Onshape is FREE for non-commercial work. It does NOT require a complicated download or install. It is EASY to use in Free mode.
Onshape is entirely cloud based - which is a mixed blessing. You can't really export your native design details (that I'm aware of) - though it wouldn't really do you any good, as the format would almost certainly be proprietary.
The good news about Onshape being cloud based is that you can log into Onshape from any computer and access your projects. Since the interface is cloud based through a web browser - you can seemlessly move between Windows and Unix.
Onshape seems is richly featured. There is PLENTY of documentation, training, and help videos and information available on the internet. While I liked the thread and coil feature of Fusion 360 better, there does at least exist a thread feature in Onshape. I've tried it once, and wasn't tremendously impressed. I may typically use a body hole and then tap holes. Best case, maybe do the threads and plan on running a tap.
The BIGGEST NEGATIVE about Onshape is that for non-commercial accounts (hobby mode, free mode) - ALL content is public domain. ANYONE can access your work. This is a BIG consideration if you want to develop projects to be shared on Thingy-verse, etc. This may also be a consideration if you are developing objects that certain states might analyze and decide look too similar to known restricted shapes... (I have no idea how this will work out, and at the very least am extremely thankful that I do NOT live in one of the ridiculously restrictive states that wants to audit every shape I would send to my 3D printer!)
So far, all of the projects I have worked on with Onshape have been for my own personal use, and would not be likely to have any public interest from anyone else. I guess the cup holder I designed for the boat could possibly be used by someone else, but as long as someone doesn't start selling them and making a profit on my design, then I probably would be happy if someone else found it helpful. Though I also suspect it would be unlikely for anyone else to find that design...
For boat design work, it seems best to set up the views so that station frames and bulkheads are drawn on the X-Z plane (x dimension is width, z dimension is height). The Y dimension then provides the spacing between frames.
While it may seem intuitive to use the X-Y plane for drawing the frames, that is "top view" when adding the z-axis. If you draw your frames in the x-y view, and use the z-axis for frame spacing, then you will be looking down at the bow, with each successive frame below the bow.
There are two types of variable tables: "Variable Studio" and "Part Studio".
Generally, I will use the "Variable Studio" table for variables. These values are available for the scope of the entire drawing. Variable Studio entries can be copied from one drawing to another. Part Studio entries cannot be easily transferred to another part or drawing.
When possible, without over-doing it, put all major measurements in the Variable Studio table. This will allow you to quickly tweak one variable in the table, and have that propagate through the entire design.
Start by "hiding" everything possible (other sketches and planes) other than the plane you want the new plane to reference. If referencing off the "Front Plane", then select the Front Plane from the left view/sketch list.
Select the Plane tool
Enter the offset
Check the direction (diagonal up/down arrow) to switch the offset plane to be in front of or behind the existing plane.
Select the new plane (highlight), then click "Sketch" - this should show the new plane in details for the schedule.
I don't think I ever had a problem with Elephant Foot on PLA. The last print I did in ASA seemed to suffer in the bottom 3-4 layers - but the part wasn't critical, so I let it go.
As per Google... I'm trying several things to deal with this.
First, I put a fillet on the bottom edge. (I typically do this, and that may be why I hadn't noticed it before with other prints.)
In the Orca Slicer settings, the elephant foot compensation settings are in the Process tab - go to the Qualty tab, then scroll down to the Precision section.
I increased the Compensation value from .15 to .3mm (max), and increased the number of compensation layers from 1 to 3.
These settings, combined with the fillet on the bottom edge, seemed to help with the elephant foot.
3D splines can be drawn once multiple planes are enabled, using the spline tool.
For 3D splines, exit the sketches, then use the 3D Fit Spline tool.
Lofting is similar, but more advanced than simply filling in splines. Lofting can be used to create shapes from the selected points of the frames.
Draw the upper and lower curves of the shape. Trim as appropriate. Can connect the ends of the shape lines?
Select the "loft" tool from the upper tool bar (looks like a reducer fitting). Select the upper curve, then the lower curve, the click the green check.
Click the lofted shape.
Select the analysis tool (protractor shape in the lower right hand corner). Select "Flatten Surfaces", click lofted shape. Select the "show Export Controls" box, Select DFX as the form to export to. Click "Flatten". Click "Export"
To IMPORT the generated DFX file:
Open a new drawing.
Set the units (3 hor bars next to "OnShape" in top bar) - drop down, select Workspace Units
In bottom left corner, select the "+" (Insert New Tab)
Select the Up Arrow (Import)
Select the DFX file to import
This will create a new tab on the bottom for the imported DFX file.
In the DRAWING - select "Sketch", select a plane.
In the top tool line, select the "DFX" box ("Insert DFX or DWG"), and select the imported DFX tab.
Now you can dimension to key points on the DFX file. However, curves will be imported as multi-point splines from the DFX. It will not be possible for the new sketch to be completed, as all of the points from the DFX are not constrained. The best I can determine to do is to dimension off enough critical points to be able to reconstruct the DFX. This seems painful and imprecise.
Once the 3D view of the model is created, waterline volume calculations can be made by "splitting" the model on a plane.
After all the frames are defined and 3D splines created for the sheer, bottom, stem, and stern lines - then "loft" all of the shapes, including the stem and stern faces, bottom, and two sides.
Create a plane offset from the base reference plane.
Use the "split" function, using the "part" option. Select the surface faces of the two sides, the stem, and stern. Then for the Entity to split with, select the offset plane from the bottom. Uncheck the "keep both sides", and set the arrow for the "keep both sides" box to keep the lower portion. Select the green box.
Once the split is complete, "loft" the upper surface between the two side sheer lines. This will define a "part".
Click the "scale" icon in the bottom right corner to open the menu for Mass and Section Properties.
Select "Part 1". The volume of the part will be displayed in cubic inches. Use google to convert cubic inches to pounds of water. That will result in the displacement of the boat at the waterline level defined by the hight of the offset plane.