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This book is part of a family of premium-quality Sybex books, all of which are written by outstanding authors who combine practical experience with a gift for teaching. Sybex was founded in From the paper we print on, to the authors we work with, our goal is to bring you the best books available.
I hope you see all that reflected in these pages. Customer feedback is critical to our efforts at Sybex. Best regards, Chris Webb Associate Publisher, Sybex Acknowledgments A team of people has been instrumental in making this book you are holding in your hands or reading onscreen a reality. I would like to express my sincere gratitude to the professional team at Sybex an imprint of Wiley for all their hard work. He has written a column in Photoshop User Magazine since You can contact him through his website at www.
Draw Lines and Rectangles. Cancel, Erase, and Undo. Use Coordinate Systems. Draw Circles, Arcs, and Polygons. Use Fillet and Chamfer. Employ Ortho and Polar Tracking. Use PolarSnap. Select Running Object Snaps.
Harness the From Snap. Apply Object Snap Tracking. Move and Copy. Rotate and Scale. Work with Arrays. Trim and Extend. Lengthen and Stretch. Offset and Mirror. Edit with Grips. Draw Ellipses. Shape Splines. Blend Between Objects with Splines.
Set the Current Layer. Alter the Layer Assignments of Objects. Control Layer Visibility. Apply Linetype. Assign Properties by Object or by Layer.
Manage Layer Properties. Isolate Objects. Chapter 7 Or g anizing O bje c t s Define Blocks. Insert Blocks. Edit Blocks. Redefine Blocks. Work with Groups. Associate Hatches with Boundaries. Hatch with Patterns. Hatch with Gradients. Chapter 9 Work with Global Blocks. Access Content Globally. Store Content on Tool Palettes.
Reference External Drawings and Images. Write Lines of Text. Edit Text. Chapter 11 Dimensioning Style Dimensions. Apply Dimensional Constraints. Constrain Objects Simultaneously with Geometry and Dimensions. Create Layouts. Adjust Floating Viewports. Draw on Layouts. Create Plot Style Tables. Use Plot Style Tables. Plot in Model Space. Plot Layouts in Paper Space. Export to an Electronic Format. Chapter 15 Geolocate Projects. Insert Attributed Blocks.
Edit Table Styles and Create Tables. Use Fields in Table Cells. Edit Table Data. Work with Tiled Viewports. Navigate with the ViewCube. Orbit in 3D. Use Cameras. Navigate with SteeringWheels.
Learn to Save Views. Place and Adjust Lights. Create Renderings. Document Models with Drawings. Appendix Create Surface Models. Edit Surface Models. Create Solid Models. Edit Solid Models. Smooth Mesh Models. You can rest assured that spending your time learning AutoCAD will be a wise investment, and the skills you obtain in this book will be useful for years to come. I wish to welcome you in beginning the process of learning AutoCAD. It will give you great satisfaction to learn such a complex program and use it to design and document whatever you dream up.
Who Should Read This Book This book is for students, hobbyists, professional architects, industrial designers, engineers, builders, landscape architects, or anyone who communicates through technical drawings as part of their work.
See www. This book also features an appendix that can help you focus your studies on the skills you will need for the certification exams. Each chapter features multiple exercises that take you step by step through the many complex procedures of AutoCAD. The goal of performing these steps on your own is to develop skills that you can apply to many different real-world situations.
Although each project presents different obstacles and opportunities, I urge you to focus on the concepts and techniques presented rather than memorizing the specific steps used to achieve the desired result.
The actual steps performed may vary in each geometric situation. After you achieve the desired result, start over and experiment using the same techniques on your own project whether invented or real. After you have practiced, think about how you have achieved the desired result and you will get the most out of this book. The following are system requirements for running either version on the different operating systems in which they are offered. See knowledge. You can also access additional tools and materials to help you design, visualize, and simulate ideas.
Connect with other learners to stay current with the latest industry trends and get the most out of your designs. Get started today at www. The drawing aids covered with step-by-step exercises in this chapter include grid and snap, ortho and polar tracking, PolarSnap, running object snaps, the From snap, and object snap tracking.
This chapter teaches you how to create both single- and multiline text, how to edit any text, and how to control its appearance through text styles and object properties.
The formulas in the examples are as simple as adding two dimensions or calculating the diameter of a circle from its radius. I n t r o d u c t i o n xix The Essentials Series The Essentials series from Sybex provides outstanding instruction for readers who are just beginning to develop their professional skills.
The Certification Objective margin icon will alert you to passages that are especially relevant to AutoCAD certification. See the certification appendix and www. By buying this book, you have already taken the first step in this journey. When you finish, you will have a solid understanding of AutoCAD. You have the option of automatically storing up to 5 GB of your drawing files in the cloud for free. The Dashboard is a new feature in AutoCAD that appears when you launch the program and whenever you create new file tabs.
You can create new drawings, access existing drawings, connect to AutoCAD , and receive notifications all on the Dashboard. Exercise 1. Sign in with an Autodesk ID or email address and password. Only those objects completely polygonal crossing contained within the borders of the blue window will be selected. Press Enter to make the selection. Square blue dots appear on the selected objects—these are called grips, and you will learn to use them later in this chapter.
Press Esc to deselect. Toggle on Ortho mode in the status bar. Without being concerned with measurements or accuracy, draw a line under the word Stair, a circle around the letter A, and a rectangle around the entire section, in that order see Figure 4. Select the circle and the line and press Enter.
The grips for the circle and line appear; press Esc to deselect. Click the Erase icon on the Modify panel. At the Select objects: prompt, type P for Previous and press Enter. The circle and line are selected because they comprise the set of objects that was selected previously.
Press Enter again to delete these objects. Type L for Last , and press Enter. The rectangle is selected because it was the You can select the entire draw- last object you created. There can only be one last object.
Press Enter ing by typing all again to delete the rectangle. Click the dot at the end of the stair direction line shown in Figure 4. This dot is at the conluence of the horizontal stair direction line and the vertical tread line. When Selection Cycling is on, you are presented with the Selection dialog box whenever your selection is ambiguous. Hover the cursor over the items in the list and each one is highlighted in blue on the drawing canvas. Select the line in the list that highlights the stair direction line as shown in Figure 4.
Create Selection Sets 63 Click this dot. Select one of the vertical tread lines in Stair A by clicking on it. Right-click, and choose Select Similar from the context menu that appears. All lines on the same layer are selected; you might have to zoom out to see both stairs see Figure 4. Other object types on the same layer remain unselected because they were not similar enough. Press Esc.
Here you can choose criteria to determine which object properties must match in order to be selected by this useful com- mand: Color, Layer, Linetype, Linetype Scale, Lineweight, Plot Style, Object Style, or Name. Pan to the upper-right quadrant of the building, and zoom into the furniture grouping that needs to be illed in. Click the chair that is not in front of a desk to select it.
Position the cursor over the selected chair, but not over its grip. Drag the chair while holding down the left mouse button to move it closer to the upper desk, as shown in Figure 4.
To position the chair more precisely, click the Move tool in the Modify panel. Select the chair you just moved in the previous step and press Enter. Right-click the Object Snap toggle in the status bar, and choose Midpoint Certification Objective from the context menu if it is not already selected.
Click the base point at the midpoint of the front of the chair point A in Figure 4. Click the second point B in Figure 4. The chair is moved precisely to the midpoint of the desk edge. Press the spacebar to repeat MOVE. Type P, and press Enter twice to Certification Objective select the same chair again.
Type D, and press Enter once more to choose the Displacement option. In Displacement mode, the irst point is the origin point. Any coordinates you enter are relative to the origin, so typing the symbol is unnecessary. Click the Copy tool in the Modify panel. Select the chair you just moved and press Enter twice. Select the midpoint of the desk point B in Figure 4. Press the spacebar to repeat the previous command, select both desks Certification Objective and chairs with crossing windows but not the low partition between them , and press Enter.
Select point A in Figure 4. Type A and press Enter. Type 3, press Enter, and then click point B in Figure 4. Pan over to the Conference room. Select the Object option by clicking Object on the command prompt. You must include the Select the inner left wall line and watch as the crosshair cursor original object in the count of items.
Toggle on Ortho on the status bar if it is not already on. Type CO for Copy , and press Enter. Select the chair that is against the left wall of the Conference room and press Enter. Click an arbitrary base point by clicking in the empty space of the Conference room.
Move the cursor down along the direction of the wall and click the Array option. The command prompt reads as follows: Enter number of items to array: Type 5, and press Enter.
Move the cursor downward, and observe that ive ghosted chairs appear. When the spacing looks right see Figure 4. The crosshair cursor returns to its default orientation. Numerically speaking, you typically rotate by degrees or scale by percentages about base points. On the other hand, you can avoid using numbers entirely by choosing the Reference options, which let you rotate or scale selection sets in relation to other objects.
Navigate to Reception at the bottom of the loor plan. Click the Rotate button in the Modify panel, select the upper lounge chair, and press Enter. Toggle off Ortho and Polar Tracking if it is on in the status bar.
Move the cursor around the point, and observe that a rubber-band line connects the base point to your cursor and a ghosted image of the chair is superimposed over the original chair representation.
Move the cursor until the rubber band aligns more or less perpen- dicularly to the wall behind the chair see Figure 4. Click the chair that you just rotated to select it without issuing an explicit command. Hold the Ctrl key, and repeatedly press the arrow keys to nudge the selected object a few pixels at a time.
Nudge the chair so that it is a similar distance from the wall and the round table as compared to the other armchair in Reception. Press Esc to deselect all. Zoom out and focus on the upper-left quadrant of the building. Select the furniture group shown in Figure 4. Select midpoint A as the base point, and select midpoint B as the second point. Type RO for Rotate , and press Enter. Type L for Last and press Enter twice. Select the same midpoint where the furniture group was attached to the midpoint of the shell window wall as the base point of the rotation.
Instead of specifying the reference angle with a number, you will determine the angle interac- tively. Type and press Enter to input the base point of the rotation as the base point of the reference angle.
Click endpoint A as shown in Figure 4. The furniture group rotates so that it is parallel and cen- tered on the window wall. Pan over to the upper-right quadrant of the building, and zoom in on the oversized round table. Click outside the menu to close it and then ence to other objects without having to snap to the center of the circle by hovering over the circle and then input numerical angles moving the cursor to its center and clicking. Enter to scale the circle down to 50 percent of its original size see Figure 4.
Toggle on Ortho on the status bar, and move the chairs closer to the table, both horizontally and vertically. You will learn how to create two types of associative arrays: rectangular and polar. Type OB for Object , and press Enter. Select the left side of the bottom-left edge of the table in the Small Conference room. Click the Rectangular Array tool on the Modify panel.
Select both chairs on the sides of the conference table and press Enter. Change Columns to 1 and Rows to 5 on the temporary Array Creation tab that appears on the ribbon. Select the Associative toggle in the Properties panel if it is not already blue. Click Close Array on the ribbon. Select one of the new chairs, and observe that all the arrayed chairs side of the line you are selected as a unit. Click Close Array. Type UCS, and press Enter twice to return to the world coordinate system.
Type AR for Array , and press Enter. Type PO for Polar , and press Enter. Hold down Shift, and right-click to open the Object Snap context menu. Work with Ar r ays 73 5. Type 12 in the Items text box on the ribbon and press Tab. The table is a bit too large. Click the circle to select the table.
Press Enter and then Esc. Click any one of the chairs to select the polar array. Hover the cursor over the base point grip, and choose Stretch Radius see Figure 4.
The chairs more closely wrap around the smaller table. Instead, these com- mands are used for arraying points. You can invoke the opposite Objective command while running either by holding down Shift.
Click the Extend tool on the Modify panel it is nested under Trim. Select the inner line of the bottom core wall and press Enter. Create a crossing window by clicking points A and B, as shown in This line will be the Figure 4.
Four tread lines are extended. Click each remaining boundary edge that tread line, one at a time, to extend all the stair treads to the core wall. Type TR for Trim , and press Enter. Select the upper and lower hand- rail lines to act as cutting edges and press Enter. Make a narrow crossing window in the center of the handrail to trim away all the treads that pass through the handrails, and press Enter.
Type EX for Extend , and press Enter. Click each of the ive missing tread lines to extend them into the bottom light and press Esc to end the command. Hold Shift and click each one of the treads passing through the handrail. Press Esc when you have removed all ive line segments see Figure 4. Type , and press Enter. Click the line segment on the right side of the incomplete copy machine to lengthen it toward the right.
Type S for Stretch , and press Enter. Click points A and B as shown in Figure 4. Toggle on Ortho if it is not already on. Click a base point off to the right side of the door opening, well away from the geometry so that you do not inadvertently snap to anything.
The wall, door, and swing end up more or less centered on the wall. MIRROR cre- ates a reversed object at a distance from the original object as determined by the position of a drawn relection line.
Click the Offset tool in the Modify panel. Select the elliptical arc at the bottom edge of the Copy Room. The command line asks you to specify a point to determine on which side of the selection to offset the new object. In this case, click any- where above the elliptical arc, and a new ellipse is created such that its curvature matches the original but is spaced a set distance away. Press Esc to exit the command. Type F for Fillet , press Enter, and click the new elliptical arc and the inner line of the adjacent vertical wall on the right.
Press the space- bar to repeat the FILLET command, and click the elliptical arc and inner line of the adjacent vertical wall on the left. The intersections between the wall objects are cleaned up see Figure 4.
Zoom into the furniture system that is missing two desks in the upper-right quadrant of the building. Click the Mirror tool in the Modify panel. Make crossing and individual line selections to select the desks and chairs shown in Figure 4.
Double-click the mouse wheel to zoom to the drawing extents. Select the furniture system indicated in Figure 4. For the irst point of the mirror line, type 0,0 and press Enter.
Select this group. Press Enter to complete the The origin point is at command, and decline to erase the source object by pressing Enter the geometric center of again. Edit with Grips All objects have grips, the square blue symbols that appear in AutoCAD at sig- Certification Objective niicant points when objects are selected without issuing any command. Select the inner line of the window wall directly below the sofas, right-click, and choose Properties from the context menu.
Click both sofas and the coffee table in between them to select all three. Click the grip in the center of the coffee table to activate it and turn it red.
Press the spacebar again. Type 'CAL to invoke the command-line calculator transparently. Exercise 5. Figure 5. Click the Polyline tool on the Draw panel of the ribbon. Click the irst Objective point at point A, shown in Figure 5. Type A for Arc , and press Enter. Normally, polyline arcs 2.
Toggle off Ortho and Polar Tracking modes if they are on. Observe are defined by two that the arc you are drawing by default opposes the natural curvature points, and by using the of the lake see Figure 5. Type S for Second Point and press Enter.
Click point B shown in Figure 5. By turning on Node run- ning object snap, you 4. Right-click the Object Snap toggle in the status bar and turn on Node will be able to snap arcs and Endpoint in the menu.
Toggle off any other snap options that are to all the point objects selected. Toggle on Object Snap if it is off. Press the spacebar to repeat the last command. Click point D shown in Figure 5. Click each subsequent node around the right side of the lake until you reach point E in Figure 5. Press Enter. Certification 9.
Click the right polyline, and click outside the lake. Click the sample file are meant outer arc surrounding the pentagonal structure, and then click out- to guide you in the side the lake.
Click the Trim tool in the Modify panel. Press Enter to select all necessary when draw- objects as potential cutting edges, and click the portions of the arcs ing curves on your own. Zoom into the lower highlighted area, and trim the arcs at their tips so that they meet at their endpoints. Certification Pan over to the building at the bottom of the lake. Click the lower- Objective left polyline to select it.
Click the endpoint grip, move it down a short distance, and click again see Figure 5. Press Esc, and then click the Undo button in the Quick Access toolbar.
Click the Arc tool in the Draw panel, hold down Shift and right-click, and choose Nearest from the context menu. Click points A, B, and C in Figure 5. Press Enter twice to end and restart the ARC command. Type J for Join , and press Enter. Select all ive objects that comprise Objective the outer path three arcs and two polylines. Press Enter, and the command line reads as follows: 14 segments joined into 1 polyline There are 14 segments if you include all the arcs that make up the two polylines.
You are left with a single polyline marking the outer edge of the path. Press the spacebar to repeat the JOIN command. Select the three objects along the inner edge of the path, which include two polylines Use JOIN to connect and the arc above the pentagon. Press Enter, and multiple segments collinear lines even if there is a gap between are joined into one polyline see Figure 5. JOIN is the The streamlined JOIN command makes the older workflow unnecessary.
Multiple object types can be joined at once. The resulting object type depends on what was selected. Instead of stretching a cord from two pins to a moving pencil point which is how you draw an ellipse by hand , in AutoCAD you specify the lengths of its major and minor axes see Figure 5. Zoom into the area in the lower left where the remaining point objects are located.
The size of point objects is recalculated when the drawing is regenerated. Certification Objective 3. Open the Ellipse menu in the Draw panel, and choose the Center method.
Click the center point, the end of the major axis, and the end of the minor axis, shown in Figure 5. Every ellipse has four 4. Expand the Modify panel and click the Break button. Select the quadrant points corre- ellipse. The command prompt reads as follows: sponding to the cardi- nal directions: north, BREAK Specify second break point or [First point]: south, west, and east. Click First Point on the command line.
Right-click the Object Snap toggle in the status bar, and select Quadrant from the context menu. Click the quadrant point opposite the point object marking the end of the major axis see Figure 5. The lower half of the ellipse remains, leaving an elliptical arc. Select the elliptical arc. Press Enter to accept the default when asked if you want to align the block with the selected object. Type 13 for the number of segments , and press Enter. Delete the three points used in drawing the ellipse, the elliptical mand always creates arc itself, and the white circle, which is the original Shrub block.
Fortunately, it is easy to switch between CVs and Fit Points editing modes, so you can make up your mind about which method to use to suit the situation. A control frame connects CVs and represents the maximum possible curvature between adjacent CVs. Shape Splines 93 You will now draw a CV spline around the lake. Begin by opening Ex Click the irst point anywhere along the edge of the lake.
Continue clicking points all the way around the lake. When you get close to the irst point, type C for Close and press Enter. Click the spline you just drew to reveal its CVs see Figure 5. Position the cursor over a CV, and observe the multifunction grip menu. Select Stretch Vertex, move the cursor, and click to relocate CV curves are typically roughed in initially that particular CV. Try adding and removing vertices using the corresponding choices in shape immediately afterward.
Reining a vertex transforms one vertex into two adjacent vertices. Try reining vertices in areas where the curvature is changing rapidly. Another way to affect the shape of a spline is to adjust the weights of individual CVs.
Zoom out until you can see all the vertices, locate the red one, press Enter repeatedly to choose the default option Next , and move the red CV one position at a time until your chosen CV turns red. Shape Splines 95 Type 2, and press Enter see Figure 5. Type a value appro- need to enter depend priate to your particular situation, and press Enter. We set a weight of entirely on exactly 0. CVs when creating the curve in step 2. Increase the weight of this CV.
The curve is drawn closer to the control frame near the weighted CV. Type X for Exit , and press Enter. Continue adjusting the spline until it closely matches the outline of the lake.
Type IM for Image , and press Enter. Close the External References palette. The pond is now represented by a blue curve rather than a blue image see Figure 5. The SKETCH command is admittedly difficult to use with a mouse, so if you have a stylus and a drawing tablet, try using them for a more natural drawing feel.
Controlling the shape of a it curve on the most basic level is a matter of adding more it points in strategic locations. There are a few advanced options affecting the shape of a spline in between it points Tangent, Tolerance, Kink, and Knot Parameterization , and you will use Kink in this exercise to establish sharp points on the spline.
Zoom into the area at the bottom of the lake. More speciically, zoom into the grouping of ive points. Expand the Draw panel, and click the Spline Fit tool at the top left. Toggle on Object Snap mode in the status bar with Node snap on , and click the top point, the point on the right, the bottom, and then the one on the left. Type C for Close , and press Enter. The it curve looks very much like a circle, although it is not perfectly round see Figure 5.
This will be the start of an abstract tree representation. Expand the Modify panel and click the Edit Spline button. Select the curve you drew in step 2. Choose Fit Data from the dynamic input menu.
Then choose Add from the next dynamic input menu that appears. Click the curve in between the top and right points. To use this feature, click the spline to select it, hover the cursor over the rightmost point, and choose Add Fit Point from the menu that appears. Hold Shift, right-click, and choose Nearest from the context menu. Click a point between the right and bottom points. Repeat the previous step twice, adding additional it points between the bottom, left, and top points see Figure 5.
Click Fit Data from the dynamic prompt menu. Press Enter three times to exit the com- mand fully. Click each kink grip, and move it in toward the center to create an abstract representation of a tree see Figure 5. Blend Between Objects with Splines 99 Blend curves join the endpoints of the two objects with a curve having either tangent or smooth continuity.
There is a subtle difference between these types of blending. A blend curve with tangent continuity has its control frame parallel to the control frame of the adjacent curve.
A blend curve with smooth continuity not only has its control frame parallel to the control frame of the adjacent curve, but the control frames have equal lengths. A CV spline with tangent continuity blends between the two arcs. Click two adjacent arcs to create another blend curve see Figure 5.
Continue blending all the adjacent curves in the tree. All objects have properties that control their appearance—properties such as color, linetype, lineweight, and so on.
The layers to which objects are assigned usually con- trol general object properties, but these properties can be set on a per-object basis as well. When you draw a line, you are ultimately specifying its geometric properties the start point and the endpoint.
Geometric properties are the most important factor governing how objects look and determining where the objects are in space. In addition to geometric properties, all objects share a short list of general properties: layer, color, linetype, linetype scale, lineweight, transparency, and thickness. Although general properties are assigned on a per-object basis, they are usually controlled by using layers. Exercise 6. Figure 6. Zoom into the reception desk at the center of the small ofice plan. Click the Desk-High layer name to activate the Layer drop-down menu see Figure 6.
Select the Desk layer in the drop-down see Figure 6. Observe that the line whose layer property you You can change the properties of multiple changed now appears violet, like the other objects on the Desk layer.
However, only the properties that the selected items have in common are displayed. Expand the Layers panel and click the Merge tool. Click one of the brown lines in the upper portion of the reception desk and press Enter.
Click the violet line you changed to the Desk layer in step 5 and press Enter. Do you wish to continue? Choose Yes from the dynamic prompt menu. Be careful, though, to 9. The display is regenerated. Expand the Properties panel, and click the List tool. Pan over and information. Select the View tab on the ribbon and, on the Palettes panel, click the Objective Properties tool to open the Properties panel. Select the Business Development text object you selected in step Many of its properties appear in the panel see Figure 6.
Property values that are editable are displayed on a black background when selected. Press Esc to deselect the text object. You can now close the command shows some Properties panel. Objects are always drawn on the current layer, and there is only one current layer at any given time. Every drawing has at least one layer, layer 0 zero , which is current by default when you create a new drawing. Select the Home tab on the ribbon.
Click the Rectangle tool on the Draw panel, and click a point a few inches no need to measure Press Shift, right-click, and choose the None from the lower-left corner of the room.
Select the rectangle you drew in the previous step, and change its Layer assign- ment to Furniture in the Quick Properties window that appears. If you plan on drawing more than one object, a more eficient approach is to set the current layer before drawing so that the new object will have the proper layer assignment automatically. Open the Layer drop-down menu in the Layers panel, and click on or to the right of the word Furniture to set this layer as current see Figure 6.
Pan over to the Marketing space. Click the Rectangle tool on the Draw panel, and click a point a few inches without measuring from the lower-right corner of the room. Type ,72 or , for metric , and press Enter to create a credenza in Marketing see Figure 6.
Select the rectangle you drew in the previous step, and verify that it is on the Furniture layer in the Quick Properties window that appears. Pan over to the closet in Marketing. One of the lines representing shelves is missing. You will draw the missing line on the same layer as the existing shelf line. This approach is more efficient than learn- Toggle on Endpoint and Perpendicular running object snap modes on ing the layer name by the status bar, if they are not already on.
Click the Line tool on the Draw panel, and draw the line shown in ting its layer current. Draw this line. Alter the Layer Assignments of Objects Alter the Layer Assignments of objects Although you have already changed the layer assignments of objects using Quick Properties, there are more eficient methods, some of which do not require you to remember a layer name. Type DS, and press Enter.
Select the coffee table in Marketing. Notice that the entry in the Layer drop-down in the Layers A preview of property panel changes to layer 0; this does not mean that layer 0 is current changes appears on Millwork is , only that the selected item is on layer 0. Pan over to the lounge room. Click the Match tool in the Layers panel, select the coffee table in the lounge, and press Enter.
The coffee table is now assigned to the same layer as the sofas Furniture. Certification 8. Click Settings on the command line; the Property Settings dialog box appears. You can match many properties in addition to layers with this tool see Figure 6. Merging Layers You can merge the contents of multiple layers into a single layer. First, select the layers you wish to merge in the Layer Properties Manager using the Ctrl key to select multiple nonsequential layers , right-click, and select Merge Selected Layers To.
You are then presented with a dialog box where you can select the single destination layer from a list. The source layers are automatically purged after their contents are merged into the destination layer. Control Layer Visibility In traditional drafting, separate drawings would have to be made for the loor plan and the relected ceiling plan to represent the loor and ceiling of the same space. In AutoCAD, simply displaying some layers while hiding others allows you to create some of the drawings required to describe the space graphically.
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