integrity and confidentiality of the information systems that are used in the company. One of the physical security policies that is the prohibition of the use of devices such as USB drive, FireWire and rewritable CDs/DVDs on company owned assets (Wijayanayake, 2009). Additionally all the company communication systems are only required to be configured by the IT department and no modificat ions are allowed to both the software and hardware without the approval of the IT security team. In this regard, Firion employees, business partners, contractors and vendors are not allowed to install any software applications or hardware into any machines used by the company. Generally some of the main security vulnerabilities that are currently facing Firion include potential leakage of corporate information through removable storage devices, introduction of malicious applications into the information systems of the company and misuse of computer resources. For example, employees participating surfing social network sites may unknowingly bring malicious content to the company systems. Audit Policy Item The audit policy item employed by Firion Corporation is primarily designed to guide the security team to audit the company’s infrastructure system and mitigate the potential vulnerabilities. It is the responsibility of the security team to ensure that all the information rega rding the company which are posted over the internet are properly audited to ensure that they do not compromise the security of the company (Rudolph, 2009). For example the security team is required to constantly monitor and revaluate the system and makes the necessary patches to potential security breaches. Additionally the company also makes regular vulnerability and social engineering tests to detect potential threats to the company websites and online information.   Log Management Policy Item As part of its log management policies, Firion does not allow any employee to lock their workplace computers when not in use or write down their login passwords on paper. The responsibility of creating and maintaining a secure log management infrastructure at Firion is given to the security team. For example, the security team not only performs regular log reviews and access monitoring but they also ensure the privacy of sensitive and confidential information through the use of central au thentication credentials such as user passwords. The company has also designed role based access control regulations which ensures that the access of any employee to facilities and company data is based on their roles and therefore only employees who need particular data will be able to login and access to the data. System Administrator Policy Item   According to Ferion’s system administrator policies, administrative rights are only reserved to the security t

Human Development observation Essay Example | Topics and Well Written Essays - 750 words

Human Development observation - Essay Example It is located fifteen meters away from the main road. On observation, the playground is an ideal place for this activity because there are no trees or many other obstacles that may impede the observation process. The playground is not so wide but enough for the child to be seen. In one corner of the playground are play equipment such as seesaw, swing, slides, and other play equipment for climbing. Physical description of the subject The child involved in the observation is approximately one to two year old boy. On observation, he has all the stamina to climb on some small steps in one corner of the playground. He is chubby with observable fold on his upper extremities. The child has the creativity and imagination to explore his new environment for the moment. He was brought to the playground by an aunt. Although the child tends to have developed muscles, his stomach is observed to be disproportionately bigger and the head larger. Interactions Observed The child and the aunt were alre ady on the playground when I arrived for observation. They were in close proximity. On a distance, I saw the aunt showing the child a stone that she picked from the playground. The child is so curious with the stone that he wants to hold it. However, when the aunt hid the stone at her back the child actively tries to search for the missing stone where it disappeared. This is evident when the child went at the back of his aunt’s back and pushed her away just to locate the stone. This reaction of the child is in congruent with Piaget’s theory where he explained in his sensorimotor stage that the child behaves this way because they have the belief that object continues to exist even if they disappear (santrock & Yussen, p 41). After some time, the aunt started to walk away from the child but the child followed her and tried to hold her hands in protest to be left alone. This shows that the child has still doubts on other people around him or to his environment in general. His reaction explains that he did not yet surpass the first stage of Erikson of trust versus mistrust. In addition, the child showed signs of separation problem as reflected in his anxiety when attempt to leave him is initiated. After a minute, the child and her aunt walk hand in hand toward some plants where there are butterflies. With excitement, the child tries to say something to the butterflies however, the language is not fully understood as he mumbles and can speak two words combination just yet. When other children tried to join him in watching and catching butterflies, he screamed and even tried to kick them to shove them away. The aunt tried to pacify him telling him that the action is something â€Å"bad†. When the aunt was able to catch a small butterfly, the child is so excited but at the same time confused if he is going to hold it or not. His aunt tried to teach him how to do so and explained it would not hurt. Behaviors Observed The behaviors observed in a ch ild include the child’s aggressiveness as he tried to grab toys from other children on the playground. When one child from the playground tried to get the butterfly he was holding, he screamed at them and tried to be aggressive. I believe the child is displaying a normal behavior of an infant who is one and a half years old. However, if aggressiveness continues and becomes excessive, lack of social skill is evident. At some point, as he follows

Economic policies of Ronald Regean Essay Example | Topics and Well Written Essays - 750 words

Economic policies of Ronald Regean - Essay Example budget deficit, crisis in the loans and savings markets, etc.) were deemed inconsequential or a consequence of the fact that the Democrats were at the time in charge of the Congress. In contrast, the Democrats maintain that the beneficial economic changes that took place in the 1980s were not a consequence of Reagans policies, whereas any negative alteration was a result of his failed measures. At the time when Ronald Reagan entered office, the American economy was facing one of the highest rates of inflation since 1947. Reagan supported income tax cuts and reductions in social welfare spending, and he focused on reviving the economy, which was suffering a high rate of inflation combined with an economic recession. His fiscal policies are generally referred to as "Reaganomics". As a result of the tax reductions taken and the increase in the defense-related expenditure (consequence of the ongoing Cold War), a great economic growth and expansion was observed together with an improvement of the job market. While these factors made President Reagan very popular among the general population, a fraction of economic experts criticized his measures as too liberal. And they were right: in order to cover federal budget deficits complicated by increased spending by Congress and by the fact that Reagan never submitted a balanced budget to Congress, the US borrowed heavily both domestically and abroad. The deficits in the budget soon became evident creating enormous increases in the national debt, which tripled from $1 to $3 trillion (circa 40% of the domestic gross product, the highest level since 1963); the country owed more to others than it was owed. Similarly, federal tax receipts doubled from $130.2 to $263.7 billion. In order to alleviate the situation, he appointed the Greenspan Commission, which resolved the crisis through a series of reforms which included, for example, increases in the payroll tax. He also reformed the Social

Entrepreneurship and Venture Creation Essay Example | Topics and Well Written Essays - 4000 words - 4

Entrepreneurship and Venture Creation - Essay Example Entrepreneurial behaviour is needed, and it is through the individual characteristics of entrepreneurs that enterprises and organisations occur. For the first section, this essay analyses the individual characteristics of three types of entrepreneurs, namely, small-business entrepreneurs, serial entrepreneurs, and social entrepreneurs. Then the second part presents a comprehensive debate on the role of individual characteristics in entrepreneurial choice or preference. Small business entrepreneurs are the powerhouse of the private business world. They create the competitive drive; enhance economic development and social backbone; generate employment, new enterprises, and prospects for others. Small business entrepreneurs are idealistic self-beginners who are fond of taking the risks of building new businesses (Chen et al., 2012, p. 1314). They possess the boldness, creating an environment of dynamism, ingenuity, and opportunity to develop. Primarily, they initiate change and are dedicated, tireless, and opportunity pursuers—agents who discern a market demand and fulfil that demand by transforming it into a profitable venture (Walker et al., 2013, p. 186). The act of disentangling oneself from the crowds of the employed to start a small business exhibits commitment and resolve. However, numerous other characteristics of small business entrepreneurs, such as confidence, flexibility, and adaptability, bring them success as entrepreneurs. A large scale research by the Guardian Life Small Business Research Institute discovered that there were specific characteristics that showed up among the most profitable, successful small business entrepreneurs (Walker et al., 2013, p. 186-8). Roughly 1,100 small organisations took part in the Guardian research. Generally, the research discovered several major characteristics that distinguished successful small business entrepreneurs (Baum et al., 2014, p. 94). First, small business

Intertextual examination of two texts Essay Example | Topics and Well Written Essays - 750 words

Intertextual examination of two texts - Essay Example Based on Bricklayer’s Boy, it is clear that the pressure put on the youths by their parents and the older generations damages the relationship between these two groups, often resulting in conflicts. In the Bricklayer’s Boy, one aspect brought out is that many young people, especially men, are required to do what their parents want them to do. This is often against the wish of the young people, and ends up straining their relationship with their parents and older generations. In this literally text, the narrator says that his father, a bricklayer, did not like his idea of becoming a newspaper reporter. According to his father, newspaper reporting paid â€Å"just a little more than construction does† (Lubrano, 5). He wanted to his son to pursue a more lucrative job like being a lawyer. This was the sole reason why his father worked so hard to educate him in college. This predicament, which most young people face, is also brought out in the article by Bruno Bettelheim (1968). In his article, Bettelheim notes that there is a conflict of generations because of â€Å"the parent who sees his child’s main task in life as the duty to execute his will or justify his existence† (Bettelheim, 74). When the child fails to honor or follow the parent’s wishes, as the narrator in Bricklayer’s Boy did, then the relationship between the parents and children is damaged. Bricklayer’s Boy story also points to the belief held by most parents: their children have to succeed where they failed. Throughout the story, the narrator’s father wanted his son to become a better person because he had failed to live up to his dreams. In the story, it is noted that the â€Å"father wanted to be a singer and actor when he was young...† (Lubrano, 20). However, he had to do what was available in order to support his parents at the time. In the end, he expected his son to do something that could earn him bigger money just as singing and acting would have earned him money. As the

IT Easterline Case Coursework Example | Topics and Well Written Essays - 1250 words

IT Easterline Case - Coursework Example At the strategic level, Bob Cremin narrowed the company’s focus from 10 markets to two, commercial aerospace and defense. Under this strategy Esterline exited from its non-core businesses and re-invested through new acquisitions that would strength its targeted market-product position. This strategy choice was supported by the tactical deployment of an organization-wide lean manufacturing policy. The lean policy specifically enhanced Esterline’s performance through employee empowerment through training programs and diffusion of authority and ownership downwards from the top e.g. employees working at different locations were free to choose the lean manufacturing tool set that worked for them. Secondly, the lean policy charged each business with setting two additional annual goals that were specific to them in addition to the corporations three: profitable growth, return on investment and aggressive lean implementation. Employees at business units that achieved their annu al goal would be rewarded. Finally, the move from batch-and-queue scheduling to simplified flow – a manifestation of lean manufacturing – reduced inventory costs, waste and increased throughput. 2. What is the central question being addressed in this case? Why is it important to Bob Cremin? What issues are raised in this debate? The central question in this case is whether IT systems are relevant in organizations practicing lean manufacturing; and if IT systems are relevant, what is their role in lean manufacturing? Skeptics argue that most of the advantages of ERP systems can be achieved through process simplification and lean production methods, without relying on these complex computer systems. From the case, Bob Cremin comes out as being not enthusiastic about IT. According to Bob, IT systems are complex, over relied upon by people and they mostly interfere with overall process innovation. The CEO’s reasoning is supported by Frank Houston’s Figure C w hich demonstrates the conflicts between lean concepts and enterprise IT. However, in as much as lean techniques enhance customer service and streamline productivity, they still lack the predictive capabilities of ERPs and the capability to produce all these data at a single place of reference. Bob acknowledges that incremental changes are vital for innovation and continued improvement (Nolan, Brown, and Kumar 2) yet he does not wish to offer IT the opportunity to change. He seems to be focused more on the failures of IT systems and forgets its successes such as Cerebellum’s successful results in combination with lean policy with regards to Cell#1 at Esterline’s Korry plant. Finding an answer to this question could also be important to Bob because some of the staff at Esterline saw enterprise systems as being essential to successful performance whereas others believed that these systems interfered with removing waste and simplify the manufacturing process (Nolan, Bro wn, and Kumar 1). This is a dilemma that only he as the CEO can resolve. 3. What is the role of an ERP system in a "traditionally run" manufacturing plant? Does it present conflicts for lean manufacturing? Why or why not? ERP systems are designed to standardize information entry and create central data repositories for

Hrm Between Hai Di Lao and Little Sheep Essay Example for Free

Hrm Between Hai Di Lao and Little Sheep Essay Human resource aspect Hai Di Lao Trust and Equality Hai Di Lao few employees recruited from the community, most of the existing staff introduced to friends and relatives. They are all familiar with each other in the environment, whether good or bad, are easy to spread and grow. Hai di Lao try to implement a trust in the values of quality. More important than the expansion Hai Di Lao employee orientation is very simply, only 3 days. It is mainly about the lives of common sense and some basic knowledge of service. the real training is practical after entering the store. Each new employee will have a teacher mentoring. Rather than hiring external trainers, Hai Di Lao selects the company’s best performers to prepare new employees for the tasks ahead. They experience of values and human service concept, learn to deal with different problems than those of fixed service action norms more difficult. Employee welfare Employee compensation goes beyond financial reward, the company also looks after employee welfare from high quality housing to company excursions to free education for children of employees. hey also cover the parents insurance for the employees who had good performance. Employee empowerment Full delegation of authority to the staff, can greatly stimulate the creativity of employees. For example, the services that Hai Di Lao provides for the customers, such as nail polishing, etc, were created by the staff in their daily work. In addtion, Hai Di Lao also provides that any of the staff is no need to consult the manager with giving customers discounts. Xiao Fei Yang Workforce diversity Now days, globalization is not of interest only to large firms, more and more companies are opening up foreign markets to international trade and investment. As a Chinese hot pot restaurant in Korea, it requires the employees to be international. The proportion of Chinese and Korean employees is 1 to 1, as what Hai Di Lao does, the new employees will have teacher mentoring. Especially Korea attached great importance to culture etiquette, the employees must aware of etiquette. Rewarding the staff With then part-time staff, Xiao Fei Yang provides a vote per month, the more satisfied customers are, the more â€Å"smiley face† the staff would earn. By the end of every month, two of the highest voted staff would get salary raised. And for the regular staff, if their performance are approved by the manager and customers, they would receive bonus. Dealing with customers If there is any issue happen between staff and customers, staff will immediately contact the manager to deal with, in the meantime, they will try to meet customer needs.

Architecture and spaces influencing human being to socialize

Architecture and spaces influencing human being to socialize Sociology is the understanding of the human society, which this essay is forcing more towards the sociology among family members. Moving on into studies to explore the various solutions on how things around the context of a family can feed off each other. Things like spatial qualities that will affect the familys social interaction. Exploring into different avenues in the design contexts like the balances between the private and public spaces within a home to solve the issue of bonding and interaction. An in-dept analysis of a few different case studies, local and international will to help understand and broaden the perspective of the various practical techniques on how this few designers explore the spatial quality to prove the point that spatiality do plays a part in the social interaction among family members. Therefore the main objective is to express the point that sociology is the aim and the dream of reviving once more the closeness, warmness and most harmonious type of socia lization bond between family members. The main definition of sociology is a series of development; structure and a functioning of understanding the human society. Therefore from the understanding of the word, looking into the various possibility of the definition, expanding into sub issues that will lead back to sociology. One of them is social problem, problems that occur in society around us no matter being in a big or small society. The reason for this problem to occur is due to the fact that each individual member of a society in this case focusing more into the family circle group, that lives close enough together will have conflicts. It is virtually impossible to avoid having conflicts among close family member who are staying together in the same house. They do not always get along seamlessly as each individual has their own unique character. From this sector it is important to acknowledge that social problems will affect the social interaction within the family society. Hence social interaction is another possibi lity section that will lead back to sociology. The in-depth studies of the importance of social interaction will be illustrated in the next part of this essay. But in the mean time from these two various possible issues in sociology, conclusion can be made that sociology is the aim and the dream of reviving once more the closeness, warmness and most harmonious type of socialization bond between family members. From this conclusion further studies will be made to explore the various solution on how other things around the context of a family can feed off each other. Things like spatial qualities that will affect the familys social interaction. Exploring into different avenues in the design contexts like the balances between the private and public spaces within a home to solve the issue of bonding and interaction. Moving on further into the essay studies will be made on a few different case studies, local and international. These case studies will to help understand and broaden the pe rspective of the various practical techniques on how this few designers explore the spatial quality to prove the point that spatiality do plays a part in the social interaction among family members. Allowing the family to socialize without being intermitted. Theories will be presented to support the study of how spatiality is blend with sociology. Therefore this essay will elaborated the in-depth understanding of a few key points that will help achieve the main objective for a closeness, warmness and harmonious family lifestyle in a home. Sociology The term social interaction refers to particular forms of externalities, in which the actions of the family members affect an individuals preferences. Therefore, the observation of large differences in outcomes is the balance between the interpersonal dynamics and the home environment. It is critical to organize the effectiveness of interaction that happens among the family member. From this many of social interactions exhibit strategic complementarities, which occur when the marginal utility to one person of undertaking an action is increasing with the average amount of the action taken by one family member. Consequently, a change in fundamentals has a direct effect on behavior and an indirect effect of the same sign. The direct effect on behavior will change toward the direct change in fundamentals. Although the family is made up of a group of very like-mindful people, there are still certain ways to control the functionality of the family and the behaviors within them, which make individual family distinguishable from others. In the case the head of the family will of course be the father following with the mother second, as a partner they are to set a good example in their sociality among each other so that the childrens at home will also be influence by their action and behavior, sometime unknowingly. Therefore, the father as the head of the family is the one who keeps order by setting rules and enforcing on them. Hence if a family does not have the sociality quality in their values it will have a chain reaction in their behavior, leading the family to face more sociology problems causing their behavior to influence other society out there being in their working environment or their friends in schools. Social interaction can also seen in the way of which it is an action that will lead up to a reaction. It is not only a one-way traffic but it takes two parties to work holistically together to achieve the successful outcome. There are sustain hierarchy withi n the family society and each family member has his or her societal roles to play. There is some ideal issue that the family should study or know. They should distinguish between the understanding of a correlation of the individual characteristics within the family society, to the influences of the society that occur outside the boundaries of the home allow the family to recognize the key traits that from their own unique family society. Therefore, Bott (1957: 99) argues that the immediate social environment of urban families are best considered, not as the local area in which they live, but rather as the network of actual social relational maintain, regardless of whether these are confined to the local area or run beyond its boundaries. From this argument maintaining an active social interaction within the family help balance a healthy social relationship among individual family members. Hence is will also decrease the tension in the interaction of matters in their socialization b ring together a number of elements such as solidarity, commitment, mutuality and trust. By having this healthy social relationship, no boundaries will be generated, allowing them to have the two-way traffic of interaction. Another point that will help maintain this healthy social relationship is the physical spatial environment. Form the research that was made, physical spatial environment do play a part in determining the interaction with social space that will affect the humans social behaviors and the ability of a social individual to influence others. These spatial elements such as the buffer zones between the private and general space, surveillance within the family and shares the common pathways that affect the social interaction in the house. These buffer zones are flexible to change over the physical function such, as it can be a formal social interaction area or an informal one. On the other hand segregation of spaces can also be a part of a family that from this separation they will function better as a whole. There are some activities that individuals will be far more comfortable performing them in their own space. As Schelling [1978] demonstrated that when an individual can chose the location and the presence of these interactions. Results in segregation across spaces may occur, even in situation where the typical individual would be content to live in integrated space, which in this solution are their own individual rooms. Therefore, to my opinion a statement can be made that spatial quality does influence the social behaviors unknowingly. Design Behavior comes to mind as a recurrent theme in our interests, overlapping concerns such as the architecture expression and their complexity of the relationship that capital and generational change. Hence, it is an attempt to understand the patterns and influence of the transformation of behavior over time. Behavior could also be the central to a hypothesis, which is the understanding of the correlations between the human life, nature and the built environment. Each individual building can be viewed as a sentient creature, endowed with their own unique intelligence and a defining set of living characteristics. Analyzing the input from research, physical design does influence social interaction in a static way by some of these factors. Firstly, is the informal social factor, factor that focus on the social dynamic that is the relationship between individuals and individual in groups. Secondly, is the formal social factor, which is the management of communal spaces that allows interaction to occur. Thirdly, the personal factors that is the pro-community and the pro-socializing attitude with similar values and norms. Lastly, the physical design factors, which is the density of proximity. The division of spaces that has a buffering zone between the private and general spaces, the shared pathways is one for the factor that affects social interaction among family members. Another factor is the communal spaces that have the quality and accessibility to allow family member to come together as one to have common activities together with out feeling intimidated. Therefore, how the family members perceive and understand the physical environment can determine the frequency and quality of their social interaction. The psychosocial buffer zone between individuals and the physical environment plays an important role in determining how the interaction unfolds. The social interaction and the layout of space reciprocally influence each other. The plan is the generator that has order and willfulness; it also holds itself the essence of sensation. The mass and surfaces are elements by which architecture manifests itself. Therefore, the mass and surfaces are determined by the plan. The plan is at its basis. As Le Courbusier quote Without plan there can be neither grandeur of aim and expression, nor rhythm, nor mass, nor coherence. Therefore the plan is calls for the most active imagination and the critical discipline too. What determines everything is the plan as the among of interaction the family will achieve or the social problems that the family will face. Therefore, to make a plan is to determine the main objective and fix ideas. Looking at the Schroeder house for inspiration, it is a house that perfectly demonstrates how spaces could help bring family member together to share and have their social interaction bond. It is a house, which have the plan-less idea that has been a very powerful idea in the development of architecture since modernism. The transformable and plan-less idea allows a logical way of working whereby the members are either all having their private spaces of they are all gathered in to one common space. The study of the plan informed us that is can be achieved by simply having partitions, that can be moved in a manner such that the spaces could only make sense when every family member is having the same kind of privacy level. From this way of planning it will increase the social interaction among member in the family, as they are unknowingly focus to work and interact in a common space. The balance between the common spaces that is open incorporates the focus point of the main house. The expression of openness and closeness can also be achieved through the careful alignment of furniture with the help of openings and walls. Furniture acts as a jig, positioning the human body to react, while sharing the same space together. It supports and encourages social interaction by the arrangement in space to remove barriers between family members. It is also good to have the design element such as blurring the boundaries between the human life, nature and the built environment. Case Studies Local Looking all the back into history on the planning of the traditional kampong houses in Singapore, how they are layout as a community to maximum the social interaction among families living there. The kampong were layout in the way where they will have a common areas in which people gathered, mixed around and spend time with each other. Spaces flow into each other freely with few boundaries or obstructions. The kampong with no physical barriers allows a flexibility in accommodate two or more needs of extending when needed, which is not available in our modern housing estate today. Studying in-depth for the interior layout of a kampong enable us to see that the architecture plays with a lot of voids, opening and have an open plan with minimum partition. This self-drawn diagram is my analysis of a kampong house. The house can be broken down into three sectors. First sector acts as a transition space between the open public and private sectors. It is also the sector where the family will entertain their guests. The second sector will be the private area where all the private family activities happen. The living area is a common open area where family members are able to see the movement of each other. Lastly will the kitchen, the reason of having a bridge that separate the living area and the kitchen is because the kitchen is often used by the womans community as a space where they can chat and socialize therefore the bridge is there to set the boundaries for the public. The kitchen is also a semi-private area because there is a second entrance from the back to access to the house. From this analysis, we can see that the layout of a typical kampong house has a clear hierarchy system that segregates the public zone and the private livi ng area. We can adapt a few key points from this study, the hierarchy system and the open plan that they have. Moving on to the study of our modern HDB flats. HDB was first development to replace the kampong living style in February 1960. The reason for doing so was Singapore was facing an acute housing shortage at that period of time. Therefore, the government decided to build HDB units for the low-income group of people. Through the years residences had to adapt to the emphasis of the housing program, the shifted from quantity of housing to quantity of life. Studying the typical interior layout of a modern HDB allows me to understand better why family now a day space lesser social interaction time with each other. The reason is that the spaces within a house layout is clearly defined by solid walls which break the visual connect that is an important part that allows social interaction to happen. The percentage of the common area in the house is always lower than the percentage compared to the individual private space. But however, common corridor does exist in some HDB units but the functio n of it seems to just be a connector to the private spaces rather then a space where family members interact. Is there a problem with the size of the corridors, giving the prescription as just a path for walkway and not a space to interact? Comparing this two local case studies, the traditional kampong house to our modern HDB flats we can see that the quantity of living is different. As for the modern house, we have family members that are all separated from one another by walls, which discourage interaction and by not interacting family member will lose the healthy socialization values. Compared to the traditional kampong layout where they have an open living and common space where visualization are not broken among family members. International Case Studies The project for a brick country house done by Mies Van de Rohe in 1923 demonstrates the idea of using walls to divide the space but does not go as far as to divide them off into rooms. By doing this it suggests spatial divisions by setting up relationship with the site from within. On the other hand, his Barcelona Pavilion of 1929, uses walls as the element to set up views and suggest spaces but they are not dividing the space as the whole pavilion is open-air. Compared to the Schroder House that as built in 1924, by Gerrit Rietvield. Different method has been used to demonstrate the plan-less theory. In this case, all the main services are positioned on the perimeter of the house and next to them are retracted sliding partitions, which can be pulled out to divide the spaces into rooms. Such as the space acquires more possibilities, compared to when the screens are close, there is no one name to label the spaces. However, these walls provide only a certain amount of prescribed flexib ility. If these walls are completely independent of the structure, the moveable walls will become screens, which is essentially furniture. Therefore, western architecture has various ways and method to tackle the issue of social interaction. The freedom within the layout of the interior allows ways to alter to ones needs hence it is adaptable to the engender bonding between the occupants and the building through continuous physical involvement. By doing this the interaction level within the family can be adjustable to the function that is formed at anytime opening up the partition to allow each family member to remain the visual connect that will allow social interaction to happen. Not knowing focusing them to start a conversation as there is isnt any physical wall. Interestingly enough in Japan, the Japanese traditional house takes on an entirely different attitude to spatial division and living pattern. While planned as the same meaning as the Western architecture, walls do not. In a typical Japanese screened house, the rooms other than the service rooms have on one purpose. Within these the functions takes on the meaning of the activity that is performed and their functions can be changeable with the activities. Quoted from Nishihara explanation of the difference of the Western thinking compared to the Japanese thinking is the Western thinks in terms of function and makes his rooms accordingly, whereas the Japanese simply set up zones. In Japan, when it is time for dining, a portable table and food will be brought out; when its working time a writing desk will be taken out; and when it is time for bed, bedding that are typically stored in the cupboard will be unrolled and rolled back to be stored in the morning. Leaving the space to be purpos eless and multi-purpose at once. From these two case studies, we can see the how two different cultures approach the understanding of an open-less plan concept. Here is an illustration of the comparison diagram between the Japanese concept and the western concept. Image taken from, Works Cited Bibliography Work Cited http://www.helium.com/items/629105-family-values-the-importance-of-strong-family-bonds http://www.doccentre.org/docsweb/urban-issues/hawkers/hawkers13.htm http://www.sacred-texts.com/asia/sby/sby02.htm http://www.sageofasheville.com/primary_prevention.html http://www.fashioncentral.pk/living-lifestyle/home-garden/story-25-home-interior-decoration/ http://scienceblogs.com/framing-science/2007/11/au_students_debate_the_interne.php http://www.malaysiasite.nl/kampong.htm http://www.infed.org/community/community.htm http://www.sjsu.edu/people/thomas.leddy/courses/c2/s1/Le_Courbusier.doc

The Principles of Green Design in Architecture

The Principles of Green Design in Architecture In modern communities, healthy environment is the foundation of our daily lives. However, environmental problems are becoming serious. Much research illustrate that the pollution from architecture, from construction to operation, is one of the main contributors of these problems. The world famous design theorist Victor Papanek claimed in the 1960s, that designers should consider the limited resources around the world to protect the planet. This was the first announcement globally promoting the set of principals of green design. This assignment will firstly explain the principles of green design, then show several applications of these principles and finally evaluate the contribution of these principles to society . According to Yeang and Spector, green design is based on four principles, the green principle, the grey principle, the blue principle and the red principle, which aim to reduce contamination to the environment, recycle waste and reuse energy. The green principle is the principle about interconnecting natural areas and buildings. The grey principle refers to the circular systems in the buildings, such as energy or electric power systems. The blue principle is about the water cycle which should be designed to close the loop, which means that try best to reduce or reuse waste water. Finally, the red principle suggest designers should meet the requirements of customers.When applying these principles in architecture, it means sustainable design to comply with economic, social and ecological sustainability. The green principle states that whenever and wherever possible, the existent natural eco-system should be reserved to a great extent during the period of designing. This has been highlighted by Yeang and Spector (2011), â€Å"having an eco-infrastructure in the master plan is vital†. The obvious benefit, such as providing cleaner air and improving water supply, of designing under the green principle is significant. However, a hidden potential, for instance, being a conditioner of climate change and keeping water from washing away, is also meaningful. As will be illustrated later, designing under green principle bring citizens better lives. The grey principle is the principle which is frequently used in urban engineering. Applying it into architecture aims to regard buildings as a small city. Therefore, buildings should produce parts of energy by themselves, which can lighten the burden of government as numerous pressing global social issues have been caused by limitation of resource. The best explaination of this is the application of solar energy. The third principle of green design is the blue principle, which can also be called the water principle. This principle claims that â€Å"new technological trajectories for the water infrastructure should be applied (Hiessl et al 2001)†. As the predicament of global shortage, it should be used in cyclic way. â€Å"Water used in the built environment needs to be recovered and re-used wherever possible†(Yeang and Spector). As a result, blue principle is an additional built-up principle for green design. The last principle of green design is the red principle, which is a principle of serving human communities directly. Applying this principle, designer should realize what citizens really require, whether they are satisfied with your design. It is important for a designer to remind themselves as a service provider. â€Å"What we do not know can hurt us†(Bondan Sosnowchik, 2007). â€Å"This is the social and human dimension that is often missing in the work of green designers† (Yeang and Spector). As the environmental problems become more and more serious, green design principles have been applied more frequently. Modern buildings always contain element of green design more or less. Designers usually apply principles of green design in their design in order to improve the quality of them. The particular examples below cover the application of the four fundamental principles of green design and demonstrate evidences of the principles of green design that should be used more widely. With the speedy construction, increasing population and rapid-developing transportations, the phenomenon of urban heat island effect become significant, which lead to the environmental deterioration of life quality. Therefore, the applying of green principle require action imperatively. According to this, vertical planting have been utilized in common design. Vertical planting is a technique that uses different resources to allow plants to extend upward rather than grow along the surface of city. In some cases, no support frame of any kind is needed as the plants naturally grows upwards. The plants outside the building provide a layer to protect buildings from sunshine, which is benefit for preserving the temperature inside the buildings. Research demonstrate that buildings with vertical planting would keep the temperature 3-9 degrees lower than without that. With the help of vertical planting, the burden of air- conditioners could reduce 12.7% approximately. It can be seen in some o f modern constructions that green roofs, walls and facades are some of the City of Melbourne’s latest tools in the work to adapt city to climate change. As the rapidly developing of green design, in order to applying the grey principle more effectively, the Building Information Modifying technology, based on the 3D technology, a new building design model collecting and managing effectively all kinds of information in the entire building life circle, have been exploited to assist architects to design recycle systems of buildings(Liu Liu 2013).Applying this new technology, designers could be able to design the circular energy or electric systems inside the buildings, such as solar energy system, to decline the negative effects to environment and to achieve sustainable building design. Furthermore, wind catcher, a suitable ventilation means for houses to creates pleasant airflow in rooms, hall and basement, is another latest technology to reduce the energy of a building requiring to function normally. In addition, while hot water is the largest component of residential energy costs after heating and cooling, a solar domestic water heat ing system that is well designed will provide 50-80% of hot water needs, depending on the building’s geographical location and the time of year. Water, often called the source of life, provides a valuable resource to be celebrated in the process of green design. According to Art Ludwig, only about 6 per cent of water people use for drinking. Consequently, potable water should not use for irrigation or sewage. The Monterey Bay Shores approach to water management is a representative example show how blue principle working. In Monterey Bay Shores’ water systems, main water sources is from the rain, which is collected by a storage and used in swimming pools, toilets, spa, laundry and bath after different processes of treatment. An additional water supplying line is municipal water supply, which provides potable water for drinking and cooking. Finally, all the graywater( used water) after treatments will be irrigated for the plants of green roofs and green walls. Furthermore, the recycling system in Bird’s Nest is another example. With the help of six water collection and storage tanks with a capacity of 12,000 cu m over 70 per cent of the water supply at Bird’s Nest is recycled water, while 23 per cent is recycled rainwater, which will be used for washing the stadium, road, toilet, garage and irrigating the land around the venue. Recent years, residents in modern cities complain more frequently about the crowded sky scrapes. The grim tall buildings bring them the felling of choking. As the quality of people’s lives improved, a place for living is not the basic requirement of customers. The happiness and comfort taken by the style of space have been regard as more important. It tends to be a tendency that applying the red principle in modern design of architecture to satisfied the customers. Bauhaus Design School, the origin of modern design, for some, is synonymous with the greater term modernism. For others, the Bauhaus is a type of font or an architectural design style. â€Å"Architecture is designed for human† is one of the most prominent view of Bauhaus. Architecture is service for people and should be combined with environment to become a gorgeous place for living. In German and Sweden, numerous buildings are designed with large dimensions but amiable, moderate and comfortable. The architec ture to people is what human to nature. While nature never change following the human’s minds, building designers should consider more about the suggests from residents. Otherwise, a eye-attractive design without suitableness for people could not be treat as a successful design. The four principles of green design described above have being applied successfully in many parts of the world and have produced a significant reduction in environmental damage. To be more specific, the mainly benefits of applying principles of green design could be divided into three parts: economic benefits, environmental benefits and social benefits. Firstly, for the economic aspect, green buildings typically have lower annual cost for energy, water, maintenance and other operating expenses. Although the first costs may be higher, the payback would be worthy as the time goes by. Secondly, as original buildings use the energy and produce waste, green buildings could produce energy by themselves and reuse the waste to minimize the pollutant. Furthermore, in social respect, the principles using in green design bring the improvement in the quality of life, health and well-being. Residents in modern community would feel more health, comfortable and satisfactory to live in a green build ing. In conclusion, green design is helpful to relieve the pressing global environmental problems while the situation become increasing serious, such as the urban heat island effect and greenhouse effect. Applying the principles in design, the cost of operating buildings would reduce by a margin, for instance, the expenditure of using air-conditioners will decrease sharply. Furthermore, applying principles of green design could take numerous benefits to people’s health lives. For instance, plants can produce oxygen and absorb carbon dioxide, which suits for human that need oxygen every second particularly. Principles of green design enable people to live in a more comfortable and sustainable environment, which could improve their work efficience and bring them a safer and more environmental friendly future. References Panaek, V 1970, Design for the real world, Sweden. Yeang, K Spector, A(ed) 2011, Green design: from theory to practice, black dog publishing, London, UK. Bondan, P Sosnowchik, K 2007, Sustainable Commercial Interiors, Spain. Henry, Y 2010, An Introduction to Green Building Information Modeling (BIM). http://www.melbourne.vic.gov.au/SUSTAINABILITY/COUNCILACTIONS/Pages/GreenRoofsWallsandFacades.aspx http://bckievning.iweb.bsu.edu/Site/Historical_Movement.html http://www.chinadaily.com.cn/bizchina/2008-05/19/content_6695589_2.htm Hiessl, H, Walz, R Toussaint, D, Design and Sustainability Assessment of Scenarios of Urban Water Infrastructure Systems, ISI, Germany.

The Tempest Essay -- essays research papers

Explain how Ariel and Caliban serve as character foils for each other. Be sure to consider their physical appearance and their roles as servants to Prospero. In the world of The Tempest , Ariel, the airy spirit, and Caliban, the earthy monster, can be described as character foils. Unlike and contrasted as they are, they have some traits in common. They both have an aversion to labor and a longing for liberty. Also, they have a primitive sense of humor, a fondness for tricks and pranks, and a spontaneous and unsophisticated love of nature. Furthermore, deeper inside them, one has a fear of a higher power and the other a craving for affection and approbation. Thus, the contrast between them is heightened. Ariel and Caliban symbolize, respectively, pure language and pure body. The name of Prospero's language is Ariel, who symbolizes his word in action, the precise fulfillment of his desires, who operates as an extension of Prospero's body. In a way, Prospero, through his creative word, Ariel, can be seen as being omnipresent. However, Ariel chafes under his master's control, desiring a liberty that would ironically reduce him to nothingness, dispersing him into thin air. Caliban, the son of the evil witch Sycorax, is the perfect brute, who would be petted and patted, given food and drink, and taught to speak. Caliban learns language only to turn it against itself. He becomes vindictive and rewards his master's, Prospero, efforts with curses. His developed consciousness leads him into deeper enslavement, inducing him to overeach his limits by attempting to murder his lord. Earlier, he became rebellious and attempted to "violate" his master's daughter, the innocent, pure Miranda. He later, after getting drunk, turns on Prospero and professes his loyalty to Stephano. In conclusion, Ariel is considered to be beyond humanity at the spiritual end of the scale and Caliban is beneath humanity at the animal end of the scale. In addition, Ariel rides "on the curl'd clouds" and Caliban liveson "this hard rock." Caliban and Ariel exist at opposite sides of the spectrum and because of this, they are characters foils to each other. #3 Describe Miranda. How is she a product of "nurturre rather than "nature"... ...e all his faults in his earlier life. He uses magic to make things better and fix all his problems. In a way, magic is his way of getting around what he can't figure out himself. But now he has come to realize that if he wants to retain his Dukedom he needs to give up his magic and live a normal life as the Duke of Milan. Magic solved his problems for him once in his life, but now he realizes that a good Duke would face the problems just as everyone else does. In his last line of the play, Prospero says " I'll deliver all; and promise you calm seas, auspicious gales, and sail so expeditious that shall catch your royal fleet far off." He then continues to give Ariel his send off of freedom. What he means in this last line of the play is that he is now going to leave this island, but before he does this he wants to mend all ties with those who are there. Next, he renounces his magic as he realizes that he is a new man with new responsibilities. He is off to be the Duke of Milan and serve as a trustworthy and honest Duke, one which all can live under and abide by fairly. He has his Dukedom back, he feels as though he no longer needs his magic.

The American Dream in A Raisin in the Sun :: A Raisin in the Sun Essays

A Raisin in the Sun is a play written by Lorraine Hansberry. The primary focus of the play is the American Dream. The American Dream is one’s conception of a better life. Each of the main characters in the play has their own idea of what they consider to be a better life. A Raisin in the Sun emphasizes the importance of dreams regardless of the various oppressive struggles of life. Primarily, in A Raisin in the Sun Walter is an example of one struggling to achieve their dream or desire. Walter serves as the hero and villain of the play due to the actions he takes revolving his dream. â€Å"Walter, who firmly believes in the American Dream of economic independence, wants to own his own business, and a liquor store, because he despairs over what he perceives to be his inability to support the family and to provide for his son’s future† ( __ __ ). Walter’s dream is to be sole the provider for his household and give his family a better life. He plans by doing this through a liquor store investment with the insurance money given to Mama from Big Walters death. â€Å"In the play Walter loses much of the insurance money that he planned to invest on a liquor store to a con artist† ( ___ ___ ). Walter’s decision on investing in a liquor store turns out to be a horrific choice. In the play although Walter is regretfully deceived and l ooked down upon as a result of the liquor store ambition, he makes up for it by at the end finally reaching his manhood. During the time of the play the husband of the family is mainly the sole provider for the family. In the case of the play, Walters mother is the sole provider for the family. Walter strives to be the â€Å"man† of the house.â€Å"A job. (Looks at her) Mama, a job? I open and close car doors all day long. I drive a man around in his limousine and I say, â€Å"Yes, sir; no, sir; very good, sir; shall I take the Drive, sir?† Mama, that ain’t no kind of job. That ain’t nothing at all. (Very quietly) Mama, I don’t know if I can make you understand† ( Hansberry , Pg.73). â€Å"Walter minimizes the position of a car driver because to him it diminishes his manhood and his sense of individual worth.

Alias Tutorial

Learning Autodesk AliasStudio 2008 Level 1 A hands-on introduction to the key tools & techniques of Autodesk AliasStudio 73415-050000-5001A Copyright and trademarks AliasStudio 2008 documentation by: Pat Anderson, Marie-France Roy, Kerry Kingston and Damien Fleury  © Copyright 2002-2007 Autodesk, Inc. All rights reserved. This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. AUTODESK, INC. MAKES NO WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS, AND MAKES SUCH MATERIALS AVAILABLE SOLELY ON AN â€Å"AS-IS† BASIS. IN NO EVENT SHALL AUTODESK, INC. , BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF ACQUISITION OR USE OF THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO AUTODESK, INC. REGARDLESS OF THE FORM OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE, IF ANY, OF THE MATERIALS DESCRIBED HEREIN. Autodesk, Inc. , reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future. Autodesk Trademarks The following are registered trademarks or trademarks of Autodesk, Inc. , in the USA and other countries: 3DEC (design/ logo), 3December, 3December. om, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, Civi l 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Create>what's;Next; (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design|Studio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert, DWG TrueView, DXF, EditDV, Education by Design, Extending the Design Team, FBX, Filmbox, FMDesktop, GDX Driver, Gmax, Heads-up Design, Heidi, HOOPS, HumanIK, idrop, iMOUT, Incinerator, IntroDV, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop, MotionBuilder, ObjectARX, ObjectDBX, Open Reality, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint, Reactor, RealDWG, Real-time Roto, Render Queue, Revit, Showcase, SketchBook, StudioTools, Topobase, Toxik, Visual, Visual Bridge, Visual Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat, Visual LISP, Voice Reality, Volo, and Wiretap. The following a re registered trademarks or trademarks of Autodesk Canada Co. n the USA and/or Canada and other countries: Backburner, Discreet, Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, Stone, Wire. All other brand names, product names or trademarks belong to their respective holders. Third-Party Copyright Notices This product includes software developed by the Apache Software Foundation. Macromedia Shockwaveâ„ ¢ Player and Macromedia Flashâ„ ¢ Player software by Macromedia, Inc. , Copyright  © 1995-2000 Adobe Systems Incorporated. All rights reserved. Portions relating to JPEG Copyright  © 1991-1998 Thomas G. Lane. All rights reserved. This software is based in part on the work of the Independent JPEG Group. Portions relating to TIFF Copyright  © 1997-1998 Sam Leffler. Copyright  © 1991-1997 Silicon Graphics, Inc. All rights reserved. GOVERNMENT USE Use, duplication, or disclosure by the U. S. Government is subject to restrictions as set forth in FAR 12. 212 (Commercial Computer Software-Restricted Rights) and DFAR 227. 7202 (Rights in Technical Data and Computer Software), as applicable. Published By: Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA Documentation build date: April 3, 2007 iii GETTING HELP ON ALIASSTUDIO Welcome Autodesk provides you with a number of resources to aid you in becoming a proficient AliasStudio user. Finding help on AliasStudio features If: Try this You want information about installing AliasStudio Follow the on-screen instructions on the installation CD. For more detailed instructions, see the install. pdf file on the top level of the CD. You are new to AliasStudio ? Read Getting Started, the booklet included in the kit. ? Browse through the information on the main documentation page (index. html) ? Read the About†¦ section of the online documentation. 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Print the Quick Reference card file provided in the PDF directory on the do cumentation CD. v Finding AliasStudio training resources If†¦ Try this†¦ You want to obtain in-depth training ? See the learning materials and training courses available from www. autodesk. com/training You want to get tips and techniques from the experts at AliasStudio MasterClasses ? For events near you, see www. autodesk. com/training You want to create plug-ins for AliasStudio Use the AliasStudio Application Programmers’ Interface Manual to learn the object-oriented programming required to build plug-ins. You want information about becoming an Alias-certified instructor ? See the information at www. autodesk. com/training or contact us at [email  protected] com. vi Finding support for AliasStudio If†¦ Try this You are a Platinum member and want to access the Knowledgebase or Ask Autodesk ? Go to the AliasStudio support site at www. autodesk. com/ support You want to interat with other AliasStudio users ? Go to the online User-to-User Discussion forum on t he AliasStudio support site at www. autodesk. com/support You want answers to common roubleshooting questions ? See the FAQs (frequently asked questions) in the technical support section of the AliasStudio support website at www. autodesk. com/support. You want to license your software ? If you are a Platinum member and need a license, check the executable license file on the top of your installation CD. If your license isn’t there, go to www. autodesk. com/ spar and follow the instructions in the install. pdf file at the top of the AliasStudio CD. ? If you are a new customer, go to www. autodesk. com/opa to obtain a new license. You want customer or technical support ? Go to the webpage www. autodesk. com/support vii Working with AliasStudio If you create concept designs ? Read about our new concept design workflow ? Work through the modeling and rendering tutorials in Learning Studio If you build 3D models based on sketches ? Work through the modeling tutorials in Learning AliasStudio If you build 3D models for manufacture ? Read About Curves and About Modeling ? Work through the modeling tutorials in Learning Studio ? Check the community site for tips and tricks If you modify 3D models for manufacture ? Read AliasStudio Fundamentals ? Work through the Technical Surfacing tutorials. If you create rendered images ? Read About Rendering ? Work through the rendering tutorials in Learning Studio Check the community site for tips and tricks and downloadable shaders and backgrounds If you create animations ? Do the work in the â€Å"If you create rendered images† section ? Read About Animating ? Work through the animation tutorials in Learning Studio ? Check the community site for tips and tricks. viii ix CONTENTS Lear ning AliasStudio provides you with tutorials to learn the basics of modeling, rendering, and animating. All features are not available in all products or on all platforms; you may find your software does not support some of the capabilities described in this book to sketch, render, or animate. Getting help on AliasStudio iii Finding help on AliasStudio features iii Finding AliasStudio training resources v Finding support for AliasStudio vi Working with AliasStudio vii Contents ix Learning AliasStudio Tutorials 1 How to use this book 1 Interface Basics 5 Using Tools 11 Changing Your View of the Model 25 Understanding the object lister 33 Introduction to 3D 37 Part 1: Beginning a Model 38 Part 1: Creating 3D objects 41 Saving your work 45 Part 2: Building the lampstand 47 Part 3: Organizing the model 54 Part 4: Building the lampshade 58 Part 5: Assembling the desk lamp 65 Part 6: Posing the Lamp Model 68 Conclusion 70 Quiz 71 On your own 72 x Contents Quiz Answers 74 Modeling a Joystick 75 Introduction 75 Part 1: Creating the Joystick Handle 77 Part 2: Creating the Joystick Base 84 Part3: Creating the Flexible Sleeve 94 Part 4: Creating the connecting cable 99 Part 5: Assigning objects to layers 104 Part 6: Directly modifying surfaces 108 Part 7: Creating the button 120 Part 8: Visualizing the Model 123 Conclusion 126 Quiz 127 On Your Own 128 Quiz Answers 129 Modeling a Vacuum Cleaner 131 Part 1: Creating Primary Surfaces 133 Part 2: Intersecting and Trimming 139 Part 3: Surface Fillet 145 Part 4: Creating the Handle 152 Part 5: Air Vents 157 Part 6: Power Button 163 Part 7: Dust Bag and Cable Connector 171 Part 8: Completing the Model 180 Conclusion 183 Quiz 184 On Your Own 185 Quiz Answers 187 Modeling an MP3 Player 189 Introduction 191 Part 1: Creating the Casing Curves 192 Part 2: Creating the Side Surfaces 197 Part 3: Completing the Casing 202 Part 4: Creating the Screen Recess 209 Part 5: Centre Navigation Key 217 Part 6: Control Button 221 Part 7: Completing the Model 231 Quiz 236 On Your Own 237 Quiz Answers 239 Modeling a Sports Shower Gel Bottle 241 New Concepts 242 Part 1: Creating Primary Surfaces 243 Part 2: Creating the Finger Grip Contents xi 251 Part 3: Label Surface 256 Part 4: Adding Blend Details 261 Part 5: Embossed Logo Details 267 Part 6: Completing the Model 275 Quiz 280 On Your Own 281 Quiz Answers 283 An introduction to Rendering 285 Visualizing a PDA 289 Conclusion 296 Quiz 297 On Your Own 298 Quiz Answers 299 Shaders and Lights 301 Part 1: Creating Shaders 302 Part 2: Adding a Label 309 Part 3: Lighting the Scene 313 Part 4: Creating an Image 319 Quiz 322 On Your Own 323 Quiz Answers 325 More rendering 327 Part 1: Editing the Render Globals parameters 329 Part 2: Creating a background environment 333 Part 3: Creating a 3D solid texture 338 Part 4: Creating a 2D bump texture 341 Part 5: Raytracing 345 Conclusion 349 Quiz 350 On your own 351 Quiz Answers 352 Introduction to animating 353 Part 1: keyframing animation 355 Part 2: animating along a motion path 364 Part 3: editing a motion path 367 Part 4: animating the camera 369 Conclusion 372 Quiz 373 On Your Own 374 Quiz Answers 375 More animation techniques 377 Part 1: Creating an exploded view animation 379 Part 2: animating shaders 386 Conclusion 395 Quiz 396 On your own 397 Quiz Answers 398 xii Contents Index 399 1 LEARNING ALIASSTUDIO TUTORIALS Learning objectives This chapter shows how to use the tutorials, and presents the graphic and text conventions used in this manual. HOW TO USE THIS BOOK Introduction A general introduction and welcome to the AliasStudio tutorials. Welcome to AliasStudio and the world of three dimensional modeling, rendering, and animating. AliasStudio offers a complete solution for the creation of digital content in fields such as industrial design, automotive design, and consumer product design. About the Learning AliasStudio Tutorials A general overview of the tutorials. The tutorials in this book present examples of typical concept design workflows. The tutorials introduce the powerful tools and interactive features of AliasStudio, and demonstrate how to use them to accomplish your concept design tasks. The first six tutorials introduce modeling tools to build your experience level. We recommend that you start with the first tutorial and proceed sequentially through the modeling tutorials, because they build on each other. The next two tutorials introduce rendering tools and skills. The last tutorial introduces animation tools and skills. These tutorials are densely packed with information and techniques that may be new to you. You may want to re-read the lessons after completion, or even repeat the more difficult lessons. You can view movies (in Flash format) demonstrating each tutorial in the online documentation. In order to view these movies, you may need to install a Flash player. You can download Flash plug-ins for your browser for free from www. macromedia. com. Disclaimer: There may be slight discrepancies in procedures between the movies and the written documentation. If you 2 How to use this book encounter a discrepancy, use the written ocumentation version because it will be the most current. For More Information Information on learning more about AliasStudio and training. These tutorials are an introduction to AliasStudio. They are not intended as an exhaustive guide to the capabilities and options of AliasStudio, and will not teach you everything th ere is to learn about the products and workflows. For additional information and more comprehensive explanations of tools and options, refer to the online documentation included with the product, and read Getting help on AliasStudio (page iii). Graphic Conventions Explains graphic conventions used in the tutorials. To call attention to part of a screen shot, we ighlight the important area and darken the rest of the image. For example, in the picture shown, we have marked the location of the close box on the Action Window. To indicate a click, we use this symbol. For example, in the picture shown, we have indicated that the Open command should be clicked. In the text of the instruction, we will refer to this as File > Open. The first word or term is the name of the menu or palette; it is followed by an arrow and the name of the menu item or tool. In the case of a submenu, two arrows are used: Layouts > All Windows > All Studio refers to the All Studio menu item available from the All Windows submenu, which is found on the Layouts menu. To indicate that an option box for a tool or menu item should be opened, a box appears after the tool name, like Surfaces > Skin ?. When we ask you to choose a tool, we show the tool’s icon next to the instruction. Terms Explains terms used in the tutorials. Click: Move the mouse pointer over an object and press and release a mouse button once. Double-click: Move the mouse pointer over an object and press and release a mouse button twice fast. Drag: Move the mouse pointer over an object and hold down a mouse button, then move the mouse with the button held down. Then release the mouse button. Click-Drag: Move the mouse pointer over an object, ress the mouse button, and move the mouse pointer to a final position before releasing the mouse button. The Scene: The 3D â€Å"world† inside the view windows. 3 How to use this book The Model: The curves, surfaces, and points that make up the object you are creating. Note about Window Names AliasStudio 2008 brings a change in Stu dio and DesignStudio to the names of the Front and Side orthographic windows. Some of the tutorials in this book (Modeling a Shower Gel Bottle, Modeling an MP3 Player, and Rendering Basics) use the new naming convention; the rest of the tutorials still use the older DesignStudio window names. At the start of each tutorial, a section describes which window ames are used in that tutorial, and how to set the window names. 4 How to use this book 5 INTERFACE BASICS Learning objectives You will learn how to: ? Log into the system and start AliasStudio. ? Arrange windows. ? Use tools and tool options. ? Customize shelves and marking menus. ? Tumble, track, and dolly the view. ? Use the Object Lister window to understand the model Introduction Before you begin working in AliasStudio, you should spend some time learning how AliasStudio represents the scene and the model (both externally and internally), and how you use menus and tools to create and edit model data. Installing the tutorial co urseware files Each tutorial in this book is based on an Alias wire file which contains the material you need to learn the tools, skills and concepts in the tutorial. When you install AliasStudio, the courseware files are not automatically installed. These files are required to complete the Learning AliasStudio and Technical Surfacing tutorials. If you have installed the online documentation, your courseware may already be installed. If not, follow the following procedure to install the courseware. To install the courseware for use with AliasStudio: The courseware files (Alias wire files and other support files) are automatically installed when you install the documentation from the AliasStudio Documentation CD. If you have not yet installed the documentation, place the AliasStudio Documentation CD in your CD-ROM drive and proceed with the installation. You will require write permissions to the directory in which you plan to install the online help and courseware files. If you want to install only the courseware files, go directly to your disk drive and find the CourseWare folder on the disk. 2 Copy the CourseWare folder from its location on your hard drive or CD-ROM drive into your user_data folder. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_dataCourseWare 6 Interface Basics To install the courseware for use with AliasStudio Personal Learning Edition 1 The AliasStudio documentation should have lready been installed on your system. The courseware files you’ll require to perform the tutorials can be found in the CourseWare directory, located under the Help directory. If you have installed the application in the default directory, you should find the CourseWare directory at C:Program FilesAutodeskAliasStudioPLE2008Help. 2 Copy the CourseWare directory from the Help directory to your account’s user data directory. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_ dataCourseW are Starting AliasStudio Logging In If you have not logged in to your account on your workstation, do so now. To log in to your account ? Type your user name and password at the prompts. If you have an account on this workstation, the operating system user environment will appear. Depending on which product you are using, the AliasStudio icon may have a different name, such as DesignStudio or AutoStudio. To start AliasStudio on Windows 1 Double-click the Studio shortcut icon on the desktop, or choose Studio from the Start menu. When you start AliasStudio for the first time the Application Launcher appears on your desktop. 2 Choose a product to launch and options where applicable. If you want AliasStudio to launch the selected product and options automatically every ime you start AliasStudio, click Set Default. When you start AliasStudio again, the default product starts and the Application Launcher does not appear. You can change the default settings anytime by choosing Application Launcher from the Start menu. 3 Click Launch. The chosen product should start. 4 If the main AliasStudio window appears, AliasStudio is installed. The Start-up Process The first time you run AliasStudio, you may be presented with a choice of product to launch, if you work in an environment where there are several AliasStudio products installed. The product choice will depend on the licenses owned by your organization. 1 Choose the product you want to run, and click Go. Next, you’ll be presented with a workflow selection. 2 For the purpose of these tutorials, choose the Default workflow, which gives you access to all 3D curve and surface creation tools. The Paint workflow is for working solely within a 2D environment. You can click the Do not show again check box so this window won’t appear every time you launch AliasStudio. If you have chosen a workflow setting and checked Do not show again, you can change the default workflow by choosing the workflow you want from Preferences > Workflows. AliasStudio will launch the application in the same workflow that was active when you last exited the application. AliasStudio shows a splash window as it loads. During start-up, AliasStudio may warn you about unusual conditions on your system: ? If you are already running AliasStudio (or if AliasStudio exited abnormally the last time you ran it), the application will ask you if you really want to start another copy. 3 If you are sure AliasStudio is not running, click Yes to continue loading. After AliasStudio has finished loading its resources and plug-ins, the workspace window opens. 7 Interface Basics Overview of the AliasStudio Interface The main parts of the AliasStudio interface are: ? the Palette, located on the left ? the Menu Bar, located at the top the Window Area, taking up most of the interface and located in the middle (this area may or may not contain view windows when you first start AliasStudio). ? Shelves, located at the bottom (the Shelves may or may not be visible) ? the Control Panel, located on the right As you continue through this tutorial you will become more and more fami liar with the AliasStudio interface. Using Help One of the most important menus is the Help menu. The Help menu is organized so that you can get quick and specific information on just about any tool in AliasStudio. To get help on a tool or menu item It’s easy to get help on any tool or menu item in the interface. Just follow the steps below. 1 Click the Help menu, located at the right end of the menu bar. 2 In the Help menu, click What’s This? You are prompted to select the tool for which you want help. (This prompt appears in the prompt line, located just below the menu bar. ) 3 Click a menu item or a tool icon in the Palette. A browser window is launched and the on-line documentation about that tool icon or menu item is displayed. 4 When you are finished reading the information, minimize or close the browser window. Menu Bar Shelves Control Panel Window Area Palette 8 Interface Basics Arranging Windows Performing Menu Commands To use the menus to choose a window layout Click the title of the Layouts menu to open the menu. Notice the arrow next to the All windows item. This means there are more sub-options for this category: 2 Click the All windows item to open the submenu, then click the All windows item. The All windows command arranges view windows in the â€Å"Studio† layou t: Top, Front, Right, and Perspective. These tutorials will sometimes refer to menu items by the path through the menus to the item. So All windows will be: Layouts > All windows > All windows. As an alternative to the single-click method, you can use the pull-down menus by dragging the mouse down the menu and releasing on the item you want. Window Controls Use these controls on the borders of view windows to move, close, and resize the window: The view windows have more controls across the top, but for now you will concentrate on the close box, title bar, maximize, and resize corners. You will discover the functions of the other icons later in the tutorials. Close box Title bar Maximize box resize corners (4) 9 Interface Basics Closing Windows To close the Top view using the close box ? Find the close box in the upper left corner of the Top view window. ? Click the Top view window’s close box. The Top view window disappears. Resizing Windows You can change the size of windows using the resize arrows at each corner. To change the size of a view window using the resize arrows and maximize box 1 Find the resize arrows in the corners of a view window. 2 Drag a resize arrow to change the size of the window. An outline of the view window follows the mouse. 3 Release the mouse button. The corner of the window snaps to the new size. 4 Try dragging the resize corners in the other corners to see how they resize the window. ? Often you will want to work in one large window to see more detail. Use the maximize box to temporarily make the view window fill the entire screen. 5 Find the maximize box in the upper right corner of a view window. 6 Click the maximize box of the view window . The view expands to fill the entire screen. Notice that the maximize box changes to black to show the window is maximized. 7 Click the maximize box again to return the view window to normal size. Moving Windows To move and arrange the remaining windows 1 Find a view window’s title bar. The title bar is the area at the top of the window, between the close box and the other icons on the right. 10 Interface Basics 2 Drag the title bar. An outline of the view window follows the mouse. 3 Release the mouse button. The window snaps to the new location. ? By now you probably have some view windows overlapping other windows, similar to this: The windows are like a stack of papers on a desk. As you shuffle them, they can overlap. When windows overlap like this, you can click in a window to move that window to the front of the stack. 4 Click the title bar of the Perspective view window to move it in front of the other windows. The windows are probably a little disorganized at this point. You can quickly reset them to a default layout using the commands in the Layout menu again. 5 Choose Layouts > All windows > All windows. The Active Window Notice one of the view windows has a white border. This is how AliasStudio indicates the active view window (sometimes also called the current view window). The active view window is always the last view indow you clicked in. Some tools change behavior based on which view is active, but for now you can disregard which view window is active. Saving an arrangement of windows If you have a particular choice of windows that you plan to use repeatedly, you can save the set by choosing Layouts > User windows > Save Current Layout. Youâ€℠¢ll be prompted for a file name. To use this layout in the future, choose Layouts > User windows > Retrieve Layout. 3 1 2 1 2 3 1 2 3 11 Interface Basics Using Tools Using Tools Describes how to use the AliasStudio interface, such as selecting tools and creating shortcuts. Tool Basics To orient yourself in the Palette window Find the Palette window on the left side of the screen. If the palette is not visible, go to the Windows menu and choose Palette. The Palette window is divided into separate palettes of tools, each labeled with a tab at the top. For example, the Curves palette contains tools for creating new curves. The Curve Edit palette contains tools for editing and reshaping existing curves. 2 Find the Surfaces palette. It’s the seventh palette from the top of the window. If you can’t see the Surfaces palette, use the scroll bar on the left side of the palette window to scroll up or down until it’s visible in the window. 3 Hold the cursor over a tool. Th e name of the tool appears in a small box just elow the icon. This small text window is called a tooltip. This feature can help you to identify tools until you become familiar with the icons in the palette. Once you are familiar with the icons in the palette, you may want to disable tooltips. To do this, choose the ToolTips option in the Interface section of the General Preferences window (Preferences > General Preferences – ? ). Now you will use the geometric primitive tools to add some geometry to the scene. The primitive tools create simple 3D geometric shapes such as cubes, spheres, and cones. As a technical surfacer, you may not regularly need to add these simple shapes to a model. However, hey will allow us to practice several AliasStudio interface concepts, including choosing tools, using manipulators, sub-palettes, tool option windows, and snapping. 12 Interface Basics Using Tools To create a primitive sphere in the scene 1 Click the Surfaces > Primitives > Sphere too l. A red outline appears around the icon to show it is the current tool. 2 Click in the Top view window to place the new sphere. A new sphere, one grid unit wide, appears where you release the mouse button. Using a Snap Mode To use grid snapping to place a primitive cube You may have noticed that some tools have a small yellow arrow in the top right corner. These arrows indicate that more, similar tools re available in a hidden sub-palette. To access the extra tools, you must click and hold the mouse to open the sub-palette. 1 In the Surfaces palette, click and hold the Sphere tool icon. The Surfaces > Primitives sub-palette pops out. 2 Hold the middle mouse button on the different tools in the sub-palette to see their names. 3 Click the Cube tool. The sub-palette disappears. The Cube tool is selected and now occupies the space in the main palette where the Sphere tool was. This time you will place the new primitive using grid snapping. 4 Find the snap buttons, to the right of the p romptline. 5 Click the Grid button to turn on grid snapping. Click and drag in the Top view window. 13 Interface Basics Using Tools The cube snaps to the grid intersections as you drag. 7 Place the cube at a grid point by releasing the mouse button. 8 Click the Grid snap button again to turn grid snapping off. In addition to using the Grid button, you can grid snap by pressing and holding the Alt button while you place a primitive. To use the palette menu to choose the Cone tool This time we will show you an alternative method for choosing tools from palettes. 1 Click the tab at the top of the Surfaces palette. The palette collapses down to just the tab, and the other palettes move up to fill the space. This feature is very useful for saving space in the palette window and in shelves. You can still choose tools from the palette using the palette’s menu. 2 Click the right mouse button on the Surfaces palette’s title tab to open the palette’s menu. 3 Click the Primitives item to open the sub-menu. Just like the menus at the top of the screen, arrows indicate that an item in the palette menu has sub-items. 4 Click the Cone tool item. You have now seen two different ways to choose a tool from a palette. From now on, we will ask you to choose tools by name, such as: â€Å"In the Surfaces palette, choose Primitives > Cone. † Whenever you are asked to choose a tool, you an either click the tool icon, or choose the tool from the palette menu. 5 Click in the Top view to place a cone in the scene. 6 Click the Surfaces palette’s tab again to expand the Surfaces palette back to normal. To use tool options to add a half-cylinder 1 With the right mouse button, c lick the title tab of the Surfaces palette to open the palette menu, then open the Primitives sub-menu. Notice that some items have shadowed boxes next to the name of the item. 14 Interface Basics Using Tools 2 Click the shadowed box next to the Cylinder item. 3 The Cylinder options window appears. 4 Double click in the text box labeled Sweep, then type 180 and press Enter to set the sweep to 180 degrees. Use the slider next to the Sections text box to set the sections to 4. 6 Click the Go button at the bottom of the window. This button applies the settings in the window and activates the tool. 7 Click in the Top view window to place the new half-cylinder in the scene. As you specified in the option window, the cylinder has a 180-degree perimeter and is created from four sections (spans). 8 Look at the Cylinder tool icon. It has a small option box symbol in the top left corner. Like the symbol in the menu, this indicates the tool has options. 9 Double-click the Cylinder tool icon. T he Cylinder Options window appears. 10 Click Exit to close the options window. Picking and Unpicking Objects Picking refers to selecting objects in the scene for use with other tools. For example, to move a CV, you must pick the CV, then use the Move tool on the picked CV. Picking objects in the scene is a fundamental part of modeling with AliasStudio. Because it is so important, AliasStudio provides several different tools for picking. To pick all and pick nothing 1 In the Pick palette, choose Object Types > All obj/lights. All the objects in the scene highlight to show they are picked. 15 Interface Basics Using Tools Unlike most selection tools, Pick > Object Types > All obj/lights does not stay selected, since you never need to use it twice in a row. When these momentary types of tools finish, the current tool reverts to the last continuous tool you selected. 2 In the Pick palette, choose the Nothing tool. The Pick > Nothing tool unpicks every object, leaving nothing picked. Like the Pick > Object Types > All obj/lights tool, the Pick > Nothing tool does not stay selected. The current tool reverts to the last tool you used. To pick and unpick individual objects 1 Choose the Pick > Object tool. 2 Click the cone primitive in the view windows with the left mouse button. The cone highlights to show it is picked. 3 Click the other objects with the left mouse button. They also become picked. With all the objects picked, click one of the picked objects with the left mouse button. The object you clicked becomes unpicked. The left mouse button toggles objects between picked and unpicked. 5 Now click one of the primitives with the middle mouse button. The object you clicked is picked and the other objects are unpicked. 16 Interface Basics Using Tools The middle mouse button picks only the object you click. 6 Click the picked primitive with the right mouse button. The object is unpicked. The right mouse button unpicks objects. This is most useful with pick boxes, as you will see in the next procedure. To use pick boxes to pick and unpick several objects at once With the Pick > Object tool still selected, click one of the primitive objects with the left mouse button. 2 Press the left mouse button and drag a box around all the primitive objects. All the objects inside the pick box toggle between picked and unpicked. 3 Now drag a pick box with the middle mouse button around some objects. Now only the objects inside the box are picked. 4 Now drag a pick box with the right mouse button around some of the picked objects. 17 Interface Basics Using Tools Any objects inside the pick box are unpicked. To pick by name 1 Use the middle mouse button to pick only the sphere. 2 From the Windows menu, choose Information > Information window. The Information window appears. The information window allows you to adjust parameters for objects in the scene. 3 Find the Name field. The name of the object should be sphere or something similar. 4 Close the Information window. 5 Click in empty space with the middle mouse button. All objects in the scene are unpicked. ? Remember, the middle mouse button picks only what you click. If you pick â€Å"nothing† (empty space), then the tool acts just like if you had chosen Pick > Nothing. 6 Type sphere, then press Enter. The text appears as you type in the promptline at the top of the workspace window. When you press Enter, the sphere is picked. Shortcuts to Tools The variety of tools available is the source of AliasStudio’s power, but finding tools in the palette can potentially become time consuming. You can make commonly used tools available more quickly, and hide rarely used tools until you need them. AliasStudio provides three solutions: shelves, marking menus, and hot keys. Shelves are like the palettes, except you control the tools’ options and their position on the shelves. You will use shelves to organize all your commonly used tools. Marking menus pop-up at the current mouse location. They provide a very fast method to choose the tools you use most often (such as Pick > Object). Hot keys are special key combinations that perform ommon menu or tool commands. Creating Custom Shelves To show and hide the shelf window 1 In the Windows menu, choose Shelves. The Shelves window appears. ? The Shelves window provides a floating window in which to keep commonly used tools. 18 Interface Basics Using Tools AliasStudio, however, pr ovides another, even more convenient location for shelves. In these tutorials, you will use the shelf area in the control panel. ? Since you will not be using the Shelves window, you can close it. 2 Choose Windows > Shelves again to hide the Shelves window, or click the Shelves window’s close button. To help demonstrate how to make new shelves, you ill clear the default shelves and make new shelves specific to these tutorials. Before you clear the default shelves, you will save them so you can retrieve them later. To save the initial shelf set 1 Choose Windows > Control Panel. The control panel will appear. 2 Hold the left mouse button on the Shelf Options menu button at the top of the control panel’s shelf area to open the pop-up menu. 3 Drag down to the Save item and release the mouse button. A file requester appears. 4 Click in the File text field and type Default, then click Save. In the next procedure, you will start a new shelf of tools commonly used in curve fit ting in preparation or the lesson on fitting curves to scan data. To clear the existing shelf set and create a new one 1 Hold the left mouse button on the menu button at the top of the shelf area to open the pop-up menu. Notice how the menu button is now called Default, after the name of the current shelf. 2 Choose New from the pop-up menu. A requester appears asking for the name of the new shelf. 3 Click in the text box, hit the Esc key to clear the text, and type CurveFit. Click OK to name the new shelf. The old Shelf set is deleted and a new, empty shelf appears in the shelf area. Now you can begin adding tools to the new shelf. 4 In the Palette window, find the Curves palette. With the middle mouse button, drag the Fit Curve tool onto the Curves shelf in the control panel. 19 Interface Basics Using Tools The tool appears in the shelf. You could move the entire Curves palette onto the shelf by dragging its title tab, but you only want a selection of tools from the full palette. N ext, you will add curve drawing tools to the palette. Since you will often need to create curves of different degree in technical surfacing, it would be useful to have customized versions of tools with different settings. The shelf allows you to do this. When you drag a tool onto a shelf, the new copy of the tool keeps the settings it had when it was dropped on the shelf, ndependent of the original tool in the palette. Using this technique, you will create several versions of the two original curve creation tools, New curve (edit pts) and New curve (cvs). Each version will have different settings for the Degree option. To add versions of the New Curve tools to the shelf with different options 1 In the Curves palette, double-click New Curves > New Curve by Edit Points to open the tool’s option window. (Remember that you can also choose New Curve by Edit Points from the palette menu). The New Curve by Edit Points option window appears. The options let you set the knot spacing ( parameterization) and degree of the new curve. Make sure Knot Spacing is set to Uniform and Create Guidelines is off. 3 Set the Degree option to 2. 4 Find the tool icon at the top of the option window. This icon represents the tool as configured with these settings. 5 Press the middle mouse button on the tool icon at the top of the option box and drag it to the CurveFit shelf. Now when you choose this icon in the shelf, the New Curve (edit pts) tool will create degree 2 curves. 6 Back in the option window, set the Degree to 3. 20 Interface Basics Using Tools 7 Use the middle mouse button to drag the tool icon at the top of the option window to the shelf. Another copy of the tool is added to the shelf. When you choose this copy of the tool, the New Curve (edit pts) tool will create degree 3 curves. 8 Click Exit at the bottom of the option window to close the window. To rename the tools 1 Move the mouse over the CurveFit shelf’s title tab and press the right mouse button to show the shelf’s menu. Note that the two versions of the tool have the exact same name and icon. To be able to distinguish between the tools, you will rename them. 2 Find the first version of New Curve by Edit Points you dragged to the shelf. If you can’t remember which is which, doubleclick the two icons to see their option windows. You want the version with the Degree option set to 2. Hold down the Ctrl key and double-click the tool icon. A name requester appears. 4 Double-click in the text box and type Edit_pt_Deg_2, then click OK to rename the tool. 5 Hold down the Ctrl key and double-click the second copy of the New Curve by Edit Points tool. 6 Double-click in the text box and type Edit_ pt_Deg_3, then click OK to rename the tool. 7 Hold down the right mouse button on the title tab of the shelf to open the shelf menu. The two copies of the tool are now distinguishable in the menu, but still have identical icons. We recommend you keep the shelves collapsed and use the shelf menus to choose tools. This saves space in the shelf. To remove a tool from the shelf 1 Add another tool to the CurveFit shelf. Let’s now assume that this was a mistake and you wish to remove the tool. 2 Hold the middle mouse button over the tool’s icon in the shelf. The name of the tool appears. 3 With the middle mouse button held down, drag the label to the upper-right corner of the window and position the cursor over the trash can icon. 21 Interface Basics Using Tools 4 Release the mouse button. The tool disappears from the shelf. You can also delete groups of tools by dragging a tab with the middle mouse button to the trash can. You may have noticed that icons are a bit crowded on the shelf. The large icons are good when you are learning which icon is which, but now you will switch to the small icon size to save space in the shelf. To change to the small icon size 1 In the Preferences menu, choose General Preferences – ?. The Interface options appear. 2 Set the Icon Mode to Small. If you wish, you can also turn the icon labels option on to display name labels on all the icons. 3 Click the Go button at the bottom of the window to apply the changes. AliasStudio loads smaller versions of all the tool icons. You have seen how to create shelves with customized tools. In later lessons you will load premade shelves containing all the tools you need to omplete the tutorials. Using and Customizing Marking Menus An even faster method for selecting tools are the marking menus. Marking menus generally hold fewer tools than a shelf, but are much faster since you can use quick gestures to choose tools. With practice, selecting tools with marking menus becomes almost instantaneo us. To choose common tools with marking menus 1 Hold down the Shift and Ctrl keys. 2 With the keys held down, hold the left mouse button. 22 Interface Basics Using Tools The left mouse button marking menu appears at the location of the mouse pointer. 3 Keep the left mouse button held down and drag down until the Pick > Object box is ighlighted. A thick black line shows the direction of the mouse pointer. 4 Release the mouse button to choose the highlighted tool. The Pick > Object tool is now the current tool. 5 Hold Shift and Ctrl with the middle and then with the right mouse buttons to see the other marking menus. Each mouse button has a separate marking menu. Once you have learned which direction corresponds to which tool in a marking menu, you can use a quick gesture to choose the tool. 6 Hold the Shift and Ctrl keys, then drag up and release the mouse button quickly. The black line shows the direction but the menu is not drawn. When you release the mouse button, the arking menu flashes the name of the selected tool on the screen. You have just selected Pick > Nothing. Use this method to choose tools even faster once you have mastered the positions of the tools on the menu. Learn which tools are on the marking menus, and use the marking menus whenever you need to choose one of those tools. The more you use them, the faster you will become, until you can choose tools with quick gestures. To customize a marking menu with common tools 1 In the Preferences menu, open the Marking Menus sub-menu and choose Modeling Marking Menu – ?. The Modeling Marking Menu shelf window appears. This is a special shelf window. The tools and enu items on the different tabs appear in corresponding marking menus. The procedure to modify the content of marking menus is similar to the one for modifying shelves that we learned earlier. Here you will make a small modification to the Pick marking menu shelf. 2 Double click the Pick > Pick locator point tool in the Palette or Cont rol Panel to open the Pick Locator Options box. Right mouse button Middle mouse button Middle Right 23 Interface Basics Using Tools 3 Hold down the middle mouse button and drag the tool icon from the top of the option box and drop it between the third and fourth last icons on the shelf. You now have a tool on the marking menu to ick locators. 4 Hold down Shift and Alt keys and press the left mouse button to show the marking menu again. The tool you just added is called Pick > Pick_locator in the marking menu. You will change the name to something more concise. 5 In the MarkingMenu shelf window, hold down the Ctrl key and double-click the Pick locator tool in the shelf (second from the right). A dialog box appears. 6 Type Pick_Locator in the text field and click OK to rename the tool in the marking menu. 7 Show the left mouse button marking menu again. You now know how to customize the marking menus. In later lessons, you will load pre-made marking menus with common urfacing tools. U sing hot keys Hot keys are special key combinations that choose tools or perform menu commands. You can get a complete listing of all the hot keys in the hot key editor. To use hot keys 1 In the Preferences menu, open the Interface sub-menu and choose Hot keys / Menus. The hot key editor appears. 24 Interface Basics Using Tools ? AliasStudio’s option windows use a hierarchy similar to that of the file lister: options are organized into hierarchical sections that can be collapsed and expanded. 2 In the menu section, click the Layouts subsection title to expand it. Click to open a Section Heading You can see the hot key for the User windows tem, as well as text fields for defining other hot keys. You can define your own hot keys if you wish. For the most part we will not use hot keys in these lessons. If you are new to Autodesk AliasStudio products, we recommend that you spend some time working with the product before you define hot keys, so you can learn which commands you use frequently enough to need a hot key. 3 Click the close box to close the hot key editor. 25 Interface Basics Changing Your View of the Model Changing Your View of the Model Learn how AliasStudio represents the 3D model on your 2D monitor, and how to use the view controls to get the best possible angle on the model for the ask at hand. Tracking, Dollying, and Tumbling the Camera’s View There are many different ways to change the camera’s view in AliasStudio. In general, you will only need to learn three camera moves to model effectively: tumble, dolly, and track. Because these camera movements are so common, AliasStudio uses special hot key/mouse combinations to let you access these movements quickly. To use the camera move mode to move the camera in a perspective window 1 Hold down the Shift and Alt keys. Keep the keys held down during the following steps. 2 Make sure the mouse pointer is over the perspective view window. 3 Drag the left mouse button to tumble the came ra: Drag left and right to rotate the camera. ? Drag up and down to tilt the camera. Tumbling the camera changes the azimuth and elevation angles of the camera. 4 Release the left mouse button, but keep the Shift and Alt keys held down. 5 Drag the right mouse button to dolly the camera in and out. Dolly in out Track Tumble rotate tilt up down left right 26 Interface Basics Changing Your View of the Model Dollying moves the camera forward and backward. 6 Again, release the right mouse button, but keep the Shift and Alt keys held down. 7 Drag the middle mouse button to track the camera. Tracking moves the camera, but does not change the direction in which the camera is pointing. When you are done moving the camera, release the mouse button and the Shift and Alt keys to exit camera move mode. Now, try moving the camera in the orthographic windows. To use the camera move keys to move the camera in an orthographic window 1 Hold Shift and Alt to enter camera move mode. 2 Make sure the poi nter is over an orthographic window such as Top, Side, or Back 3 Drag the right mouse button to dolly in and out. 4 Drag the middle mouse button to track up, down, left and right. 5 Now try dragging the left mouse button to tumble the orthographic view. Nothing happens. You cannot change the view direction of orthographic windows. They always ook in the same direction. Moving the camera is a very important skill in AliasStudio. Throughout this book you will need to move the camera to work with geometry. Using the camera move mode soon becomes second nature. With practice, you will be able to 27 Interface Basics Changing Your View of the Model move the camera where you need it without thinking about the keys or the mouse. Practice tumbling, tracking, and dollying the camera around the model some more before you move on. To use Look At to center on an object 1 Use the marking menus to choose the Pick > Nothing tool. Remember that the left mouse button marking menu has the pick tools. Now use the marking menus to choose the Pick > Object tool. 3 Pick one of the geometric objects you created earlier. 4 Find the View palette. It’s near the bottom of the Palette window. 5 Choose the Look at tool. The active view window (the window with the white outline) changes to center on the picked object. 6 Pick nothing. 7 Use the Look at tool again. The active view changes to center on all the existing geometry. When you use Look at with nothing or everything picked, the view will center on all the geometry in the scene. Look at is most useful to quickly find geometry that is outside the view of a window or too far to be seen clearly. AliasStudio provides two additional tools to make it easier to move the camera around a model quickly: the â€Å"point of interest†, and the viewing panel. Changing the Point of Interest Normally, camera move mode (Shift+Alt) is calibrated to best view objects at the origin (the center of world space, coordinate 0,0,0). This can become awkward when you want to move the camera around objects away from the origin. The point of interest manipulator lets you center the camera movements on a point on the model. To use the point of interest manipulator First, make sure the point of interest manipulator is turned on. 1 Choose Preferences > General Preferences ?. The General Preferences window appears. 28 Interface Basics Changing Your View of the Model T 2 Click Input on the left hand side to open the Input section. 3 Turn on the Use point of interest option. 4 Click Go to close the window and use the new settings. 5 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to open the Viewing Panel. Keep the keys held down for the rest of this procedure. 6 In the Viewing Panel, open the Pnt of Interest section and turn on Visible. 7 Position the mouse pointer on the wireframe of one of the primitive objects and click with the left mouse button. When you release the mouse button, the point f interest manipulator appears on the model where you clicked. Drag with the left mouse button to tumble. The view tumbles around the point of interest. 8 Click and release on another point on one of the primitive objects. The point of interest manipulator jumps to the new point. 9 Drag the circle at the center of the point of i nterest manipulator. The manipulator moves across the surface of the object. 10 Notice the light blue or yellow arrow extending from the center of the manipulator. This arrow indicates the normal at this point on the surface. The arrow is light blue when it is pointing toward you and yellow when it is pointing away. 11 Click the light blue or yellow arrow. The view changes to look at the point down the normal. 12 Now look for the red and green arrows extending from the center of the manipulator (tumble the view to show the arrows more clearly if necessary). These arrows represent the tangents along the U and V directions for the object. 13 Click the red arrow. The view changes to look down the tangent in the U direction. 29 Interface Basics Changing Your View of the Model Use the following overview illustration as a reminder of the different controls on the point of interest manipulator. Using the Viewing Panel You have probably already seen the viewing panel appear when you enter camera move mode in the Perspective window. This window lets you quickly switch the Perspective window to a default or userdefined view of the model. As you work on the model, you will probably find yourself changing the camera view back and forth between two or more areas of interest. The viewing panel lets you â€Å"bookmark† views of the model and return to those views by clicking the name of the bookmark. To use the viewing panel to move between different views 1 Click the maximize box in the upper right corner of the Perspective view window. The Perspective view window enlarges to full screen. 2 Hold down the Shift and Alt keys to enter camera move mode. Keep the keys held down for the rest of this procedure. The viewing panel appears in the upper left corner of the Perspective window. The images at the center of the panel (small icons of the top and bottom of a car) represent the model. 3 Click an arrow to view the model from one of eight different directions. The horizontal and vertical arrows represent front, side, and back views. The diagonal arrows represent three-quarter views. Click the red or green arrow to look at the tangent along the U or V direction Click the light blue/yellow arrow to look down the norma Drag the circle to move at this point the point of interest along or across the object 30 Interface Basics Changing Your View of the Model Click the left car icon to see a top view, or the right car icon to see a bottom view. 5 Click the white arrow near the bottom of the viewing panel to return to the view previous to your last camera move. 6 Click the Viewing Panel section heading at the top of the panel to collapse the entire panel into a small heading. Use this technique to get the viewing panel out of the way when you want as much viewing area as possible. 7 Click the Viewing Panel heading again to expand the panel. 8 Click the Point of Interest section heading to open it. Options related to the point of interest manipulator appear. 9 Turn off the Visible check box to hide the point of interest manipulator. Turn the Visible check box on to show the manipulator again. 10 Turn on the Locked check box to keep the point of interest manipulator locked at its current position. The manipulator will not move when you click at another point or drag its center handle. Use this option if you find that you are moving the manipulator unintentionally. Turn the Locked check box off to free the manipulator. 11 Turn off the Perspective check box. The perspective view changes to an isographic projection. 31 Interface Basics Changing Your View of the Model Many people find an isographic view easier for technical modeling, since parallel lines in the model remain parallel in the view window. For the remainder of the tutorials, the screen shots will show isographic views. However, feel free to turn the Perspective checkbox back on if you prefer a perspective view. To set and show bookmarks 1 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to enter camera move mode. Keep the Shift and Alt keys held down. 2 Find the Bookmarks section at the bottom of the Viewing Panel If it is not visible, click on the tag in the bottom right corner of the viewing panel. It will turn white and the bookmarks section will appear. 3 Click the new button in the bookmarks section. A new bookmark appears at the bottom of the section. Move the camera to a new view on the model. 5 Click the new button again. A second bookmark appears in the bookmark list. 6 Click the label for the first bookmark, then the second. The view switches back and forth between the two bookmarked views. To be able to distinguish between bookmarks later, you should rename them now. 7 Cl ick the edit button in the Bookmarks section. The Bookmark Lister window appears. 8 Release the Shift and Alt keys. 9 Hold down the Ctrl key and double-click the first bookmark icon in the Bookmark Lister. A dialog box appears. 10 Type a new name for the bookmark, then click OK. For production work you should use meaningful ames such as â€Å"back panel† or â€Å"door handle†. By default, bookmarks are named BM, BM#2, BM#3, etc. Move the cursor over a bookmark icon to see its current name. 11 Ctrl double-click and rename the other bookmark. 12 Note the buttons in the Bookmark Lister window: ? The Delete button removes the current bookmark (green outline) from the list. ? The New button adds a bookmark of the current view. This is the same as clicking new in the viewing panel. ? The Prev and Next buttons change the view to the bookmark that precedes or follows the highlighted bookmark (green outline). Delete New Prev Next Bookmark icons Cycle Publish 32 Interface Basics Changing Your View of the Model The Cycle button displays the bookmarked views in a slideshow fashion. ? The Publish button saves the current or all bookmark(s) as image files on your disk. ? Clicking on a bookmark icon changes the view to that bookmark. This is the same as clicking a bookmark in the viewing panel. 13 Close the Bookmark Lister. 14 Hold the Shift and Alt keys in the Perspective window to show the viewing panel. Notice your new names in the Bookmarks section. Use the following overview illustration as a reminder of the different controls on the viewing panel. The Twist and Azimuth/Elevation tools rotate the view around the point of interest. Open/Close Panel Open/Close