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Posts posted by inveresk

  1. When I retired from working my practice full time I decided that the continued investment in the software wasn’t something I could justify. I also have an aversion to subscription software. However, I still undertake the odd commission and need access to some of my archived drawings. Cheapest option was to keep an old iMac (late 2012) on High Sierra and use that for the foreseeable future. I bought a new Apple-refurbished iMac (late 2015) which is now my workhorse.  I’m spending a lot more time with the Affinity Suite of programmes now I have more time on my hands. As it happens, that new iMac went belly up about three weeks ago on the very last day of warranty. It needed a new logic board, new hard drive and new memory. I’m glad the bill was Apple’s. 


    Before I bought the second iMac I downloaded some trial versions of the less expensive software and after VW they felt like a serious downgrade. Also at my age (not far off 70) it’s hard to muster the enthusiasm to embark on a steep learning curve for an inferior piece of software. I did write Nemetschek and ask them to consider having a cut price deal for relics like me who have been users of the app in its various iterations for three decades or more and still like to potter with it. It’s being considered, I’m told. 

  2. ....I had a little trouble with this initially too, make sure you click and hold the shape first before pressing option/alt to drag.....

    I've tried that. The plus sign appears in the smart cursor window and I get a duplicate through option/drag. Is there a way to switch off option/drag for duplication?

  3. I can't seem to find the drop down menu that allows me to set automatic working plane. Nor does subtraction and addition to solids occur when I use the push tool with option key (mac) pressed and held.

    I've watched the video several times and worked through the menus and tools without any luck.

    Can anyone give me chapter and verse on this or link me to a pdf that describes it in baby steps.


  4. When outputting larger files to an HP 130nr from an Imac with 1GB memory, the printer works well up to around half way through the print then colour goes haywire and the remainder of the print has a distinctly pink tone. I'm assuming it's a memory problem and since the 130nr can't have a memory upgrade, guess I have to upgrade my RAM.

    Anyone else have this problem or can advise whether a memory fix would work?

  5. For window and door insertion under these circumstances, I tend to place windows in the outer leaf, offset as needed, then close the inner leaf at the jamb.

    Tedious, but I don't know another fix to the problem you mentioned in your original post, Marcus. If there is one that allows the various wall components to be combined into one wall element, I'd be glad to hear of it.

  6. If you have a wall with different component thicknesses in various locations, e.g. a masonry cavity wall with varying inner or outer leaf thicknesses, the wall won't join properly at corners unless you construct each component as a separate wall element. Easiest way to do this is to form the outer leaf, say, then select it and use the offset tool to place the inner leaf the correct distance from it. If the outer and inner leafs are different thicknesses, you can correct one of them through the Object Info pallette.

    Working this way is fiddly but doable and it takes time. For example window and door insertion isn't a simple task. In some complex masonry projects (see illustration of one I'm working on at the current time), there isn't really an option.

  7. I'm a HP 130 nr user. I think the 110 you're thinking of is similar to the 130. I've no problem with memory or drivers on an Imac with 1GB RAM. The plotter worked straight out of the box with the software HP supplied. It's robust, ink cartridges last well (although are fairly expensive to replace) and output is fast enough with high quality available when needed. Plotter heads are replaceable - I've replaced one in the three years I've had the machine.


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