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jjS SOLIDWORKS
Photorealistic Rendering Using
SOLIDWORKS AND OTOVIEW 360 Learn the fundamentals of photorealistic rendering at your own speed, as you progress from simple to more complex renderings.
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jjS SOLID INORKS
© 1995-2013, Dassault Systemes Solid Works Corporation, a Dassault Systemes S.A. company, 175 Wyman Street, Waltham, MA. 0245 1 USA. All rights reserved. The information and the software discussed in this document are subj ect to change without notice and are not comm itments by Dassault Systemes Solid Works Corporation (DS SolidWorks). No material may be reproduced or transmitted in any form or by any means, electronically or manually, for any purpose without the express written permission ofDS SolidWorks. The software discussed in this document is fu rnished under a license and may be used or copied only in accordance with the tenns of the license. All warranties given by DS SolidWorks as to the software and documentation are set forth in the license agreement, and nothing stated in, or implied by, this document or its contents shall be considered or deemed a mod ification or amendment of any terms, including warranties, in the license agreement.
Patent Notices Solid Works® 3D mechanical CAD software is p rotected by U .S. Paten ts 5,815, 154; 6,219,049; 6,219,055; 6,611,725; 6,844,877; 6,898,560; 6,906,712; 7,079,990; 7,477,262; 7,558,70 5; 7,571 ,079; 7,590,497; 7,643,027; 7,672,822; 7,688,318; 7,694,238; 7,853,940; 8,305,376; and foreign patents, (e.g., EP 1, 116, 190 B l and JP 3,517,643) . eDrawings® software is protected by U .S. Patent 7, 184,044; U.S. Patent 7 ,502,027; and Canadian Patent 2,3 18,706. U.S. and foreign patents pending.
Trademarks and Product Names for SolidWorks Products and Services SolidWorks, 3D PartStream.NET, 3D ContentCentral, eDrawings, and the eDrawings logo are registered trademarks and FeatureManager is a jointly owned registered tradema~:k of DS SolidWorks. CircuitWorks, FloXpress, PhotoView 360, To!Analyst, and XchangeWorks are trademarks of DS SolidWorks. Feature Works is a registered trademark of Geometric Ltd. SolidWorks 2013, SolidWorks Enterprise PDM, SolidWorks Workgroup PDM, SolidWorks Simulation, SolidWorks Flow Simulation, eDrawings, eD rawings Professional, and SolidWorks Sustainability are product names ofDS SolidWorks. Other brand or product names are trademarks or registered trademarks of their respective holders.
COMMERCIAL COMPUTER SOFTWARE PROPRIETARY The Software is a "commercial item" as that term is defined at 48 C.F.R. 2. 101 (OCT 1995), consisting of "co111111erclal computer software" and "commercial software documentation" as such terms are used in 48 C.F.R. 12.212 (SEPT 1995) and is provided to the U.S . Government (a) for acquisition by or on behalf of civilian agencies, consistent with the policy set forth in 48 C.F.R. 12.212; or (b) for acqui sition by or o n behalf of units of the d epartment of Defense, consistent with the policies set forth in 48 C.F.R. 227.7202-1 (JUN 1995) and 227.7202-4 (JUN 1995). In the event that you receive a request from any agency of the U.S. government to provide Software with rights beyond those set forth above, you w ill notifY DS SolidWorks of the scope of the request and DS Solid Works will have five (5) business days to, in its sole discretion, accept or rej ect such req uest. Contractor/ Manufacturer: Dassault Systemes SolidWorks Corporation, 175 Wyman Street, Waltham, Massachusetts 0245 1 USA.
Copyright Notices for SolidWorks Standard, Premium, Professional, and Education Products P ortions of this software © 1986-2012 Siemens Product Lifecycle Management So ftware Inc. All rights reserved. Th is work contains the fo llowing software owned by S iemens Industry Software Limited: D-CubedTM2D DCM © 2012. Siemens Industry Software Limited. All rights reserved. D-CubedTM 3D DCM © 2012. Siemens IndustJy Software Limited. All rights reserved. D-Cubed™ PGM © 2012. Siemens Industry Software Limited. A ll rights reserved. D-Cubed™ CDM © 2012. Siemens Industry Software Limited. All rights reserved. D-CubedTM AEM © 2012. Siemens Industry Software Limited. A II rigbts reserved. Portions of this software © 1998-2012 Geometric Ltd. Pot1ions ofthis software © 1996-2012 Microsoft Corporation. All rights reserved. Portions of this software incorporate PhysXTM by NVIDIA 20062010. Portions of t his software © 200 1-2012 Luxology, LLC. All rights reserved, patents pending. Portions of this software © 2007-201 1 Drive Works Ltd . Copyright 1984-2010 Adobe Systems Inc. and its licensors. All rights reserved. Protected by U.S. Patents 5,929,866; 5,943,063; 6,289,364; 6,563,502; 6,639,593; 6,754,382; patents pending. Adobe, the Adobe logo, Acrobat, the Adobe PDF logo, Distiller and Reader are registered trademarks or trademarks of Adobe Systems Inc. in the U.S. and other countries. For more DS SolidWorks copyright information, see Help > About Solid Works.
Copyright Notices for SolidWorks Simulation Products Portions of this software © 2008 So1versoft Corporation. PCGLSS © 1992-20 I 0 Computational Applications and System Integration, Inc. All rights reserved.
Copyright Notices for Enterprise PDM Product Outside In® Viewer Technology, © 1992-201 2 Oracle © 2011 , Microsoft Corporation. All rights reserved.
Copyright Notices for eDrawings Products Portions of this software © 2000-20 12 Tech Soft 3 D. Portions of this software © 199 5-1998 Jean-Loup Gailly and Mark Adler. Portions of this software © 1998-200 1 3Dconnexion. Portions of this software © 1998-2012 Open Desig n All iance. A ll rights reserved. Portions of this software © 1995-2010 Spatial Corporation. Th is software is based in part on the work of the Ind ependent JPEGGroup. Portions of eDrawings® for iPad® © 1996-1999 Silicon Graphics Systems, Inc. Portions of eDrawings® for iPad® © 2003 -2005 Apple Computer Inc.
Document Number: PMT1350-ENG
Contents Chapter 1: Introduction About This Book ....... . . .. . . . ....... . .. . ...... .. . ............ . . ........ . ... . . . .. .. .... . . . ... ... .2 Prerequisites . . . ... . . ...... . .. . . .... . .... . ..... .... . . ...... . ... ... ......................... .. 2 Pro duct Visualization ...... .. ..... . ... ... ........................ .. . . .. . ....... . ... . . .............2 Pro duct Visualizat ion Tools . . . . .. . .. . .... . ....... ...... ... ...... . . .. ....... . ....... . . .. .. . ...... . 3 Appearances.... ... . . .... . . ..... .... . . ... . .. .. . . .. . ..... .. .. .... .. .............. .. .. .. . ... . . 3 Display States . .. . ... ......... . . . ... . . . . ... .. . .... .. .... .... ............ . . . . ......... .. ..... 3 Photorea listic Rendering .... ........ ... .. . ... ... ..... ....... . .......... . . ...... . ..... . .. . .... . .. 4 Right Bra in versus Left Brain .... ... . . . .. .... .. ... . .. . ... ... . . .. .. ... . ....... . ....... . . .. . .. . . . . . 4 Right Brain ... . ... .... . ........ . . . . ........ . . . ...... . ........ ..... . ........ . ..... . .... ... ... 4 Left Brain ....... .. . . .. . . . ... .. . .................... .. ............. . ..... . . . . . . ... . ... . .. .. . 4 Putting It Together ........ . .... .... .. ..... . .. . . ... .. .... . .. . ......... . . ... ........ . ... . .. . . . 4 What Is This Book About ? . . . .. . .. . . ....... .. ..... ... .... .. .. ... ..... . ...... . ...... . ..... . ....... 5 Cameras ...... . .. .. . .. ...... . .. . . .. . . . . .. . . ..... .... . ... ..... . ....... . .... .... .. . ............. .. 5 Rendering Results.. .. . . ... .... . . . .. ..... . . .... .... .. ... ..... . ....... . .. .. .. .... ... . ....... . . . .. . 5 Instructional Design Philosophy . .. . .. ..... . . .. . .. . . . ... . . . .. . ..... . . .... ... .... . ..... . . .. . . .. 6 Using This Book . . . ... . ....... ...... .... ... . .. ..... . .. ........ . . .. .. . .... . . . . ... ....... . .... . 6 About t he DVD............. ....... ... .. . .............. . . .. . . . . . ...... . ....... . .. . ........... 6 Images ... .. .... . . .. ... . . .... .... . .. .... ............ ... ....... .. ......... ... . . . ... . .. .. ...... 7 SolidWorks Versions .......... . .. . ... . . ... ... . .... . ... . . ..... ... ....... . ..... . .. ... . . ... . ... .7 Third-Party Software .. ... ..... .... .... . ... . .. ....... .......... . .... . ...... . . . . .. . .. .. .... ... -7 Conventions Used in This Book . . .. . .. . . .. . .. . . .. . . . .. ..... . . . . . . ... .... .... . . ............ ...
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Chapter 2: Visualization Methods Product Visualization Overview .. .... . .............. ... .. . .. ......... . ...... .. . . . . .. . . . .... . . . . . .10 OpenGL . .. . .......... .. .... ...... . . .. . . . .. .. .. .... ..... . .. .. . . . . ........ ... .... .... ........10
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OpenGL Shadow ............. ... ... .. ... . .... . .......... . .... . . .......... .. ... . ..... . .... . ..12 Software OpenGL .. .. .. .... .. .. ............. ..... . ...... . ... ... . ... ... . . .... .. ..... . ... . . ..... .. 12 ReaiView . ......... ... . .... ...... ............... ... .............. ... . ..... ...... .. . .... . . . ...... 13 ReaiView Shadows . . . .... ... .... . . . ..................... . ....... .. . . . ........ ...............14 Graphics Cards ........ .. .. ..................................... .... . ............. . ... . ....... . ..14 PhotoView 360 ... . .............. ..... ............... ...... ............... .. ................15 Product Visualization Display Comparison ... . . . .... . .......... . .......... . . . .. . ....... . ... . .... ..16 Elements of Product Visualization .. ......... ..... ... . .. .. ......... . ... .... . .. ... ... . . . .. . . . ......16 Model ........ .... . .... .. ..................... . .. .... ... . .. . . .. .. . . .. .............. ... .. .. ..16 Viewpoint ........... ..... ....... .. ........ .. .................... . . .. .......... . .... . .. ... ..16 Appearances ... ... .. . .. .. .... . . ......... .. . . .. ... ... .. ....... .. ..... . ............ .. .. .. . .. . . 17 Scenes . . .. . . .... .. ......... ... . ... .... . ..... ......... . . . .......... . .. . . .. ...... . . . . . .. . .... 17 Lighting ... .. . ..... . ... ... .. . .... ........... . .. .............. .. . .. ............. . . . . . . .. .. . .. 17 Monitor Corrections ..... . ............. ... . .. ... . . . ... .......... . .. . . ... . . ....... . . . .... . . . . .. .. . 17 Monitor Adjustments ......... ... . . ................................. . ............... ...... ... 17 Color Correction . .............. ...... ................................................ . ......18 An Adjustment Alternative ... .. .......... .. .. .. ....... . ........... . .. ..... . .. .............. ..19
Chapter 3: PhotoView 360 Wh at is Photo View 360 Software? ..... . ..................... . .... .. .......... . ....... ..... .. . .. 22 Starting Photo View 360 ..... . ......... . ................................. . ...... . ............... 23 Photo View 360 User Interface ........... . ... . ...... ..... . .... . ... .. . .... . . .... . .... ... .. .. .. . .. 24 Photo View 360 Menu . .... ... .. ....... .. ....... ... .. . .. . .. .. ... .. . .. . ..... . ... . .. . . . . . . .... 25 Ren der Tools Toolbar . ..... .. . . . . .. ... ...... ........ . ........ . .. . . . . . .......... ... ...... .. . 25 CommandManager ... .. . . ..... . ..................... . ...... .. ... . . .. . . .... . ........ ... ..... 25 DisplayManager... . .... . . .. .. ....................... . .... .. .... .... ... ... .................. 25 Appearances, Scenes. and Decals Tab .. . .. . .............. . ... ..... . .. .. ................... .. 26 Getting Help . ... . ... .. .. .. ...... ....... . . .... . ............... . ..... .. .. . .. .. .... .. .. ........ ... 27 Dyna mic Help .......... . . . . .. ...... ... . ... . ........ .. ........... . .. . ...... ... ....... . ...... 28 Discussion Forum .. . . ........ ............ . ......... .. ... ... . .......... ......... ... .. . . ... .. 28
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Options .......... . ... . ...... .. .. . ........................ . .. . ....... . . . ....................... . 28 Set Photo View 360 Options .. ........ . .......... . ........ .. . . ..... .. .... . ..... . ......... . . . 29
Chapter 4: Basic Visualization Workflow The Visualization Process . . ...................... ..... ............. . .......... .................. 32 Stages in the Process .................. . ................... . ............... ... .. ........... 32 Materials and Appearances ................ . ...... ...... ..... .. ............ . .......... . . ........ 33 Default Appearance ......... . ......................................... . . ................... 33 User Interface ....... . ........... . ....... . ..................................................... 33 Display Pane ..... . ......... . .......................... . .. . ........ . .... . ....................... 34 DisplayManager........ . . .. . . ......... . .. . ............. . ....... . ... . ........................... 34 View Appearances .... . ........... . ....... ... . ... .......... . . .. . ... . ....... ....... .. .... ... 35 View Deca ls . ....... .. . .. .................... ..... .. ... ... . . . .. .. . . . . ... .. .... . ......... . .. 36 View Scene, Light s, and Cameras ........ . ..... .... . . .... .. . . . .. .......... . .. ....... ... ..... 36 Photo View 360 Options ........ . .. . ............................. . ................ .. ... .. . .. 37 Task Pane ........... . ..... . .... . .... . ................ .......... .......... . .................... 38 Case Study: Space Navigator ... .. . ... .... ........... ................................ ............ 38 Appearances ...................................................... . ....... ... . ................. 40 Appearances, Scenes, and Decals Tab .. .. ............... ........... . ... . ................. .. . .41 Unseen parts ..... . .... . .. . ................................................................ 45 Decals ....... ... .. . .... . . .. . .. ........................... . ......... .. ...................... 47 Scenes . .... . . .. .... . . .. . ... . .. . ...... . ........ .. .. . . ........ . .... . .......... . ..... .... . ... ..... 51 Scene Library ... . . .. . . . .. .. . .... .. .. . ... .... . . .. . . ........... . . . .............. . .. .. . ... .... .51 Lights . .... . ..... .. . . . .. .. . . . .. . . ........ . ........ . ........ . . . ... . . . ......... . ................. 54 Render the Model .. .... . .... . .......... . ...................... . .. . . . ..... ..... ... .. .. . ..... 55 Photo View 360 Interface .......... ... .... .......... ....... . ........... .. ... .. .... ... ........ . .. 56 Render Preview ................................................................................ 56 Preview Window .................. . ........................ . ............................... .57 Integrated Preview ..... . ................................................................... 58 The Rendering Process ........... . ......... ..... . ......... . ... . ............. .. ......... . ....... 62
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Case Study: Display and Appearances .. . ... . ................... .. ............. . ..... . ...... ... . . 64 Case Study: Appearances from Materials . .. .. . .. .. . .......... . .. ....... . ... .............. . ... ... 68 Appearances from Materials .. . . . .... ... . . ....... .. . . .. .. .... . . ... ......... ..... ... ...... ... 68 Removing Appearances ..... . ... ... . . ...... .... ....... .... .... . . . .... . .. . ....... . . .. . . .... . . 72 In Summary .... . . . ........... . ....... . .... .. ... . .. . .... ..... ... . ..... .. . .. . . ... ....... ..... 73 Editing Scenes ..................... .. ... . . ... .. . ........ . .... ... ........ ...... ..... ........... . 73 Render and Preview Quality . .. ........... ... . ......... . . . ..... . .... . ..... .. ...... . .. . . ......... . 75 Case Study: Quality Sett ings .... .. . .. . ........... ..... .......... ... . ... .... . . .. . ........... . .. ...77 Final Render Window ....... ..... . . .......... ... ........ .. . . ..... . .......... . ... . ..... . ... . . 84 Comparing Resu lts .. . . .. . ... . ..... . . . .. . .. ... . .... . .. .. .................. . .. .. ...... . ......... . 85 Statistics Tab . . . ... . ............... . ........ ... . . . . ................. . ...... ... .... ..... .. . . 85 Compare and Options Tab ... ...... ....... ...... ... ..................... .. ..... ... ......... . 86
Chapter 5: Applying Appearances Introduction . ... ....... .. . ...... . .. ... ...... ... . ... .... ... . ..... ..... .... . . .... ...... . . . . .. .. . . 92 Appearances ..... .. . ... .......... .. .......... .......... ...... .... .... ..... ..... . . .... . ... . .... . 92 Appearances versus Materials ....... . ...... . . . . ....... .... .. ... . . ... .. ........ .. ....... . . .. 92 Applying Appearances .. . .... .. ...... .. . . ... . ... .. . . ... . .. . . . . .. . .. ........... . . . ..... .... . . . ... 93 Appea rance Target . .... .. . . . ...... ...... ..... ........................ . . .... . ..... . . ....... . 93 Task Pane .. ... ..... ..... . .. . .............. .. .... . ..... ... . ... ..... .... . ..... . ....... .. .... 94 Appearance Callouts .... . .. ... . . ... . . . . ... . ... .. ... ......... . .. . . ........ . . . .. . .. ... ... . ... 94 Display Pane .. ...... ........ .. .............. ... ....... ........ ..... .. .. .. . . . . . . .. .... ...... 94 PropertyManager for Appearances ....... .. ........... . . . .. ...... ..... . . . .. . . . ... .... . ..... ..... 95 Basic Properties .... ........ ....... .. ..... ..... ....... .. . . ... . ......... .... ...... ..... ..... 95 Advanced Properties . ......... . ..... . . ... ... . . . . . .......... . . . . . . . ... ..... .. . .... .... ...... 95 Hierarchy of Appearances ... ... . .. .......... . . ... . ............ ..... ..... . ... .. .... . .. .. . . . . 97 Appearances Display .. ... . ..... . . . ..... .. . . ............. ..... ... . ... . .. ... ....... ... ....... 98 Procedural versus Text ure Appearances . . ... . . ... . . .. . . . . ... ... . . ...... ......... ........ . ... ... . 98 Procedural Appearances .. . .... . . .... ........ .... ..... . . . ........ .. .... ... . ... .... ... .......... . 99 Texture Appearances .. ...... . ... .. . .. .. .. . .... .... ........ . . . . ..... . ....... . . . ...... .. . .. ... ... 99
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Case Study: Computer Monitor ........................... ... ...... .. ..... . . ... . .... . . ......... 102 St ages in the Process . . .... .. . .... . .... ..... . . .............. . . . . .. . ..... . ...... . . .. . .. .. .. 102 Perspective View ... . . . .... . .. . . .. .... . .. . . .. ....... .. ............ . ..... .... ......... .. ... 103 Modify Perspective View ............ . ............ ........ ......... .. ... ... ... ... ...... .... 103 Creating Custom Colors ........ ..... .............. . . .... . ....... ...... ...... . ...... ....... .... 106 Defini ng a Color ... .... . . ........ . .......... . .. ....... . . . ......................... .. ... .....107 Custom Folders ... . . ........ . . . .. . ... . ... . . .. . . . ..... . ... .. . . .. .. . . ... . .... . . ... . .. .. . . . .. . 110 Hierarchy Review ...... .. .... ............... . ..... .. .. .. . ... . ... . ... ... ...... . .... . ..... . .... .. 117
Chapter 6: Appearance Mapping Texture Mapping ................ ...... ............ . .. .... ............ . .... .... ............... ..122 Why is Texture Mapping Important? . ......... . ....... ... ........ .... .... ...... . .... . .. . . . ...122 Topics .... . ......... . ....... .. ....................................................... . .....122 Textures . .. . .................................. . ........... . .. . . ........ . . ...... . . .... .... . .....122 Case Study: Texture Mapping ........ . ....... .... ............. ...... ...... .. .......... . . ...... . .123 Texture M apping ..... ...... .............. ....... ............... .......... ........ .... . ....... ..125 Automatic Mapping .. . ...... ... . ........... . .. .. ........... ..... ................ .... .... ...125 Projection Direction . .. ................. . .. . . .. . .. ........ . . . .. . . . . . ... ......... . .... .. .... 126 Text ure Orientation .. ... . ....... . ........ . ... . . . .... . . .... .. .... . . ... . ........ .... ....... . .... 128 Mapping Reference .. .... .......... . .................. .. . . ........ ....... ... ... . ........ .. 128 Mapping Type .............. .. ... . ...... . ................... .. . .. .. . .. . .. ... ..... ... ... . .. 128 Steps t o Correct the Mapping ................... .. .................. ... ................ . .. 130 Initial Texture Size and Alignment .. .... . ... .. .. . .. ... .. .... .. ........ . . ....... . .... . . . . .... 130 Removing Appearances..... .. .................... ..... . . .. .. . . ... . ...................... .. 130 Cylindrical Mapping ...................... . . . . .... ... .. . .. ..... . . .. ... .... . . ......... . .. .. ..135 Spherical Mapping ........ ...... .. .... .. . .... .. . .... . ..... . ....... ... ........... . . . . .. ... . 136 Mapping Adjustments (Mapping by t he Numbers) .. . ..... .... . ..... . . ..... ... . ......... . . . . ..... 138 Projection Mapping ... . ..... ......... ........ .... ............ . . . ........ .... ....... . .... .. 138 Cylindrical Mapping . ... . .. . .. ... . . ... .. .. .. .. .... . . . ..... .. . ..... . . . .. .. ... . . . ... . . . . .. . .. 142 Spherical Mapping .. .... ......... . .. . ......... ......... ... ..... .......... . . ... ...... . . .... 145
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Chapter 7: Decals Decals ........ ........ . . . . ......... .. ........ . .. ..... . .. .......... . ... .. .... .. ... ...... .. .. .. . .152 Print Screen ................................ ... .. . .. . ....... . .. . ... . ... .. ..... .. . .. . . .... ..152 Case Study: Monitor Face ... .. . .. . .. . . . .. . .. . . ........ . . . .. . . .. .. .. .. ... . . ....... .. ...... ..... .153 Applying Decals ... . . ... . .. .... ..... . . ....... . . .. . .. . ... . .. . ....... . ...... . ... . ... .. . ... .. . 156 Decals PropertyManager .. .... ... . .... .......... .. . . .... .......... . .. . .... .. ..... . .. . . . .. . 156 Decal Files .. .......... . ... . ..... . . ......... . . . ...... ... . . ...... ... ............ .. . .... ..... 160 Decal Mapping ...... ... ... . .......... . .... .. . . .... . . ...... . .... .. .. . . ..... . .. ... .. .. .... . ..... 162 Applying Decals .......... . ..... ... . .. . . ...... .... . . . ...... .......... ..... ... . . ... . . .. ..... 162 Case Study: Label Mapping . ... ..... .. . .. . ................ .. . .. . ... . . . . .. . . ..... .. ....... ... ... 163 Case Study: Multiple Decals ..... .. ..... . . ......................... . ............... . .. . .. . . .. .. 166 Adjusting Decals ... .... .... ........ . . .. . . . ... . .. . . . .... .. .... . ....... .... . . . . . . . ........ ...167 Image Masks ......... .. .... . ......... .. . . .. . . . ........ . ......... . . . . ......... .. .. . . . .... . 169 Decal Visibility ................. . ..... ......... .. .. ............ .. ............. ......... .... 169 Add a Decal with a Mask ... . .. ... ... . ..... . ........ . . . ........ ...... ..... . . . ........ ... ... 169 Decal Order ... .. ....... ....... . . ..... . . .. . . . ... .. . . .... . ... ... . . . . .. ..... ... . . .. . .. . .. . .... 175 Case Study: Gradient Masks ........... .. . ..... . .. .......... . .......... . ...... ... .. .. ..... .. .. . .176 Solution .......... . ...... . ....... . ....... ... . .... . ... . . . .. .... . . . .. . .. ......... . . .. . .. . .... 177
Chapter 8: Viewpoint Viewpoint .. ........ ... . . . . . . . . ... .... .. .. ... . . . . .. .. . .. .. . . ...... . .. .... . .... .. ....... .. ..... 184 Positioning t he Viewpoint ... .. ....... . ........... .... . ... .... .. ........ ...... ... .............. 184 Middle Mouse Button Functions .. . . . ........ ... . .. .. . .. .. . ....... . ... . ........ . ... ... .. .. . 185 Arrow Keys .. ... .... ....... .... ............. . ...... . ... . ... . ...... . ......... ....... .... . . . 186 Adjusting the Arrow Key Movement .. . .. . .. . . . .. . . .. ... ... . .... . . ... ...... . .... ..... .. .. . . . 186 Named Views .. . ... . . .. . ...... . . .......... . .... . ..... .. ... . . .... . . . . ....... .... .... .... . . ... .. .187 Perspective View ............ . .. .... . . .. . .. .. . . ... . .......... . .. ... ... . ....... . .......... .. . . . .187 Modify Perspective View ..... .... . .. . ...... . . .. . ... ...... ... ......... ................... . .. 187 The SolidWorks Camera ... . .... . ..... . ..... . ............. . . . . . ... . .... ... . ... ... . .. . .. . . ...... 189 Topics .... ...... ...... .. . ............. .. . . .. ... .. . .. . .... . .......... . . ..... . . . .... . . ... . .. 189
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Adding Cameras ........ . . . .... . . .... . .... . .... . .. . . .. .. .. ... .. . . ............ . . . .......... 189 Aiming and Positioning the Camera .. ... ...... . . .... .. . .. .. ... . . ..... ..... . .. .. ... ... . ..... 190 Case Study: Cameras . . . .. ..... ......... . . . ...... . ............ . ...... . ..... . ... . . . . . .... ..... .. 190 Locking t he Camera Position....... . ......... . .............. . .. . .... . ....... ... ........ ..... 191 Camera Lenses ... .. .. .... . .... .. . . . ... . ... ... .... . .. . .. .... . . .. . ...... . . . ... . ..... . .... .. 194 Field of View ....... .. . . ........... .. ............ ....... ....... ..... ..... . ... . . .. . .. . ..... 194 View Rectangle .. . ......... . ..... ... . .. . . ...... . .. .... .. .. . .. ..... . ....... . .............. . 195 View Rectangle .... . .. ...... ....... ... ......................... .... . ....... ... ...... . ... . . 199 Camera Rotation ... . . . . . . . .. . .. . ............ . .. . ....... .. .... . ... ... . . ...... ...... ........ 200 Camera Aspect Ratio ......................... ... ........ . ....... .. . . .... ... ... . ........... 202 View Area ........ .. . .... ... . .. . . . .. . ......... . ..... ............ . ..... . .... . .. .. .......... 208 Apparent Depth ..... .... .... . .... . . . . .. ..... . ......... . . .. .. . .. ........ ....... ..... .. .. ... ... . 209 Case Study: Apparent Depth ......... .. . . .. .. . .. . ..... . .. ......... . . .... .. ... . . . . . ... .. .. ..... . 209 St andard Lens ........ ... .. ........................... . . ..... . .... . ..... ..... . .... . ........ . ... 211 Depth of Field ............................... . .... . . .. .. ... . .. .. ... . . . . .......... ... ........ ... 211 Use of Depth of Field . .......... .. .. .. ........ .. . ................ . .......... .. ........... .. 211 Case Study: Setting Depth of Field . .... . . .... .......... . .. . ....... . ............ .. . ... . . .... . .... 212 Case St udy: Gett ing Behind the Walls .... .. .......... . .... . . . .... ............ . ....... . . ..... .... 217
Chapter 9: Scenes and Lighting Scenes and Lighting ..... . . . . ....... . ... .. .......... .. . . . . ........ . . . ...... . ..... . ............. 224 Scenery Choices ........ . . .. ......... .. .. .. . ....... . .... . . .. ... . .. . .......... . ......... . ... ... 224 Scenes and Environment . ..... ..... . .. ...... ..... . . ... ... . .. . ....... ......... . ...... . . .. . . 225 Lock to Model or View .............. .... ....... . . ... .... . ......... . ......... . .. ... .... .. . . 225 Scenery . ... .... ... .... ........ . . ........ ...... . .. ...... .. .. .... . . . .. ... .. . ... ... ........ . 226 Scenery Examples .... . .... . ..... .... . . .. .. ........... .... ........................... .. ....... . 227 Scene Selection ........... . ...... . .... . .......... . ..... . ....... . . . . . ................ . ... . . .... .231 Appearances, Scenes, and Decals Tab ... ........ . .. . ............ ...... ........ . ... . .... .... 232 Edit Scene PropertyManager . ... . ..... .. ......... .. . ... ... .... ...... . .......... . . . .......... . . 233 Scene Library ....... . ... . ........ ..... . . . .. . . ......... . .. . .. .. ...... . . .... . ... .. .. ... .. . . .. . . . 233
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User-defined Scene Archives ................ . .. ... .. ............. .. ............. . ... . . .. . . 233 Case Study: Scenery. .. .. . ........ .. ....... ... .. . ................. . ......... . ........ ... ...... . 234 Preset Values ........................................... . .. . . .. .. . ..... . ............ .. .. .. 234 Lighting .. ... ........... . .. ............... .... .. . ..... ... ...... . ......... .. ........ .... ..... .. 237 Keep Background . . ... . .. . ... . . . . . ...... . ....... .. .. . ... ...... . ..... .. . . . . .... . .... . . . .. . . 237 Stretch Image to Fit ... .. . ......... ... . ..... . ... . .... .... .... . ... ...... . . .... ..... ...... .. . 241 Scene Floors ... . ............. . ... . .......... . ... ... ..... .... . . .... . ... .. . . . .. ...... .. ..... 245 Light Propert ies .................. . ........ .. ....... . ..... . . . .. . . .. ..... . . ..... . .. .. .. .. .. 246 Show Lights ..................... . .............. . ............ ... ............... ... ....... . 247 Light ing Coordinates . ....... . ..... ....... .. . .. .. .... .. ............ ....... .. . .... .......... 248 Positioning Lights .. ......... . . ... . .................... .. . ........ . . ... . . ... . . . ... .. . ... .. . 249 Shadow Properties ... ..... . .................... . . ................. . . .. . .... . ... . .... .. .... 250
Chapter 10: Output Output Design Intent .. . .. ... ...... ... .... .......... .. .. . . . . .... .. ...... . . . . ............. .. .. . . 256 Stages in the Process ........ .. .. .. ... .. .. . .. .. ...... . . ... . .. .. ... . . . ..... .. .... . ... . .. ... 256 Output Options ......... .. ................ . ........ . . .................. . ...................... 256 Preview Renderings .. ... . .. ... . ......... .. .... ... ................ ... ...... .. .............. . . .. 256 Methods to Increase Rendering Speed ......... ... ......... . .. . . .... . ...................... 256 Render Contours ... .. ....... . ........ ... . .. ... ... . ... ... .. ... . . . .. .. ...... .. ...... . ........ . .. 258 Case Study: Contours .. ...... . .. .... . . .... .. ........ .. ............. . .. . .... .... .... . . ... . ... .. 259 Case Study: Sales Brochure . .......... . ............... . ...... . . ... . ...... ... . ... . . .. . . . . .. . . .. .266 How Many Pixels to Render .. .... . ... ....... .. .... . .. .. ... .. ... . .... . .. . ..... .. . ... . . . ... . . 267 Calculating Correct Number of Pixels....... . . . . ... ..... . ........ ... ........ . . .......... . ... 268 Out put Image Size ........ . ..... . ... .. . . .. . ... . . .... . .. . . .... . .. . . . . ... . ...... . ........... 268 Aspect Ratio . . . .. ........... . .. . .......... . ... ... . . ...... . . .. . ... . . .. ... . ....... . ......... 269 Scaling Up .. ............. . .... . .. .. .... . .... . .... . ............ . ... . .... . . . . . .. .. . ... .. . .. . .271 Scaling Down .. ... . ... .. .. . .. . .... . ............ .. ............ . .... . .. .... . . . . .... . .. . ... .. 273 Screen Presentations ................... .. .. . ....... . ..... . ..... . . .. . .. . . . .. .. .. .. .... . .. .. .. .. 275 Monitor and Projector Resolution ............... .. ...................... . .... . .. .. ... ... .. . 275
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Case Study: PowerPoint . . . .. . ......... ... .......... ..... ........ . ............ . ................ 276 ::>ost-processing Images ....... .. . ... ... . . .. . ......... .. .... . . . .. .. ..... . . .... . ................ 278 Alpha Channels ......... ... ........ ..... ............ ... ......... ..... ......... ....... . ....... . 278 Case Study: Alpha Channel. .. .......... ... ......................... ... ......... ... .... . ... ..... 279 Save Laye red Image ..... . .. . .. . .. ....... .. . .. . . . .. . .... . . . . ... . ...... ... . ... ..... . . . ..... ..... 281 Bloom ........... . .... .... ........ . ........ . ... . . .. .... . .......... . .. . ..... . .... . ....... . .... . 283 Using Bloom ....... . .............. . ....... .... . .. .................... . . ...... . ........... . 287
Chapter 11: Display States and Configurations Rendering Using Display States and Configur ations .... . . . ................... . ...... .. ...... ... . 290 Display Stat es ....................... ... .......................... .. ........ ..... . . .... ....... 290 Creating Display States ............ ... ...... .... . ........................... ... .. . ...... . . 290 Stored Display States .. ... . ... ...... . ....... ....... ........ ..... .......... .... . . . . ..... ... 290 Configurat ions ........... . ......... ..... .. . ....... .. . . ..... ... .. . .... .. . ....... .. .... . ... .. . .. 290 Display States or Configurations? .................. . .... .. .... . ... .. . . . ... .... . .... . . ........ .. 290 Display States versu s Configurations . .. ........ ..... .. . .. . ...... . .. ... ..... . . .. ........... 291 Display Pane ................................................ .... ............... . ......... . 291 Display Pane Icons . . .. . .. ... . ............... . .... .. . ...... .. ..... ........ . ....... ... ... ... 292 Stages in the Process ............. . . . ....... .... ....... .. . . ... . ........... . . .. . . ... ... . ... 293 Appearance Hierarchy in an Assembly ....... .. . ..... .... . .. .... . . . ..... . . .. . . .. ........ ... ..... 293 Case Study: Assembly Configurations-The Locking Pin .. ............... .. ...... ........ .. ...... 294 Case Study: Watches ..... .. .. .. ...................... ... . .. . . ... ........... ....... . ......... .. 302 Fine-Tuning ...... .... .. . . ... .. . .. .. . . ........ ... . .. . . . . ......... . . . .. . . ... . . .... .... .... . . 306 Image Evaluat ion . ... . . ...... ... .. ..... . . .. ... . .. .... ........... .. . ... .... ....... ........ .. 307 Adjustments ........ .... ......... ... ........................ ... . . ........ . .......... . ... .. 307
Chapter 12: Reflective and Transparent Appearances Reflect ions .... ......... . ... . . ....... ... ............ ..... . . .. . .... . .. . .......... . . .. . . ........ 314 Environments ...... .. .......................... .... .............. . .. .. .. ............ .... .. 314 Case Study: Environments .. ... ... . . .... . . . . .... .. .. ... ... .. ... .. ...... .. ..... . ... .... ....... ... 315 Case St udy: Kitch en Scene ... .......... ... .......... ..... ...... . ............................. ... 321
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Reflection and Refraction Options ................. . ..... . .... .. .... . ... .. ................. 324 Secondary Reflections ...................................... ... ..... . ..................... 325 Ray Tracing Depth ... .... ............................ .. ...... . .. ... . ....... ... ........ .. .. 325 Refractions .. .. .... ..... ... .................... ... .. ......... .. ..... ..... . ..... ....... ... . 328 Custom Render Settings...................... .... ......... . ..... ....... .... .... ...... ..... 330 Alternate Choice ... .. ........................... .. ........................... . ............ 332 Liquids ..... . .......... . . .... . .... .. .... . . .. ....................... . ............... . .......... 334 Caustics ............... .. .... ........ ............... .... ... ........ ................. ... ...... . 335 Types of Caustics .... .... ...... . ..... . ..... . ...................................... ........ 335 Caustic Settings ................ . ... . ........... . .. .......... . ............................ 336 Case Study: Caustics ... ... ....... ....... . ........... . ..... ...... ............... .... ...... ..... 337
Chapter 13: Advanced Appearances Advanced Appearances . .. ..................................................................... 342 Appearance Files . .. .. ....... .. ....... . .... . .......... . . . ... ... .......... .. ........ ... ..... 342 Image Files .......................................................................... . .... 342 Overview ............... . ..................................................................... 344 Case Study: The Chess Set .. ....... . ..... . ........ . .............. . ............................ 344 Stages in the Process ......... .. ................. . ................................ . ... . .. . 344 Appearance Library ..... . .. ..... ...... .... ...... .... .. ............. . .......................... 345 User-defined Appearance Folders .. .. ................ ............ ....... .. . . .. ......... . ... 345 Tiled Images ..... ...... ... ........................................... .. ... ........ ... ..... 345 Sources of Additional Appearances ............................. . .... .... ...... ... ......... 347 Creating Appearance Folders ...... ... ... .... .. .. . . .. ... .......... .... . . ... . ................... 348 Create Custom Folders .......... . ......................................................... 349 Accessing Custom Appearances .. .... ........ ... . . ..................... . .................. 349 Create Appearance ........................................................................ 349 Deleting Appearances or Folders.. .... .... . ... ..... ....... .... .... .. . . ................ . .... 349 Appearances Folder Location ........ . ............... . ............................... .. .... 350 The Appearance File ........................... .. ........ . ... ... ........ .. ......... . ...... 355
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Assembly Structure ................................ ..... ......... . .. . . .. . ....... . ....... .. 364 - ybrid Appearances .. ..... ........... ... ...... . . ...... . . .... ... . ...... . .. . . ...... . .......... .. 365 Custom Hybrid Appearances .... . .... . ........... . ... .. .... . ..... . ...... ...... .. .. ......... 365 Save Appearance .... . ..................... . .... .. .. .. ..... .... .... .. ......... ...... . .. ... 365 Hybrid Appearances Colors ................. . ..... ......... .......... ... .... . ....... .. ..... 365 '.'wdo Assets ... . . ......... . ...... ....... ......................... ... . . ............. . .. . ...... 370 Using Modo Assets ......... ..... .. . . .. ....... ..... ............ . . . ·.. ... . .... . ... . . . ...... . 370 Downloading Modo Material Assets ....... ....... ................ . ...... ... .......... .. .... 370 Editing Modo Materials........... ...... . ........ ........ ............ .............. ...... .. 374 ~diting t he
Appearances ...... ....... ............... ... ......... ..... ...... ......... ....... 374
_Jllination ....... .. .... . . . ....... .......... . ....... .. .. .... ............ ...... . .... . . .... ... .. 375 Illumination Controls .. .. . . .... . . .. .......... . .. . .......... . ................ . .... . . . .. . . . .. 375 Dynamic Help ................ ... ....... .... ... .. ........... . .. .. .. . ....... . . ... . ...... . . .. 376 ::::=se Study: Part Display States- The Chessboard (continued) . ...... .... . ....... ... .... . ....... 380 :J-:;tographing a Texture .. . .... ...... ... .. ........ . . ..... .......... . .. ..... ......... . ......... 388 :::-eating a Tileable Image ...... ......... ............. .. ....... : .. .... . . ....... ... . ..... .. . . .... 389 Regular Patterns ....... . ..... .. ............ . ..... . ........... .... .. . ... .. ..... . ...... . .... 389 Irregular Pattern and Photographs .. .... . . . ...... . .. . . . . . . .. .. ..... . . . .... . . ..... . .. . .... . . 390 ?hoto Tips .. ................ ... ... . ............. ....... .... .. ..... .. ... ..... ..... . . . .. . ... 392 S_~ace
Finishes . .... ....... ............... . . ... .. ... ..... .... .. .. . ........ .... ......... . ... .. 393
Bump Map Images ....... .......... ......... ... . ... .. ... ...... . ...... ........ . . ........... 393 5_-face Finish Controls .. . ..... .. ... . .. .. . . ... . ..... . .. ......... . .. . . ....... .. . ... .... . .... ... . 394 Mapping .... . ....... . ..... .. . . . . .. . ...... . . ..... . .. ..... .... . . .. . ......... . ... . ....... . ... 394 Bump Mapping ......... . ..... . . .. .. .. ....... . .................... . . .. .... ............ . . . .. 394 Displacement Mapping .... ...... ........... . ............. ....... ..... .. .......... ......... 394 :::c.se Study: Flashlight .. .. .... ... . . .. .. ... . ..... ....... . ... ..... . .. . ...... . ..... .... .... .. .. ... 395 Desired Image ......... . .. .. . .... ....... .... .. .... . . . .. ... .. ... . . . ... . . ... .......... . .. ... 395 Surface Finish Patterns . . .. ...... .. .. . .. . ... .... .. . ........... . . .... ..... . ........ .... . . .. 401 :::ase Study: Surface Finish Hole Patterns.. . . ...... ... ...... . ... . . . .. . . . ... ...... ............. . . 402 Other Uses of Displacement Maps .. .... .. ... . ..... . . ... .. ..... . ........ ... .. . ......... ... . 404
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Rounded Corners ... ... ...... .. ..... .. ... . ..... . .. . .... . .......... . ... . ....... ....... . .... 405 Missing Files ........... . .. . .......... . .. . ... . . . .. . . . . . .......... ... ........ . .. ... .... . . . . . . . . .406 Search Order .. .......... .. ... . . . ..... . ....... . .. . .. . . .. ..... . ....... ..... . . . .... .. . . . ... .406 Handling Missing Images .... . ........ .......... ......... .. . ........... ............. ...... .406
Chapter 14: Advanced Lighting Lighting Concepts ... ......... .............. ..... . ...... ..... ... . . . ... ... .. . ...... . .. . ... .. .... 410 Lighting Calculations . . .... . . ... . . ... . ............ . . ... ......... . ........ .................. 410 Illumination Capabilit ies ... ..... . .... . . ... .. ........... ... .... . .. . ... ............ . .. .. . ... . 410 Rendering Basics ......... .. ................ ..... . . ..... . .. ........ . ...... .. .. . . . .. . ... .... .... .411 The Physical World ... . . ............... . .. ..... ........ .. .... .... .................. .... .. . . .411 The Computer World .... .. ....... . ... . .. . .. ..... .... .... ............. . ... .. ............ . ... 411 Ray Tracing ... ....... . ......... . . ... . ... . . . .. . .... .. . . . ... .. ... ....... .. .. . ... . .. . . . ..... . .411 Lighting Methods ..... .... .. .. . ... ..... .. .. . ...... ... . .. ...... . ....... . . .. ............ . . ...... . 411 Direct Lighting . . . ... . . . .. .. .......... .. ... . .... . . .... ........... ..... ..... ... ........... . ... . .. 411 Types of Lights . ... . ... . ....... ....... ........... . . ..... ............ . ... .... .............. 412 Creating Lights ................ .. ............................ . ....... .. ................... 412 Intensity Controls . .. . . ........... . ....... . .... . ... . ................ . . ...... . . . .... . .... .. . 413 Lighting Schemes ... . ............ .... ... ........ .. .......... ... . ... . . . . ...... . . . . ......... . .. . 413 Keep Light ......... . ..... .. . ............. . . ... ..... .. ....... .... ............. . .... . . .. . ... 413 Photographic Lighting ... .... ........ . ...... ...... ............... ... ........................... 414 Lighting Plan ....... .. . . . ... ........... ........ ............... ...... . . ............ ....... .. 415 Shadows....... .. . ... .. .. . . . ... .. ... . . ........ ... . ... . ... .. ..... . . . . ..... . . . ...... .... . . .... . . 420 Shadow Clutter . . ... .. ........... . ... ....... .. . . ....... . .... ........ .. . ...... . ... . . . . .. . . . 422 Shadow Control ...... . .. ... . .. ..... . .. . . .... . ... .... ... .. ... ... ... ... . .. . . ....... .. . ..... . 422 Shadow Properties ...... ......... . .. ........ .............. . . . .... .. ........ ..... . ........ . 423 Case Study: Lighting Principles....... .. .. ............ ....... . .... ...... ........... . ....... . .... 424 Direct Lighting . . ... ... . .......... .... .. . ... . .. ........... . ..... ... . . . ... ..... .. . . . .... . ... 428 Ambient Light .. . ............................. . .... . ....... . .. .... ... ..... . .. . ................. 430 Indirect Lighting .. . .......... . .... ... ................ ...... .... .. ...... . ... . . ... ..... . ......... 431
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Indirect Illumination and Quality............ . ... .. ...... . .. .... ... . . ......... ..... .......... 432 Ambient Occlusion .. . ... ....... .............. ... ................ .. .. .................. ... .. . .. 434 Case Study: Illumination Controls ............ ........ .............. ..... ..... . ......... .. ...... 435 Case Study: Photo Studios and Area Lights . ... . ... .............. ....... ............... . .. .... . . 438 Case Study: Point and Spot Lights ............. . .. . ....... .. ...... ..... ......... .. .... . .. ... . .. 447 Point Lights ....... .. ................... . .. .. .. .. ................ ...... .. . ............ . ........ 449 Point Light or Spot Light? . .......... . . ........ .. . . ......... .. .. ... .......... . ...... ..... .. 452 Spot Lights .............. ........ .. . .... .............. .... ...... . ... . ................... ... ... 452 Photo View 360 Light Characteristics .. ..... . ... ........... .. . . ..... . ...... . . . .... . .. . . . .... .. . . 454 Brightness ...................... ..... .................. ....... .......... ...... . ......... . . 454 Soft edge . .. .... . .... ........ ... . .. ...... .. .. . . .......... ..... .. .. ........... ... ... .. ... . . 454 Spot light radius .... ... .. . .. .. . ...... ........ ... ... .... ............ . . . . ...... . ........... . 454 Shadow quality ..... ... ........... . . . ............. .... . .... .. .. ....... .. .. ... . ..... . . . .... 454 Fog ................ .... ........... ..... ...... . . .................................... . .. ... 454
Chapter 15: Advanced Scenes Scene Images .. .......... ... ............ . . . ................ .. ..... . ......... .. ..... . ... .. ..... 462 Cube-Mapped Environment Images .... ......... ........ . .... ....... ....... . ... .. . ..... .... 462 Spherically Mapped Environment . . ... . ... .. .. .. .. .. ......... ..... . .. .......... . . . ... ... ... 463 Creating Scene Files .................... .... ....... ....... .... . . ..... ................... . ..... 464 Creat ing Custom Scenes.......... . ... .... . . . . . .......... ... ... ... .. ........... . . .. ..... .... ... 465 Background Image . .................. .. ........ ..... ... . ..... . .. ...... .. ... ..... ..... . ... . 466 Spherical 360-Degree Panoram ic Image . . . . .. . ..... . . .. ..... . .. . ....... .. ......... . . .. ... . .466 Problems ....... ...... . .. ............ .. . ... . .... . ............. ........ ........ ... .. . . ... . . 469 Developing the Images . . .......... . ......... ... ........................... .. ........ .. .... 470
Chapter 16: Advanced Output Options The Photography Workflow .... . . . ... .. ..... .... . .. ...... . ... .... . . . .... ....... . ... ... . ....... . 476 Post-Processing. . . . .... . . . . .. .. . ... .. . . ... ... . . . . . . . . . . ..... . . . . . . .. . ... ... .. . . . ... . .... ...... 477 Final Render Window . . .. ... ................. .. .................. ... ............. . .... .... ..... 478 Image Processing ...... .. . . .... . ....... ..... . . ........... ......... . .. ......... . . .......... 478
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Image Size ... ... .. . .. ... ... ... .. .... ... ... ... .. ... .. ....... . .. .... .. ... . . . . ............... 478 High Dynamic Range .. .. ............... ... ......... .. ....... ... ........ . ... . ............. . 478 Histograms .. . .. ... .. .. ..... .. ... ......... . . .... .. ... .. .... .... . . . .. ... . . ... .. .. .. .. . ..... 479 HDR Photographs .. ... ... .. ... ... ... ......... ... ... ... ... .. ... .. . . ... . .. . . ... ........... . .480 Tone Mapping ........... . ....... . ..... .. ......... ... .. . ..... ..... ............ . ........... 482 Gamma Correction ......... .. .... ........ . .. . . ... ...... .... .. . ............................ 483 Image Processing .. .... ... . ... ... .... . . . .... . . ............................................ 485 Case Study: Image Processing Controls .... .. ......... .. .... . ....... .... .. .... .. ... .... ... .. ... .486 Input Levels and Offsets . ................ . .... .. . ..... . .. .... ..... .... . . . . . ......... .. ... .486 Input Levels ....... ... ... ........ ... .. ..... .. .. ......... .. .. . ..... ......... . .. . ..... . ..... 492 Saving Images to a File ....... . ............................. .. ... .. ..... ...... ................. 495 Post-Processing in Other Software .. .. ... .. .... ... ... .. ... .. .... ... . ..... ... ......... .. .... 495 File Types .. ....... . .............................................. .. . . .. . .......•......... 496 Which File Type Should You Use? .............. ... .. ............................ . ........ . . .... 496 File Type Variants .. ...... . ... . . ... . ... . ...... ......... .. ...... . . . .. .. . . . . ..... .... ........ 497 File Compression . . ... ... ....... ..... ..... .. .. ... ... ... ... .. ... ... .. ... . . . .... . ........ . .. . 497 Choosing a File Format ............................................. ..... .................. 499 Methods to Increase Rendering Quality ... ... ... .. .. .... ... ... ... .......... .... . ....... . .... sao Color Management ....... .. . . . ..... . . . . ...................... . .... . ... .. ... .. . .. . . . . .... .... .. 501 Monitor Correction .... . . .. ........ . ........ . ........... . . . .... .. .......... . .. . . .. . . ....... 501 Printer Correction .. . . .......... .. .................. . ........... ... . .... ... .. . . ..... .... ... SOl Set Affinity .............. . .................................... . .... ............ ..... . . ... . 501 Scheduled Renderings ... . .. . ................................. . . ......... ... ................. . . 503 Scheduling Renderings ......... . ................................... . ... .. .......... . ... .. . 503 Case Study: Render Scheduling ... . ...... . . . .. .. . .... . .. .. .... .. .... ... . .. . .. .. ...... ....... . . . 503 Network Rendering . .... . .......... . . .... . . ... . ...... .. .. . ........ . . .............. .. ... ... ..... .512 Network Rendering Process ... . ..... . .. . .. ........ ........... . .... . .......... ... .... ...... .512 Install and Ready the Client ....... ... .......... ...... ......... . . ...... . . .. . ..... . .......... .513 Render Settings in the Coordinator Computer ..... . ...................... . ..... .. ......... . .513 Client Workload . .... .. ... .. .. .. .. ... . .. ... .. ... ... .... ... .. .. .... ... ......... . .. . ....... .. .513
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Render Settings in Client Computers ................... .......... ....... .......... ........ . 514 Final Render Process . . . .......... . . ..... ... . . . . ......... ..... . . .. When to Use Network Rendering ..... ..... ....
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Chapter 18: PhotoView 360 Gallery Appendix A: Color Acknowledgement ...... . ...... Color ..... ...
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CIE 1931 Chromaticity Diagram .. ....................... Limit ations of Media .. .. Color Wheel ............ Primary Colors .. . ... Secondary Colors ... Tertiary Colors . ..
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530 530 530 530 .531 532 532 532 533 534 535 535 535 535 535
xvi
HSV Color Mode l .... . . .. ......... . .. ... .... . . . . . .. . .............. ....... .. ........... .. .. 535 CMYK Color Model. .. . ..... .. .. .. .. .. . .. .. .. ....... . . .. .. .. . .. ... .. .... .. . . . .... . ... . . . ... 536 Color Depth..... . ......... ... ........ . .. . . . ........ .. .. . . .. . . .. ... . . .. . ... .. .. . ..... . .. . . . 536 Understanding RGB Color.... . ....... . .. . ..... . . . .... .. .. .. . ...... . . ... .... . .. .. . . .. . ... . . . . ... 537 HSV Model Definitions .... .. . . .. .. . ... . ... . .... . ... ....... . .. .. ... .. . ...... .. .... .. ... .. . .... . 540 Hue ................. . ........ . . . . . .... . . . ................ . . . ... . ... . . ... . . . . .... . . .... . .. 540 Saturation . . ... ..... ...... . ....... . ........... ... .. . ... ... . . ...... . . . . . ....... . . . . .. ... . .. 540 Value ............... . . . ............ .. ........... . . . ...... ..... .... .. . . ... ... . .... .. . . ..... 540 RGB to HSV Transition ............... .. ................... .... ......... ... . ... .. .. .. .... . ..... 541 Defining Color in Design Tables ......... . ..... ..... ............ . ..... ... .... . ..... . . . . . .. .. .. . . 543 hexadecimaiDefining Colors in Hexadecimal ... .. .. .. . . . . ...... . . .... ...... .. ... . .. . ... . .. .. . ... 545 Color Swatches . .......................... . .................... . ... . . . ... . . .. . . . . ..... . . .. 545 Creating Color Swatches ............... . .......... . ....... . . . .. . ... .. .. . .. . ... . . . .. . .. . . . . 546 Where do you find color schemes? ..................... . ....... . .......... . ... . . .. ............. 546 Web Resources ..... . .... . ..... . ....... . ...... . . . . . ..... . .......... . .... ...... . ...... . . . . . 546 PowerPoint .... . ......... . .......... . .. . .............. . .......... . . . . . . ..... ..... . ........ 547 Paint M anufacturers ..... . .. . . ..... . . .. . ...... . . .... .. . . . . .. .. . ... . ............ .. .. . . ..... 547 Color Names ................ . . .. .................................. . .. . .. . .. ............... 548 Color Matching Systems . ........... . .... . .. . ..... . .. . . . ........ . ..... . . . . . . . .. . ... . . . ... . ..... 548 Color on the Web ... .. .................................. . .. . ...... .......... . .. .. .. . . . .. . . . . .. 549
Appendix B: Illumination Settings Acknowledgement. ....... . .......... . ...... . .... . . ...... ....... . .. . . . .. . ...... . .. . . .. . . . ... . .. 552 Illum ination . ........... .... .......... . .............. . ... ... ........ . ........ . . ........ .. ... . . . 552 Appearance Properties .. . ........ . .......... . .... . ............ . ... . . . ... . .. . .. . .... .. .. . .. 552 Common Cont rols ..... . ...... .. .. . .... ... ... . ....... . ...... . ...... . .... ... ... .. ........... 552 Diffuse Amount ......... . . ..... .... . .......... . ............ ... .. ... . .... .. .. .. . .. . .. . . . ... 553 Specular Amount .. ... ...... .. .. . .... . ... . ....... . . ... .. . . ..... .... . .. .......... . .... . . . ... 554 Diffuse versus Specular .................. . .......... . ...... . ......... . ... ... .. . . .. . .. . . .. . 555 Specular Color ................. . .. ..... ...... .. . ... ..... .......... . .. .. .. . .. ... . .......... 555
xvii
Specular Spread . ... . . . . .. ........ ........ . . ...... . ..... . ..... ..... .. .. . .. . . .. .. .. . . . . .... 556 Reflective Amount ... . . .. .. . . .... . ................... . ......... ... . . .. . . . ........... . ..... 556 Blurry Reflections ... . .. . .. .. . ........ . .. . ... . . . ...... . .. . ...... .. .. . .. . ......... . ..... . ... 557 Transparency Amount ...... ....... . ........................ .. . .... ......... . .............. 558 Luminous Intensity . ..... ... ...... . ... . . ..... . ... . . .. .. .......... . ...... .. . .. .... ....... ... 558 Additional Controls ........ . ..................................... ... .... ...... ... ... . .. ... 559 Index of Refraction............ ........ ... . . ........... . . . . .............. . ........ ...... ... 559 Refract ion Roughness .. ... . ......... . ................... . . . ..... . ......... ............ .... 560
Appendix C: Surface Finish Surface Finish ............ . .. . ........ ... . . .............. . .......... . . ..... . . . .. . . . . . .. . .. . ... 562 Bump Map Images ..... . .. . .. . .. ... . ...... .... ... . ....... .... . . ..... . ...... . ....... .. ..... 562 Surface Finish Examples ... .... . .... .... . . ...... . . .. .. . . . . . . . .. ...... ..... . ....... . ............ 562 Brushed .. . . . ... . . ...... . . . . . ..... . . . .. .. . . .. . . .......... . .. ..... .... . ..... . . . ............ 563 Sandblasted .......... . ... . ............................. . .. .. . .. . . . . . . ..... . .. . ... . ... . ... 563 Burnished .. . . . . . .. . . . . .. . . ... . .............. . .. . . . .. . ....... . ... . ........ ................ 563 Casting ............................................ . ........... . . . ........... .. . ......... . 564 Machined .. . .... . . ......... . . . . .. ..... . .. ........... . . ........ . ... . ..... .......... . .. .. . . . 564 Diamond Treadplate...... . .... ................ . ........ ... .. .......... . ... ........ ........ 564 Tread plat e 1 . .... .. .... .. .. . .. . ..... . ..................... . .............. . . . ......... .. ... 565 Tread plate 2 . . . .. . . . . . . .. .. . . ..... ... . .. ... . . ..... .... ... . .. .. . . . . . ...... ..... ...... ..... . 565 Knurled . . .. . . .. . . .. . . . ... ... . .. ... .... . ... .......... . . . . ... . . . . .. ..... . . . . .. .. ............ 565 Dimpled .......... . .. .... . .. .......... . ...... . ... . .. . . .... . . .. ... . .. . . . . .. ...... .. . . . .. . . . 566 Chain link . . . .. . .. .... . . .. . . . . . .. . . . . . ... .. . ... . . . ........ .. . . .. . . . .. . . . ..... . ...... .. ..... 567 Wrought . .. .. .. .. . . .. .. . ... . ..... ... ........ .. ....... . . .. . . . . .. . . . .. .. . . .... .. . .... . . ... .. 568 Rough 1..... ..... . . . . . ..... .... . . ... .. ........... . ........ .. ..... . ........... .... . ... ... .. 568 Rough 2 ........... . ........... .... .. ...... .. .... . ................ .. ...... . ..... .. . . ... .. . 568 Bump Maps versus Displacement Maps Summary ... . ........................................... 569 Bump Maps ... ... ...... . . . ..... . ... . ..................... . ..... . . . .............. . . . . ..... . 569 Displacement Maps .. . ....... . . . .... .... .... . .... .. . . .................. . . . ..... ..... ...... 569
xviii
Appendix D: Hardware and PhotoView 360 Performance Hardware and Photo View 360 Performance ............. ... ... ....... .... . ... .. ..... ... .. . ..... 572 Central Processing Unit (CPU) .................................... . ............................ 572 Random Access Memory (RAM) ................................ .... ...... ... ................... 573 Operating System . .. ... .... .... ............ .. .......... . ..... ... .. ...... . . .. .. ................ 574 32-bit Operating Systems.. . . .......... . ...... ......... . .. ... ... .... ................... .. .. 574 The Three-Gigabyte Switch ........... ....... . .. .... . .. .. . ... ... . . .. . .... . . . . .. ...... . . . ... 575 64-Bit Operating System . .......................... ... .... .. . ... . .... .... ...... . .... . ..... 575 Graphics Card ....... ..... ... ... .... ... ................. ......... . .... . ... .. ....... . . .... . . ... . 575
Introduction
Upon successful completion of this chapter, you will be able to: • Be fa miliar with the history of the visualization tools used in SolidWorks. Understand the basic concepts of photorealistic render.ing. • Understand and ut ilize the typograph ic convent ions used in the book.
2
Chapter 1
About This Book The goal of this book is to teach you how to use the range of product visualization tools available in the SolidWorks and Photo View 360 software to create views and photorealistic renderings of parts and assemblies, and produce both electronic and paper output. SolidWorks and Photo View 360 are such robust and feature-rich applications that it is impractical to cover every minute detail and aspect of the software and still have the book be a reasonable length. Therefore, the focus will be on the fundamental skills and concepts central to the successful use of these products. You should view this material as a supplement to the system documentation and on line help. Once you have developed a good foundation in basic skills, you can refer to the online help for information on less frequent ly used command options. Prerequisites To get the most out of this book, you should have the following:
• Basic experience with the So!idWorks software • Experience with the Windows® operating system • Basic understanding of photography
Product Visualization In early 3D CAD software, there were limited methods to display the 3D CAD model. These were generally some form of lines representing t he edges of the model or shaded faces. As 3D CAD systems developed, the methods to display, or visualize, the CAD model have improved and expanded. Within core SolidWorks we now have almost all the tools available t o us. What are the different types of visualization? These could include the following: • • • • • •
Seeing through our model Checking for smoothness Showing the model to colleagues Organizing the model by manufacturing types Adding an image into a presentation for a design review or marketing pitch Photorealistic renderings for marketing materials
Introduction
3
------------------------------------------------------Product Visualization Tools The tools and capabilities available in SolidWorks to visualize computer models have changed significantly since SolidWorks was first released in 1995. In the first versions of SolidWorks, t he only way to visualize a model was through OpenGL®,either shaded or wireframe. This is t he method still used today for shaded models. PhotoWorks'Mwas introduced in SolidWorks 97 Plus as an add-in product to perform photorea listic rendering using the computer CPU. Originally, Photo Works used LightWorks as the rendering engine. but this was changed to m ental ray® in SolidWorks 2003 and was initially called PhotoWorks 2. In SolidWorks 2001 Plus, transparency in assemb lies, shadows, zebra stripes. and antialias edge display were added. In SolidWorks 2004, Real View was added to do real time rendering of SolidWorks models, using technology available on the video cards using the GPU. In SolidWorks 2009, there was a dual path for rendering using either Photo Works inside of SolidWorks or PhotoView 360 as a standalone package. In SolidWorks 2011, Photo View 360 became the single rendering engine used inside of SolidWorks. Photo View 360 uses the Nexus rendering engine from Luxology, LLC. With this change, most of the key features of rendering were moved into core SolidWorks for a consistent workflow. For t hose familiar with rendering in PhotoWorks, the current tools and user interface are very much the same as they were. Gone however are some of the more complex settings in favor of a much more stream lined set of tools. Appearances Originally, product visualization was done using four databases:
• Color !:1 Textures • ReaiView • PhotoWorks materials Appearances were introduced in SolidWorks 2008, which combined color and textures databases. In SolidWorks 2009 all appearances were merged into a single database. Display States In SolidWorks 2006, display st ates and the display pane were added to allow multiple visualization setups for assemblies. independent of configurations. In SolidWorks 2008. display states were added to eDrawings®, and in SolidWorks 2010, display states were expanded to include parts.
4
Chapter 1
Photorealistic Rendering What is photorealistic rendering? Photorealistic rendering is photography using a computer. If it is photography, why use the computer instead of a real camera? There are two basic reasons we use a computer to do photorealistic rendering: • The subject does not exist in the physical world. The product we are designing has not yet been built but we need to show what it will look like for a marketing campaign, progress review, t rade show, or any number of other reasons. Using SolidWorks to provide t he model and SolidWorks and Photo View 360 as a camera, we can create images of the model that look like a photograph. • To add special effects that are not available or achievable in the physical world. The effects that can be created on the comput er are not limited by the laws of physics. For example, we can make true point light sources, lighting instruments that are not visible. and lighting instruments that cast light on an object but do not create shadows. We can also make solid objects transparent to see what is inside or behind them.
Right Brain versus Left Brain To be successful with our renderings, we must understand photography. Photography is a mix of both right brain and left brain act ivities, in other words it is both artistic and technical.
Right Brain The artistic part of photography covers the placement and view of the subject, how the subject is lit, where the shadows fall. how the scene is composed, and more. To be a really great photographer, you must see the final image in your head before you actually take the picture. If you can't. you may still take some great pictures, but it is more trial and error. and a lot of image files to delete!
Left Brain The technical part of photography is how the camera works and how the laws of physics apply to the process. Some of the t echnical topics include understanding concepts such as exposure as a function of f-stops, shutter speed, and film speed, and how to compensate for backlight or color temperature of light.
Putting It Together If you are very artistic but not very technical, you may be able to visualize what you want the photograph or rendering to look like but not able to produce it because you are not able to set the camera up correctly. If you are very technical but not very artistic, you may be able to take pictures that are properly exposed and have very vibrant color but are uninteresting or do not show off the subject to its fu llest.
Introduction
5
What Is This Book About? This book is mostly about the left brain, or technical functions. In other words, it is more about capabilities than artistry. It covers how we use the controls in SolidWorks and Photo View 360 as a camera. It is not about the art of photography. For additional information on scene composition and lighting techniques, there are many books available on the market.
Cameras In regular photography, there are many cameras available from the simple disposable camera to the very expensive cameras with many automated and advanced functions. If we picked a group of people at random and gave them all a cheap disposable camera and told them to take pictures, the results might yield a few really good pictures, a tot of average pictu res, and so me really bad pictures. If we gave the same group the best cameras money could buy, the resu lt would probably skew to the side of good pictures because the better cameras had automatic features to eliminate some of the problems encountered with the cheap cameras. Some of the people could also use the addit iona l capability of the good cameras to zoom in and frame t he subjects better, or to change exposu re to create or eliminat e motion blur. There will still be some bad pictures and some really good ones.
Rendering Results Obtaining a suitable rendered output is very subjective. When we design parts and assemblies with SolidWorks, our goal is to achieve the design intent. Knowing if we have achieved the design intent is very objective and should be able to be answered with a yes or no. If 10 different people review a design, based solely on the design intent. alllO should agree on whet her or not the design intent was achieved. Unlike design intent, knowing if we have achieved our rendering goat is very subjective. Subtile differe nces in lighting, focus, position of the objects against the background, visual highlights, de pth of field, can cause different people to see the output differently. If we had 10 different people review our rendering output we might never get a consensus as to whether it meets the rendering goal. Additiona lly, it can take many times more rendering passes to refine the output than it does to make a change in the part and rebuild it. This, coupled with the fact that rebuild times are general ly less than rendering times, can add up to a tot of time spent rendering to get acceptable results. You should continue t o experiment with the various settings available within the SolidWorks and Photo View 360 software even after the chapter objectives have been achieved.
6
Chapter 1
Instructional Design Philosophy The chapters in this book are designed around a process- or task-based approach to learning. Rather than focus on individual features and functions, a process-based approach emphasizes the process and proced ures you follow to complete a particu lar task. By utilizing case studies to illustrate these processes, you learn the necessary commands, options, and menus in the context of completing a rendering task. Good photography and computer renderings are the sum total of many elements that come together to create the fina l result. To be able to put all the different elements together. you must first understand what each control does and its cause and effect on the outcome. Because this book is more about the SolidWorks/PhotoView 360 camera t han photography, many of the case studies and examples wi!! show individual effects in isolation, rather than as part of complete renderings.
Using This Book This book is intended to be used as a self-paced, self-study course. About the DVD Bound inside the rear cover is a DVD contain ing copies of the parts. assemblies, and other files that are used throughout this book. Running the Installation Wizard on the DVD will create a directory named SolidWorks Step-by-Step Guides that wi!l have a fo lder for Photorealistic Rendering and subfold ers for all but the first chapter in the book. Each chapter folder will contain the files used during the various case studies in that chapter.
J,. SohdWorks Step· by-Step Guides .:.liZ
~
Creating Animations with So!idWorks
Photorealistic. Rendering
_, Cnapter2 "'-' Chapter4 _ ChapterS -<~-"
CaseStudy
...; Chess Set ~•
Completed
.!.
Downloaded Image Files
Many of the part s and assemblies provided on the DVD have two versions; ~ Monitor t he files with the names specified in the chapt er are the files you use to ~ Chapt er 6 ); Chapter 7 do the st eps in the chapter. The same files with the suffix"_&" are the "" Chapters same fil es but with the visualization properties (appearances, scenes, .A. Chapter 9 J. Chapter 10 lighting and decals) applied. These files can be opened and then rendered .t Chaptern to see the final result of the work do ne in the chapter. They can also be .... Chapter12 used to check settings of the various properties. For example. if you are ' - - J-_, c_h-'•p_te_r1_3 _ _ _ _ __ instructed to use the part Idler Arm.sldprt for the case study, the same part with the visua lizat ion properties applied is Idler Arm_&.sldprt. All t he parts and assemblies with the visualizat ion properties applied are found in the Complet ed folder under the corresponding chapter folder.
Introduction
-:p The Design Library is a convenient way t o access the parts and 2ssemblies used in this book. After you install the files from the DVD, st art SolidWorks.
«
oes.gn Library
~ 00
7
~
d
~
tJl SohdWorks Content
ttJ ~ Photorealistic Rendenng In SolidWorks. click Tools, Options, System Options, File Locations.
Under Show folders for, select Design Library. Click Add.
[~l @) Oes1gn Library
l:f.l
'f1
Toolbox
ffi 8 3D ContentCent ral
J Chapter l O
ln the Browse for Folder dialog box, browse to where you installed the files.
J Chapter 13
0 Chapt er ll
J Chapterll
__:;
:_:;
Chapter 2
Chapter4
Select t he Photor ealistic Rendering folder and click OK. Then click OK to close t he System Options dialog box.
:;;
~
~
Chapter 5
Chaptor6
Chapter7
Images The screenshots in this book were made with the software applications Chapter 8 Chapt er 9 Rendered Images running on Windows®7. If you are not using Windows 7. or if you have a different theme setting, you may notice slight differe nces in the ap pearance of the menus and windows. These differences do not affect the performance of t he software. SolidWorks Versions All visualization settings used in th is book were done with SolidWorks 2013. Service Pack o. As some of these settings may be refined between service packs. you may not get exactly the same results if you are using a different service pack. Third-Party Software In various parts of this book we utilize t hird-party software applications to accomplish certain tasks or perform certain fu nctions. The applications we have used are not the only ones t hat can be used and our use of them does not constit ute an endorsement of t hose products.
8
Chapter 1
Conventions Used in This Book This book uses the following typographic convent ions: Convention
Meaning
Sans Serif Bold
SolidWorks and PhotoView 360 commands and options appear in this style. For example, PhotoView 360, Final Render means choose the Final Render option from the PhotoView 360 menu.
Serif
Feature names and file names appear in this style. For example, Idler Arm.sldprt.
17 Do this step.
The numbered steps of the case studies are indicated by sans serif bold type with the numbers themselves accented in color. This helps t o distinguish the step-by-step procedures from t he explanatory text that is interspersed through the chapters.
Visualization Methods
Upo n successful completion of this chapter, you will be able to: Understand the different display modes in SolidWorks and PhotoView 360. Understand system requirements for ReaiView. Understand which visua lizat ion methods depend on the CPU and which depend on the GPU. • Properly adjust your computer monitor to match your printer output.
10
Chapter 2
Product Visualization Overview Product visualization encompasses all the elements to display our models both statically and dynamically. Static displays include the methods used from initial design through photorealistic rendering. These are the topics included in this book. Dynamic visualization covers animations which can be displayed using all the same methods that we wi ll cover in t his book. To learn more about dynamic visualization. see the SolidWorks step-by-step book Creating Animations with SolidWorks available from the SolidWorks Merchandise Store at http://store.solidworks.com. In SolidWorks. there are three levels of visualization: OpenGL, Rea iView, and Photorealistic rendering. Each level provides different capabilities to view the SolidWorks model.
OpenGL OpenGL is the first method for visualization of models in SolidWorks. In OpenGL, models can be displayed as shaded, wireframe, or a combination of the two. It does not require special hardware and can be software-emulated. All modern graph ics cards, regardless of the cost. have OpenGL capabilities and therefore the calculations for OpenGL are normally done on the Graphic Processor Unit (G PU) of t he graphics card. These effects show: • Surface shading including color, ambience. diffusion, specularity. and transparency • Basic texture mapping techniques • Diffused ground shadow
Visualization Methods
11
_ sing OpenGL to display the model provides both wireframe and shaded views of the SolidWorks ..-;odel. OpenGL is usually used when creating models as the shaded options provide a solid-looking -;10del and Shaded with Edges shows the boundaries or the individual faces, which help when creating =eatures. When in either Shaded or Shaded with Edges. a single-direction shadow can be shown under :'le model. With OpenGL, there are no reflections visible on t he surf aces and all lighting is provided by :::::r ect lights in SolidWorks.
Wireframe
Hidden Lines Visible
Hidden Lines Removed
Shaded with Edges
.
A scene can be used in OpenGL; however, it does not provide any lighting and there will be no reflections
.
.
-
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.
.
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.
.,.
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.
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-
visible from the surfaces.
-' .
'
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.
12
Chapter 2
If all the lights are turned off. the model will be black, yet the scene still appears to be lit because it is a separate image.
OpenGL Shadow With OpenGL there is only one shadow and its position will be determined not by the lights, but rather by the scene f loor. The sce ne floor can be aligned with any of the t hree primary planes of the model, a user-specified plane, or the bottom view of t he model.
Where to Find It • Menu: View, Display, Shadows In Shaded Mode • Heads-up View tootbar: ~ - View Settings, (gJ Shadows In Shaded Mode
Software OpenGL Software OpenGL disables the graphics card hardware acceleration and emulates the calculation of shaded models using t he CPU, essentially eliminating the graphics card from t he process. Software OpenGL is used when the graphics card is not certified or for troubleshooting when a problem is suspected to be caused by the graphics card. Because RealView is calculated by the graphics card GPU, there is no RealView when using Software OpenGL.
Where to Find It • Menu: Tools, Options, Performance, select Use Software OpenGL. Note Use Software OpenGL can only be selected or cleared when there are no documents open.
Visualization Methods
13
Real View KeaiView incorporates OpenGL but takes it to another level. More realistic effects can be achieved such as dynamic environmental reflections in the appearance, self-shadows, a ground shadow and a ground ·eflection, as well as more advanced texture mapping techniques. All of these effects are handled by the GPU of the graphics card. Most modern cards, in the professional workstation class, can display all the effects of ReaiView. ReaiView supports: • • • •
Advanced shading Reflections (environmental) Self-shadows Ground reflection Advanced texture mapping and bump maps
~eaiVi ew
provides another level of visual realism. With surfaces become more realistic as they now ;;;,ow reflections in real time. ~ea iView,
:::
·'
~-~·
=:ven if there is no scene, there .-;ill still be reflections from =-vironment. We will discuss the =:fference between the scene and :-:e environment in a later chapter.
14
Chapter 2
RealView Shadows Real View only casts a self-shadow and floor shadow for the first directional light. The shadow is more accurate than the diffuse shadow of the normal OpenGL view. Notice t he thin gap as it appears in the shadow as a result of the part line gap of the glue gun model.
First Directional L
Additional light sources can diminish shadow effect.
Second Light Source
Gap in shadow
Graphics Cards How do you determine if your graphics card supports Rea lView? The ReaiView icon shows the capability by its color. ~ RealView graphics are supported.
~ ReaiView graphics are supported for pre-2008 RealView. ~ ReaiView graphics are not supported.
SolidWorks tests the quality and performance of many graphics cards and provides a listing on the SolidWorks website at www.solidworks.comjswjsupport/videocordtesting.html. This list should be consulted before purchasing a graphics card to help choose a certified card. Additionally, the list should be checked to determine the correct graphics card driver. Note that the latest driver on the manufacturer's website may not be a certified driver, so it is important to check the SolidWorks list first.
Visualization Methods
15
The not es column of the list will show the capabilities of the card based on the keys shown below: Key : . , Card pust!!d all tl!.sts
Qt SuppotU all Rea iV\ew featuras
~ Pasn
(L!,l S upports R.~~IVie.wwlth llmitatioM
S
Sig nificant stability or ri! palnt problem s
41>! S upports pre·2.00S R.eaiVI•w features
Us• SolidWorks gra phics card display se.tti ng s
~ Multi-hnd hardware accel•ruad
;4 54~ bit native support
~ Supporu 30Stareo viewing with eOrawings
PhotoView 360 ::JhotoView 360 is distinguished from Real View in t hat it is not a process of the GPU, and photorealist ic -enderings can be achieved regardless of the graphics card used. This is because it is entirely calculat ed -:JY the CPU on your PC and is rendered in a sequential event and is therefore not dynamic. Therefore. 10u cannot pan, zoom, or rotate a rendered model. Photo View 360 renderings are more photorealistic :i1an RealView because light rays and reflections are more accurately calculated. The use of High Jynamic Range {HDR) environmental images allows Photo View 360 users to achieve photo-realism. ::JhotoView 360 rendering supports: Self-reflection (reflection of objects in one another) • HDRI (environmenta l) lighting ::JhotoView 360 provides a fully ray-t raced rendering :::t: the SolidWorks model. Unlike Rea lView where t he -endering is dynamic and done by the GPU, rendering ;;ith Photo View 360 is static and done on the CPU. - he final rendering process can use all computer :ores and is done as a separate process. which allows :ou t o continue to work in SolidWorks and other '"'tinning programs. - he setup for rendering is essentially all done in core SolidWorks. using the same user interface as OpenGL .::nd RealView.
.
.
. 1
·-
_,.,.I
~
....
-
., .
-
16
Chapter 2
Product Visualization Display Comparison The following image shows a comparison of the same model in OpenGL, Rea iView. and PhotoView 360. You can see the different aspects discussed in the previous chapter as they apply to the separate images.
Bump Map Textures
Ray-traced Transparency Ray-traced Textures
\
Self-shadow
Shadow based on environmental lighting
Ground Reflection
Ray Traced Reflections
OpenGL
RealView
PhotoView 360
Model courtesy of Product Solutions Ltd.
Elements of Product Visualization When visualizing our model, several key elements will determine how it is perceived. Applying and adjusting these elements are all functions within SolidWorks. In the following chapters, we will explore each of these elements.
Model The smoothness of the model surfaces is determined by how finely the tessellation data is created.
Viewpoint The viewpoint is the position from which we view the model. In photography. this is the camera position. In SolidWorks, the viewpoint can be controlled manually by using pan. zoom, rotate and roll, or by the use of cameras. Wit h the manual tools, perspective can be added. adjusted. or not used. With cameras, perspective is a result of the lens used and the camera-to-subject distance.
Visualization Methods
17
Appearances .; ppearances control how the model surfaces react to light and color. Appearances can be applied at :arious levels {assembly, part, face) and follow a strict hierarchy. Appearance properties such as color, :l!umination, mapping. and surface finish can be controlled t o change the way the surface looks. Scenes Scenes are used for two purposes: to place the model into some context and to provide environmental .ighting and reflections to the model. There are three ways we can use scenes:
• Real-world scene When the intent is to show the model in the environment where it will be used when built. it can be rendered using a background image. • Studio scene When an image may be used in a catalog or brochure, it might be rendered against a solid color or gradient background. • No scene If an image is to be used in some postprocessing program to combine it with other images, we may not want a background that would have to be removed later, so we can render without a background. Lighting Lighting can be provided from direct lights or from the environment. In OpenGL and Real View, models are lit with direct lights only. In Photo View 360, lighting may be from both direct and environmental sources.
Monitor Corrections The image on your computer monitor may not look exactly like the images printed in this book. If all the steps were followed correctly, the difference in color and brightness can be traced to the way the monitor and Photo View 360 are set up. Monitor Adjustments Most computer monitors have adjustments to control the color, brightness, contrast, size, and position of the image on the screen. Some even provide color standards to help adjust the monitor output to faithfully reproduce colors.
Before attempting to produce consistent print images. you shou ld adjust t he monitor fo llowing the manufacturer's instructions. After the manufacturer's instructions have been followed, we can make additional corrections to finetune the monitor to match the printed material.
18
Chapter 2
Procedure
In the next few steps, we will do an initial set of adjustments on your computer monitor. Make grayscale adjustment. Open the file Grayscale.tif in the Chapter 2 \ Case Study folder using any imaging software, such as Microsoft Paint. Adjust the monitor brightness and contrast so that you can see alllO vertical bands as separate shades of gray.
0 1 2
3
Color Correction Computer monitors create colors by mixing the three primary additive colors red. green and blue. That is why it is called RGB color. When all three colors are on full, you get white; when all three are off you get black.
Most printing processes use subtractive color where the range of colors is created by a mixt ure of cyan, magenta, and yellow ink. For more information on color, see Appendix A. 2 Open the part. Open the part Color.sldprt found in the Chapter 2\Case Study folder.
This part has a default color appearance attached to each of the six squares that contains the primary colors used by the monitor (red, green, blue} and the primary colors used in printing (cyan. magenta, yellow). The part is oriented to the Front view and is illuminated through the appearance properties.
Visualization Methods
3
19
Examine the part.
Compare the colors of the image to :hose in the book.
Monitor colors. J sing the controls on the monitor, adjust the color so that the rendered ;nage matches the printed image as : lose as possible . . .,te The part and its colors should .:JOk exactly the same when viewed _sing OpenGL, RealView. or rendered ·;ith Photo View 360.
An Adjustment Alternative ::you have access to the Internet. visit the website www.photogropherusa.com/screencheck. This sit e ::J~ovid es an expanded version of the grayscale chart and colors used in the preceding steps.
Photo View 360
Upon successful completion of this chapter, you will be able to: • Describe the key characteristics of the PhotoView 360 software. Identify t he principal components of the Photo View 360 user interface. • Start the Photo View 360 Add-ln. • Set the Photo View 360 Options.
22
Chapter 3
What is PhotoView 360 Software? Photo View 360 is a software solution from SolidWorks, fu lly integrated into the SolidWorks software to create photorealistic images directly from SolidWorks models. It can produce photorealistic images to add visual impact to presentat ions and documents. Renderings may be created from SolidWorks parts and assemblies, but not drawings. Some of the key features of Photo View 360: • Photorealistic images directly from SolidWorks models Photo View 360 int eracts with the 30 geometry created with the SolidWorks software. All changes to SolidWorks models are accurately represented in the PhotoView 360 images. • Fully integrated into SolidWorks Photo View 360 software is supplied as a SolidWorks dynamic link library (.dll) add-in. You access all the controls for Photo View 360 rendering from within SolidWorks and PhotoView 360 items on t he main SolidWorks menu bar or the Render Tools toolbar. This menu bar is displayed whenever a SolidWorks part or assembly document is open. • Appearances The same set of SolidWorks appearances used in OpenGL and ReaiView are used in PhotoView 360 to specify model surface properties such as color, texture, reflectance. and transparency. Other cust om appearances can be created from images available from various websites, created using image creation software. or by scanning. • Lighting Light ing is primarily provided by the environment but additional lights may be added in the same way a photographer adds lights when t aking photographs. PhotoView 360 uses the same lights that are added in SolidWorks. Photo View 360 has the sophistication to t race light rays and reflections. • Scenes Each SolidWorks model is associated with a scene, for which you can specify properties such as environments and backgrounds. Scenes help to put products in context. • Decals Images. such as company logos. can be applied to models. • Output The PhotoView 360 software can output to the screen or a graphics file.
PhotoView 360
23
Starting PhotoView 360 .'.'hen Photo View 360 is installed, the menu and toolbar do not automatically appear as part of the 5-:JiidWorks screen. They must be turned on.
. 1ere to Find It CommandManager: Office Products>PhotoView 360 :llenu: Tools, Add-Ins... , PhotoView 360
p..ocedure Click Tools, Add-Ins. ~the Add-Ins dialog box, select Photo View 360. : :ck OK.
~
Add-Ins
l StartUp I
Active Add1<1s
8 SolidWorks Premium Add· ins
D ~ CirOJitWorks
~
IFi
[tl e Photnv~ew 36o ~~r':; ScanTo30 D~ SolidWorks Design Ched
D 07
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D [] []
SolidWorks Toolbox
D D D El
SoidWorks Toolbox Browser solid\lllorks utilities [] So&dworks Workgroup PDM D liaToiAnalyst
ow
El SolidWorks Add-ins
D D
0
Autntrace Solidl'lorks Aow Simulation [\lj~ SolidWorks Forum D Soid\lllorks Plastics
D 0
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SolidWarks XPS Driver
El Other Add· ins
0 0
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30tontrol 30VIA SolidWorks Plug.;.,
!
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I
0
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24
Chapter 3
PhotoView 360 User Interface The PhotoView 360 software uses the same user interface as the SolidWo rks software. No new int erface techniques are required. The only difference is that you can use the separate preview window to preview the rendered model or the preview can be done right in the graphics area.
~
"'"""
..,...,
~ r® ~ ~~
CommandManager . Rtl'ldt:t Tool~
1@1 ·~
l ~ ~ Iii! ·:ll~e ~ ~ r® I .
e
~ Components ;ir.~ P\'/-Mn1040 brown gl,-,s~ 1:!:. PW·MTllOOJ ~"41 bloe low glos~ pintle
r.iJ..Y 4i
t• ....~ white lowgiO!:s pla~tc: 4 V <:hromiom plat~ [i; ~mortte rubbef
d ~~rt
If'-' color«Z .. r:, ...) color<)> ~...) color<4>
l,• ,..) cctor<.S> f'ti..,J color<~6>
tt.-.....J co!or<7> it;""\) colo:
1; -..j color<9> ~.;!-...) c:;olor ti....:J colordl:> lt-r~ color
tt....) c:ol0f G...,) color rtr~ color
$-ft blue II"•glou pl•"tk<2~ s ..J color<16> ~-....J c~or
,_;....,J cuior tV-~ c.olor
.rr....) color<20> ~ color<21>
Render Tools toolbar
a0
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~ ~Plastic
te
.t Meul ¢ '4! P.t•ntcd ~Car
te Sprayed te Powder Coat
,!.
te Rubber
¢. ~ G!Ms
~SG!id
PhotoView 360
Photo View 360 Menu
( PhotoView 360
::::1ce PhotoView 360 is running, the PhotoView 360 menu will provide I fl> "" =:::cess to all Photo View 360 commands.
25
1
Edit Appearance... Copy Appearance
..# Poote Ap pearance
&
Edit Scene...
§j
Edit Decal...
~"]
Integrated P~ev1~w
_____ , i
iI
~ Preview Window
e
Final Render
~
Options...
~ Schedule Render...
®
Recall Last Rende red Image Customize Menu
!
L-~-------------~
~ender
Tools Toolbar
-:::Render Tools toolbar will appear whenever a part or assembly Rende r Tool< :::.::::ument is active. lt can be moved, resized, or docked like all other 3: ...dWorks toolbars. If this toolbar is turned off. it can be turned on by ~pt-clicking an existing toolbar and selecting Render Tools or by using the View, Toolbars menu.
:OmmandManager ==-.der Tools can also be • "' ~ & Edit Copy Paste Edit :::::essed through the Appearance Appearance Appearance Scene - - ;;JmandManager. Once the =-~to View 360 add-in is loaded, -? render tools will be located on the Render Tools tab.
ta ,j Integrated ~
Eot
Decal
Preview
%
e
~
~
Preview Fnal Options Schedule \V"IIldow Render Render
~
Reca~
Last Render
:Ji.splayManager
--= J isplayManager provides an outline view of the appearances, scenery, =~:als,
cameras, and light ing associated with the active SolidWorks part or
~semb ly.
--=J isplayManager indicates which items of geometry are attached to which =:::::>earances and decals. --2
111
J isplayManager also makes it easy to:
Jnderstand the way in which appearance and decal inheritance works. Select and edit appearances and decals associated with the model. Access the appearance, scene, lighting, camera, and decal properties. -:-ransfer appearances and decals between components, features. and faces.
E;J·~ Scene (Light Cards)
! ~~ [ l_~
Background (Color Environment (kitchen)
$-ibJ lights f·····
J..
26
Chapter 3
Appearances, Scenes, and Decals Tab The Appearances, Scenes, and Decals tab is located on the Task Pane and contains appearances, scenes, lights, and decals. Appearances, scenes, lights, and decals can be applied to the model by simply dragging t he it em from the bottom pane of the Appearance, Scenes, and Decals tab and dropping it int o t he graphics area or on the model.
1;}·0
Appearance>(color)
00· ~ Plastic
tt-ll0 Metal ~-f.e Painted ! J--.:e Car
I 1· te Sprayed I ~ PowderCoat tf!-te Rubber ,.,Tl--~ G1ass
·te Solid :il-te Lights
tit te Fabric
i
:
~-·te
Organic
Jh-~
Miscellaneous
tiJ te Stone
e-~ Scenes
t l-Y
Basic Scenes
~- tit Studio Scenes j L.~ Presentation Scenes
J
e-!!lli Decals
L~ logos
PhotoView 360
Eetting Help _ - :.12
product visualization help t opics are found in the SolidWorks help system.
- ""'= -=·? files are bot h shipped with SolidWorks in HTML help format and are available online. This _- = ~ ::nproved search and display functions, as well as a consistent look and feel with Microsoft's 1elp.
-=
=-e : o Find It =--~= Help, SolidWorks Help - -:.e Bar: Help g
Pnrrt
I
Feedbeck on thi!O top:c:
Welcome to SolidWorks Online Help :=: User Interfare :=: SohdWor'k..~ Futld<'ment:ll!; ~ -MoVIng
Getting Help
from 20 to 3D
~ <:.onfigu r.~tior.s
Access to Help
lists ways to a cc:ess hefp for the SolidWorks® product an d add-Ins, as well as hints for searchfng. See Access to Help.
What's New
Introdu ces conc.epts: ~nd provides step-by-step examples for many new f eatures.
.!: Sol:dWorks Co!>tino
Cfick Help, > What ·s New > PDf or Help > What·s New > fflML
2
D~gn
Checker
;
.Oe54 ~n
Sb.Jdies: in SclidWorks
=.: Oeta1hng and Drawings
Interactive Whaes New
PropertyMana(l'ers.
6
!ntroducing SofldWorks
D1!;p(l!ly
Appearances
8 Displaying lv1odel
Hichliohts new features in the SolidWorks product and add-ins.
Cfid< ~ next to new or dlanged menu items and
3- OriveWork!:Xpress 3 -fioXpress: E Import and f xport
2: -Model
Ir.troducr:,on
Qick Hel p > Introducing S
lnformc;ti~H'I
e~camera!;
Oisrusses conc.epts and terminolooy osed throughout the SolidWorks application. This dorument is for new SolidWorks users.
SofldWori
8-0ecaf!;
Steps you through introductory to advanced examples th at team the functionality of the SolidWorks product and add-
$Scenes
ins.
G ·Ughting
$
In the Task Pan e, dick the Solid Works Resources tab Under Getti'ng Started, dick Tutorials <0.!.
Walk~th(oogh Overview
8--Snapshots @ -RealistiC Display and Rendering
&J ·
SoftdWorks Glossary
Defines solid modeling and SolidWorks t erms.
did< Gl~t~ssa ry in the table of content s.
(j].
27
28
Chapter 3
Dynamic Help Dynamic help is provided t o assist you in understanding the effects of various controls. Dynamic help can be enabled separately for appearances, decals, and
::-q
~
x
-i13
Basic
f~1
PhotoView 360 Options.
Whenever you select, or hover over, an item on the Illumination or Surface Finish tab of either an appearance's or a decal's PropertyManager, or certain settings in the PhotoView 360 Options, dynamic help will appear as a balloon. Move the cursor over any active illumination or surface finish property to display dynamic help pertaining to that property. As an example, with the cursor over the Diffuse property, dynamic he lp shows the way the model will reflect light as t he slider is moved.
Iliumina tJon
o;ffi...., amount:
[c~
..
~..,.
~~t~~-.
J Controts intensity of hght on a surface. A J ~1gher value m akes the surface appear
Sperular cokx":
~b_n~gh_~~' · ---------------A
1 Specular spread:
r.
l o.~r.; rr-Tr--:~.'
r··
Reflection amou<1t:
[o·~~-'~'-~~--' -~-~~1
Discussion Forum [ ]Bkny reflectioos The SolidWorks Discussion Forum is ava ilable to all Transparent amount: customers with Subscription Service. It is accessed through the SolidWorks website and has subgroups for l l.Krinous intensity: fO:OOii~i.;;;,_2---r: different areas of SolidWorks and its add-in programs i~tt~ • 1 t i I l 1 U1 l! .1 -Hil~.-l such as PhotoView 360. This is a good place to ask questions of other Photo View 360 users and to share information. 1
Options PhotoView 360 has its own options dialog box. Options allow you to customize t he Phot oView 360 software to reflect your preferences for default settings. Opt ions are divided into Output Image Settings, Render Quality, Bloom, Contour Rendering, Direct Caustics, and Netwo rk Rendering. For a complete listing of all t he sett ings available th rough the Photo View 360 Options dialog, refer to the Help menu. Where to Find It Menu: Photo View 360, Options • Render Tools Toolbar: Options ~ • DisplayManager: PhotoView 360 Options ~ 11
PhotoView 360
29
S:::: Photo View 360 Options =e=:-e beginning a project in Photo View 360, you need to set syst em options to make sure everyone
:-c•: : the same resu lts.
::edure Open a new SolidWorks part. ~oView 360 Options can only be set if a pa rt or assembly docu ment is open. S et PhotoView 360 options. Options 1~1 o n the Render Tools too lbar.
: : =·
::- ::-e initially only concerned with the Output Image Settings and Render
Output Image Se~
.::s::Uty.
i ! OUtput image sue:
::: ==- Bloom, Contour Rendering, Direct Caustics, and Network Rendering.
. .....CJ
!
[nox5'!0
·I
{'!:3)
720
10£t1Jf! ( ! ! !
Choose output image settings 3-= =::'.: Dynamic help. This will make it easier to learn the various illumination =:-: s~rface fin ish settings as we proceed through the case studies.
~
[[{] Dynamic help
[0
,•• !!tf.l~}lf~
•>
5'10
ttH j''.\f _llt !t Jj#Jyt•ut•i
1.333 : 1 [J] Rxedaspect ratio
,
I j·l
r1 Use background 1 .J ratio
- _- :onsistency, set t he options as follows:
I.
aspect
.' Image for ,......... ma_t: _ _ ___,
:M-put image size: 72Qx54Q {43} ?ixed aspect ratio: Select~d :Jse background aspect ratio: .c:l~9red !.mage format: JPEG :Jefault image path: 0: \ SolidWorks Step-by-Step 3uides \ Photorealistic R endering\ Rendered Images
·I
[J>EG
II
Default image path:
1
l:.>l:i
C: \SoidWori
l B
J
I
!Good
Final render quaity:
Choose render quality. --eie are fo ur levels of re nder qua lity: Good, Better, Best. and Maximum. For :_- initial renderings. a qua lity setting of Good will be sufficient to see t he ::-.::..:ects an d also to preview and render quickly. Preview render quality: GQDQ Final render quality: Good Gamma: 1,6 :::.!ck OK. -portant! Yo u must click OK to save the settings. If you just click on another :cb, the changes will be lost. ~
Close all open files.
*
RenderQuality
. Preview render quality:
I
!Good
·I ·I
' r-J CustDm render settings Gamma:
-
1.6
i !
t ..•
jU,ll1 II 111 1 l " l B~rt···
j0 Monte Carlo j fJ OU~ent Occlusion L_ ~
j j J
tiT~ -- - ~1
~~ Rendering
~;
[0
~j
Dire9'(:ausl:ic:s
JQ£:-R~dering
4,.l
Basic Visualization orkflow -.~?o n
successful completion of this chapter, ·ou will be able to: Jescribe the basic steps to render a model with the SolidWorks and PhotoView 360 software.
• A::l?IY appearances to a model, feature. and face. ~a ~ply
a scene to a model.
• .;.dd a llght to the scene. ~end er
a model using Photo View 360.
• [:Jmpare rendered images using the Final Render window.
32
Chapter 4
The Visualization Process To create photorea listic images. there is a basic process to applying all the elements required. Most of these steps are done in SolidWorks with the final rendering steps being done in Photo View 360.
---~--
...Jt;:
-
~
'=
.
Stages in the Process For each SolidWorks model to be rendered, the process requires the following steps which are repeated until a satisfactory output is obtained: • Apply appearances Apply appearances to the model. features, and/or selected faces. • Position the viewpoint Use a standard view. a camera. or zoom, pan. rotate. and roll to position the model as desired. Turn on perspective to give the model more realistic proportions. • Set the scene Select one of the various preset scenes, or set your own background and scenery. • Set lighting Adjust the existing scene lighting or add additiona l direct lights. • Preview Preview the rendered output using the preview window or integrat ed preview. • Adjust Creating a good rendering may require adjustment to the scenery. lighting. and appearance to get the image the way you want it. • Final Render The model is rendered to the size and quality set in the PhotoView 360 Options. • Choose output PhotoView 360 rendered output can be save to a variety of file types as a colored or alpha chan nel output. • Postprocessing The PhotoView 360 output is not always the final product. The Photo View 360 output may be used with other programs for add itional effects.
=r:r.s..: --=~:
--c-----
Basic Visualization Workflow
33
aterials and Appearances ::- :::1 to SolidWorks 2008, appearances were just called materials. Starting with SolidWorks/ ='-:::~oWorks 2008, appearances have been used to define the way a surface looks, while materials -::==i.-:e the physica l properties of the solid. While materials have appearances associated with them, =.:::::earances can be applied that are completely different from the material. An example would be a 2 1ted piece of steel. The material applied would be steel, which would be used to calculate the weight _- :.1e part and stress calculated through finite element analysis, while an appearance of paint would be .32G t o show how the part will look with paint applied. Additionally, t he su rface fin ish on appearances -=-! be different; for instance a brass appearance could have a surface fin ish of cast, rough, sat in, or :: :shed. =- =~to SolidWorks 2011,
PhotoView 360 used a separate set of appearances. With SolidWorks 2011 and .=.::=:- versions, all product visualization, including Photo View 360, uses a single set of appearances. - -erefore, when we apply a material to a part or assembly, the appearance associated with the material ,..., . ] e used in OpenG L, RealView, and Photo View 360 rendering. : as desired. Turn on
ry.
:;efault Appearance - S:>lidWorks 2009 and later. all surfaces must have an appearance assigned to them. ln versions prior -: .:::oog, parts did not have to have an appearance but could have a color or texture applied directly to ::-e part. If a part without an appearance was rendered, the default appearance was used, but not =::<:ched to the part. - en you create a new part, the default appearance will automatically be attached to the part. Out of --:;box, the default appearance is called color. If you open a part created in an older version of ~::idWorks, either t he default appearance color or texture will be used with the legacy data contained - :'le file.
:-:earance to get the
:.J
can set any appearance to be t he default.
... ere to Find It Task Pane: Right-click an appearance and click Set as default appearance >·
·eo or alpha channel
CJrput may be used
User Interface - ..11ost every function in product visualization is part of SolidWorks and can be used without ::::l otoView 360 being installed or added in. There are three places in t he user interface to add, modify, 2 1 d display visualization information: the Display Pane, DisplayManager, and Task Pane. In many cases. :;u can access t he same information from all three.
34
Chapter 4
Display Pane The Display Pane is used to view display visibility settings of parts and assemblies.
Where to Find It • FeatureManager design tree: Click « to close it
~ Space Navigator-1 (Defaul . ~ Sensors
1hJ Annotations
»
to open the Display Pane and
! j ~ Front ~ Top
t.
DisplayManager The DisplayManager provides an out line view of the key propert ies used for product visualization associated with the active SolidWorks part or assembly. The DisplayManager has four different sections: • • • •
View Appearances View Decals View Scene, Lights, and Cameras PhotoView 360 Options
The informat ion in the DisplayManager makes it easy to: • • • • • •
~ Right Ongon · ~ (f) Base-1 <1 > It: ~Trim Ring-1<1> ~ Button-1 <1 > ciJ ~ Button-1 <2.> ~ Center Control·l<1> iJJ ~ (-) Rubber Base-1<1> Mates
e
1
·
ffl·
. &li
[%'(if] 6% ~~Jf@l_ (f]~~
v;ew Appearaoce<
~f/
View Decals View Scene, Lights. and Cameras Phot oView 360 Options - - - - - - - J
Ident ify which appearances and decals are associated with which geometry. Understand the way in which appearance and decal inheritance works. Select and edit scene properties, appearances, and decals by name. Transfer appearances and decals between items of geometry in the tree. Turn lights on or off in SolidWorks and the PhotoView 360 rendering. Set PhotoView 360 Options.
Where to Find It • FeatureManager design tree: Select DisplayManager tab
~
~
Basic Visualization Workflow
/iew Appearances View Appearances tab lists all the appearances attached to t he model and can be sorted by:
~e ·: :l)efaul
~ ~ ~
1..
-·
I
. .1<1> ....1<1>
~ ~ L]
~~
History: the chronological order in which the appearances were applied. Alphabetical: by the name of the appearances. Hierarchy: the precedence order of the appearances. Appearances higher up the listing take :Jrecedence over appearances lower in the listing.
.... ....
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Sort order: blu~ pohsh~d
ABS plastic blu~ polish~d ABS plastic<2>
~
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e-
- ~ blue polished ABS plastic<8> color
$ .,) yellow high gloss p lastic<6>
@
~ ~ yellow h igh gloss plastic<3>
$J .) yellow high gloss plastic<4 > !>) ..) yell ow h1gh gloss plast1c
I±J 4,) yellow h1 gh gloss plastic<7>
f!: •
b lue polished ASS plast1c<8>
ffi Jcolor !tHJ color
e0 color<3>
.±!.·J
ffi \.) color<4 > red high gloss plastic
I±J
$0 00 V
c olor<5> co lor<6> color
i±J ,.J color<8>
itJ 0
color<9>
I±J -,.) y ellow high gl oss plastic<8> !±; •
blue polished ASS p lastic<9>
I±J· ..1 y~llow htgh gloss plastic<9>
@..,) color d.-l \
History
Alphabetical
color
Hierarchy
35
36
Chapter 4
View Decals All decals applied to the model and the face they are applied to are listed. The order in the list also indicates which decals are on top of the other decals.
2
tj
Decals (fop mam sheH)
E'
§
TruckGnll Face
.I:Jl
I!J .@logo
·!J +
Face<2>
@ Decal< (fireman)
---;::, -
View Scene, Lights, and Cameras Scenes, lights, and cameras are listed and controlled by this tab. Scene
Both the background (that which is seen behind the model) and t he environment (a spherical image surrounding the model) are listed and can be controlled. Lights
Lighting from the scene and direct lights are shown here. For direct lights, their stat us in both SolidWorks and Photo View 360 is shown. Cameras
-=
·~ Scone (3 Point Orange)
-
Vd) Background (Environment)
e
-J:-
: : .:J 2'
~
Environment (3 point orange)
1.'- b}Lights ~ Scene Dlum1natron
Q Amboent Q' r$1 Diroctionall l.l' r$' Dored:lona12 - ~Camera ~ Cameral ~ Cam ....2 ). Walk-through r=. ~ Snapshots Home
0
All cameras in the model are listed and can be modified. Walk-through
Walk-throughs are a type of animation path used to show how t he model would look to an observer walking through the model. Snapshots
Snapshots capture the state of the graphics area including the view orientation, zoom, hide/show state of components, section views, and exploded views. They are only available in assemblies.
__.?:
-=:;.::
Basic Visualization Workflow
t ~
a !'":op main sheiQ -~emu
face
I
:lhoto View 360 Options ( '.~l.nl'lilit'J 'iij 0 llloom ~ ~ )(; F10ol render orly -en Photo View 360 is loaded, the options used to 1 Bloom setpoint: =-~o l the settings unique to rendering are displayed in "Outp;;ti"mageS..tti~~ 100 • A fem I .i! (! I \ 1 1 1 _~ 1_r)lit;mnwj lJ Dynam
a wernan)
:;q
E,.
I
~
.,. (J Pomt Orange) ~nd (Environment )
...
&-onment {3 point orange)
Sr.:er ltumination rDent l:lectlonaU l:lectlonafl ~
~
Render Quality ...:sed to control four preset image qualit ies for both ::-:e preview and final render or use custom settings for --:10re controL Bloom ...:sed to add a glow around very bright emissive or -eflective objects in the image.
~
~
.__
!~~Dots
,...,
.o
[0
-.:o an observer
Direct Caustics J sed to add caustic effect s (light refraction) from c irect lights through transparent objects.
- hide/show state ,. J.tes.
Network Rendering J sed to share the rendering task across multiple computers.
1?20X5'!0 720
• •
fmf} _l I I I 11 I I! l,khhfrl;trd
j
··-
!o!fFilTIXITikVA"®lii•1 1
Con_ t our R,;-ndet)lng
~
F111al render only
....,-
540
5
IL
vI
( 4:3)
iU.fTTl lllJIJlJJ)j~«Ni'f
[]] ~
t. 333: 1
[JJ Fixod aspect ratio
. -. : Dir~:Color. .
Lre thid
I=
'_] Use backgound aspect
IDef.U::::epa~: ~~
d::J
.!'"-
~--1
L"
~
C:\SolidWorks Step-by-Step
! Browse...
J
' 100000
•1!1T 111 !_ ~ 11 U ! "'rHl1?ti11
' Render Qua.rny-1
Contour Rendering J sed to add separately rendered edges in the fina l -endered output.
I
Bloom extent:
Output lfllage Sl;re:
.l:lgD
;J Fac.e
37
ICaustic quality:
Pre\ilew render quality:
1.
llI
1Good .
In
-~
I '. ...
FK1al render QU<>kty:
I
--'---'----32 isnp H ,, \ ! i " 1rif'"'1
· -- ·
1 Ii,J Hetwork Rendering
III
Good
Cusmm render settings
Gamma: f ...
16
j !'
Clent workload:_ -·
~
..... •
2QOD/"
1 m .!! !l ! ! t ! 1'1 U~tl"...-11 i 1 [J] Send di!ltz:l for n~twork job --------' !
~..
rm:rrn::rrnww,··
n:Fj" ........................
j
Network shared directory:
C:\ t
aro·.-.""Se .••
38
Chapter 4
------------------------------------------------------Task Pane
«
The Task Pane is used to apply appearances, scenes, and decals. The choices in the Task Pane are the same whether Photo View 360 is added in or not.
Appearances. Scenes. and Oecals
...
: :; e Appemnces(color) ~ U legacy ffi ~ Plastic ttr ~ MI!tal (tj ~ Pairrt~
. .teli!!l!m
$ ~ Glass '4j L1ghts
&., ~ Fabric (f) ~ Orgamo t•l ~ Stone ~ -te Misct.llaneou!i Sc•nos BasiC Scenes ~ Studio Scenes ~ Presentation Scenes ~ Custom Seen.. §Decals t@ logos
ees ' t.e i!:J
-=-
~ Custom Decals
matterubbe:r
Case Study: SpaceNavigator The SpaceNavigator is a 3D motion controller from 3Dconnexion found on the desks of many SolidWorks users. For our rendering, we will use a defeatured version that has no internal detail as the internal components will not be seen in the view we are going to render. Our goal in this first case study is to learn the key steps in the process of creating a rendered image. We will add the appropriate appearances to the various components, add a logo decal, and place the model in a scene all within SolidWorks. Once the initial setup is complet e. we will use Photo View 360 to create the final rendered image.
=~ =
The SpaceNavigator is a product of 3Dconnexion. This model has been provided by them and used with t heir permission.
Basic Visualization Workflow
,.
i..-c;es. Scenes. and Decals ~ ~es(color)
-~ te!¥C'J
~
i'ioslx:
39
_.z There will be places in this initial case study that you will be told to make adjustments to :-::::~erties without a full explanation of why you are doing it or specifically what the expected result is. --ese details will be covered later in the book. For now, the important t hing is to understand the overall ::-:::::ess and to gain an exposure to the different elements of the rendering process. ~:x:edure
Open the assembly. ::::il the SpaceNavigator Assembly found in the -~apter 4\ Case Study\SpaceNavigator folder. ~ \fiscelaneous
ia,. ~'""""Scenes
Specular highlights
Orient the model. 3-=.ect the Isometric view.
& smdioScenes
Turn on OpenGL. =~eaiView is on, turn it off by clicking View, Display, RealView ;;cphics. This is a toggle, so the same icon turns ReaiView on and
::ice that t he model is uniformly gray because all the parts use the default appearance. While there highlights from t he lights, there are no reflections seen in the surfaces.
~-=specular
Examine the model. --=assembly consists of eight unique parts, one of which (SN_BUTTON) has two inst ances. Because :::h instances of the but ton look the same, we will add the appearance in the part file so that it will =.;:Jiy t o all instances. The individual parts have been extensively defeatured on the inside because we =.-e not concerned with the construction details, only the final shape.
_ Open the part. :Jen the SN_BUTTON part in its own window.
Cc-.-:exion. This mode[ ;:;- ~eir permission.
40
Chapter 4
Appearances Appearances affect the way a surface reacts to light. In a part, they may be applied to parts, features, bodies, or faces. In an assembly, they may be applied to assemblies or components. Appearances are of two general types, Procedural and Textures. Appearance types will be discussed in Chapter 5: Applying Appearances. To apply an appearance: • Drag the appearance from the Appearance Selection area of the Task Pane (see page 41) into the graphics area to apply the appearance to the entire part. • Drag the appearance onto a part, feature, or face, and then select where t o attach the appearance using the Appearance Target I WI ~ ILl ~~ fl ~ I. • Select the part, feature, or face, then double-click the appearance in the Appearance Selection area of the Task Pane. • Select the part, body, feature, or face, then right-click the appearance in the Appearance Selection area of the Task Pane and click Add Appearance to Selection(s) ~ . • Select the part, feature, or face, then right-click the appearance in the DisplayManager and click Add Appearance. Note If you press and hold the AIt key when dragging an appearance onto a part. body, feat ure, or face,
the appearance's PropertyManager will open. Where to Find It • Menu: PhotoView 360, Edit Appearance • Render Too ls Toolbar: Edit Appearance It] • Task Pane: Appearances, Scenes, and Decals tab ~
__ ::e;a:as
- --= -::::":16 -~~...rt
Basic Visualization Workflow
41
·---- ----------------- -- -- ----- -----------------------.!..ppearances, Scenes, and Decals Tab
{; t:o parts. features, .;ppearances are of Chapter 5: Applying
Appearc:snces. S.cenes, and -
w
- -e Appearances, Scenes, and Decals tab of the -::sK Pa ne lists all the appearances that are :: ailable to be applied to the model.
c
c.=-. the appearance c.,ce Selection a rea
te Plastic
+' ~ Metal
• ' ~ Painted
sxe Rubber
::::::earances are listed in Appearance Folders. -'-e appearance tree s hows all the folders Appearance :-_-ently loaded. Each folde r can be expanded by Library ·: :
~ Matte ~Gloss ~ Texture -., ~ G lass
:· ~lights iF Fabnc '! t4 Organ•c ;E Stone +' ~ Miscellaneous l+_ ~Scenes 5 @ Decals · l§ Logos
<.e <.e
:earance Selection rager and click Add
-;i.y, feature, or face,
1•
e Appear.mces(cofor) '+'
- '-e top pane is the Appearance Library where •:Jcge 41) into the
~ ttD
lil
Appearance Selection Area
color
Appearance Folders
42
Chapter 4
6 Add an appearance. If an appearance is to be applied to an entire part. the easiest method is to drag the appearance into the graphics window. Click the Appearances, Scenes, and Decals tab on the Task Pane. Click the plus sign to the left of the Appearances folder to expand it. Do the same for the Plastic folder, then select Textur ed. Drag the appearance PW-MTll 000 into the graphics area to apply it to the Button part.
- -.e -:p;:; t SN_BUTTON (Default< ~ Sen&Ors $- ~ Front ~ Top
t0 Low Gloss
..te Textured
·te Clear Plastic te Sat1n Finish
te EDM
-te Patterned
te Composite ~ Mesh ~ Wax
i ~ Right l.. Origin
7 Return to the assembly. Make the assembly window active and examine the model. Both buttons are now black in color and have a dull finish.
Basic Visualization Workflow
Turn on ReaiView. c;Jpearance into
"'or the Plast ic
-_-on Real View by clicking View, Display, RealView Graphics in -E 1enu. .:=c:::Jse the defau lt appearance has a high reflectance, we can see ·:=- =::tions from the surrounding scene.
::: part.
Add appearance. :=. ~and the appearance folder Plastic and then select the :::..::O.ium. Gloss folder.
Drag ont o this part
- :1e Appeara nce Selection area. scroll until you locate the =:.::::earance black medium gloss plastic.
::g this appearance onto the part SN_UPPER_HOUSING. -en you release the mouse button, the Appearance Callout appear. Select Part.
Select part _ te If it is difficult t o see where the appearance was applied, you :::1 change to OpenG L display which will remove the reflections.
·~co lor and have
43
44
10
Chapter 4
Add appearance.
The next part is the SN_HANDLE_CAP part which needs an appearance that will look like rubber. We will add the appearance PW-MTllOOO to the entire part by t he same drag-and-drop method used previously. Drag the PW-MTllOOO appearance from the Task Pane and drop it on the SN_HANDLE_CAP part. Select Part in the Appearance Callout. Note In the real SpaceNavigator, the SN_HANDLE_CAP has a rubber coating. There is no requirement to use an appearance that is the same as the actual part. Our only goal is to make the final rendered image look correct. 11
Add appearance to selection.
Examine the part SN_CAP_INSERT and notice that there are three surfaces that will need to have the same black medium gloss plastic appearance applied to them as was used on the SN_UPPER_HOUSING part.
Top Face
--
Select the three faces. In the DisplayManager, right-click the appearance black medium gloss plastic that is attached to the Trim Ring. Click Attach to Selection(s). Note We could have added the appearance t o the entire SN_CAP_INSERT part as was done in the previous steps; however, we are adding to the specific faces just for demonstration purposes.
---
:.5
Basic Visualization Workflow
look like rubber. We 1>-drop method used
: Examine the part. S= ect: the View Appearances tab of the
45
~
: s :J,ayManager and select Hierarchy for the sort : -=:-.
T] s D im!
::::ANDLE_CAP part.
1ere is no a : is to make t he final
Top Face
- - ;s dis play,
we can see the appearances we have 3:'":: .ed so far. PW-MT ll 000 has been applied tG SN_HANDLE_CAP part and black medium ~ -ss plastic has been applied to the three faces. ~?.:<:!.lse faces are higher in the hierarchy than ;c.--:s, the black medium glos s plastic shows '- ~er on t he tree than the PM -MT l lOOO ?:":eara nces attached to the parts.
'--=
: =•
black medoum gloss plastoc
I
.[J Face
[] Face<2> .[) Face<3> "" ~ Parts/Assemblies
-= •
= ...) color ~ SN_FOOT_& - · ...) colo r<2> ~ SN_SUPPORT_&
=· -.) ~· •
e ::an a lso see that five part s have t he default :::>=earance Color applied to them because all =-:es must have some appearance applied.
3 Apply appearances to t he S!i_LOWER_HOUSING part.
PW-M111000 . ~ SN_HANDLE_CAP_&
color<3> ~ SN_CASLE_ATTACHMENT_&
PW-M111000<2> . ~ SN_BUTTON_&
fJ ..j color<4>
'% SN_CAP_lNSERT_&
8 ..) color ~ SN_LOWER_.HOUS!NG_& F • black medium g lo"' plartic
'% SN_UPPER_HOUS!NG_&
: -::e"l the part SN_LOWER_HOUSING in its own window. - :""'e Appearances, Scenes, and Decals tab of the Task Pane, locate the appearance satin finish s-Ainl.ess steel under Appearances, Metal, Steel
: :g the appearance into t he graphics area to apply it to the entire part. - Return to assembly. =: :urn to the ass embly of the SpaceNavigato r.
....;}Seen parts - - .s asse mbly contains the parts SN_FOOT and SN_SUPORT - ich are under the assembly and will not be seen in the rendered e-.·1. We have already seen in step 12 t hat the default appearance :: .or is attached to this part. Do we need to change the appearance -::something that is more appropriate? If we need the flexibility to -: .,der this assembly in other views, then we should change the ::::;Jearance to something more realistic. If the Isometric view is _s:::ng to be the only rendered view, then it is not necessary to : -:ange the appearance because t he part will never be seen.
46
Chapter4
15 Add appearance to a component. For completeness we will add an appearance to the two parts. In the Feature Manager design t ree, select t he SN_FOOT.
=
Locate the appearance PW-MTl l 000 in the Appearances, Scenes, and Decals t ab of the Task Pane and double-dick it. In the FeatureManager design tree. select the SN_SUPPORT. Locate the appearance black medium gloss plastic in the Appearances, Scenes, and Decals tab of the Task Pane and double-click it. Appearance hierarchy
Examine the DisplayManager and notice that the PW-MTllOOO appearance is attached to the SN_FOOT part at the Components level and that Components appear in the list above Faces.
IHiorarchy
Sort order:
~j
1;:1- ~ Components
. B (I PW-MTllOOO - ~ SN_FOOT_&-l@SpacoNavigator As
-e. S
(I black medoum glo« plastic
~ SN_SUPPORT_&-l@SpacoNavigator As · -!;;ii Face , [ ] Face ' -I:J Face<3> 8 ~ Part $.,.) color (!l j color $~ color<3> $ (I PW-MTI1000<3> ~-..) color<4> ttl
J
~ black medium gloss plamc<3>
16 Add appearance to a face. Drag the appearance yellow high gloss plastic from the Plastic, High Gloss folder onto the bottom face of the SN_FOOT and select Face. :::.s
3
Basic Visualization Workflow
~r design
tree, select
:b of the Task Pane
::.Xamine the assembly. 1= = : hough both appearances are :::-:: : ::l, the yellow high gloss ; -=.-:..:.c attached to the face is hidden _ :-: PW-MTllOOO attached to : ::mponent because components ~ - ·gher in the hierarchy.
-=
s. and Decals tab of
47
~J S- ~ Components S PW-Ml11000 ~ SN_FOOT_&-l@SpaceNavigator Assembly_& 8 • black medium gloss plastic ' ~ SN_SUPPORT_&-l@SpaceNavigato r e O Face ' t=;J J yellow medium gloss plastic . .[] Face Elblack medium gloss plastic<2> · fJI Face<2> [) Face<3> li:J Face<4> S ~ Parts/Assemblies PW-MT11000<2> . .,_) color .,_) color<2>
a
a
~ •.. ·····- -------
liJ a
?
,...,.XPS ~
\ ) color<3>
1$1-.
~avigator Assembly_& I ~plasbc
1iJ ·..J satin finish stainless steel
a black medium gloss plastic<3>
I
!a -:@SpaceNavigator Assembly~ •piasbc<2>
PW-Ml11000<3>
$ .,_) color<4>
: Open the part. :c:.:il the SN_FOOT in its own window. '~l .. I • I:J:IJ:lt•it::..:
:-lin t he part itself, we can see the ye llow :::::earance because within a part. a face is at :--e top of the appearance hierarchy.
_ Remove an appearance. •sled -piasbc<3>
; "older onto the
~-=-:ause
·] E;!·Q
Face yellow medium gloss plastic 1 8 {]Face 8 ~ Parts/As.embfies s y color ~ SN_FOOT_&
·v
we do not need the yellow :::::earance, we should delete it t o avoid ::-.fusion. In the DisplayManager, right-click the yellow high gloss plastic appearance and click ~:move Appearance.
Jecals ::.=:::a Is are image files that can be added to the model just as actual decals are placed on t he final ::-3duct. Beside the image used as the decal, a second image ca n be used to mask the first image so t hat ·'"-:Iy certain areas of the decal image show through, very much like a st encil. -the next few steps. we will add the 3D Connexion logo to the t rim ring of the assembly.
j
48
Chapter 4
20 Open the part.
Decals are added to specific parts, not the assembly. While decals can be added in the assembly, you cannot specify a face or faces to which the decal is going to be attached. Open the part SN_UPPER_HOUSING in its own window. 21
-
Add the decal.
Note This is not required but will make it easier to see the placement of the
decal by removing the reflections. In the DisplayManager select the View Decals tab. Right-click anywhere in the View Decals t ab and click Add Decal.
(jj Joconnexron !mage file path:
22 Attach the decal. The Mapping controls are used to size and position the decal on the part.
Select the Mapping tab. Select the face shown. Note The model is shown in the Isometric view.
~
--.::.
_. -
=
-::e
Change the display to OpenGL.
Click Browse and locate the file 3D Connexion Logo.tif in the Case Study\SpaceNavigator folder of this chapter.
-
(;i;l C:\So!idWorks Step-by-Step <
f ~owse...
I
~J ; [Mask lmage @ No mask U !mage mask file (") Selective color mask
If) ~cat image alpha
There are two things we need to do with the decal. First is to size and position it correctly. The second is to show only the white letters and logo and not the blue background.
Basic Visualization Workflow
, the assembly, you
Size and position the decal. --e ~..:e and positio n of the decal can be controlled eit her by adjusting the values on the Mapping tab - - :- ::-agging the handles on t he blue and magenta box in the graphics area. =~ :::e handles to size and position the decal as shown. If you are having trouble, enter the values
-= ~ below in the Mapping tab.
t·1apping
[ Cytndrical
0 Rt width 1l> ~tion
Axis direction:
·J
ISelected Rererence
I
lfare ~
-
,... 106.oodog 0:: T:) )': t
t
0; Joconnexron ::::a.,. lie path; 1a
C:'SoidWorks Step-by-Step C
I erowse... I 1
Save Dea>i ..
J
l8age
• 'lomas!: ;;;.age maslc file Sdective OJior mask <.lse doCi!ll ina9e alpha
.::.rn.l
:::JITectly. The second
49
-
-
~
.J -~ ' 4
II
t ~~~~-!-;~'!!I 1:1~.
D Rt height to selection
...., -
·~·
D . u.OOOrrrn
itg~ I I I I !11 j II I l_j _~ i-'1"!''.4
ro
; z.500mm
--r:~
fyn l I I 1 I ! I I I I II 1 11 ljd~fi••~
Aspect rabo: 4.80: 1
~ . 180.00deg - - -
-
t.
- . }
0
Mirror horlzontaly
0
Mirror ver&DIIy
·__:_T_ '
Reset to Image
t-:~
so
Chapter 4
5c aes
24 Remove the decal background.
As applied, the decal image is a rectangle. We only want to see the letters and not show the blue background. To do this we will mask out all of the blue in the image.
I
Select the Image tab.
I
Under Mask Image. select Selective color mask.
Click on the eye dropper [2]. In the Decal Preview. click in the blue area of the preview. The Decal Preview now shows this image. The area with the red lines is masked out of the image.
Click OK. The blue background has been removed and only the letters and logo are showing. 25 Return to the assembly.
Make the assembly window active.
~{~A~~i$t.:~~r.~, ?( ' ··~:;. " ' · ,
Q]
~n:::emnlogo.bf I Brow.., ...
--:: 5
Basic Visualization Workflow
51
Sa:nes 5::-es are made up of the things we see in t he rendering that are not the model. They can be thought ::-=s a virtual sphere around the model. Scenes are composed of backgrounds and environments. 3:: :. .".'orks has numerous predefined scenes to make viewing the model more realistic.
LT~. .~~t;r:~· ~
I ~
·~·,
~~ path: -Cle.¥1\30 CoM e>
I Browse... ] Isa..., DeG>I•• •] t--
;.. ~
X=ne Library
Appearnn<:es. Scenes, and Decals
--~Scene
_-=
Library lists all the predefined scenes that are ~~le to be applied to t he model.
Lt
1B
e
~
'
Appeara nces(cofo r)
$-e; Scenes ·· ~
'*>mask
:.,age mask ~ • s.!ective CDior mask
. . doCill inage ·~ annel
--=::!;:> sect ion of the Task Pane contains the Scene Library Scene -e-e scenes are listed in Scene Folders. The scene library Library ~ all the scene folders currently loaded. Each folder can be ~ -::eiced by clicking the plus sign next to it to show the sub- :.:-s. The bottom panel is the Scene Selection Area.
·
~ Basic Scenes ~ Studio Scenes
-t,e Presentation Scmes ~ Docals
-=~:::Jly a scene, select the scene in the scene selection area, :-e:- drag it int o the graph ics area. Or. double-click the scene :::- :-: scene selection area. Scene Select ion Area
Reffectiv• Floor Black
52
Chapter 4
26 Select a scene.
« Appear.mces. Scenes, and 0_ tf}
Expand the Scenes folder and then se lect Basic Scenes. Drag t he scene Soft Tent into the graphics area.
'+
f}
~ Basic Scenes Stud1o Scenes
Change t he view orient ation t o Trimetric. and change the display to Shaded.
Appe~ rances(color}
=.te., Scenes Q
ti Pr6e:ntat10n Scene5 [£ §
Decal<
Turn on ReaiView.
Soft Sp otlight
Soft Tent
Basic Visualization Workflow
Appe>Rnces. Scenes. and D-
~
'
Appearances(color) Sanes '<& Basoc Scenes -.e Studio Scenes ""C. Presentation Scenes
Decals
1t
- :=dit t he scene. - =J isplayManager. click View Scene, Lights, and Cameras
:::-:~~ ~-c:i ck
I
~ ~ ~ 1i @ l ~
.
_-.=..= Scene are listed both the background that we see behind the model -~ -::-e environ ment. These can be edited to adjust their positions and :::::=~ies.
53
·~ '~. t=;
~
-
q
'
~ tii~Uit~ilm!
Q Background (Envoronment) @ Envoronment (soft tent)
·•' ~ Loghts ~ Camera Walk-through
J.
Background and click Edit Scene.
,,,·-~··
.; X
==-·OK.
Basic
.
......,...
...
_-::c: Floor, select Floor reflections.
--
~
11)
l AdvancEd.• Ihma6on l
* ·I
r llackground
~ Envi'orment
;
Soft Spothght
-
~
Envif'Oflment
~ C:'frogram Fiesi,Soitf;'IO
i"'-a...
L
l I Floot
' [ :":Roor reflections ./ Roor shadows
j
I-
Browse...
~]
)
Aigl floor ,.., th:
Soft Tent
l"'.-) (xz
3
Roor offset:
12J1!1Oi(n iU:'I f
~
t!! I ! )J! I j i
j
:
I l li!:e!!i!ifpl
I
54
Chapter 4
Lights There are two different lighting methods, direct lights and environmental light ing. In OpenGL and ReaiView all light ing is fro m direct lights. When the model is rendered using Photo View 360, primary lighting is from t he environment but direct lights can also be used to light en shadows, focus attention, or simulate specific lights that might be part of t he finished model. By default, all direct lights are initially off in Photo View 360. Once Photo View 360 is added in, the View Scene, Lights, and Cameras tab in t he DisplayManager will show an additional set of icons.
!:il ~ Scono (Backdrop - St udio Roo m") $ ~ light•
'*
To turn lights on or off in either SolidWorks or PhotoView 360, right-click it s icon and select eit her:
~ Scene Illumination
D~rection a n
Ambrent ~ ~ Oire:ctionall
9
~ SpoU ~ !>oinU
·
~Camera j,_ Walk-through
On in SolidWorks u Off in SolidWorks • On in PhotoView • Off in Photo View
Qi ~ PoinU
Phot oView 360 -Off
On in SolidWorks
Off in SolidWorks
Directional
~~SpoU
-~Camera
' j,_
!I
Light Type
Ambient
On in PhotoView 360
Walk-through
PhotoView 360 - On
Off in Photo View 360
.,...;.~
'~W Spot
l -. .,
Point
~-.. . _
y.L"y:
¥ In our model of t he Space Navigator, the model will be lit by the environmental light. Because environment al light ing is from large sources. it does not provide well-defined shadows. We will use one of the directional lights to create a shadow to help define the size and shape of the model. There also needs to be a blue light inside t he model that will be visible between the SN_UPPER_HOUSING and SN_HANDLE_CAP In addition to direct lights. there are several appearances t hat can be used as light sources. We will use one of these lighting appearances t o create the blue internal light.
Basic Visualization Workflow
55
1ide components.
·g. In OpenGL and :~zNiew
360, primary !::ows, focus attention.
·'* ~ "ile.___ (j ~
I@
-:: - ::
: Add an appearance. ~.: =-~
the two s urfaces s how on t he SN_LOWER _HOUSING.
- -=Appearances, Scenes, and Decals tab. locate the Blue ~ a? pearance unde r Appearances, Lights. LED.
"-
~ Sccn
"- ughts ;oo..: Sc~ne Illumination
') Amb1ent ~ ~ Directionat1
: Snow components.
~~ Spotl
=:::-.. the components that were hidden in step 28.
0 -& Po1ntl Umera
-:-sxler the Model
1t •'• •!k-through
~otoVi ew
360- On
31at the model is set up in SolidWorks and Rea lView, t he next step is t o render it using =>-c-:N\ew 360. C"
Turn on PhotoView 360. -· =~ Too l s,
Add-Iru
PhotoView 360
='-c:-:JView 360 can also be turned on by selecting it on the Office tab of t he CommandManager.
.-4~.
~~ ·~··":~:..· .
q
~ · f!~
(}
~
(j
'1f
~
~ Photo'iiew S.c.nToD Soldl'iorks . •. .5o!id'•'.iorks . • . So!id\'i orks So~dworks .ToiAnalyst ~ Motion Roulin9 Sinulation Toolbox ·~
~~
..
IStart Up
Active Add-tns
~::ducts
l LaiCUt 'I' sliefet\ I EVa!uat~ t R!lndl;.r Tool$ I Office Products
r-
~
I'>
Add-ins and select PhotoView 360.
Off in
~
.
.
Because tows_ We will use one ~e model.
-+oe a re several c;=~pearances t o create
A
8 SolidWorks Premium Add-ins
0~ D Instant WebsiU,
q2 In
0 0
:zrutl'lorks
,
"'0 1
0 €> Photx>V"~ew 360 l ~t_:::·;>conToJU
'=!
0 '"' SOOdWorks Design Checker 0 & SolidWorks t.fution
0 0 D 0 0
0 ~ SolidWorks Routing O (jl SolidWorks Simulation 0 SolidWorks Toolbox 0 SolidWorks Toolbox 6rO\NSer 0~"! SofidWorks Utilities 0 SoiidWorks Workgroup POM
'tl'
P~-
E;-e
::-:__::.e-click the Blu e LED appearance to attach it t o the ·: : ::..Jrfaces.
0 0 0
8 SolidWor ks Add-ins
0
0 0 0
Autotr•ce So!idWorks Row Simulation SoltdWorks XPS Driver
I
OK
l
-----~ ·~~·~~~-·
I ..
I I
0
O~To!Analyst
0 0
~~
Cancel
l
'c ~
A
~--------------"4
56
Chapter 4
PhotoView 360 Interface Once PhotoView 360 is turned on, there will be five additional elements to the user interface: • Render Tools toolbar The Render Tools toolbar provides all the common tools used for rendering t he model. lt can be used as a st andalone toolbar or in the CommandManager. ~'La.~
Edit
f Layout l
Paste
§
Edit Edit Appearance Appearance Appearance St=e Decal
i /IS~ernbly
Copy
Skel.Cll
r
Evaluate
leJ
%
e
%
~
Integrated Preview Final Options Sche dule Preview Windo"fl Render Render
I Render Tools I Olf~ Pradoos I .
t®
Recal l as t
Render
~
Render Tocls
I
Il• ., ~ ~~e%~1® I
a PhotoView 360 Menu The menu provides t he same tools as the toolbars. • PhotoView 360 Options The PhotoView 360 Options are accessed by clicking ~ in the Display Manager. • Preview There are two choices to preview the rendered output , by a separate preview window or right in the SolidWorks graphics window.
•
Edit Appearance. •.
"' Copy Appearan ce Parte Appearance
~ Ecfr t Scene..•
t\ij , Edrt DeU>L.
I~~;_, ilntegr~ted Previe~.v ei If{E i E0 I; i 1
PreVleN
Wind_ow
Final Render
Opt1ons ...
! Schedul e Rend"...
F 10 ~ Recall last Rendered Image • ina utput 1 Once Final Output @ is selected, t he model will be rendered in its L .l Customize Menu own window, separate from SolidWorks. While t he model is being rendered, SolidWorks can still be used to make additional changes to the model.
Render Preview In order to see what the final rendering will look like, PhotoView 360 can preview the render either in a , separate window or in t he graphics area. It is also possible to have neit her preview in use if desired. You can use either preview method to preview appearances, scenes, and lighting rapidly before committing to a full-size rendering. The choice to use the preview window or the integrated preview is a personal one as both provide the same information. Throughout t his book, the preview window will be used strictly for ease of capturing the images for publishing. It is your choice as to which met hod you prefer and choose to use.
== ==
Basic Visualization Workflow
~view
;er interface: -nodel. It can be used
81
~ ~ ~~~I
II peoanc~
-.nee IJQII!..r.tnce
'""'-
-I! ""-
-
~~e"h • illindow
.._
~M>d......
..l!!liit F.ender~ Image:
"""\Serlu
J.idWorks can still be
:.ae render either in a
' :n use if desired. You :!y before committing
e as both provide the ":~r ease of capturing case to use.
Window --e ::review window shows a =-=·5essive (real-t ime) render of --:-: -;-;odel. Once enabled it will :r--c::.., active and continue to =- -2 the image while changes are -.a:e. The preview window can be -~ "?:::i or resized in the same way a!:: :.-y other window. Smaller _·:;w sizes produce faster = 2:w results. 2-e
to Find It
=:nder Tools Toolbar: Preview .'tmdow !i1 .'::;nu: PhotoView 360, :lreview Window
57
58
Chapter 4
Integrat ed Preview Using the integrated preview shows the progressive render output in the graphics area. Every time the model is moved or changes are made, the model will render again. Where to Find It • Menu: Photo View 360, Integrated Preview • Render Tools Toolbar: Integrated Preview ~ ®.SolidWorks
e
~
Edit
Edit
~
~
Edit 1 ln~ated
Appear"""' Sa!ne Decal
Preview
~
Pr"'"'"
e
Final
~
~
Options ~
l'!ndow l«!nder
Render
r®
Re
-
£:}X
E;J ~ Scene (Soft Tent) i Q Background (Environm<
I@
Environment (soft tent)
El GJ Lights '
~Camera J. Walk·through
f .,
~-·
32 Preview the re nder. Click either Preview Window ~ or Integrated Preview ~. 33 Receive information. SolidWorks will display the message: For a more realistic rendering, we recommend that you switch to perspective view or view the model through a camera with Perspective enabled. Click View > Display > Lights and Cameras > Add Camera.
Basic Visualization Workflow
; c:rea. Every time the
59
-=-::;-eating models in SolidWorks, we genera lly work without perspective so that parallel edges look ::. ;:;, on t he screen. When rendering, we are t rying to make the model appear as it does in the physical : :herefore. perspective should be used.
- urn on perspective. - - ::-perspective by clicking View, Display, Perspective. This is a toggle, so you turn it on and off with -.:; s=.11e command.
r I
...
-= .....
X
=>erspective is less obvious in this model because there are no straight edges. If the model had -=·~t edges, such as a cube, the perspective effect would be more obvious and important to the final ~=-:ng.
~ -~ X
~
=xamine the preview. -: -~ve all the key elements. but we can make t his ':.::-::=:-with a shadow to help set the model apart from -~ ::cckground.
~ Space Navigator_&.SLDASM • Photoview 360 201... l =-HID ~ Pause
IJ!--
~
~
_ - Examine the lights. ::-e DisplayManager, click View Scene, Lights, and Cameras.
·-L- ~
--= Soft Tent scene has two directional lights. By default, they are turned on - SolidWorks 9' , but they are turned off in Photo View 360 r$J . To create a :;;.-<::ow. we will turn on one of these lights, and its shadow. for the rendering.
~ ~
!
1:;1·~ Scene (Soft Tent) 1 ' ~ Background (Enwonm! Q Environment (soft tent) '
e-GJ lights )"X
::"Spective view or :ew > Display >
Seen~ lllumination
<;V Ambient 9' r$J Directional! 9' <$/) Directional2 ~ Ca m~a Ji. Walk·th rough
-
Go
Chapter 4
e:!·~-~·~-~::=33~Prthiii&~.1 Double-click Directional2 to open its PropertyManager. ""' x If) x If)
37 Turn on a directional light.
p
Select the PhotoView tab and select On in Photo View and Shadows.
-""' --~-~------'--'-l ifWili~~~~~ 1 1-Ba [1] On in Solidworks
Click OK.
I0
Keep li9ht when scene changes
D •
I:
IEditColor... j
Arrilient:
o J Brightness:
,,.. .
!0.45
1.
' 'j Specularoty:
~-
L
!flO f t 1
-
0.4
r~~
ShadoY1 quaity:
_,:.
I ! Ill ) !J I I Wj lt1••i
-21.
I u Lock to model I ® Longi~: I
' 7.62deg
I0
Latitude: 28.7Sdeo
L 38 Examine the preview.
The light is now on because we can see the specular highlight on the SN_UPPER_HOUSING. The problem is that the light is shining from a position close to our viewpoint which makes the shadow posit ion behind the model and not visible. To fix this, we will move the light to the right and lower.
te SpaceNovig•tor Assembly_&.SLDASM - Pholovi~ ...c.;==...•-"'@J'---""=:::11'
Basic Visualization Workflow
~--.._·
·OJ
:f)
~
61
_ Adjust the light. _:::r:e light Directional2 in t he View Scene, Lights, and Cameras t ab of ::e J isplayManager. : o:)_:::te-click the light to show its PropertyManager.
-
• ="2 ,.....
~--;-~
~
--- R
>:-
.ooclog
~
,__
i
~
'CJTJIWjiS•• ---'
- -- e graphics area, the light position is s .::.e and can be moved by dragging.
IL19htPosroon G)
.: -:; the light to t he position shown or ..s2 c.:'te PropertyManager to type in the :o=s .::ion.
-
R,
;:]Lock to model Longi tude:
[68deg .. 0
~ -~~-;-- ~~ -
' t:
l:
, l7deg
·J: : < OK.
• -
T
~--~
_ Adjust the viewpoint. -'='=the preview window t o zoom in and center the -.:::el so that it takes up more of the screen. Make the final render. : :.< Final Render on the Render toolbar. - se;:>arate Final Render window will appear and the =-:!ering process will begin.
~
.
Latitude:
T ) - T _3. 1
~ SpaceNavigator Assembly_&.SlDASM - Photoview _l P1!Use
El!~lll
=r
=
~
62
Chapter 4
The Rendering Process When rendering, Photo View 360 goes through two phases. In the first, it will make four irradiance passes to calculate all the interactions of light, reflections, and refractions. In the second phase, the fina l rendering will take place in little squares. called buckets. The number of buckets you will see depends on the number of cores and threads your CPU has. In the images below, the computer has eight cores, so eight bucket s are being rendered simultaneously.
- 5;
Basic Visualization Workflow
63
Save t he image. .rradiance passes jSe, the fina l l'till see depends · 1as eight cores,
-c- the rendering process is complete, the Final Render window will show the complet ed render. To
::e _seful, this image needs to be saved to a separate file.
::::=· Save Image. - e the image Space Navigator. The default file type will be JPEG and the default directory will be -.: ~ndered Images folder because we set those in the Photo View 360 Options.
-;: Examine the file. _.::ate the image file in the Rendered Images fo lder. Examine the file properties and you will see that - .5 720 x 540 pixels, just as we set in the options.
-- Save and close all files.
64
Chapter 4
----- -- ---- ------- ---- --------- --- --- ---- --- -- --- -- --- Case Study: Display and Appearances In this case study, we will apply appearances to parts in SolidWorks to see the difference between OpenGL and RealView.
Procedure Open the assembly. Open the assembly Solenoid Valve-l.sldasm found in the Chapter 4 \ Case Stu d.y\ Solinoid-1 folder. 1
The model is shaded using OpenGL shading. The only shadow available is the drop shadow, which is independent of the lighting.
Drop shadow off
Examine both the FeatureManager design tree and the appearance display pane. All part s have a gray appearance assigned to them as indicated by the gray t riangles in the appearances column. The lower right triangle indicates that the appearance is applied to the part. If we hover over the triangle the popup shows us that the applied appearance is color. Because we have not assigned any appearances to t he parts, So lidWorks assigns the default color appearance automatically.
~ Solinoid Valve-1 (Default
0
~ Front
~ Top ~ Right
I. Origin $ ~ (f) 102826.1-1<1> $ ~ 102826.2-1<1>·>? [!) ~ 102826.3-1<1>->? $ ~ 102826A-1<1> ~ 102826.5-1<1> til ~ 102826.6-1<1> ttl ~ 102826.7-1<1> $ ~ 102826.8-1<1> MateGroup1 ~ PlANEl f!l .g g locaiCirPatternl
Iii
$ iii
~
.
'
Basic Visualization Workflow
65
-- -- -- --- ---- -------- --- -------- ------- -- ---- --- -- ---Add appearance. ::~ence
between
- 2
~~~&'b&f !~ ~~ ~ 1 ~!!J
=eatureManager design tree, select the part l 0 2826. 1.
=~ :::~ Appearances ~ -
~ 102826..1-1-1@...
!l ~
- -::, :he gray square indicated. This is the appearance of t he part. 5:-~-e=
Apply at component leveL
=--===
Dr.?.fF.i':l<: ,_.
.....
~,~
.. -----··--
11'ljl~~~ ~
)( ~
( 'if_ :_
. tsB ~~,;_:::::::::~~--=-==~'__ l (~ !lJ
-
« ~ cUP
- - ')
~ Solinoid Valve·1 (Otfau ~
Sensors
Annotations ~ Front <$>- Top
Jfsplay Pane shows the yellow color -=-=~t:rance attached to the component (part at ·-= cssembly level). The upper left t riangle shows -:= :::Jpearance attached at the assembly level. ---e :Jwer right t riangle shows the appearance -=:3-led at the part level. --E
<$>-
Right
l.
Orig~n
1:'. ~ (f) l 02826l-1<1>
(•, ~ 102826.2·1 <1>·>? l+' ~ 1028263·1<1> ->? [tl ~ 102826.4-1 <1> ttl ~ 1028265 -1 <1> ~ 102826.6·1 <1> 00 ~ 102826.7-1<1> ~' ~ 102826.8·1 <1> ~ 81&\ M•teGroupl <$>- PLANEl. ; ;.: ~~ LoaiCirPatteml
rkr
I
•
_ Remove Appeara-1ce
1
_!
~;...
2.55
J
.0
~GS
....-' HSV
--------'
-
~~13
~ ~ .Ll ~ ~ LI ~ ~ LI ~ g LI ~ g LI ~ g LI
~ ~ LI <$>-
66
Chapter 4
---------- -- ------------ ----------------- - -- --------- -3
Open the part.
Open the part 102826.1 in its own window. Because we applied the yellow color appearance at the component level in the assembly, it is not applied to the part itself.
4
Return to the assembly window.
5
Open ReaiView.
Click ReaiView ~ in the Heads-up View toolbar. The assembly now has reflections from the environment and a shadow based on t he first directional light.
--
Basic Visualization Workflow
Add appearance. - ::.e graphics area, select the part 102826.2.
B" ~ ~ dtt L~ ~~~
~ ~ r•-·L__----,~--, ~~
: •. ::< Appearances ~ -
3= ect the appearance polished copper from the :.J?earances, Scenes, and Decals tab on the Task -~e .
: :i< OK. - -2
Display Pane shows the color attached to the
e
@, Base-&trude l[jBody
1X
X Remove AI <::onpJnent A. •. ~ ~ T~ l ~ l ~l
~J~ ! ~ l ~ l
P!C FeatureManager design tree iJ -.? X -V3
I
-
- ~~~lion l ·~~~~ Color/Image Y~ ~ ~elected Geometry
$-'% (f) 102826.1-1<1> :h '% 1028262 -1<1> ->? ~· '% 1028263 -1<1>->?
1l
.:: •;e open the part in its own window, it has the =::::earance applied.
@ Apply at part document level
Apply at component level
~ '% 102826.4 -1<1>
I
$-'% 1028265 -1<1> $-'% 102826.6-1<1> $ '% 102826.7-1<1> ffi '% 102826.8-1<1>
102826.2-l.SI.DPRT
$- fil~ MateGroup1 i- -~ PLANEl
4J. gg LocaiCirPatternl
I
{ Remove Appearance
Appearance file path: C:\program Fi!es\.')o!idWor
I
Browse ...
I
~·
Appeal:'aR9e
(;:]
~ Solinoid Valve-1 (Default 1 .@) Sensors Annotation.< · ·~ Front .~ Top
1 i~--~ l, Origin
0
I
!save appearance ..• )
«~ ~e g
'i!f ~
${AI
I Mvana:a l
Bllsic
-·=- .l..
Save and close the assembly.
~102ll:l6.2-l·l@.•.
[] Facec;lla...
:: . =
3= &t Apply at part document level.
67
I
~~ ~~ . ~
'% ~ '% ~ Ll '% ~ Ll '% ~ .Ll '%~ .Ll '% ~ .Ll '% ~ Ld ~
68
Chapter 4
Case Study: Appearances from Materials In this case study, we will use the appearances that are assigned by materials added to parts. Then we will apply appearances to one of the parts to gain a better understanding of the appearance hierarchy. Procedure Open the assembly. Open the assembly Solenoid Valve-2.sldasm found in the Chapter 4 \Case Study\Solinoid-2 folder.
1
This is t he same assembly we used in the previous case study except for the material and appearances assigned. Examine the FeatureManager design tree and note t hat all of the parts have materials assigned at the part level. The display is OpenGL and parts are displayed in different colors. This appearance is assigned by the materials that were added to the individual parts. 2 Change the scene. Click Apply Scene ~ on the Heads-up View toolbar and select Warm Kit chen.
3 Choose RealView. Toggle on ReaiView by clicking View, Display, RealView graphics. ReaiView uses the RealView appearances defined by the individual materials assigned to the parts.
Appearances from Materials In the beginning of this chapter the differences between materials and appearances were explained and we know that the appearance can be much different than the material. However, when a material is assigned to a part , that material has a specified appearance that is assigned with it so that the part will look correct for the material assigned. If the appearance is not what you want, for instance you need steel for the material to have all the weight and FEA calculation correct, but you want to paint it blue, you can change t he appearance.
:":a' -.E
Basic Visualization Workflow
69
Edit the part. ~
to parts. Then we Jearance hierarchy.
:: ::~ or right-click the part 102826.1 and select Edit Component ~ - -!:"o,:-click the material Tin Bearing Bronze and se lect Edit Material. This opens the Materials Editor. 5#:?-:l
the Appearance tab. This shows which color and appearance will be added to this part.
~' ~
ScldWori
· Ej St2Ei ~
1
I
I
Appel>--.. [ OossHatdt COslx>m Appication Data
~ Iron
(i] Apply appear-.. of: Tn Seamg Bronze
.@ AUnriJn Aloys
Appe~J.-
til Copper Aloys ~= AUrrunBronze
s•
1: l!en'fUn Copper, Ll'lS Ci/000 1: Ber}lo..m Copper, iA'IS C 17200 1=6eryli<.m Copper, Ll'lS ClT.m
1: Berylium s-200F, VaaxJm HotPtessed ~: Ber)'iom s~sc. vaonn Hot Pressed
,
I
1: er.... 1: Clvomium Copper,lXIJS C18.200 ;;- ) 1: Comnerdai Bronze, Ll'lS C22000 (90·10 Ei
:l ;.!':~
··;--;_1('-'V-~ ~t~.t"' ~....,
IFavori~s l
:::Yd v;;'h t~.-..:; f.-'~,-;-'!n.al r.: ~•€'r:!l.
------- ------- -
·~--
~1etal
t+j 4' Steel l•J -Jfo Chcome tt. # A!uToinum .ftt Bronz~ ' ~ '!@@il.h.h@J ~ brushed bronze (t sabn fino~ bronze
shiny
e
~ = Copper
i~ Copper .Cobalt~ aloy, Ll'lS C175(
1: Free-<:utmg&...., lXIJSC36000 !: Hg.-leaded 1>-oss, Ll'lS CJ4200 ~:; Leaded Commerdal Bronze
1:; Mano
1: ~ l!iv... 65-12, lXIlS C75700 1: Pho!sphor bronze l0%0, iA'IS CS2'100 1: Tm Beanng Bronz~
1:: Wr00!11tCopper
- El 11t.ri.rn Aloys
. fil zrc Aloys
o
_§ Other Aloys
- El Plastics
_ cast bronze ("~bronze ~..•~ .(j Br~ss tt, #Capper
Ul :Use t '
=.tom material optic31
properties
$ fttr.\dfttl·~
1:. -Jfolron (<;; ._,; 11t.>nun
t>; -# Tt.rlelsten r.o.. .. r~
- ..!§ Other Metals • ~ .:.=...:.:..
••
I Apply I
: =: :< Close.
=::_rn to Edit Assembly. Open the part. :-:~n
the part 102826.4 in its own window.
~
, s.,.., .
jconfisl ... j
~
l
70
Chapter 4
6 Add appearances. The part has t he material Acrylic (Medium-high impact) attached. We will now add some appearances to different elements of this part which will override the appearance applied by the material. We will make t he two wires red and white and the housing black. Select one of t he wires. Double-click the material red high gloss plastic found in the Plastic, High Gloss folder. Repeat t he procedure to make the other wire whit e using the material whit e high gloss plastic.
-
--
Select the top level icon in the FeatureManager design tree and dou ble-click the appearance b la ck high gloss plast ic.
7 Examine the model. Notice t hat the wires still show as red and white because appearances applied to faces override appearances applied t o the part. -:;c.-
8 Return to the assembly. Press Ctrl-Tab and select the assembly. The ap pearances we added to the part file are now used in t he assembly. If we zoom, pan, or rotate the model. the reflections and highlights will all move dynamically.
9 Load PhotoView 360. If Photo View 360 is not added in, click Tools, Add-ins and select
PhotoView 360.
Basic Visualization Workflow
?review the render. ;:;;ther the Integrated Preview or Preview ...::iow t o check the settings.
_c;;c
71
Pause
mePlastic, High
1
:! gloss
plastic.
Ot:Jearance 1:1lack
Render the model. :::..·- Final Render @ on the Photo View 360 toolbar. :
Examine the image.
Save the image to file. 3.: : the image to the Rendered Images folder as - - r : ... - =u.
Add an appearance to the assembly. .3= =-'-the top level icon in t he FeatureManager design tree. Select the appearance chromium plate - - e Metal, Chrome folder.
.::, =-"' Add Appearance ~: -eve now added the chromium plate appearance to the entire assembly.
72
Chapter 4
15 Examine the model. The entire assembly is now shown in chrom ium plate because appearances applied at the assembly level are on top of the hierarchy and override all other appearances applied at lower levels.
:;.,..
~
-·
-: .
Removing Appearances There may be t imes when we need to either edit or remove appearances. There are several different met hods to remove appearances.
• • • •
In the DisplayManager, select the appearance and press Delete. In the DisplayManager, right-dick the appearance and dick Remove Appearance. In an Appearance Callout, click Remove X for the appearance. In the appearance's PropertyManager, d ick Remove Appearance.
16 Remove appearance. In the FeatureManager design tree, right-dick the top level icon of the assembly and dick Appearance Callout [e ·l.
Click Remove chromium plate X . Click OK.
-a::s-
Basic Visualization Workflow
73
~ Preview the render. --.._ __'/iew 360 now renders the assemb ly using the :::::=~.:-ances assigned at the part level.
Save and close all files. - S.Ummary .:.-=scan be displayed in three different ways: :::2nGL
==c.:View =:=:1dered in PhotoView 360
E ' ::!iting Scenes :..:::=:-:=s consist of lighting, background, and environment. Different aspects of a scene are controlled by - =-ent tabs on the Edit Scene PropertyManager.
vera[ different
e~e
to Find It
' 2;1u: PhotoView
360, Edit Scene .. .
-=s~ Pane: Appearances, Scenes, and Decals tab
-=ads-up View Toolbar: Apply Scene ~
~e chro m tum plate
OC.select Scenes
74
Chapter 4
The t hree areas of the Edit Scene PropertyManager are: • Basic
This controls the selection of images used for the background and environment. The scene floor can also be oriented and adjusted. • Advanced
The size and rotation of the floor and the rotation of the environment can be controlled on this tab. Once a scene is established. it can be saved for reuse as a custom scene file. • Illumination The Illumination tab is only available when Photo View 360 has been added in. This tab allows the
brightness of the background and model to be controlled separately.
-
f Nessage
D Fixed aspect ratio
tBackground
~ Autc>ize floor
rUse €nvronment
Width
Environment
~
1':
C:'frogram Fles\Sold\'lorks 201
I
Browse .•.
6 ~.33«1 ~ n'' ''''',II'J ,II 'C : Depth
l
[0
179.33«1 iji j IJ Jll 1 ,J1 III
-"--
Floo•
[] Floor reflections
*
I I II
A>pectralio: 1.00: 1
I!J Floor shadow> AAgn floor 1\ith:
(1J[eottom V~ew Plane
·I
Floor offset:
r1JI:a 1111111111111111 Jl1iii•~ I Offset to Geometry I Browse •••
SaveSc-.•.
;J
H@Miz
Rendering brightness:
Scene reflectivity:
~.000 w/srmA2
-~~rll 11 11 ,,, 1 1 "
~j
, , ,,, 1
'Jdrliwlk
-~
Basic Visualization Workflow
~er
1 e scene floor can
:rolled on this tab.
and Preview Quality
.._-:]-aliasing :":.Ciity
jGood l~laxi!un Ber.er Best
'\®F!!
128 samples
4
8
10
5
9
9
11
128
512
1024
2048
.. ber of
16
samples
·I
Gomrr.aGood
32 samples
8 samples
·I
Frlal ren;jer quality:
Maximum
Better
~
Pr.,.;e.fl render quality:
Best
Good stab allows the
-
Rend..r Quafity
.: :-_clity of both previews and fina l renderings is controlled by two lists in == :lhotoView 360 Options. There are four choices: Good, Better, Best, and · tum. For each choice, PhotoView 360 adjusts a dozen different a-eters, but at this point we will only look at four. The table below -·-;:rizes these different sett ings.
75
5
J
-=~ections
:;oilier of
-=.:;1actions -:rrect .:mination -=eys
..,;rti-aliasing Quality - -.s adjusts the way diagonal lines appear because computer monitors create displays by discrete, -~:tangu lar pixels. Anti-aliasing adjusts pixels on both sides of the line to make the line look :.-oother. 'U mber of Reflections •, 1en light bounces off a reflective surface, its path must then be calculated to the next surface. If -at surface is also reflective, the process continues. The number of reflections controls how far this ::-:~cess will be able to proceed. :umber of Refractions - , is is like number of reflections except that it is the number of refract ive interact ions that will be :alculated. direct Illumination Rays :direct illumination calculates the lighting effect fro m surrounding geomet ry by sending out rays =-om each visible surface and combining the effect from each of these rays. The more rays, the more a::curat e the lighting contribution of the surroundings, but also the longer the t ime required for t he :alculations.
76
Chapter 4
• Custom Render Settings When selected, the number of reflect ions and refractions can be changed independently from the quality settings. Each can be increased to a maximum of 32. The use of these settings will be discussed in Chapter 12.
Rende r Quality Preview render quaity;
[Good FNI r~ QUality;
~
~I
Gil CU.tnrn render ..,t1ings
:'::Er:
Number of reflections; 4 111·' I' !(jiljj ]l i 1 '
HhffS111~
Number of retractions;
,a
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fiku ,, .,, , 1,,,,, , ,1, 1'fi·-
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n
Basic Visualization Workflow
:.=se Study: Quality Settings
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or! r :paitr.
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• I I I I II 1
- s :::ase study we will examine the effects of the Phot oView 360 quality settings. c2dure
Jpen the assembly. :e- me assembly Studio.sldasm : : u1 the Chapter 4\ Case Study\
~
folder. This assembly -: :-1wu glass goblets containing a liquid --= 2 :J'lrome coffee pot. '=-~ Settings
-::e::-ances have already been added to -'= ::11ponents: clear glass to the ..:: =:. white wine to the liquid, and -=-:-:nium plate and matte rubber - :coffee pot.
Turn on RealView. -:- :m Real View by selecting ~ on the Heads-up View toolbar. Also make sure t hat Shadows In :i cded Mode and Perspective are selected.
Add scenery. - ? Task Pane, examine the different scenery choices. The Kitchen -=-=~"".s"ground should provide a good backdrop fo r the coffee pot and _,_ C\..
Appearances. Scenes. and Decals
~ (-G
e
1
Appearanc:e:s(c.olor)
$J ~Scenes ~ Basic Scenes
Q
:"?5 the Kitchen Background scene into the graphics area.
Studio Scenes
~ Presentation Scenes:
~<,
·ffil
Decals
Drag and drop scenes anywhere into the graphics view.
Kitchen Background
78
Chapter 4
4 Examine the result. We now have the scene in the image but the models appear to be sitting on t he floor.
5 Adjust the viewpoint. Adjust the viewpoint to look like the image at right. Use the named view called Render View l. Press the space bar and then double-click Render View l in the list. The objects appear to be floating, but we will fix this by adjusting the background.
--..
Basic Visualization Workflow
Adjust the scene. ~=-:: the ~
Dis playManager and then View Lights, and Cameras.
- Z:-click Sce ne a nd then Edit Scene. S=f=:: the Advanced t ab and adjust the :....:.onment Rotat ion .
.i:::
~e
rotation t o 1S6deg.
Adjust the scene floor.
--= •odels still look like they a re above :Junter. We could adj ust the f loor -=-would adjust t he relationship of the ~ce:s to the f loor of the scene. "'"E
:12e:::: the Basic t a b. --"=-~both
Floor reflections and Floor
-=-..C.::ows. --e-e is now a reflection of the coffee pot __ ::-e counter top. We can see from the =- ections that the coffee pot is actually - :.-e counter top and does not need to be ..:::: _:.i.ed vertically.
79
So
8
Chapter 4
Examine the Render Quality.
In t he Photo View 360 Options, both Preview and Final Render quality were set at Good. Examine the preview and then do a final rendering. Click Final Render. Select t he Statistics tab in t he upper right corner of the Final Render window. This t ab will provide information on the rendering process. With the Render Quality set at Good, the settings are: • • • •
Anti-aliasing: 8 sam_J;llf;2 Number of Reflections: 1 Number of Refractions: 5 Indirect Rays: 128
While we have a quick render, the glass is not completely transparent because t here are not enough refractions and we only have a single reflection from the coffee pot.
Basic Visualization Workflow
a<: Good.
-
Adjust and render. _s ~he qua lity to Better for both preview and final render. and render again.
-""E ~:ti ngs
l-;;s tab will provide
81
are now:
-=::i-aliasing: 16 _2amples ..ber of Reflections: .4 .tber of Refractions: 9 have two layers of glass (the front and back of the glass) and light refracts at each surface, we -=.ve enough refractions to see through all the glass. ln t he area where t he glass and teapot overlap, e 51t must pass through eight glass surfaces as it goes through the glass and then is reflected back :._- 1iewpoint. In the area where the light must pass through bot h glasses, nine refractions is still not _._Tl so there is still an area that appears black. "E
~ere
-are not enough
82
Chapter 4
10 Adjust and render.
Adjust the quality to Best for both preview and final render. and render again. The settings are now: • • • •
Anti-aliasing: 32 samples Number of Reflections: .8 Number of Refractions: 9 Indirect Rays: 102.4
The number of refractions has not increased, so we cannot see through more layers of glass and the same areas appear dark. The additional reflections are barely noticeable but are evident on the outside of the front goblet where indicated by the arrow.
--:.3"
Basic Visualization Workflow
c
83
Adjust and render. the quality to Maximum for both preview and fina l render, and render again.
_s:
-<= settings are now:
-.:rti-aliasing: 128_29m~ .Jrnber of Reflections: lQ ....rrnber of Refractions: 11 ,;;.direct Rays: 2Q48 of glass and the :2nt on the outside
.. I
-i
I '>.
...~
, ., -. /
"<-•.7~i "'5 . ..-.otrr ~ _ ; ; . p-.
. $.
'-.....
·~ ·
:;,-
....
~""~;:
~-
.~ ~ .-'
- :e the change near the base of t he glass because shadows are now t ransparent. letting light through ·:c ::ase of the glass. The area where the two goblets overlap is now transparent as there are enough ??-_ :::tions to let light all the way through.
=•dl discuss reflections and refractions in more depth in Chapter l2:Reflective and Transparent ;-c-.:earances.
84
Chapter 4
Final Render Window The Final Render window provides t ools for several pu rposes. These tools are locat ed on tabs in the upper right corner of the Final Render window and are displayed similarly t o the Task Pane in So lidWorks. • Image Processing
The tools provided on this t ab are used t o make nondestructive adjustments t o the rende red image. These tools will be discussed in Chapter lO:Output. • Compare and Options
The tools provided on this tab can be used to compare two rendered images using several different methods. Additional render display opt ions can also be set in t his tab. • Statistics
Statistical information can be displayed for each of t he rendered images.
~ 3
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86
Chapter 4
While we stepped through each Render Quality position in this case study, you would more likely just use two positions: one at Good to get a draft version of the rendering, and then jump right to either Best or Maximum quality for the final output. Because the time to render at Maximum is generally twice that of Best, in most cases Best will be good enough. With experience, you will be able to decide which is right for the image you are rendering. Compare and Options Tab The compare options allow us to look at two images together to see the differences in several different ways. There are three compare modes: • Wipe
The two selected images are overlaid and the top image is wiped away, revealing t he second selected image. c Spotlight
The two selected images are overlaid and the cursor turns into a spotlight which reveals the second image. The radius of the spotlight can be controlled by the Spotlight Radius. 11
Side by Side
This displays the two images side by side. The images can be scrolled with the left mouse button ana zoomed with the mouse wheeL 12 Select images to compare.
Select the Compare and Options tab in the Final Render window. In the Previously Rendered Images section of the Final Render window, select the image rendered at Better quality, then Ctrl-select t he image rendered at Maximum quality.
13 Select the compare method. Select Second Selected Image. This will compare the first image with the second image.
Select none for the Difference method. This wills how the two images just as they are instead of looking at specific photographic qualities. Select Wipe for the Compare Mode and Horizontal for the Wipe Method.
Basic Visualization Workflow
more likely just either Best 1erally twice that decide which is ~t to
...2.
:ompare the images.
-~
,•ou place your cursor over the rendered images, the wipe bar will appear. This bar ca n be dragged
-=:al more or less of the underlying image (image B).
several different
second selected
,reals the second
ouse button and
~e
87
rendered at
_-52 the left mouse button to move the images right or left and the -=-.se wheel to zoom in. Using this method, zoom in on t he area where ~ ':.t.vo goblets are in line. You can now more clearly see the differences ~ ~e two images caused by t he different number of refractions in the 3.::st and Maximum quality settings.
88
Chapter 4
15 Change the compare method. Change t he Compare Mode to Side by Side. Use the mouse t o zoom and pan to show the images as below. Again, compare the same area where the goblets are in aligned.
Basic Visualization Workflow
89
::::hange t he compare method. 5 2 the Compare Mode to Spotlight. Set the Spotlight Radius to SO . ...:;e
:-e mouse to zoom and pan to get the image approximately as shown.
__ move the mouse (without holding down a mouse button). the second image will be revealed -:::..51 the first image. In this case we are seeing the Maximum quality render in the spotlight and the ~ =:!ality render everywhere else.
- Save and close all files.
---------
pplying Appearances ~?O n
successful completion of this chapter, :tu will be able to: J ilderstand the differences between procedural. texture, :::nd hybrid appearan ces.
•
~pply
appearances to models.
!.djust appearance properties. tr
~dd
scenery to renderings.
92
Chapter 5
Introduction Appearances are a core element of good product visualization and rendering. There are many appearances available in SolidWorks, and each has a wide variety of adjustments that can be used to fine-tune the way a model looks. In this chapter, we will look at the different types of appearances, how to apply them, and adjust them.
The topics covered in this chapter include: • Appearance types There are two general types of appearances: procedural and textures. • Appearance controls and displays Appearances can be adjusted to change their disp lay properties and alignment t o the model. • Applying appearances There are several methods to add appearances t o different parts of the SolidWorks model. • Appearance hierarchy The hierarchy determines which appearances are visible when more than one appearance is attachec to a model. • Perspective view Viewing models in perspect ive adds realism to the renderings. • Scenery Scenery provides a frame of reference for viewing t he model. Appearances Appearances affect the way a surface reacts to light. They may be applied to assemblies. components. parts. bodies. features, or faces. Appea rances are of two general types, procedural and textures. Appearances are far more than just t he color or pattern of colors you see on t he screen because they also cont ain information about how the surface will reflect or refract light, transparency, mapping. anc more. All surfaces of a model have an appearance applied.
Appearances versus Materials While materials have appearances associated with them, appearances can be applied that are completely different from the material. An example would be a painted piece of steel. The material applied would be steel. which would be used to calculate the weight of the part and stress calculated through finite element analysis, while an appearance of paint would be used to show how the part will look with paint applied. Additionally, t he surface finish of appearances may be differe nt. For example, a brass appearance could have a surface finish of cast. ro ugh, satin, or polished.
Applying Appearances
-- - - - - - - - --
are many -:at can be used to ::appearances, how !
93
·ng Appearances -~er~ are many methods to apply an appearance t o a model. To apply an appearance: :~g the appearance from the
Task Pane into the graphics area to apply the appearance to t he entire
:c.-: or assembly. :~g an appearance and drop it onto a body, feature, or face in the graphics area. Select from the - =::earance Target I1;;!1 rm ro r~ ~ fll ~ Ithe entity to attach the appearance. So= :=ct the part. body, featu re, or face, then double-click the Appearance Selection area of the Task -=:--e.
l
the model.
S= :=ct the part, body, feature, or face, then right-click t he appearance in the Appearance Selection ~a of the Task Pane and click Add Appearance to Selection(s) t't . ~ ect the part, feature, or face , then right-click the appearance in the DisplayManager and click Add ~=~?earance.
-ks model.
: :f you press and hold the Alt key when dragging an appearance onto a part, body, feature, or face, -.: :::;pearance's PropertyManager will open.
:!arance is attached ,.~arance
Target
--= - ;Jpearance Target allows you to specify where "E :::;pea ranee
:>lies, components, and textures. reen because they eilcy, mapping. and
!d that are -el. The material
stress calculated v how t he part will ent. For example, a
will be attached. When you drag and . =-= an appearance on a component, the -:::~::ranee target will appear. If you mouse over :.= :::;;terent targets, the appearance will preview --at entity. Select the appropriate icon to attach "'E qpearance.
"'
Pin
Filter ' - - - - - - Component
' - - - - - - - Part ~----- Body
- - - - - - - - Feature ' - - - - - - - - Face
The choices available in the Appearance Target will depend on the geometry available and whet her ::re in a part or assembly.
2
94
Chapter 5
Task Pane The Appearances, Scenes, and Decals t ab on the Task Pane contains all t he appearances, scenes. and decal setups available. You can also put your own custom folders in this area.
«
•e.e
Appearances. Scenes. and Decals
..,
. f
Appearances(color) U lesacy
le Plastic
-te Metal
.te Painted 6-te Rubber fjl ~ Giass
a...e lights
Iff~ Fabric dl·~ Organic
ro·..te Stone
~te Miscellaneous
$ ~ S<:enes
' ~ Basic S<:enes t;f Studio S<:enes . ~ Presentation Scenes
8 ·~ Decals
L.tfl Logos
Appearance Callouts Appearance callouts show the appearances applied to the select ed entity in hierarchal order. This can be very useful when t rying to determine which appearance is be ing shown.
e
~Trtn Rilg-1-l@••• I;:J Faae~ ..
~Revolve l
jnllody
~Trtn Ri1g·l· X X Renove AI CMt>one1t ~
Where to Find It • Shortcut Menu: Click or right-click or click a body, feature, or face, select Appearances ~
Ill X
tjtest
Display Pane «~ el fl~~ << m,QJ . ~t"fi!i r~r•r~l ) ) The Display Pane is used to display and ('I ('f· liJl ~ Space Navigator-1 (Defaull access visual properties of features in a ~ Center Control-1 (Default«lnf~ @] Sensor> ~ ~ Sensor> taJ Annotations ~ (hl Annotations part. and parts or components in an I §:;: Material <& Front <$>assembly. I ~ Top -IB ~ . ~ Top
<$><$>-
~ Right
t.
k.
Origin ff.1 -~ Revolvel :
~ Filletl
1. <$>$- ~
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<$>-
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Extrudel FilletS Filld:2 Fillet4 ··,•• Axisl
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Part
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~ Right k. Origin : ~(f) Base-1<1 > ~ TrimRing-1<1>
~
~ Button-1<2> .., ~Center Control-1<1> (6 ~ (-) RubberBase-1 <1> Mates
~ " ~ :3 ....
l
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rn-!ilijl
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Applying Appearances
oa:o. Scenes, a...d~
....___~ Da!S{color)
f
-
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~
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'
~
; , weathere'!_~
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::~ :
~ - -il;i!
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1::t!or/Image I_ ·::;~y appearances can have their colors modified.
Scenes "Scenes J:Dbon Sc•nes
Basic
~
IFaa.Clfte.•• ~ Raoolve1
{Image
= -~iced
{JBody
~ TriTtRi1g-1. X X Renove AI Cool>onmtA.•• ,
lll X
S t:est
« ~ Cjl ·~ i
properties include additional color/image and ~c::::ing controls plus the ability to change the J- Jlation {the way the surface reacts to light) and the __ -::::e finish. The tabs are:
y~ 1!\appilgl :::t
@Apply at component level Apply at part doOJment level
·1<1> !!J"l l
1<2> :a.troi-1 <1 > .. 3ase-l
t.
~~~ ~~ ~ ~~ ~ '% :3 ~
umination --e Illumination tab controls the way light is reflected =--•d refracted from the model.
~ g .Ll
'% ~ !!1:'1
i IMessage-
1\
O Apply at part docunent
~ carister-lCConister Assla [ Remov• Appearance
..
,0-color
::::
[ Remove~
I
~lapj>ing-Eontrols
1\
Mapping styl•:
- ~~ ~J[IJ
••• Mapping siz•:
.·~ ,255
Mapping
~
t§;
. 1255 @RGB
O HSV
Color
Surface Finish 1 e surface finish will give the appearance of roughness or a pattern, such as a knurl. ,!.ssembly
'~ J
level
··~apping ~ ~ ~
(GJ eo~or~f ~ ~ L
@ Apply at component level
Canisl:er·l@Canis!Er Asse
:::alor/lmage -::ditional options are available to select different ~ages and to save a custom appearance. --ere is greater control provided to map the :::pearance to specific sizes and to flip the :.Jpearance map to different orientations.
Advanced
Select<>
(Default
!"""
l( -{1;
( Basic
Advanced
,Selected Geometry
.epping •::;Jping controls how appearance patterns and ~cedures are positioned and scaled onto the model's :.J surfaces.
-- rdnced Properties
I
f~ Color 0
~ TriTt Ri"lg-1-1@...
p:ot"1
--:IpertyManager for Appearances -: -==-opertyManager of an appearance allows you to control the appearance properties that are --: ed to the model. feature. or face. The PropertyManager is organized by two types of properties - 5everal tabs that represent major functions.
Properties :xoperties include the ability to change the color ~ ~a texture appearance. t he basic mapping of the _-e to the surface. The tabs are:
...b:J
95
96
Chapter 5
Advanced Properties Tabs
Examples of the various properties accessible through t he Advanced tabs are shown below.
Advanced
Basic
Advanced ]
Basic
Advanced=
Basic
fG;J C®r/TJM9e r¢!. Mappilg.
~
ll'lessage
~Dynomichelp
Apply at component level
, Apply at partdoo.Mncnt level
Diffuse amount:
*
LJ~-~ j I
Appearance fie palh:
(;;;J C:\"rQ9"om Fi
.,.
j
I Br~ I !Save ~
SiZe/Orlentatlon
Jl l'\
[lJ Fixed aspect ratio "'!) c;olor
0 Fit widtl1 to selection Llnt height to selection
/~ ~~standard
Tl
~~
'" 1 1 1
~
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..
1' t J11 1
;:::~~~~: /:~ Reflection amount (Re.o!V"~ew
0.000
:J . ; ' T_T .1 0 Bklrry reflections ,~
0 .00
'j_
T
T
T-~~-~-"! _i
l ll11ioous intensity:
.: .
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Reset to Image
•
Mapping Illumination
t:~
255
j ,.------,~,
- :j @RGS
() HSV
Color/I mage
"..] o.sp~ac~t""''''*l
l.OOmm
' '11 II !Jl II 'II il I li Ng•~ Aspect ratio: 1.00 : 1
- -'·
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lil;ffJmo;;r;rcr.:uw;e-,.... Displacement dislarlce
o ~or verlic:aly
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Transparent amount:
a ~5.033l3333mm ~:, 11 1Hiiin•) [0 . 55.03l33333mm
-
---
fijO"toView Surface Finish
1.00
!G!J cansrer-t(I:CaniSW......,.
Appea rance
====_,.:A ;o
weathered brid<
Geometry ~Selected '~
Frlsh
:Surface Finish
-
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Surface Finish
Applying Appearances
- :a::.-chy of Appearances
1below.
·~
1 Advanced C
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iooce Ftnish
"
ez!hored brick O)notric help ~ Sumce Finish
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- .r:: c:::e where appearances -~:::lied affects the final ~ - he hierarchy in an --=-~ly works opposite the :.: ::oes inside a part.
__ c;>ply an appearance at 35embly level. it overrides :::-: r appearances. If you en appearance to a part, _ ::werridden by appearances : == to element s of t he part --:: :s features, bodies, and -~
lloplacement mappi1g
~
~t distance
OCI:rn J
I !I I It /1 I l)Jtfijnl
Surface Finish
;- erarchy is:
~
-ssembly ::::::mponent -c:ce =eature 3Ddy
::art
Assembly Color
Component Color
97
98
Chapter 5
Appearances Display Texture, procedural, and hybrid appearances are included together in the appearances folders and use t he same icon. The only way to tell which type of appearance you have is by the available properties.
Texture appearances are based on an image while procedural and hybrid appearances are not. Hybrid images may have mapping controls or controls to change the colors of the appearance.
[
l 1 J 0
Adv~
ll?'J!bonation A;i;}€01c>rj!mage
f ~ t~
[ ~ressage
~
Apply atc~t!evel
¥
ISelected Geomeby
~-
@ ::::::at part docunent
Procedural
Texture
Hybrid
•
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·: ;;..
ISpherical
,. ~.9 ,.,...,
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I
SizejOrientation
I
0 Rxed aspect ratio
EJ Rt width tD selection
When a texture or hybrid appearance is selected, the Mapping tab will have additional controls to position, size, and orient the appearance on t he selected geometry.
Texture or Hybrid
:
~~l't1iltt
I
Selected Geometry
I
Basic
_..---'
I
t~
-·l
"" ['] Rt height tD selection
a rt=3in 'J! '1 1 111 1 i'hbli 1
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Q
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r
0 0
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fo'irror horizontaly Mirror vertlcaly
to !mage I I Reset -
Procedural versus Texture Appearances To compare the differences between procedura l and texture appearances, each was added to the sarr: part. The part was created by sketching a square on the Top plane t hen extruding it to different depths Each image is of the Isometric view of the model.
-~-
Applying Appearances
99
1?:-.:xedural Appearances
&:3001H@J '*I english brick
,_
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: ~ J~Mappilg I
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,..~
Advan
. --
~
~ - ~
Geometry
~
- -:-:=Cural appearances define the applied colors based on the X, Y. and Z coordinates of each point on -e s.. -face of the model. Notice that the top face of the model changes each time the extrusion depth :a 5 es. This is because theY value fo r the coordinates of each point on the top face changes as the ; - .....s:on depth increases. The bottom sections of the front and right faces remain constant because -.ave the same X, Y. and Z coordinates in all three extrusions .
-=- :Jiocedural appearances, no user mapping is required. The appearance joins correctly on all the ~=· You
can see that t he appearance appears to go all the way through the solid and t he resulting -c?5 are just what we would expect if we took a block of wood and kept cutting away at the top face.
~
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:~ ~ ' o.OOdeg
~
~· cc::t::l
~ 'O.OOdog f-,1 ~....:::r...:u::::o:::J ~~
1-/(lrientatioo J 'ilred ~ratio ~ 1'11: width
to selection
lit height to selection
C
f.;
L33333333in
fi;J.! I I I I I I II l i i!ijjiio1
C
f.".
L33333333in M1 .f l i i I I
!I!!J ! id.QJ'pt'
Aspect ratio: 1.00 : I
~ O.OOdeg J I
(J
I
I
I
I
A
O.OOdeg
.!§
-:xture Appearances
~
-:: ·-:. . -e appearances are app lied like wallpaper. During application, they can be stretched, shrunk, -:=.:ed, and reoriented t o make them fit the surface. The pattern will be duplicated as many times as . . =-ssary to cover the entire surface .
')O::::L:I_i_ i_l_i 1
D) jQ,OQd~g
'!"i 1
I
I
l
I
._;-or horizontally ::::;~or verkaly
ReS
;added to the same ~o different depths.
--e :.::>pearance used in t his example is an 8X 8 square grid. There _ : '• 'lite circle to indicate the pattern center. -"E :.::>pearance
Pattern
was mapped differently to each of the three ce nter -.:: .e faces. The texture appearance is a square, so it maps ~~-" as a single instance on the top face. As t he ext rusion depth --::-:ases, t here is no change to the map because it is applied ;:he extrusion.
--=-
--e ~ont face has the texture mapped to use one instance for the width and height of the block, -::::hing the pattern as necessary.
100 Chapter 5
The right face has the texture mapped to the same scale as the top. The pattern is centered on the face Because the face requi res more than one instance of the pattern in the leftmost example, t he patterr actually moves up the face and addit ional amounts of the pattern are added to cover the face. The reverse happens in the rightmost example as less than one instance of the pattern is needed. The centemoves down the face and part of the pattern is not used.
Applying Appearances
ntered on t he face ~mple. the patterr ~ the face. The 1eeded. The cente-
101
_ - ::.ences :: ::;JJpare what happens when we add an additional feature to the model. in this case a revolved cut. ;:-::::edural appearance maps to the surface to give the impression that the ap pearance goes all the -::mgh the block. The text ure appearance maps itself to t he spherical surface in three pieces which ~: =;t well to one another or the surrounding planar faces.
:,e ,.,ay to think of the differences between procedural and texture appearances would be to consider _ :::onstruction techniques to build a wooden shelf. If you use a single piece of solid wood, this would · e a procedural appearance because the grain is continuous throughout the shelf. If you round a - : - or edge, t here should be no discont inuities in the grain. If instead of a solid piece of wood, we ...:.2:: a composite material, like particle board, and then added a layer of laminat e, this would be like _,:: ~g a texture appearance. If we bevel an edge of shelf, we do not have to make any adjustments t o E ::~ocedural appearance, but we may have to apply an additional inst ance of t he texture appearance.
102
Chapter 5
Case Study: Computer Monitor The computer monitor for this case study is a three-part assembly. We will use this assembly fo r this and other case studies in fo llowing chapters. In this case study we will apply appearances to the different parts, features, and faces of the assembly. Our end result will not be our desired final rendering because we will need additional skills that will be covered later.
Stages in the Process To complete this project we will do the following: • Apply appearance to the model.
This is a molded plastic part. c Edit the appearance.
Not finding a stock color to our liking, we will create a custom color.
Applying Appearances 103
=:a spective View :;embly for this :es to the j final rendering
~
-::-,ally do not create solid models in perspective views because it is generally easier to view =· edges as parallel. When rendering, however, we are trying to make the final output appear as it :: :o our eyes. For this, a perspective view is very helpful.
~
_ e to Find It .: J : View, Display, Perspective ;;:,.; Toolbar: Perspective ~
5.fy Perspective View c-s.::ective in the real world, as well as in SolidWorks, is related t o the size of the object being observed :::~-=distance of that object from the observer. You can modify the perspective by specifying the _.::ss--;er Position value in the Perspective Info rmat ion dialog box. The smaller the value, the greater t he ~ of perspective distortion. For finer adjustment, use decimal values, i.e., 3.S.
_ e !o Find It .:.:.~: View, Modify, Perspective •'au must be in a perspective view to change the perspective setting. _dure ~en the part. :e: :~e monitor assembly found in the Chapter 5\ Case Study\Monitor folder.
Dlange the view. 5 2 to the named view Render View. Press the space bar and double-click ~ ..:,r View in the list.
Onentation
·i;t#t5\!J. "Normo! To "'Front
Set the perspective. - :- perspective, click Perspective ~.
1ew, Modify, Perspective and change the value t o 1.5.
Save the view. : :,; is as a new Named View called Render View l.
~
~~~ 4:1
"Bad< "left "Right "Top 'Bottom "'sometric "Trinetric "Dimetric
104 Chapter 5
·---------- ---- -------- ---- ---- ----- --- -- ------ -----5
Preview the render.
Make sure that Photo View 360 has been added in and then select either the Integrated Preview or the Preview Window. We are doing this just to see our starting point. Because there are no appearances attached yet, everything in the assembly will be rendered in the default appearance. When initially inst alled, the default appearance will be color.
c --
Because our focus in this case study is appearances, some things have already been set up in the assembly file. This assembly has a scene called Grill Lighting attached which produces the gradient background and causes the mode l to take on an appearance similar in color to the background. 6
Open the monitor part.
We will add the appearances to the individual elements of the part file, rather t han work at the assemb level. In the FeatureManager design tree, right-click the part LCD monitor 15 and se lect Open Part. 7
Change the view.
Change t o the named view Render View l . 8
Apply the overall appearance.
In the Appearances, Scenes, and Decals tab of the Task Pane. locate the appearance PW-MTllOlO located in the folder Plastic, Textured. Sort order.
Right-click the appearance and select Add Appearance to part. The DisplayManager shows that the appearance has been added to the part.
jHistory
g ~ PW-M111010 ~ LCD monitor 15
y:
Applying Appearances
Examine the preview. --.s 5 just a test to check our progress. The ~:I appearance is what we expected. :1at we have an appearance that is :r- :Hack in color, the scene has less effect -=color of the model.
appearance
at the assembl
Apply appearance to a face. :o -=-::nt face of the monitor is the LCD screen, which is a different -::-£:-ance. While the overall monitor has a textured appearance, the 5:reen should be smooth.
=
-·: : -che face of t he monitor. )pen Part.
::::=:: the appearance black low gloss plastic in the Plastic, Low -s~ .::older. :;::-click the appearance and select Add Appearance to selection(s).
~[_ !t ~ U·A¥•~
105
106 Chapter 5
11
Add appearance to buttons.
There are five buttons on the monitor: a lit power button and four function buttons. Each of the buttons will be a light gray color. The power button will be lit by an internal LED. Zoom in on the leftmost function button. In the FeatureManager design tree, select the features Extrude 1 and Dome2, then in t he graphics area select the fillet between the two selected features. We have to select the specific face in the graphics area because the Fillet2 feature contains other faces to which we do not want to add this appearance. Press and hold the Alt key, then double-click the appearance light gray satin finish plastic, fou nc in the Plastic, Satin Finish folder. Note By holding down the Alt key, we open the PropertyManager so that we can edit t his appearancE.. 12
Adjust the color.
The default gray color is not exact ly what we want, so we will create our own color. Gray is created by an equal amount of red, green, and blue light. If we se lect each of the gray boxes on the right column of the color palette, we will see t he red, green, and blue sliders move to the corresponding values for t he color selected. If we are only going to use this color for this one appearance, then we could adjust the sliders to get the color we want. If we want to create a color that we can reproduce, we can use the color palette.
••'12-8 [email protected]
C !:!SV
Creating Custom Colors There are many times that the small palette of default colors is not enough t o meet your needs. It is c simple matter to create additional colors. We can define over 16 million colors by adjust ing t he 256 individual values of red, green, and blue. For more information on color, see Appendix A.
Applying Appearances
107
:Fining a Color : olors can be created by specifying values for Red, Green and Blue (0-255). or Hue, Sat uration and ..:.:::-..;nance (o-240 ). :: Jr can also be defined graphically by _ ,:-55.ng the cross hair and the vertical slider. -'E s:::uare graphic window represents hue and -...-ction. The lower left corner represents -~=s of zero for both. Saturation increases ~ : ally and hue increases to the right. The :al gray scale is luminance. ~ Terminology
plastic, founc is appearance
- :: s the color reflected from or transmitted ~gh an object. In common use, hue is .:::.i=:.""ied by the name of t he color such as red, - :;e. or green.
Color
Basic cokxs·
r t.. . o r • c • r coc • • •
•oo•• li!l • •o•••••• •••••••• •••••r.•r
Custom col001:
orr r r r r r rrrrrrrr Ekitne Cu:tom Cclors
I
OK
II
Cancel
r-1 Color
I
~so s•..o
G-een· 255
L.um. 240
Blue 255
IU
Red· 255
hid to Custom Com
l.
_-:Jtion is the strength or purity of the color. Saturation represents the amount of gray in proportion
- e hue. specified from o (gray) to 240 (fully saturated). ~
-once is the relative lightness or darkness of the color, specified from 0 (black) t o 240 (white).
Change the color. :::-=: e-click the color preview box next to the eye dropper [21. --; Color dialog box appears. None of the colors on the palette are the ;:.- ::e are looking for.
~
Color
Basic coloo·
I:J I I:::D I. . CJ D
• r oo o • • •
•or w ••••• •o•••••• •••• • • • Ml••••• Ci •r Custom coicn·
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1r needs. It is c: ing the 256
rrrrrrrr rrrrrrrr
I I
Defne Custom Com » OK
ll
c....ce!
I
I
108 Chapter 5
14 Define a custom color.
Click
--
Color
Define Custom Colors.
o r wo r a wCJ a r ooc; a m• a uc • • • •
Click in the upper left box under Custom colors. This sets the target location for our new color.
• o•• • • •• •••••••• • ••• • r•r
~rrrr rrrrrrrr r· Delone Cuotom Celom »
Jj
OK
15 Select the color.
Type in values of 210 fo r each co lor: Red, Green, and Blue. The equivalent values for Hue, Saturation, and Luminance (160, 0, 198) will appear automatica lly. The
Color
box shows a preview of the color.
Click Add to Custom Colors. The custom color appears in the target box we selected.
Cancel
Hue: ~60
Sat: 0
Color
I.J..m: 240
Red. 255
Green 255
Blue: 255
Jldd to Custom Celom
J
Color
I Basic col~:
o r oo r a ou a r o o • 11 ·• o • • •
! 1
• o•• •••• • • •• •••• • ••• • r•r
Custom colors:
orrrrrrr r---rrrrrrrr !
Click OK to close t he Color dialog box.
Color
Def,ne Cuctom Co:o., » OK
II
Cancel
(
::
Hue:
,·60
Set: 0 Lum: 198
Red. 210
Green 210
Blue 210
Jldd to Custom Colo_rn
::
J
Applying Appearances 109
~
~
Apply the color. color is now the lighter gray we just created.
- t 2? pearance
I
i jjstllndord
- -:..-: :he Advanced button. may want to use this appearance for other elements of our rendering, we save t his appearance that uses the lighter gray color.
- -2
·I
·· ·
~~
=.:· Save Appearance.
"" ~60
Red 255
"" 0 "" 240
ID eu.tom Colors
·~
~
I
l>;B,GB
ill
0
•
198
~:
- Save the appearance. c-e the new appearance monitor light gray satin finish plastic and save it to the Monitor _ .::=;- found in the Chapter 5 \ Case Study folder.
::) •J~ « .. 160
j "') I:ISV
Red 210
~e ·
• @ I s~ar&. Monttar ~ ·
N"" folder
~. 2 10
Monitor
No rtems match your se,rch.
Practice Exercis~
BkJe· 210
!§;;;m Colors
Chapter 5 • Case Study • Monitor
Chapter&
: :: : ] _
Chopter7 ChapterS Chapter9 ChapterlO
-»
Cha pter 11
-»
Chopter12
@
..11 Ch•pter13 ~
Motion Project Rendered !mages
Filename: f!Ol£f.Mff5SS _ .._ IJJI!!ffiii+.M!effiff5l!Cir.:t
•
Descnpt1on: Add a descnpt1on
0 - "*"' Folders
I
•J
Save as type: [Appearance Files (".p2m}
Remove bend Lines
~
[
Cancel
110
Chapter 5
Custom Folders When we create custom appearances. decals, scenes. and lighting schemes, we save them to custom folders rather than the existing folders found in SolidWorks. We do this to prevent the folders from being deleted during an update or new SolidWorks installation. When we create a new custom folder, SolidWorks will warn us that t he new folder is not visib le in the Task Pane and offer to make it visible.
18 Show custom folder.
«
The monitor folder will now be listed in the Appearances section with a blue folder icon to indicate that it is a custom fo lder.
!TJ
LU
where you have chosen to save this. app ea~nce is not currently visible m the Appeari!nces folder of the Task Pane.
Appearan ces(color)
f.:J ~ Painted S ~ Rubber
11J·.te Glass
00-~ Lig hts 1; Fabric rtl ~ Organic (£ Ge Stone S ~ Mise neous
te
Thefolder [c\$Oitdworks stepwby-!.Otep guid~\product visualiution\ c hapter 5\case study\monrtor)
e
t..: ~ t
$-te Plastic &..-..(:@ Metal
SohdWori<:;
1
Appeara nces. Scenes, a.nd D- ,._
....
Click Yes.
1
: ~monitor
I;: #! Scenos llJ -~ Decal s
Do you \!Vish to m~ke the folder visible?
m onitor hght grey satin finish plastic
Applying Appearances
111
=.xamine the model. em to custom folders from
:c--ode!, screen, and first function :=..., a re now rendered in the desired
t visible in the
rces. Scenes. and D- {:;'
~ ?
.._
,...nces(color) leta!
._i. .ned
abber
gilts lbnc
~
neous
IDnltor
"II;
=.xamine the DisplayManager. ::view the appearances as History, we can see the _£-the three appearances were added. When viewing .:::erarchy, we can see that the appearance applied to -=overrides t he appearance applied to a feature, - ~ overrides the appearance applied t o the part. -t: :hree
=::-:
faces of the first function button are attached custom appeara nce.
It gtey satin finiSh
i!&astic
. .. "'' i T:.1:11f:'"'...--:-..:
Sort order.
IHierorchy
~I
~TJ""lJ im
$-...;) monitor light grey satin
e. - bJ
Face bl_ack low gloss plastic l ..li] Face<2> Ej' @, Features s..V monitor light grey satin I @, Extrudel
I II
8
l-.f!:J Dome2 ~ Parts/A..emblies
~-· PW-MT11010
L ~ LCD monitor15
Add the appearance to the other buttons. 5::: =-:t the three faces of each of the three other funct ion buttons and ·"'-;: -:::wo faces of the power button.
Sort order.
'Tl .
0..
i_H_i!;tO.'Y
~I
1£\l®nil!oF!o!
I ~ LCD monitor 15
black low gloss plastic Face .\ ) monitor light grey satin fini
I j ·B LfJI
Dome2
. @, Extrudel
-li:J Face<2>
1
j
; '
112
Chapter 5
In the Disp layManager. right-click the appearance monitor light gray satin finish plastic and click Attach to Selection. The custom appearance is now added to all the faces of the buttons.
sort order.
8 .
Note We could not apply the appearance t o the feature LPattern2 because it also contained the geometry for the dimple face around the button.
' ~ LCD monitor 15
; !;;il
S
Face
monitor light grey satin finish plasbc Face<2> Oome2 ~ Extrudel CJ Face<3> !l;i Face<4> ·IWI Face -1!;1 Face<6> G;l Face<7> !;I Face<8> 1 .ij;l Face<9> !;l Face fJI Face I;J Face Face 1
·il
e
f
.IJ
In the Task Pane, right-click the cust om appearance monitor light gray satin finish plastic and click Add Appearance to setection(s).
...-1
e ~ black low gloss plastic
t
22 Add appearance to the trim. Select the eight faces that make the t rim strip around the monitor.
IHistoty
ft lfi,W®•iil,ll•l
Applying Appearances 113
~ ·15 Jlastic !)' satin finish plasbc
=.xamine the DisplayManager. 2-se we added the appearance from the Task Pane, it became a .:c..::~e instance of the appearance. If we had attached it to the first .::::-·::e in the DisplayManager, the eight faces of the trim strip would ~ .:een attached to the first instance of the appearance.
'•miT"':.r.
Sort order.
-I
jH1story
f;1
(t PW-M111010
d
(t black low glo" pfil5tic
. ~ LCO m onrt:orl5
iJ Face S· .j monitor hght grey satin finish plastiC
l:iJ Face<2 > .(]1
Face<3>
1W Face<4> ~ Face<5>
J:jl li;jJ
IQ
Li
liJ j;l
C liJ
·el
Face<6> Face<7> Face<8> Face<9> Face Face Face Face Dome2
~Extrude!
8
~ monito r hght grey satin finish plastic<2>
iJ Face li]
Face
C1
Face
IJ Face iJ Face .iJ Face .iJ Face<20>
IU Face<21>
Edit an appearance. =..:.::::use we have two instances of the appearance, each can be edited '"'C.-=::Jendently of t he other. We want to make t he t rim strip lighter than the ~:: :J n s .
~ ;-t-click
the second inst ance of t he custom appearance and click
E::::t Appearance. ~ ed t he
=:< OK.
I
light gray color (eighth column, second row).
1J..··~: ~~-odil.: 1
-
@B.GB
.•_ ,,
.
J tiSV~
I
I
114
Chapter 5
25 Examine the preview.
The trim stri p is now slightly darker than t he buttons.
26 Apply appearance to power button.
The power button is lit by an internal LED. In the FeatureManager design tree, select Extrude25. This is the circle and bar that shows that power is on. Apply the appearance Green LED from the Lights, LED folder.
--,:: ::
27 Add to an appearance.
We want to use the same appearance on two of the indicator lights. Select two of the indicator lights. In t he DisplayManager, right-click the Green LED appearance and click Attach to Selection. These two new surfaces are attached to the single instance of the Green LED ap pearance so that editing this one appearance changes the appearance on these two indicator lights and the power button.
Sort order.
IHistory
B-·
lf.TJ®iiil•lll•i j L ~ LCDmonitorl5
$-.
blade low gloss plastic
B.
~·"'\) monitor light grey satin finist • $· ~ light grey satin finish plastic Green LED
i- ~ Extrude25
l.-[g
Face<22>
l.fi31 Face<23>
Applying Appearances
115
S
•·re will go back to the assembly and
-= cj)pearances t o the remaining parts.
: Open the assembly. to the monit or assembly.
=-~-rn
- - Add appearance to components. - =monitor base and arm will use the same appearance as the :;:.::ons.
•Uhf::F.!J:I• lil:l:
IHierarchy ·I
Sort order.
Efl" ~ Components
8 -'\)
monitor hght grey satin finish plastic · ~ LCD monitor Arm-l@monitor i ~ LCD monitor Base-l @monitor
: :-;e FeatureManager design t ree. select both the l......-:J monitor Base and LCD monitor Arm parts.
~ @Face
- :::e Task Pane. right-click the monitor light gray satin finish :-·?.stic appearance and click Add Appearance to selection(s).
i @-0 monitor light grey satin finish plastic<2>
$-.
~==:J
m
onrtorl5
Jlo 3>
=...::mine the DisplayManager. Notice that the appearance is =::2ched to the components in the assembly. This appearance will ::-.-=rride any appearance t hat might be added at the part level.
Green lED
~ light grey satin finish plastic
1 ID .
black low gloss plastic
$ ~Features
$-V monitor light g rey satin finish plastic<3>
f i·.
Green LED <2> e ~ Parts/Assemblies Efk.J color color<2> 1
!h.
$_·...)
PW-MT11010
:::· Open the base. ==en the part LCD monitor Base in its own window. --e DisplayManager shows the default color appearance attached to this part :;:cause the monitor light gray satin finish plastic appearance is =::ached at the assembly level. =we render this part. it will render in the default color appearance.
-~--A~_:_.
Sort order.
Eh,)
jHistol)l
---? •
color l ~ LCD monitor Base
I
116 Chapter 5
32 Return to the assembly window. 33 Render the assembly. This render is just to check the results. We are not finished with this assembly yet. but we will put it aside for now as we have not yet coverec the other topics we need to finish this rendering. In the upcoming chapters we will discuss decals. scenes, and lighting which will be used to create a better rendering. Save t he assemb ly and parts but leave them open.
::
Applying Appearances 117
chy Review :-.c:::ter 4. the hierarchy of applied appearances was discussed. This order is:
)Vere:: l5
-.ssembly :::;nponent -::::e =::ature ~.::dy ~-t
.....E.-:mes it may be difficult to see the differences between some of these, so we will do a simple test .==~.ying appearances to our existing assembly. ·- 11onitor assembly we have appearances applied at several of these levels. _=-ret
Appearance
Modeling Element
monitor light gray satin finish plastic
LCD monitor Base
black low gloss plastic
Face of the monitor
Green LED
Indicator lights
monitor light gray satin finish plastic
Numerous faces of the buttons
Green LED
Extrude 25
PW-MTllO l O
LCD monitor 15
-.=embly -~ponent
~
:;...=-ture
LCD monitor Arm
I~ ~
118
Chapter 5
Add appearance to the assembly. Our hierarchy tree shows that any appearance we apply at the assembly level will override all other appearances.
Select the top level icon in the FeatureManager design tree and apply the appearance yellow high gloss plastic from the Plastic, High Gloss folder. In the DisplayManager the yellow high gloss plastic is shown attached to the assembly. Examine the model. Everything is yellow high gloss plastic because appearances attached to the assembly override all other appearances. 2
3 Remove the appearance. In the DisplayManager, right-click the yellow high gloss plastic appearance and click Remove Appearance.
IHierarchy •J
Sort order.
e ~Assembly 1
m
yellow high gloss plastic
~ ~ Components ' '\.) monitor llght grey satin finish plastic
e (JJ Face $ ~ Green LED I t$-V monitor light grey satin f1nish plastic<2> !f-0 m onitor light grey satin finish plastic<3> (!)
'I block low gloss plastic
e~$ ..)
Features monitor light grey satin finish plastic<4> ~ ~ G reen LED<2>
a ~Part
$-
color $~ color<2> PW-Ml11010
liJ •
I
Applying Appearances 119
Add appearance to a component. -e FeatureManager design tree, select the part :...:::::> monitor 15. -~ly
the appearance blue high gloss plastic from
-=Plastic, High Gloss folder.
- :::1e DisplayManager the blue high gloss plastic is ..::::-.·m attached t o the assembly component.
~
~~!~.-~ So rt order.
I
j Hierarchy
y
J
· ~ Component.s ~· \.) monitor light grey satin finish plastic 11} ~ blue high gloss pla ltJ monitor light grey satin finish plastic<3> 00·· ~ black low gloss plastic ~· ~ Features $....,) monitor light grey satin finish plastic<4> lit. . Green LED <2>
1>
i
.3> t
:4>
ltl . V
8-~Part
lf\) color $ '~:!) color<2> lit ~ PW-MTllOlO
Render the model. en you render the assembly, the entire component LCD monitor 15 is blue high gloss plastic. - . the appearances applied at the part. feature, and face level are overridden. Remove the appearance. - the DisplayManager, right-click the blue high gloss plastic appearance and click Remove ~pearance.
Open the part. : ? en t he part LCD monitor 15 in its own window. -.: assembly level. appearances applied to the assembly override everything else. At the part level it is _st the opposite. An appearance applied at the part level does not override anything.
120 Chapter 5
8
Add appearance to the part.
In the Feature Manager design tree, select the top-level icon fo r the part. Apply the appearance red high gloss plastic from the Plastic, High Gloss folder. The appearance red high gloss plastic replaces the PW-MT1 1010 appearance that was previously applied, but it does not override any of the appearances applied to the features and faces of the model.
jHierar
Sort order.
C? g
T
j
m
, $ (f Green LED S·...) monitor light grey satin finish pl•stic It\ . ) monitor light grey satin finish plostic<2> 1tJ (f black low g loss plostic
e Qla Features S -..) monitor hght grey satin finish plastic~3>
!B •
Green LED<2>
8- ~Part (fJ •
g
Close all the files without saving.
red high gloss plastic
ppearance Mapping - ?on successful completion of this chapter, :Ju will be able to: .;pply texture-mapped appearances to models . .;djust texture mapping for different surfa ces. ~
J nderstand the mapping controls for t he different 11apping types.
122 Chapter 6
Texture Mapping The application and mapping of texture appearances is more involved t han procedural appearances. lr this chapter, texture appearances will be applied to various shapes to explore the different methods tc map and scale the appearance to the underlying part.
Why is Texture Mapping Important? Texture mapping applies to not only appearances, but decals and surface finishes as well. All three of these functions are types of textures which can be adjusted to fit the geometry of the mode ls.
Topics The topics covered in this chapter include: • Texture appearances
Texture appearances are two-dimensional images that are applied to a model like wallpaper. a Texture mapping
The method in which the texture image is applied to the surface can be adjusted by stretching anc rotating the image. Textures Textures are 20 graphic files that are applied like wallpaper. They are applied to t he surfaces of the model by shrink-wrapping. The method used to shrink-wrap the text ure is called mapping. SolidWor~ supports five types of mapping: Automat ic, Projection, Surface, Cylindrica l, and Spherical.
SolidWorks supports the use of the following image file types fo r textures: • Windows bitmap (* .bmp) • Portable Network Graphics (*.png) High Dynamic Range(*.hdr) • Tagged Image File (*. tif) • TARGA (* .tga) • RG B (* .rgb) • Adobe®Photoshop®(*.psd) • Joint Photographic Expert Group [JPEG] (* .jpg) Hybrid Appearances
Hybrid appearances have repeatable patterns and have some characteristics of procedura l appearanc:3 and others of texture appearances. Like procedural appearances. they can have t heir color changed. L::~ texture appearances, they are mapped to the su rfaces of the model. Note Color can only be changed for texture appearances by editing t he original image used to crea,.=
the appearance. With hybrid appearances, the color is changed in the appearance's PropertyManage-
:.Z.:
Appearance Mapping 123
=.:se Study: Texture Mapping ·ances. l~thods t::
three of
- F :Jarts
have many different surfaces of different shapes, mapping =:·-:-..;re can be time-consuming and require a lot of effort to get all E :atterns sized and lined up correctly. Rather than start on -~:hing complicated like the part at right. we will use a simpler part ....,.- ::) learn what each of the controls does.
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--::c :}roject will use a simple model to map a texture appearance to the various surfaces. Our goal in ::ase study is to learn about mapping methods and adjustments rather than producing a realistic c:oring.
:5
1ing and
of the tidWorks
)earances nged. Like ro create vtanager.
~
124 Chapter 6
Procedure We will use a simple part that contains examples of t hree common types of surfaces:
• Planar • Cylindrical • Spherical Procedure 1
Open the part.
Open the part Texture Part found in the Chapter 6 \ Cas e Stu dy fo lder.
2 Select Isometric view. Orient the model in an Isometric view.
3
Turn on RealView.
4
Apply texture appearance.
Add a texture appearance called checker pattern to the entire model. Select the Appearances, Scenes, and Decals tab in the Task Pane. Locate the appea rance checker pattern in the M iscella n e ou s , Pattern folde r. Drag the appearance into the graphics area.
5
Examine the modeL
The texture has been applied to the e ntire part, but it doesn't look ve ry realistic or natural. Because we did not choose a method to map the appearance to the model, SolidWorks selected t he default setting of Aut omat ic. The mapping is reasonable on the planar surf aces, but t he pattern breaks up on t he cylinder and hemisphere. To correct this, we will adjust the way t he t exture looks with texture mapping.
Appearance Mapping
125
-.=xture Mapping -.::-applying a texture appearance to a SolidWorks model, the SolidWorks software examines the c::: of the underlying geometry to select the best mapping to shrink-wrap the 20 texture around t he - -:Jdel. c:::Jing can be done automatica lly, or we can force the fit by applying surface, projection, cylindrical. ;;;:-:erical options to selected surfaces. Mapping can be referenced to the current view, a selected ..:::.: or a selected plane. These control the direction from which the appearance is projected onto the ~:e.
:-e to Find It -..=;:>earance's PropertyManager: Mapping tab
--=:nmatic Mapping -=llatic texture mapping selects one of the three .:.::21 coordinate axes (X, Y, and Z axes) whose plane is -;:s: closely aligned with t he surface of the geometry
:::::::h point and maps t he appearance normal to that =.-e.
--:;texture space works well for any planar geometry -:ch surfa ces are approximately aligned with the -::pal axes. For arbitrarily aligned planar geometry, =-= :Jrojection texture space may be more appropriate.
·~
..
.. ~tt~~ ~
. .o..,
Edit the texture map. - :--e DisplayManager, click View Appearances. Right -click the checker pat tern appearance and .c ::::t Edit Appearance.
126 Chapter 6
7
Change the mapping to projection.
Select the Mapping tab. Click the Advanced button. The Basic button has a subset of the controls available with t he Advanced option. For Mapping, select Projection and XY for projection direction. This maps the texture to the XY (Front} plane of the model.
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Examine the model.
The texture is st reaked along the top planar faces of the model and the pattern elongates as it stretch~ around the cylindrical section.
Projection Direction The projection direction aligns a texture based on a reference plane. The plane may be defined by select ing a default plane (XY. YZ, ZX}, face, or using the current view.
Appearance Mapping 127
Other orientations.
== each of the other projection direct ions and examine the effects on the model.
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,J Standard Views using Current View with Isometric as the current view
128 Chapter 6
Texture Orientation Mapping reference and mapping type are used to orient the texture map to the model.
Mapping Reference Mapping refere nce determines the start position of the image. Projection Direction
Mapping a texture by projection is done normal to the selected references. Using the XY direction is projecting normal to the Front plane. Selected Reference
Mapping a texture to a selected reference {face or edge) causes the t exture to be projected normal t: the plane or along the edge and onto the model. Current View
Text ures may be mapped relative to a view. Th is is like putting t he texture on the face of the compute monitor and projecting it onto the surface. Once a texture is mapped to a view, and applied. the view orientation of the model can be changed without affecting t he mapping.
Mapping Type Mapping type determines how the texture is applied to the model surfaces. After the texture is oriente: by the mapping reference, the mapping type specifies how the t exture will be applied to the surfaces Mapping Type
Description
Surface
The texture maps automatically ont o the selected surface. If the surface is not planar. the texture space maps all points based on the UV texture coordinates of the model.
Results
Appearance Mapping 129
·;epping Type
:- _-tomatic
The t exture maps to one of t he X, Y, or Z axes. The Automatic texture space is appropriate for most planar geometry.
irection is
j
Description
normal tc
e computer
The t exture maps all points on the surface of a sphere.
:hanged
Spherical mapping is like a Mercator projection.
S:herical
is orientec e surfaces.
!
13' ~
,
: ylindrical
The text ure maps all po ints onto a cylinder.
Results
•
130 Chapter 6
Mapping Type
Description
Projection
The texture space projects onto all points.
Results
•~~~~ :: :! :1
.
·' Steps to Correct the Mapping To adjust the mapping in this model. we will apply the appearance to each surface individually and the:adjust the mapping to the specific face.
This process takes some trial and error to achieve the desired result. Initial Texture Size and Alignment Because texture appearances are created by using a rectangular image and repeatedly pasting it on~ the selected surface, the initial size and position of the image and the resulting mapping values may~ first seem confusing.
When the texture appearance is first applied to a surface, the initial placement will be such that the center of the pattern is in the center of the selected area. The initial size should place a whole numb:! of images across the major directions. If Fixed aspect ratio is selected, there may not be a whole numh-:of complete patterns in one of the directions, depending on the size of the surface. Removing Appearances After applying an appearance, you may decide that it is the wrong appearance or it is appl ied to the wrong entity. If it is the wrong appearance, you can edit the appearance to change it. In some cases. .:: single instance of an appearance may have been applied to multiple surfaces causing difficulty in th.::. mapping process.
Appearances can be removed from any part, assembly, feature, or face. Where to Find It • DisplayManager: Right-click the appearance, Remove Appearance • DisplayManager: Select an appearance. press Delet e • Graphics Area: select the part. feature, body, or face where an appearance is attached, Appearance ~. click Delete x in the callout
Appearance Mapping 131
::r.Ernove appearance. =:rst remove the appearance we have on this model and then reapply the e.=.-=1ce one surface at a time. e J ;splayManager. right-click the appearance checker pattern and click ·re Appearance.
~ 15 m
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Sort order.
0
IHistmy
..
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No appearances asSigned. Go to
the Appearance tab of the task pane and drag an appearance
from the hbrary to th e model inj the graphics area
~·
se all geometry must have an appearance. we are warned that there is -=-:.y no appearance because we just removed it.
I
Open Appearance Library
p en Appearance Library.
..!..dd an appearance to the part. ~.-.s and
ly and the-
hold Alt and double-click the appearance color located in the -===-ance Selection area of the Task Pane.
~
;)ropertyManager, select the Color/Image tab and then select the color ::-·:(t hird row. third column) .
ting it ontc lues may a:
.:. ==~e applying the yellow color just to make it easier to see the model as we _=- the surfaces with the checker pattern in the fo llowing steps.
·~
that t he ole numbe;tole number
1
·!.,-~@RGB Add an appearance to a surface.
:d to the 1e cases. a ulty in the
S= ::d t he indicated face, then double-click the :::::earance checker pattern in the Appearance ==-= ::dion area of the Task Pane.
_ Adjust the mapping.
= ~efault. there is an even number of complete squares - ::1e vertica l direction. and because of the dimensions of ·-=model. in the horizontal direction as well. - :he OisplayManager. right-click the checker pattern :=:Jearance and select Edit Appearance. :;:;.ect Advanced and then the Mapping tab.
f"\ HSV
I
132 Chapter 6
14 Adjust the texture mapping. For Mapping, select Projection. Fixed aspect ratio should be selected. Adjust the size of the map to: • Width: 40 mm • Height: 40 mm Note Because we have Fixed aspect ratio selected, we only need to adjust either the width or the height. The other will adjust automatically to maintain the aspect ratio. After you enter 40 mm for the width, just click in the box for the height and t he value will update. Click OK.
15 Apply appearance to front faces. Se lect the front planar face shown. Apply the checker pattern appearance to this face.
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Appearance Mapping 133
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Edit the appearance . - : DisplayManager, right-click the second instance of the :.- =..~~er pattern appearance and select Edit Appearance.
:
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Jlltation
I a:;pect ratio
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...:: :e the cyan and magenta square on the face. We cou ld just ~~he handles on the square size and position the pattern.
dlh to selection
,q,t to selection lOOnvn
-= -:ed to adjust the appearance so that we have four squares :::e-: : ally, with a black square in the upper right corner so that it -c:: 1es the appearance on the right side face.
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:-c.. . ge the orientation to the Front view.
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Reset to Image
.:C =:t the Mapping tab. - -:: 40 mm for the height. This is the same value we used on the -.=::ern on the right side.
:r::_s the pattern until there is a black square positioned in the -:::er right corner.
- Change the aspect ratio. = :-~ave a fract ional square on the left side of the pattern. To correct this, we change the width dimension of the pattern so that t he black and white areas :r:: no longer square. : =;:r Fixed aspect ratio, then drag the pattern handles to make t he pattern ::er so that exactly t hree boxes fit across the top. You could also type in a new -~ ...:e for the width, which should be about 49 mm. -:e You may need to reposition the texture t o keep the black square in the _:::;er right corner. ~ =:Jrient
: :k OK.
the model to the Isometric view.
6
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134 Chapter 6
18 Examine the model.
The pattern on t he front face should now match the pattern on the side face.
19 Repeat. Repeat this procedure on the other three planar faces as shown. Note Unless we are going to render this model in other
views, there is no need t o apply appearances to the faces that will not show.
Appearance Mapping 135
drical Mapping --e ::ylindrical texture space maps all points onto a cylinder. This texture space works well for geometry ~
:a is axis-symmetric.
Select the cylindrical face. ~ ::t the
cylindrical face and apply the :.::zcker pattern appearance.
Adjust the pattern mapping. - ~e OisplayManager, right-click the last instance of the ...._-:::arance and click Edit Appearance.
:e ::t the Mapping tab. -:-.:e that the mapping type has defaulted to cylindrical :r:: :he controls are slightly different in that we now have :::r-:;ols to position the pattern along and around the axis.
136 Chapter 6
Adjust the pattern height t o 40 mm t o match the height on the planar faces.
Mapping
!cylindrical
Clea r Fixed aspect ratio. Drag the pattern handles until the width of each black and white area is essentially square.
Axis a.-ection;
G€ '------~ Projection reference:
I Update ID ~ l
Adjust t he value for About Axis until the squares line up with the adjacent faces. ,.
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Spherical Mapping The spherical texture space maps all points onto the surface of a sphere. Spherica l mapping can bema= difficult t han the other types of mapping because of the additional controls.
-.-=~
~=
22 Select the spherical face.
Select t he spherical face and apply the checker pattern ap pearance.
5
Appearance Mapping 137
.; Adjust the pattern mapping. :-;e DisplayManager, right-click the last instance of the ?:::earance and click Edit Appearance . ~
a.on: •l
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ng can be morE
::1 spherical mapping we have additional adjustments to orient the pattern.
:e Whether the alignment is correct is a subjective judgment. If the squares := 1ot line up to your satisfaction. continue to adjust t he mapping values unt il ::.J are satisfied. - -ay take a great deal of trial and error to determine the values that make -.,model render t he way you would like it to look. It will be rare when you hit - :c: correct values on the first try. Also, there are several combinations of -.=;:>ping size and offset values t hat will give a satisfactory result. 2- Save and close the part.
....
-~
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try to use the drag handles to get the size and location of the pattern = -ect. Then use the PropertyManager to make the small adjustments - e-:essary to fine-tune t he patt ern. := -st
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138 Chapter 6
Mapping Adjustments (Mapping by the Numbers) In the previous example, the actual mapping dimensions used to adjust t he textures were not important What was important was making t he adjacent texture maps align with each other and filling the surfaces with a complet e patt ern. Many instances of mapping will be done just as this exa mple in that we just use trial and error to get a texture mapped to t he model so t hat it looks correct. ln other cases, we can use the mapping dimensions to quickly cover a surface with a uniform map if we know the surface dimensions. This will become more important when we apply decals to the model.
Note For the fo llowing examples we will use a simple, square checker pattern. The actual pattern does not have a black border. it is only shown here for clarity.
Projection Mapping Projection mapping is the simplest of the different mapping types. The texture map will be projected onto the surface and t iled. Tiling duplicates the pattern as many times as necessary to cover the surface. The controls available allow us to position the pattern origin and stretch the pattenr to get the correct number of instances. Procedure 1
Open the part.
Open the part Projection Mapping practice found in t he Case Study fo lder of this chapter. This is just a simple block with length and width dimensions in millimeters.
Appearance Mapping 139
Apply appearance. not important g the surfaces 1at we just use orm map if we the model.
«
Appea rances. Scenes. an d Dec;als -{!:a
::::.= =:t the front face of the model and then select the Appearances, ::C::Oes, and Decals t ab on the Task Pane.
e
=--::--ss and hold the Alt key and double-click the appearance texture from -= ;ppearance Selection area. Hold ing the Alt key when applying an .::::-::: arance causes t he PropertyManager t o open.
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e
[il
Appeara nces(color)
e & Scenes Decals
:::e : :t Advanced in the PropertyManager and then the Mapping t ab.
Adjust the mapping. --e RealView preview shows us that the pattern starts in the center of the color
ecessary to ch the patt ern
--=Horizontal location direction is shown with a red arrow and the stical location direction is shown with a green arrow. These correspond -:: :~e icons next to the spin boxes. - -.;: :llue and magenta rectangle shows t he size of the seed inst ance of the :.:::ern. The width {blue) and the height (magenta) are in units of length.
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Reset to Image
...
140
4
Chapter 6
Adjust the texture map size.
If our intent is to get two instances of the pattern in the vertical direction and three in the horizontal direction, we can do this without trial and error. The part is 50 mm by 75 mm. To get two instance in t he vertical direction, each pattern instance must be 25 mm. Th e same is true for the horizontal direction t o get three instances. Type 25 mm for the width and press Enter. Because Fixed aspect ratio is selected, t he width and height will maintain their original relationship, and the height will also be 25 mm. 5
S'ae/Orientation
jt
0
Fixed aspect ratio
0 0
Fit width tn selection
,...., 0 0
Fit helglt tn selection 25.000rrrn
' •'
-
25.000mm ''
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Aspect ratio; 1.00 : 1
Q
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Examine the preview.
The preview window shows t hat we have the desired number of instances of the pattern.
==
Appearance Mapping
~
Mation
Change the pattern size.
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!'.h to seledion !tit to selection
E
f!;
rorm t iii lJ{f!j l t_lpaQ
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:-e only wanted two instances of the pattern in each direction, vould have to adjust the map width to 37.5 mm.
= ~~- Fixed aspect ratio. We "E 51t
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141
- -::2
need to do this to allow the width and
to be different
37.5 mm for the width and press Enter.
.... horizontal y
:ror vertiealy
Reset to IrQage
Change pattern offset.
1 14ap~ing
IProjection
- =:::1 reviewing the preview we want the lower right square to be white instead
G€
- =.ack.
='"!eed to move the pattern either half the height or width to shift the pattern. : uill move the pattern half t he pattern height - -::2 12.5
mm for Vertical Offset and press Enter.
Examine the preview.
--e :Jreview window now shows a white square in t he lower right :=~er. The blue and magenta rectangle shows that the seed ~ -::2rn has moved up one square.
:e We cou ld have also moved the pattern wit h a -1 2.5 mm ~:cal offset or a ±18.75 mm horizonta l offset and gotten the x;- e results. Close the part without saving.
n
--
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142 Chapter 6
Cylindrical Mapping With cylindrical mapping, an edge of the pattern is applied to the cylindrical face in the same direction as the axis of the cylinder. The pattern is then rolled around the cylinder. Procedure 1 Open the part. Open the part Cylindrical Mapping practice found in the Case Study fo lder of this chapter.
This is just a simple cylinder with length and diameter dimensions in even millimeters. 2
Apply appearance.
Select the cylindrical surface and apply the same checker pattern appearance (default texture).
50
I
SolidWorks will default to cylindrical mapping when it determines that t he selected surface is cylindrical.
3
Preview.
The edge of the pattern is aligned to the Front view and then wraps counterclockwise when the cylinder is viewed from the top.
- - :J
e:
4
Change the view.
Change the view to t he Back view. This makes it easier to see how the pattern is applied.
Appearance Mapping 143
Change the pattern height. ?
=·.ould like to get four patterns along the axis
same directior
- e cylinder. The preview window shows that ·-.: -:~agenta side of the rectangle is in the same :.s :tion as the axis of the cylinder. : :.< the Mapping tab in the PropertyManager. represents the height of the pattern. ~:cuse the height of the cylinder is 50 mm and =- 'o'a nt four instances of t he pattern. the -.:::ern height must be 12.5 mm.
- ~5enta
0 Fixed aspect ratio D At y.idth to selection 0 At hei!,nt to selection
8 [0
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Aspoct rabo:
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Mrror horizuntaly Mirror vertia>ly
Reset to Image
s,o
j>
- -:e 12.5 mm for the height and press Enter. -~-e are now four patterns on the cylinder. ~
.e Because the pattern is centered along the axis direction of the cylinder, we actually get half a =~ern, fo llowed by three full patterns, t hen a final half pattern.
Move the pattern. - - e wanted to move the pattern seed so that it r:=.:t s along the bottom of the cylinder, we must --::1e it one and a half pattern heights. The green It£ 1 -=-=.w in the preview window shows that this is j Projection reference: -=direct ion for offset Along axis. Note that the ::::sitive direction is down for this model. I I Updatetoeurrent - -::e 18.75 mm for Along Axis and press Enter.
1
144 Chapter 6
7
Change the pattern width.
To get an even number of patterns around the cylinder we will adjust the pattern width. The units of the width, while in length units, are not the actual dimension of the pattern. They are based on the diameter of the cylinder rather than the circumference. In our example. the cylinder has a diameter of SO mm. If we want eight full patterns around the cylinder. we would set the width t o the diameter divided by the number of patterns. To get eight patterns we set the width t o 6.2S mm {SO mm/8). Clear Fixed aspect ratio, then type 6.25
mm
for width and press Enter.
Change the Isometric view. There are eight complete instances of the pattern.
8
Create a spiral pattern.
The Rotation changes the angle between the axis of the cylinder and the axis of the applied pattern. The result is a pattern that spirals around the cylinder. When you change the Rotation. the other mapping values may have to be adjusted to get t he pattern to come out evenly. Type 7.0 degrees fo r Rotation and press Enter. Adjust the Map Width to 9.035 Enter.
mm
*
s-ae/Orientatlon
0
Fixed aspect ratio
::::1 Fit width to selection
EJ Fit hoigh t to selection
a 1s.2so;;;;;;-lftf
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D Mirror horizontaly
0 Mirror verticaly
and press
Click OK. Note The numerica l values used in this step are "close" but not exactly right. If you would like to be meprecise you can experiment with small adjust ments and also examine the completed model found in t--" Completed folder.
Appearance Mapping 145
=xamine the model. -.:= ::attern now spira ls around the cylinder, much like the way a simple
::-::=11 can be used t o rep resent a t hread.
Close the part.
- -crical Mapping -~-Ical mapping is similar t o the process used by map and chart makers to represent the earth on a - :: ece of paper.
m be ;---':"::
Jund if'
146 Chapter 6
The rectangular pattern is applied to the sphere by wrapping it around the sphere, much like the way 2 cylindrical map is wrapped around a cylinder. In the world map example. this wraps the map around the equator giving us line contact between the texture and the sphere. The map is then shrunk around the sphere so that the top edge of the map converges on the North Pole and the bottom edge of the ma;:: converges on the South Pole.
North Pole
Equator
South Pole
Procedure 1
Open the part.
Open the part Spherical Mapping practice found in the Case Study folder of this chapter. This is a sphere with a diameter of SO mm.
Appearance Mapping 147
? the
way:: arou nd the around thE Jf the mat:
Apply appearance.
:.e :ct the spherical surface and apply the same :E'a ult t exture appearance.
-.= jWorks will default to spherical mapping when it determines "-:e: the selected surface is a sphere.
Adjust the pole.
-= ·,·ant the pattern to have t he poles on the sphere where the .:.>5 :ive
and negative X axes pass through the sphere. Because ::-e looking at the preview in the Isometric view, we need to ::-::e the pattern go degrees along a latitude line in the pattern. E
• ..: ~"i: the Mapping tab. Type go degrees for Axis Direction 1. - s , aves the pole from the positive Y direction to the positive :::: -ection.
go degrees for Axis Direction 2. This --::- 2s the pole from the positive Z direction ---= positive X direction.
- '::E
:.-:ant! If you had trouble with this step, : sure that you were entering the angles -e Size/Orientation boxes and NOT the C::[Jing boxes.
.fl
Si%
0 Ft width to selection OR heioht to selection
a ~.6666666611 [D
-~ ;j
~.66666666on
Asped ratio: 1.00 : 1
Q ~OOdeg
..-LI_I_I_ I ·
-
:
J r::::l
Q [ 9o.OOdeo
·:
~· ·-'-'---
0}~ : ~~ .-r-r..::cr::::: o~1irror horozont~y
0
[
Mirror verticaly Reset to Imoge
I
.
148 Chapter 6
4
Adjust the map size.
Mapping width and height in spherical mapping works similar to t he way it does in cylindrical mapping. In this case. we will just t ry to get an even number of patterns t o join correctly.
S"IZe/Orientatlon
ct] Fixed a.pect ratio
j
Fit width tn selection
r-' Fit h.i!!ht tn selection 6 ro
12.100mm
u.100nvn I!L
A=ctratio: 1.00 : 1
Select Fixed aspect ratio. This will keep the same ratio between the width and height. which is currently one to one.
~ O.O
fJ
~'
90.00deg
.
j .. __ _:___] __ ,_
0) ' 90.oodOQ
j."
Type 12.1 mm for the width and press Enter. Height will automatically change to 12.1 mm.
5
Set the rotation angle.
Rotation angle will cause the pattern to twist such that the longitude and latitude lines will no longer be straight.
~J Mirror horizontaly
I ] Mirror verticaly
I
Reset tn Image
*
Size/Orientation , ) Foced a.pectratio
, ~ Fit width tn seJec:OOn
6
12.2SOmm ,; . iiiTJTITrm--rr.-.---rr;;o;; .~
Type 20 degrees for Rotation Angle and press Enter. Notice that the pattern does not join smoothly. Using trial and error. we can adjust the width to get a smooth pattern joint.
ro 12.soo.,;,- ----- ·
Clear Fixed aspect ratio. This is necessary to keep the height constant while we change the width.
cJ)
.•...-
,:~
A5P'ictratio: 0.98: i
~ 20.00deg
':l--- --
c ' -
•• •
r
P
·=-
-A' '90.00deg u }- ~ . _._ L1___L_j 90
~ '-
·_ ,_
MiTor 1-Mlrizontaly MiTor vertic211y
Reset II> Image
Type 12.25 mm for width and 12.5 mm height. Click OK. Note To determine the exact va lues to get the pattern to join correctly takes some trial and error. ;;: easier to see the effects of the adjustments if you zoom in on the area where the pattern joins.
5"'
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·s]e)ap "P!H ·JapJo ]e)ap :).snfpv ·s>jsew je)ap asn pue a:).eaJJ ·s]e)ap fi.]dde pue a:).eaJJ
:o+ aJqe aq IJ!M no,· 'Ja+de4J 5!4+ .:J.O uoqaJdwoJ Jn.:J.SSaJJns uodr
152 Chapter 7
Decals Decals are artwork that is applied to the model in SolidWorks. They are in some ways like textures ir that they are applied to the surface of the part, feature, or face, and may be mapped according to thE type of surface. Decals differ from textures in that they are not tiled, and they can have parts of the image masked. Masking allows only defined areas of the appearance of the underlying part to show through the deC3. image. Decals can be made from the same types of files used for t extures: • • • • • • • •
Windows bitmap (* .bmp) Tagged Image File (* .tif) TARGA (*.tga) RGB (* .rgb) Portable Networks Graphics(* .png) High Dynamic Range (*.heir) Adobe Photoshop C'.psd) Joint Photographic Expert Group (* .jpg)
Decal size. position, and overlay order can be controlled with the Decals PropertyManager.
Where to Find It • Menu: PhotoView 360, Edit Decal • Render Tools Toolbar: Edit Decal [fiD • DisplayManager: Right-click in the View Decals tab. Add Decal • Task Pane: Drag a decal from the Decals folder in Appearances, Scenes, and Decals Print Screen The Print Screen key is used to capture the image on the monitor and paste it on the Windows clipboard. There are a variety of other commercially available graphics programs that include the capability of capturing images from the screen. Print Screen is used in this course to eliminate the need to purchase any additional software.
Decals 153
"':; It :::=a::i. ) ifferent locations depending on the specific keyboard, but it is usually located to the right ~::tion key F12. ~
-Screen _ ::-,ant of Print Screen where only the active window is copied to the Windows clipboard.
£:udy: Monitor Face
will add a decal to the face of the LCD monitor from Chapter s. We will use a decal, an appearance, because we need just one instance of the image.
~ study, we
=-c_-
154 Chapter 7
Procedure Create an image for the decal. We will use a screenshot of the monitor model we created in Chapter 4.
1
Open the file Monitor.sldasm in the Chapter 7\Case Study folder. This is the completed projecfrom the previous Chapter s. Turn on ReaiView. On the keyboard press Print Screen. This copies an image of the screen to the Windows clipboard. Open an image editor. For simplicity, we will use the Microsoft Paint application that is included as part of Windows. 2
Click Start, All Programs, Accessories, Paint.
Decals 155
~:e
t he screenshot into Paint.
_==~t program, click Edit, Paste . . . . -g on the version of Paint you are using. you may get a -'= .ndicating that the image on the clipboard is larger than - ::J. If you do, click Yes.
~
·: Pamt
01
The imaQe in the clipboard is larger than the bitmap.
Would you like the bitmap enlaroed?
lr -- ~·~ -- - 4
C""'el
t:1.0
"
e~-ut¢~
t
..... ........
-c- 4- ' ltllol
··~
o- .#a...
~u,M· t .flFJIMI:
..;e o.,..w
.......
.]_ ~St~
ll ~
. ~ s.:-
......- t i
....
"'"""' "'
~ c-o.:..t.
Save the file. ~=
;iles used to create decals are normally kept t ogether in a custom folder.
:::.e Paint icon . : : . and select Save As ... r: ::he file in t he ... \ SolidWorks Common\ Custom Decals folder. Name the file: Screen Shot. - Save as type, select 24-bit Bitmap (*.bmp,*.dib).
Oose the Paint application. ·. :he Paint icon
11a and select Exit.
154 Chapter 7
Procedure 1
Create an image for the decal.
We will use a screenshot of t he monitor model we created in Chapter 4. Open the file Monitor.sldasm in t he Chapter 7 \ Case Study folder. This is the completed proje::from the previous Chapter s. Turn on RealView. On t he keyboard press Print Screen. This copies an image of t he screen to the Windows clipboard. 2 Openanimageed~o~ For simplicity, we will use the Microsoft Paint application that is included as part of Windows.
Click Start, All Programs, Accessories, Paint.
0
..
Cl1p-.f lr.uo)"
•
·
.:-
\if
lOOM ·
!f"""•U ·
r(j s;n..,r~
•
$.:.1 ·
•
J• • : • •
• (OIIU I
C.-
l
. . . . . . .;"";;.,_,-.;;;,"'. . .
-r~-.o=c±
~ ~~~"'-'--=-
!!! I
100% ::-
Decals 155
=-=:e the screenshot into Paint. =~ -t program, click Edit, Paste. · .._ -_son the version of Paint you are using. you may get a ~=-= 1dicating t hat the image on the clipboard is larger than -q. If you do, click Yes.
·:Paint
(?;)
29
· The
ifna9e in the cipboard is l
Would you like the bitmap enlarged?
If____:tes - :1
No
Cancel
e-;j
•
... .14 ~Mett
~ ~ ·OIIIllrill
.., ..,a -..... ~
. ~,
..
......
... ··..,_ ~ ~-
-4 -
~
ct·- ....--..
-~ V ~o.•
~ C-Ot
• Save the file. -.=52 files used to create decals are normally kept together in a custom folder. :·
~he
~ :the
Paint icon 11::. and select Save As ... file in the ... \ SolidWorks Common\Custom Decals folder. Name the file: Screen Shot.
=:r Save as type, select 24-bit Bitmap (*.bmp,*.dib).
Close the Paint application. : :
156 Chapter 7
Applying Decals To apply a decal the steps are: • • • • •
Select the part, feature, or face on which the decal will be applied. Select the image for the decaL Create a mask. Map the decal (adjust its size, orientation, and position). Adjust the illumination properties of the decaL
Decal images can be created from any of the image file types supported by SolidWorks.
Decals PropertyManager The Decals PropertyManager is used to apply and adjust decals. It has three tabs: Image, Mapping. C"" Illumination. Image
The Image tab is used to select image files and decals. If a mask is t o be used, we can also select tte method of applying the mask. Custom decals may be saved with t he file type * .p2d. Mapping The Mapping tab provides the method of applying the decal to the selected surface and the ability -
move and size it Illumination
The Illumination tab controls the way t he decal will reflect light The defa ult setting fo r decals is to underlying appearance. This makes the decal reflect light based on the appearance properties of n face to which the decal is attached.
Where to Find It • Menu: PhotoView 360, Edit Decal • Render Tools Toolbar: Edit Decal ~ 11 DisplayManager: Right-click in the View Decals tab, click Add Decal • Task Pane: Drag a decal from the Decals folder in Appearances, Scenes, and Decals tab 6 Open the part. Open t he LCD monitor 15 part in its own window. 7 Apply a decal. Select t he fa ce of the monitor Click Edit Decal ~ on the Render toolbar.
Decals 157
-=cate the decal file. 3.-owse and navigate to the ... \ SolidWorks Common \ Custom Decals =>-~- -v where we saved the Scr een Shot image. ~ ~ Mappoog f~ ..,._,_ 1 ::o:: :~e Screen Shot image and click Open.
l
~Imago!
~
. · -·.'
Image ~
\1ap ping, a-'"
fie path:
D:l,<;old\Vorks Corrmon\0 J Bro•flse...
I
JSave Deooi... J ;o select thE .' Selective color mask Use d«aa image alpha -'dwlnel
the ability t:
•cals is t o Us: 2rties of the
ab
'.1ap the decal. :-:: the Mapping tab. :e =2cal will preview directly on t he face we have -2~ed.
158 Chapter 7
10 Select a mapping type.
•·
The decal can be mapped in different methods. similar to the way we mapped a texture appearance. Select Projection from the mapping types. This will project the image onto the surface.
Adjust the decal size. Our goal is to have the decal cover the face of the monitor, but with a small border around the image. Images on monitors may or may not go all the way to the edge depending on adjustments. We will apply the image so that it is just a slight bit smaller allowing part of the black image mask to show around the edges of t he viewing area.
11
l S..lectedGeomeby
:ICJ --- -
I
~lapping
~:
!Projection
b\1'
ISelected Referen<:e
::;:
~
To size the image, we need to know the size of the face where the decal is being applied. Rather than measure the size of the face, we can start by letting the decal fill the entire face. then reducing the decal size slightly. In the Size/Orientation sect ion, clear Fixed aspect ratio and select both Fit width to selection and Fit height to selection.
@:._oo;;.,
1
I
-
:
"Ufi.''' 1t 1 111Hdjta••
t fO:ixmn !p
tJ
-
~
j lit1I .i t j1 ij £N nw i_ _ _ _ _ _· _ ~iortentat;on
· ;::
Ftxeda~drabo
l
G!J Fit width to selection
\ 0
J
Fit hew# to selection
6 r433.a9999866mm
• IJnJ flll_li(li_j! Jrll"'w
1
[[J 269.81.;;)144lmn ··~~,,I 11! U f)fiifAopectratio : 1.61: 1
Q Jo.OO
-
~_T_"_,....,.._,.........,
0 0
Mi"ror horizoot:lily
r-wror verticaly
r
R~..
,
!Oirr.3!ie
'-------
Reduce the mapping size. Notice that the decal size is 433.89 mm x 269.81 mm.
12
Clear both Fit width to selection and Fit height to selection. Type 420 mm for width and 260 mm for height. This gives us just a small gap around the decal.
Sl:te/Orientation
D Fixed aspect ratio I'J Fit width to selection
-
0 Fit height to selection ~ r=
D ~l!tlllJ~
[CJ
l:;olf.7=~=Aspect ratio: 1.62: 1
Q. 1o.!Xlde!i·
'1-:r-•....::r_r_~
0 0
Mirror horizontaly M
1 Re-..etto Image
Decals 159
5t:t decal illumination. o?:: ~e
Illumination tab.
- "' can take the illumination properties of the appearance to which they are - eel. or they can be adjusted separately.
~.._
tr.:oecals - · · · · -2..
-my
fIllu mination
~
CJ D)malllie help
- s decal represents t he picture on the monitor. it should have its own
from within t he monitor. We can create this effect by using the Luminous l 0 Use underlying appearance DiffUse Amount: -::3:5ity pro perty to make the decal emit light. Increase t he Luminous intensity ~Ll.J.J. 1.1. Ll~ ::..25 w/srm/1.2. -
5
I
SpeOJiar amount;
OK.
, 1.00
1 I
I
I
iT·
,~ -{]
SpeOJ!arcolor:
~"""' ~
SpeaJiar spread:
!o.o1 Q
I
I
I
I
~ !:i ,,,.... ,....-,, t4
10 .00
iDn
D Blurry refledions
r:trabo
~ ~
Transparent amount;
~.oo r ,---,.... ~
!0.25 w/srm" 2
:4131ml --1-~ I I !lfi t1f.ai
o: 1.61 : 1
·--
decal is bright er t han the rest of the -.::::el and can be clearly seen in the floor s ection. - t=
.r.icaly
·to ~'llal;e
iDn
ct r
' sekction
D
selection
I
r.-
~9!jJ
fT
Tt!!Tf1jijjiiii o: L62: 1
[§;
_ :::r__-:r_::c9
crizontally
erticaly
t iD !mage
Examine the model.
~
crizontaMy
tB
,.---, ., T t4
luminous n tensity:
• ; " m~wu•
----: r
tB
1= r r = f 4
ReflectiOn amount :
~
'' 1 ~''drlii•IW
~
I
llH
160 Chapter 7
15 View the DisplayManager.
=..3
The DisplayManager shows us that we have one decal. called Screen Shot. If we needed to make additional adjustments to the decal. we would right-click the decal Screen Shot and select Edit Decal.
8·~ D..:als (LCD monitor15__
8
IS Screen Shot g
Face
Decal Files
Decals, like texture appearances, require two or three files: the decal image file. a mask image (if usee plus the decal file. The decal file contains the settings used for the decal. such as the illumination st} : and individual settings and the location of the decal image file. Decal files have the extension* .p2ci. 16 Save the decal.
Right-click the Screen Shot deca l in the DisplayManager and click Edit Decal. Select the Image tab.
~ Save As
ftQ •JJ. « ~
Organize • ~
SolidWorlcsCom... • CustomOO<:als
~ [ <-,. j j ~arch Custom D~cots
Neo.v folder
Solicl\l'lorks Common
_____! Custom Appear.mces _
_ _"I.....,_c.:..:ustom Decals ~ Custom Scenes
Click Save Decal. Save the decal file to the same folder as t he decal image ... \SolidWorks Common\ Custom Decals.
J.
-- --
.,!. System Volume Information &
JJi
Users
~ J,; Windows ~
[!}
u CurrentPrnj (E:)
~ (i':ii
Storage (F:)
File name: Screen Shot.p2d Save as type: [D..:aI Files (".p2d)
Descnptton: Add a descnpt
Click Save.
D Remove bend hnes \#, Hide Foldoss
Save
)
I
Cancel
P
-::;- .
-_.,;:; ...
_5
-=-
162 Chapter 7
Decal Mapping While applying the decal to the Monitor, we used one type of mapping. Before proceeding with the nex: case study, we will explore the decal mapping options in more depth. The mapping of decals controls their placement, size, and orientation. While t here are many similarities to mapping texture appearances, there are a few significant differences: • Only one instance of the image file is used, there is no tiling. • An additional mapping type called Label is available for decals. Mapping Types The fo llowing methods can be used to map decals. • Label The decal can be mapped to multiple contiguous faces similar to placing an adhesive label to a physical part. This type of mapping is also known as UV mapping. When you map the decal to multip = faces, the fa ces must have linear contiguous edges. • Projection The decal is applied to a selected plane and then projected onto t he selected model faces. • Cylindrical The decal is mapped to the cylinder in the same way textures are mapped to cylinders. • Spherical The decal is mapped to the sphere in the same way t extures are mapped to spheres.
Applying Decals Decals can be applied t o t he model from the Appearances, Scenes, and Decals t ab of t he Task Pane. T--c following methods can be used: Drag and Drop • Drag a decal into the graphics area and the Decals PropertyManager opens. • Drag a decal onto a face and the decal will be applied to t hat face and the Decals PropertyManag= opens. Double-click • Doub le-clicking a decal opens the Decals PropertyManager. • If faces are selected before double-clicking a decal, the decal will be applied to the face or faces
- - ..:!:
-
-...'""::r -
Decals 163
::se Study: Label Mapping ; with the ne::~
• ..:= :; have one additional mapping type that is not available with appearances, labe l mapping. This : : =case study is used to demonstrate the different decal mapping options.
1y similaritiE!': t
3pen the part Decal Mapping. ::c;t is found in the Chapter 7 \Case Stu dy folder.
pen the Task Pane. :::.· ::he Appearances, Scenes, and Decals tab in the Task Pane, then click the pushpin Eel to keep it - .=.-
3bel to a :alto multip.::
Add a decal. _e-==.s can be applied by simply dragging -=-from the Appearance Selection area of -.:: - ask Pane onto t he desired face. :~~the
decal improved logo from the =ecals, logos folder onto the face shown.
1ces.
Appearances, Scenes. and Oec.als ~131
~
1- w t<,
e
Appearancos(color)
$ ~ Scenes 8 §
Decals . ~logos
L~
Custom Decals
~ro~~~ imp roved logo
ask Pane. ThE labels logo
ertyManager
Adjust the decal s ize. .: :k the Mapping tab in the Decals PropertyManager. '2ke sure the mapping type is Label. =~ange
e or faces.
the size of the decal so that it is 75 mm x 18 mm.
:::::Jtate t he decal180 degrees.
t
164 Chapter 1
5 Select geometry. In addition to the one selected face (the one we dropped the decal on), select the additional five faces shown.
Note The decal preview has been removed from the graphic for clarity.
6 Apply label mapping. Drag the decal so it spans the faces shown. Notice that with Label mapping, the decal is applied just as if it were an adhesive label. Label mapping is UV mapping which
maps the decals to the faces of the model.
Top View
Decals 165
SeleG
Change the mapping to Projection. Projection mapping, the decal is reada ble in the Top view, but t he lett ers are st ret ched around t he
:-.1
~s.
Top View
Correct mapping mismatch. :-.cnge the mapping back to Label. ":::.ve the decal in the direction shown. The boundary :<=:'wveen the planar face and the fillet is not linear, so the ::2[ al will not map to the face of the fi llet. ~h Label mapping. the decal works very similarly to an .r:ual stick-on label in that if the stick-on label would --',nkle (not lie flat), it will not attach in SolidWorks.
Cancel. : .ck Cancel and close the part without saving.
Decal does
166 Chapter 7
Case Study: Multiple Decals In t his case study we will use three different decals to cover the surface of the battery. We will explore the use of masks to let only part of our images show t hrough and decal order to cont rol which decal is on t op of which others.
Procedure Open the assembly. Open the Battery Assembly from the Chapter 7 \ Case Study\Battery folder.
1
2 Open the part. Open one of the batteries in its own window.
Decals 167
~ply
will explo::: which decal.s
(e
appearance .
.;: .:: start by applying an appearance to the entire model. This will control the areas that are not =-ed by t he decal. -· the appearance satin finish stainless steel to the entire model.
:...dd a second appearance. take on t he illumination qualities of the __.;:arance of the surface where t hey are applied. We will ..:::. ;:, appearance to all the faces that will be covered by the 12:2 in order to use its illumination settings for t he decals. ~.s can
Fillets
the appearance machined steel to the two fillets ~ ::ile face shown.
-,;_--:=
'I
Face
Apply to first decal. :._- "9rst decal will be the red and black shrink-wrapped cover of the .:c-::ery. It is a simple image, creat ed in another image-editing _,_-~:,uare. To examine the image, open the image -::.c=-"..ery cover.jpg in Microsoft Paint. Save a copy of this image _-: SolidWorks Common\ Cust om Decals. ~
ect the three faces that we just applied the machined steel ::::::earance to and then click Edit Decal ~ on the Render toolbar. : :k Browse and locate the image in SolidWorks Common. : :k Insert.
.:.:fjusting Decals -:::usting the decal is like adjusting a texture, except t here is only one copy of t he decal. The position ::1trol will depend on the type of mapping selected.
--e values of scale and offset are measured in the units of the model. When you apply a decal to a -=::tangular face, it will be centered with the offsets set t o zero.
168 Chapter 7
6 Adjust the mapping. Select the Mapping tab.
The mapping type should default to Cylindrical. Adjust the image by dragging t he handles until the image covers the face and two fillets.
7 Select the Illumination tab. Select Use underlying appearance. 8 Save the decal. Click Save Decal and save the decal to the Custom Decals folder. The file extension will be p2d. As with texture appearances. we need the image files plus the decal file to store the mapping and illumination data.
Click OK. 9 Examine the assembly. Make the assembly window active.
Because we applied the decal at the part level. it shows in all instances of the battery part.
•· :
- --::2
=-
Decals 169
~Masks
.,-,.. se image files are always rectangular. masks allow us to filter out pa rt of the image. Masks are and white. or grayscale images. When combined with the decal image, only the part of the decal ::;rresponds with the white part of the mask will show through. The part of the decal covered by :: :::::k part of the mask will not show through. When using graysca le images. the gray value =--,ines transparency. .........
E:rf lbnila~
..
mask will apply the entire rectangular decal. ;-.age mask file uses an existing grayscale image to selectively mask out parts of the decal. ::elective color mask is used to manually choose which colors in the decal will ~laskimage ::.;:: ;nasked out. This is a quick way to create the mask if the deca l is a simple ~ No mask v lm"'l• m•sk file ::rd or logo, or is against a single background color. @ SelectiveCDior mask _se Remove Color t o mask the selected color out of t he deca l. That is. t reat ~ =calimaoeaipha =-r pixels in the decal which have the selected color as transparent.
c~
--e Pick Color eyedropper (2] is used to select colors from the decal
~~
::~evi ew.
~
0EEffiE ~
!Re1110ve Color
I
se decal image alpha channel uses the alpha channel of the decal image if it is available.
:er...al Visibility -:il several decals are used. one on top of another. it can be difficult to see the decal you are working
,. . ) ecals can be hidden just like parts in an assembly. Hiding the decals can also speed up the rendering ~:ess by reducing the calculations needed to produce the output. -:de Decal/Show Decal Hide Decal com mand prevents decals from being displayed. This is a useful option for temporarily :..scbling the display of one or more decals when overlaying multiple decals on a part, feature, or face. row Decal is used to make the decal visible again.
--E
~ ere to Find It ) isplayManager: Right-click the decal, Hide Decal ) isplayManager: Right-click a hidden deca l. Show Decal
~..dd a Decal with a Mask --e second decal we will apply will be a label. This will actually be two decals that overlap. In each decal "2 will mask out the background of the original images.
170 Chapter 7
Copy images. Copy the following images from the Chapter 7 \ Case Study\ Battery folder t o SolidWorks Common\ Custom Decals:
10
• • • •
Battery Battery Battery Battery
Label Label Label Label
l.jpg 1 Mask.jpg 2.tif 2 Mask. tif
Add another decal. Return to the window with just the battery part.
11
Select the face of the battery and click Edit Decal ~. Click Browse and select the Battery Label l.jpg from the Custom Decals folder.
Map the decal. Select the Mapping tab.
12
Use the PropertyManager to rotate the decal go or 270 degrees to align it to the axis of t he battery. Clear Fixed aspect ratio. then use the drag handles to size and position the decal as shown.
Decals
-,;>ply a mask. :.:: ""'Ot want everything in the decal image to show on the model, only the =.-d the center gray box. To remove the remaining parts of the image, we :: :>lack and white image mask.
171
ar.. ~, ~)(-{'sl
H1lbiW1aticrf l
f~~ r~ !mage
~
r-tessage
-· :he Image tab.
Browse to select an image mask fie. See the 'Dea!! Preview' to 1liew the mal
decal.
-;;::: Image mask file. 3rowse under Mask Image and locate, then select, the -=:c_•y Label l Mask.jpg file in the Custom Decals fo lder. E
_:ecal Preview shows that only the gray letters and the gray rectangle will :::n the model. The red crosshatch area shows t he t ransparent area of ::::al.
:ecal and mask images are shown below. You can think of the mask as a : .:. The black areas are the solid part of the stencil and the white area is ·e-e the image ca n go t hrough. E
!mage
L
!saveD~~ ~
I
u 0
e COIOi iMsk
Use decal image atlha chamel
f"tlil
.
.
·~ lii(.,,~~
0 Invertnesk
Mask
f-lask file path:
I6:J
C:l,'ioidWorks Stop-by-Step GtJi
j
Save the decal. : :< Save Decal and save it to the Custom Decals folder. : :< OK.
~
I
I Bro"~·=J --~-
. (! Eineskfile) Decal
I
file path:
I;;;) C:'$oidWorks S~y.Step Gt.i
Browse...
I
172 Chapter 7
15 Examine the model. Only the gray part of the decal image is now applied to the model. 16 Add another decal. We will add one more deca l on top of the gray rectangle in the previous decal. Select the face of the battery, then click Edit Deca l ~ on the Render Tools toolbar. Click Browse and locate the image Battery Label 2 .t if in the PW Decals folder. Click Open.
I POWERED BY SOLIDWORKS I 17 Mask the decal. To mask a decal. we can also just mask out a color. Because th is decal is only red and white, we can try to mask out just the white. Click Selective color mask. Click the Pick Color eye drop per (2). In the preview area, click on the white area. This will mask out everything in the decal image that is white.
0
1111 111
-.e
Decals 173
:Jserve the problem. -=the image. We do not have a smooth mask that only allows the red -:::3 show through. The problem is caused by anti-aliasing which is used :::-;;::: h the transitions bet ween areas of different colors by making the "' : - the boundaries between colors as a blend of the two colors. ~=the color mask only removed white pixels. it left behind anything ::s not pure white.
Change the mask. -e JisplayManager. select Image mask file, then Browse. ~= the lr
r-
Battery Label 2 Mask.tif fi le in the Custom Decals folder and click Open.
-s the image mask will make a cleaner transition between the decal and the background.
~~"*'-
POWERED BY SOLIDWORKS Map the decal. ~E =:t the Mapping tab. the drag handles to rotate, size, and position t he decal over the gray box in t he =:ious deca l.
-<52
Save . .:.:. 2ct the Image tab. : : k Save Decal. : :k OK.
174 Chapter 7
22 Save. Save the part file. then make the assembly window active. 23 Examine the preview. If the decals are not in the correct location. you may have to adjust their About Axis position to about 140 degrees. 24 Render the assembly.
Decals 175
:lrder -_,::- in which decals are displayed on a part fe ature, or face is determined by the order in which .=:ear in the Decals fo lder in the DisplayManager. :.e-==, at the top of the list is displayed furthest from the surface of the part feature, or face. The
=:: : 1e bottom of the tree is displayed closest to the surface. When several decals are applied to -;:face, the order is the same as if we had physically applied the decals to the model; the last one e= s furthest from the surface. :.. ::=:-?Osition multiple overlapping decals on a part, feature, or face, and change the order in which displayed.
:; =:-;:
:::-.c:5e the position of a decal, right-click t he decal in the DisplayManager and select: _·,-e Decal Up (away from the surface) _,·e Decal Down {closer to t he surface)
_:e Rendering Speed ~e decals slow down the rendering process and are not necessary while the scenery and lights are ~ ~djusted, we can hide all three deca ls.
-fide the decals. -.= JisplayManager, right-click t he decal Battery Cover, and select Hide Decal.
...:.::.::t this procedure fo r the remaining decals. E
=ecal icons will all become hollow when they are hidden.
_ " oeij~iS:::~· Decals (Battery_&)
- {S
- i!
=- §
battery label 2 Battery Label 1 battery cover
Decals showing n
Save the files.
-·-?
--- · -· oec:als~ B ~ Decals [Battery_&)
~· ~ battery label 2
00
~ Battery La bell
liJ fj battery cover
Decals hidden
176 Chapter 7
Case Study: Gradient Masks Decal masks can also be used to control the t ransparency of a decal. In some cases. we need to shov. : transition from one appearance to another. In this case study, we will add two types of gradient mas-that will cause the surface appearance of the model to change as we move either radially or linearly along the model.
- =~
Examine the image of the canister. Not ice that the lid and body are predominantly red, but the coveturns to orange as we approach the edge and the body turns orange near t he botto m.
3
1
Open the assembly.
Open the Canister Assembly.sldasm from the Chapter 7\Case Study\ Canister folder. 2
Open the part.
Open the Canister Cover part in its own window.
Decals 177
s::
~ =t:Jly appearance. ' --e porcelain appearance found in the Stone, Stoneware folder to the - ; ::ouble-clicking the appearance while holding the Alt key.
I _ I
~E 3.
~~
/J
.z_- 3
>
c:,or section. select t he color red.
:K =--eview the render.
=:-er render preview t o examine the part The _niformly red. If we were to apply an orange ::rc1ce to the part. the entire part would be -;-= f we just added an orange appearance to the =c:s around the outside of t he cover, they would -::-ge and the rest of t he cover would be red, but ·::_ld have a very definite line between the two 5
-: ·.-e want is for the red color to smoothly t rans ition to orange as we approach the outer edge.
--:ion apply a decal that is pure orange. By using :::: .. we can use the underlying appearance's --at ion properties so that t he decal will have ,.. sc;ne look as t he rest of the canister cover. I use a gradient mask which goes from ·=: lack at the center to pure white at t he =-edge. This will cause the orange t o be • ed out in the center and fade in as we move r::.c. ,ty from the center.
Decal
Radial Gradient Mask
.: ::eca l and radial gradient mask will look like the images at right The gradient mask was made in another image program because it cannot be made in SolidWorks.
Copy images. _ ~he t hree image files needed for the decals from the Chapter 7 \ Case Study\ Canister folder --e Custom Decals folder. : :'a.Ilge DecaLjpg ?.adial Gradient Mask.jpg -=-:::tear Gradient Mask.jpg
178 Chapter 7
6
Turn off RealView.
Turn off Real View because the gradient will not show in RealView, only in OpenGL. Alternatively, you cause one of the render previews.
7
Apply the decal.
Select all the surfaces s hown. Click Edit Decal ~ on the Rende r tool bar. Click Browse and select the Orange Decal.jpg f rom the Custom Decals fo lde r.
8
Apply the mask.
F""::::::::::::::::=::::=:=:::::--~'"'1 Mask I maoe
Select Image mask file, t hen click Browse.
0Nomask @ Image mask fie 0 Selective color mask
Select the Radial Gradient Mask fro m Cust om Decals a nd click Open. 1""'9" fie path:
i bl CC:\~~I
I jSave Decal.. . I
j
I
Browse. ..
0Invert mask Maskftiepoth:
~
[ C:\SdidWorl
1·Browse ... j 9
Map the decal.
Select t he Mapping t a b. Change the ma pping t ype t o Projection and t he projection direction to ZX. This will map the decal normal t o the Top reference plane. Size and posit ion the decal so that it is centered on t he cover and is essentially t he same size as t he cover.
Decals 179
3,e,.:ct t he
Illumination tab . ...:se underlying appearance. This will make sure that the decal and appearance both have the ~al properties.
-·= cecal as Orange Radial Fade Decal.p2d.
~tiew
the rendered model. -,::; Grange color start s at the outer edge of the ~~fades to allow the underlying appearance to - ough.
-pen the Canister part. part Canister.sldprt in its own window.
~ ::-~e
.:.pp!y appearance. :ile same porcelain appearance to the entire part and change the color to red . .!.pp!y the decal. .:-:: all three faces shown. :. =dit Decal ~ on the Render toolbar. 3rowse and select the Orange Decal.jpg from the -Y..<>m Decals fol der.
180 Chapter 7
15 Apply the mask.
F::::..:...:=.:;,_....;.._.__jt~
Select Image mask file, then click Browse.
I 0 II 0
Select the Linear Gradient Mask from Custom Decals and click Open.
J , _ :_] Image fle path:
1
--
Mask Image
,
QNom<~sk
Imoge mosk fie Se:ective color m
I
QJ [c~orksc;;;..,.~
l
1 erowse... I l ~veDec~ ... J
0Invertm<~sk
Mask fie path:
. !;!! IC:I,So:idWor~C~
I
I
l . t>rowse ... L___- -··-
Linear Gradient Mask
16 Map the decal. Select the Mapping tab. The mapping type should be Cylindrical. This will map the decal around the part. Size and position the decal so that it just covers the selected faces. Note You will have to rotate the decal so that the
orange goes from the bottom toward the top of the part. You will also need to clear Fixed aspect ratio t o adjust the height and width independently of each other.
17 Select the Illumination tab. Make sure that the illumination is set to Use underlying appearance. Save the decal as Orange Linear Fade Decal.p2d. Click OK.
Decals
~en der
181
the model.
--e orange color starts at the bottom and fades as we move - =the top.
c-llrt mask 'le path; ~orks C~
--- -
'-·· i
Make the assembly window active. - ::ss the space bar and double-click Cameral. This will give us a viewpoint with perspective. Cameras ::e discussed in the next chapter.
182 Chapter 7
20 Render the assembly.
Both parts now have a smooth t ransition from the base color of red to the edge color of orange.
=-=
-SF-_
21
Close all open files.
·ewpoint 1!:.-.s~
"""::::m successful completio n of th is chapter, :I~
will be able t o:
.=.-eate and save views. _se and adjust perspective. _se the camera to define views. -::just the camera's aspect ratio. ..Jse depth of field to control focus. J se camera lenses to control perspective.
184 Chapter 8
Viewpoint Establishing the viewpoint is important to getting a good rendering of a product. In photography, this the view we see in the camera. In the computer we tend to think of rotat ing the part or assembly, bt.:: the reality is that the model does not move, only our viewpoint changes. There are two ways t o establish our viewpoint in SolidWorks. The first is to use the Pan, Zoom, RotatE. and Roll tools to establish the view. The second way is to use a camera, just as if we were taking a photograph. Both methods can achieve the same results as far as t he view of the model on the screehowever, the camera option will give us some additional tools to create more rea listic images, such ~ depth of field. When we use the Pan, Zoom, Rotate, and Roll tools in SolidWorks, our general perception is that we ; r moving the model. This is usually the result of looking at the model through a computer monitor tha: stationary on our desk. Reality however is that the model is fixed in model space and we are moving c.. point of view through these tools.
Positioning the Viewpoint The primary tools for changing the viewpoint are Zoom, Pan, Rotate, and Roll. ~ Zoom to Fit: Zooms in or out so the entire model is visible. ~ Zoom to Area: Zooms in on a portion of the view t hat you select by dragging a bounding box. T-: center of the box is marked with a plus(+) sign.
[g) Zoom In/Out: Zooms in as you press and hold the left mouse button and drag the mouse up. Zoe.....,... out as you drag the mouse down. ~ Zoom to Selection: Zooms to the size of the selected entity or entities. ~ Rotate View: Rotates the view as you press and hold the left mouse butt on and drag t he mous~ around t he screen.
[g) Roll View: Rotates the view about an axis normal to t he screen as you press and hold the left me button and drag the mouse.
!±) Pan View: Scrolls the view so the model moves as you drag the mouse.
Viewpoint 185
f.i"""""'
'~tl
-:sc
-=
dle Mouse Button Functions --:: -;,iddle or wheel mouse butt on on a three-button mouse can be used to dynamically manipulate the ~-:.ay. Using the middle or wheel mouse button you can: Function
Press and hold the middle mouse button. As you move the mouse, the view rotates freely.
Press and hold the wheel mouse button. As you move the mouse. the view rotates freely.
~otate about :=eometry
Click the middle mouse button on the geometry. As you move t he mouse, t he view rotates about that selected geometry.
Click the wheel mouse button on the geometry. As you move the mouse, the view rotates about that geometry.
-=~
.
ox_
.5-
The geometry can be a vertex, edge, axis, or temporary axis. Pan or Scroll
Press and hold the Ctrl key t ogether with the middle mouse button. The view wi ll scroll as you drag the mouse.
Press and hold the Ctrl key together with the wheel mouse button. The view will scroll as you drag the mouse.
Zoom
Press and hold t he Shift key together with the middle mouse button. The view will zoom larger as you drag the mouse upward, smaller as you drag the mouse downward.
Spin the wheel mouse butt on. The view will zoom larger as you spin t he wheel downward; smaller as you spin the wheel upward.
Zoom to Fit
Double-click the middle mouse button.
Double-click the wheel butt on.
1~ =
l.Zcn~·
lOUSE
~mm:sc
Wheel
~otate
s::-::s S
- NE 3
Button
186 Chapter 8
Arrow Keys Arrow keys can be used to rotate the viewpoint about the three axes of the computer monitor. The up and down arrow keys rotate the viewpoint about a horizonta l X axis thro ugh the center of t he monitor.
Left/ right arrow keys
Up/down arrow keys
The right and left arrow keys rotate the viewpoint about a vertical Y axis through the center of the monitor. Pressing and holding the Alt key while using the right or left arrow keys will rotate the viewpoint about the Z axis normal to the monitor screen. Holding the Shift key with the arrow keys changes the rotation to go degrees.
Adjusting the Arrow Key Movement The amount of movement caused by the arrow keys is cont rolled in t he SolidWorks Options. The def2~ value is 15 degrees, which is generally good when modeling. However it is too much when trying to position the model for rendering. To use the arrow keys for small movements, change the arrow key movement to 1 degree. This is essentially small enough to nudge the viewpoint slightly.
Where to Find It • Menu: Tools, Options, System Options, View
Viewpoint 187
~edViews
v keys
--: e we establish a viewpoint, we need to save it so that we can easily return ': :::e same position. We can save t he existing viewpoint, section view. or - era view for later use. -: save t he current view as a named view, press the space bar to open the : r"..entat ion dialog. Click New View ~ and type the name of the view.
-=::1ange the viewpoint t o a named view, double-click the named view.
lil
Onentation
~ ~ ~~
@
~~ $ -
@ ~ @@ @
IG
J.
saved v.ews
EJElEDEEl
·?1
I
ere to Find It eyboard: Press the space bar '·lenu: View, Modify, Orientation ~spective
View
=normally do not create solid models in perspective views because it is generally easier to view ;c.-aile! edges as parallel. When rendering, we are trying to make the final output appear as it would to ::_~ ey es . For t his, a perspective view is very helpful. If we are not using a camera. we must add :e-spective manually. If we are using a camera. the perspect ive will be determined by the lens we use. ~ere
l he defc:.... (ing to
to Find It !lenu: View, Display, Perspective /iew Toolbar: Pers pect ive ~
{odify Perspective View 1is is
=:=-spective in the real world, as well as in SolidWorks, is related to the size of -e object being observed and the distance of that object from the observer. You :2, modify the perspective by specifying t he Observer Position value in the :lerspective View dialog box.
bl4!41·1Mil'Ji5 ·-~J ~ )( Observer Position
L/
3
- --
- -e smaller the value. the greater t he amount of perspective distortion. For finer adjustment. use :ecimal values, i.e., 3.S.
!!;
188 Chapter 8
Where to Find It • Menu Bar: View, Modify, Perspective Note You must be in a perspective view to change the perspective setting.
Perspective = 0.1
Perspective = 3
Perspective = Off
Viewpoint 189
SolidWorks Camera S:.:dWorks camera allows a more visual approach to establishing a viewpoint. Most of the camera '=-ents produce the same res ults as could be achieved using Pan, Zoom, Rotate, Roll, and ~ive. The camera however, more closely approximates the actions of a photographer and adds - s::ditional features, depth of fie ld and the ability t o get inside object s. "':'~::s -::::~ics
covered in this section include:
:2=nera options --=settings that are available for the camera include directions. distances, and lens type. ~.=ding a camera .1.::-,eras can be added directly to a part or assembly document.
:anera properties :~-,eras can be edited to change the settings including the direction. distance. and lens type. :gspective --= camera lens controls perspective. ::rect of focal length :-:anging the focal length of a lens changes the relative size of distant objects to near objects. -lept h of field :::::::::~th of field cont rols which part of the image is in focus.
-'..:::ling Cameras ' :=:--1 cameras
can be added to a document. Each camera will define a view. To see the model as the =~era sees it, right-click the camera in the DisplayManager, View Scene, Lights, and Cameras tab and :.c :::t Camera View. :; When in t he camera view. you cannot move the viewpoint with the Pan, Zoom, or Rotate tools. The -:_:-:;or will change to ~ if you t ry to change the viewpoint. ~::-e
to Find It
::::::splayManager: Scene, Lights, and Cameras button, right-click the Camera folder, Add Camera ·.:enu: View, Lights and Cameras, Add Camera
190 Chapter 8
Aiming and Positioning the Camera When using a camera, either in Camera position real life or SolidWorks, we control the position of the camera and where it is pointed. These two positions establish the camera-to-subject axis. We can also control the rotation about t he camera-to-subject axis. Camera to subject
The camera target point (red dot) may be moved by:
Target point
Field of View box
• Dragging the target point • Selecting a point, vertex, curve, face, or plane • Typing numerical coordinates The camera position (yellow dot) can be moved by: • Dragging the move triad • Typing numerical coordinates • Attaching the camera to a point, vert ex, curve, face, or plane Camera roll can be set by: • Defining the up direction by selecting a line, edge, face, or plane, and then an angle to that direct • Dragging the camera roll by holding Alt and dragging with the middle mouse button or wheel. Note Lock camera position except when editing must be cleared to roll the camera by dragging.
Case Study: Cameras In this case study we will add cameras and adjust their position. Procedure Open the assembly. Open the assembly Blue Toy Car found in the Chapter 8 \ Case Study\ Camera folder.
1
Viewpoint
~d
a camera. --:,ick the Lights ., t he :: 2: 'J!anager and select
___.
~StliiWorb ]
I
~> -
_ .... c..••~.._.,. .
'L--t r- ......""' · -
r~· ~~ ~- rt!t r~ ~~ :~ ,~
!
~..... ··~
'f'lll
,.,,..
lll*u#it~-l
7 ".- 0
A
1
I'~,;::...
............
apgr-~ ... ,""1, ..~....,\).~~~- J· eJ-v--~- 6-
s:-een will split into :=;1ports showing the - ::-~s of the camera and ·.:c on t he left and the ¥ the camera sees on -51t. ~
[~ ~1
-IU:SM
~I
t ..""M ' , . ' ::wrn.-... - ~,
"
I:At
~
::,~ -·-"'""~·w -w~
--~~-'"'"5""~-~
~··~f...-r,•.t"""''!!"....,.n •.2'!1i><~
Aim the camera. =:: Aimed at target.
*
Camera Type
0
1
Aimed at toroet
j/J
0Fioating
--,:d by selection is active, so all we
-:= :o do is pick a point on the model ~::
e we want to aim the camera.
-?_
~
,). - •,
~~r'+'li
9
L
! "- ·'-~---
191
0 Show numerit controls l 0 l ockcamera JX)'tiorl except
_j
when edithg
~Target Point
.
II:~
Target by se!ection:
it easier to select a point. the L 1 1j ::.Yorks Zoom, Pan, Rotate, and Roll : s "Nill change the viewport on the left - -::>t the camera position. So the 'Jort on the right (the view the camera sees) will not change. -2:~e
-<='~
in on the model and select the vertex shown.
...::ddng the Camera Position -.: ~;oid accidently moving a camera positio n, you can select Lock camera position except when editing. --:s disables the View commands (Pan, Zoom, Rotate, and Roll) when in a camera view.
192 Chapter 8
4 Position the camera. The move triad can be oriented to either spherical or Cartesian coordinates. With the Cartesian coordinate system, the three directions correspond to the X (red), Y (green), and Z (blue) directions :the part or assembly document. With spherical coordinat es, the directions are along the camera-to-subject axis (blue), latitude (greeand longitude (red).
-
- ~
- :2
@amera Position
*
C~er-a Posjtion
Position by selection:
-~-~ :
0spherical Ocartesian
Qspherical @ cartes:1an
'\. [28,589in
For additional control, select Show numeric controls under Camera Type.
@ Aimed at target
Select Lock camera position except when editing.
{.; floaung
i~ Show numeric controls j
Select Show numeric controls and click Spherical coordinat es.
,.,, Led< camera position "lDSS ru when editing
Position the camera as follows:
I
Camera .Position
• Distance from target: 400 mm • Longitude: 45 deg • Latitude: 15 deg
Po~Mn
I
Note We have used numeric controls only to insure your camera matches the images provided here. Normally you would drag the camera into position. O
, 15deg
by selectiin
Viewpoint 193
-.djust camera rotation. 2 "ault Camera Rotation will roll t he camera around the axis between the e--a and the target. For this image, set Roll to D deg.
~
Sot rol by selection: ~
I
~ '~
Fa roll can also be adjusted selecting a line. edge. face, or plane. !GE l?.'i
1
,!,djust the field of view. -:: Perspective and SO mm Standard lens and an Aspect Ratio of 11:8.5. OK.
Select camera view. -=a camera has been added -: model. we can select the -e-a view by the same r-Jds used to select any ed view. - .-click Cameral in the .:;;:.ayManager and select =.:r:-:=ra View. r ember. when you are in .r2ra view. you cannot use the ~ Zoom, Rotate, or Roll tools _ock camera posit ion except when editing is selected in the camera properties.
Add another camera . .:.: a second camera by clicking View, Lights and Cameras, Add Camera.
=r
Aim and position the camera. _£ Cartesian coordinates to position -= ~amera t o the posit ion shown. The -set point is the front vert ex on the ;:::- spoiler. .se a so mm Standard lens. :.: 2ct 11:8.5 for the Aspect Ratio. We will e. ::mine aspect rat io a little later in the ::-apter.
["] ' ("'frl
1.1111!! r~-;;;.,..a Poslliq-n - - - -
~
Position by selection:
I
I
L
Spheric;!~
0 cartesian
P.>x'IOOnvn 'dti }q p rrn 11 " • II '
~Y
q ·wtrt''4
~·,, ii;:,; T l i I II I!'! I I I '111);tM
. 180mm
~z -6l5nvn ta '}f I I 'lk' tllJJ
1: I · a tfsRij
I
1: _j
194 Chapter 8
10 Change camera view. Press the space bar to open the View
Ori!ntation
~~~~
Orientation window. Both camera views
i
have been added as named views.
@(j)@@ @ 'G, !Saved Vrews jstart
Double-dick Camera2. The image should be cent ered on the screen but re latively small.
@
fJ1
I Camera 1
.~
Camero2
EJ El lil EB
Camera Lenses SolidWorks has six lenses that correspond
to standard lenses used by photographers. In addition to the standard lenses, you can also creat e a custom lens which is similar to using a zoom lens. By using lenses, we can control the size of the image similar to zooming our point of view. With t he standard zoom tool. we could turn on perspective and control it independently f rom the amount of zoeWith lenses, zoom and perspective are t ied together. With wide angle lenses (lower focal lengths), SL""' as the 24 mm lens, there is much more perspective. With telephoto lenses (longer foca l lengths), s~: as the 200 mm lens, there is much less perspective.
Field of View Field of view controls the magnif ication of the image by using simulated camera lenses. Lenses ha\~ standard View angles 8 that correspond to lenses used by standard 35 mm single lens reflex (SLR cameras. The Custom angle option allows you to set your own values.
Lens
View Angle
24 mm Wide Angle
53.13°
35 mm Wide Angle
37.85°
SO mm Standard
26.99°
85 mm Telephoto
16.or
135 mm Telephoto
10.16°
200 mm Telephoto
6.87°
Viewpoint 195
l ew Rectangle -"'e view rectangle helps to see graphically the relationship between the view angle and the subject. It 5 ;nitially placed so that the camera view mimics the noncamera view that is in effect at the time the ::amera is created. The view rectangle distance is initially set so the angle of the view is equ ivalent to a ~andard 50 mm lens.
=:• the view rectangle, the View angles e ,Height of view rectangle h. , and Length to e
.
r-=:e-'~,.
·ew rectangle have a basic geometric relationship. The image in the ~j =-opertyManager shows this relationship and the simple geometry used to calcu late -e height based on the view angle and the length. Using simple geometry, the height will be: -.eight ::: 2 * length * tan (0/2) ~ Perspective
"""
5..:
e;;
is cleared, all parallel edges will be parallel on t he screen.
Change lenses. :1ange to the different lenses and observe the differences in the model. While you observe the changes, :'Tlember that neither the camera nor the model are moving.
-s your Distance to View Rectangle is based on the zoom you have when creating the camera, it may be : =ferent than t hat used to create the images below. To see exactly the same results as shown below, _u will have to set your Distance to View Rectangle to 350 mm. Camera Lens
Isometric View of Model
Perspective Off ~~""-"
Rl
Perspective
~]] h. 350mm lltl!11'
II p
~ rlllio_iwidth
-
•>
I 11.1 i ,.,d?!M••
: .hei<11_9:
11: 8 .5 Drag Aspect Ratio
Camera View
196 Chapter 8
Isometric View of Model
Camera Lens 24mm
e It
•
3SOmm
t•f! tf I II I iJ I
I! p H :tSD;swf
3SOmm
~ratio
(w:dth : heirjrt):
11: s.s
• e
e It
37.ssdeg
y
' 350mm ·: ii-11 ,, 1 r 1IIJ t [! _ '\a.fl"''''
2'10nrn
~:
I• p i ' I I I I 'I I I I ! i±rirtllwf
Aspect ratio (>
11:8.5
y
J
cL , Dr"~~ Asi>ect~~~---
Camera View 3
Viewpoint 197
Isometric View of Model
Camera Lens
/.
=::mm ~·
~+--- e->~
""T
~__._it Sllmm Standard
-
~]
2:6.99deg
1
,•
350nvn 7
11 Jl [J if il
~ ,.t>o (width
!1 [4 ju'''''
: height):
ll: 8.5 .::.:agAspect Ratio
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. - . : ratio (Width : heght):
H:S.S
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Camera View
•
Viewpoint 199
View
,'iew Rectangle --;e size and position of the view rectangle does not affect the final camera view. The camera view is s::ictly a function of t he camera position, target. view angle. and aspect ratio.
- 1e fo llowing camera views were created wit h the same camera position, target , lens (view angle), and =.spect rat io. Distance to View Rectangle F"teld ofVIe'/1
-
Isometric View of Model
~"1
"71 Perspective
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L = 750 mm
Camera View
200 Chapter 8
Camera Rotation Camera rotation allows t he camera to roll about the camera-to-target axis from 0 to ±180 degrees. - = properly define the ro ll angle, t he up direction needs to be specified and can be a line, edge, face, aplane. Lines and edges define the up direction (zero degrees). If a plane or face is used, the up direct :;. is normal to the plane or face. If a direction is not specified, the Top plane is assumed, making the Y direction the up direction. The following t able shows the camera rotation using a 50 mm lens and an aspect ratio of 11:8.5. Isometric View of Model
Camera Rotation 0 degrees ~-lion
c =;
._jTop _ _ _ ___.l i
~ .Odeg
j
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rc;;;;...._
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-=- ::;eg
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Viewpoint
- - - -- -degrees~e. face. Y up direG::::: !~ing the
Camera Rotation
Isometric View of Model
Camera View
+90 degrees
.- =-1
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201
202 Chapter 8
Camera Aspect Ratio
Aspect ratio is the width of an image divided by its height. A 4:3 aspect ratio is an image four units w'.-:2 by three units high. SolidWorks provides us with the most common aspect ratios for film and video rr we are free to define a custom aspect ratio by inputting va lues either by direct input of the ratio or -::: dragging the fie ld of view (FOV) box on the screen. The aspect ratio works with the camera lens. W'i t he camera lens controls the amount of zoom on our model, the aspect ratio defines how our mode. _ framed by the camera. Height is the controlling quantity. In the following table, we will use only the 50 mm Standard lens and change only the Aspect Ratio. Notice t hat the view angle. distance, and height remain the same in all images; only the width of th£' frame will change because of the aspect ratio. Isometric View of Model
Aspect Ratio
1:1 Square format
----
R~ofV~
-
~
2) Porspect;v•
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.
4:3 Standard video and print format
Camera View
Viewpoint 203
Aspect Ratio
- ·c
Isometric View of Model
•
i:: Y.CEC fCZ\·:~ c.~
.JJ Perspective
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[50iM, Standord 9 ·. •:ltoe
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e j!!ifDJJJliJTil'T"JJP'i••j 400mm
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, l92mm
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16:9 Drag Aspect Ratio
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~<- e-1
lsomm Standord 9
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e l'100mm
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ti;l j j 1 4_1 f! I J I I jf I 11rJ' "'j
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8:5
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Cinematic 35 mm format - Europe
204 Chapter 8
Isometric View of Model
Aspect Ratio
Camera View
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e ft.
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2.39:1 Aspect ratio (width : height):
Cinematic 35 mm anamorphic format
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3:2 4x6 print format. landscape
l
Viewpoint 205
-- ---- -- rn View
Aspect Ratio
Isometric View of Model
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•
206 Chapter 8
Aspect Ratio Field of Voew
Isometric View of Model i\
~J JPerspecti\.'e
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Camera View
Viewpoint 207
ew
Aspect Ratio
Isometric View of Model
Camera View
15011m Standard
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8.5: 11
..J Drag Aspect Rlltio
8-5:11 US letter size, portrait
208 Chapter 8
If you examine all the camera views, you will see that the image height is always t he same percentag: of the frame height. As noted earlier, the view angle and distance are used to calculate the height. Gi\er the height. t he width is then calculated from the aspect ratio.
16:9
5X7
HDTV format
Print format portrait
View Area I ~... !: ! ..2~ ..!.. ,s a!. ~ .!. In the above tables, the ....... ...J~W"il· U:"illt : t --~1 M ** ~J camera view images were all created from the preview screen as we did not click OK to create the camera. Once the camera is created and in use, part of the graphics area may be grayed out to show the area 9 not in the camera view. I ~ ...,.s.o.. t.;;.~~-
--~
Viewpoint
~--
=s--
~arent
Depth
~
e changed the focal length in t he last step. perspective changed, but because the model was small -=field of view, it might not have been so obvious. In the next example. we will be able to see e-s:Jective change more clearly and we will see another effect of different foca l lengths; t hat is the ::of t he size of the background objects to the foreground objects.
::ase Study: Apparent Depth
-= ::1ow the effects of t he lens focal lengt h
i""2 ;_
209
- :::>th perspective and the background. we use a simple part. In the last case st udy, : -E -:eld the camera in a fixed location and -.::,ged t he focal length of the lens. In this =se we will move the camera so that the _::Ject remains the same size on the screen.
;x:edure Open the part.
::en the part Effects of Focal Length. Examine the part.
--e yellow base has a grid cut into it and t he back wall has a decal applied.
r+ ~ M4$.1$4Hfii\+Jffiij
--ere are six cameras already set up. Each camera is aimed at the same point ::-the red and blue box.
1$· ~ Camera
[~ ~ light. ~24mmlens. ~3Sm m lens ~SOmm lens
~ 85mmLens ~135mmlms ffl 200mm lms
f.
-s the focal length increases. the camera-to-subject distance is increased to ::ep the closest edge of the box the same size on t he screen.
Walk-through
210
3
Chapter 8
Change cameras.
View the model from each of the six camera views. Notice that as the focal length increases, you can see the change in perspective by the yellow grid and the edges of the blue face. Notice also the difference in the background. As the focal length increases, the lens angle decreases, capturing a smaller section of t he background. When we view t he image, the background must fill t he width of the screen so it appears to be magnified and looks closer. 24 mm lens
35 mm lens
Camera-to-Subject Distance = 185 mm
Camera-to-Subject Distance = 257 mm
--=SO mm lens
as mm lens
Camera-to-Subject Distance = 381 mm
Camera-to-Subject Distance = 635 mm
----...&..I.CI
of I
-J
-w? :,._
135 mm lens
200 mm lens
Camera-to-Subject Distance = 1016 mm
Camera-to-Subject Dist ance = 1524 mm
-!;
::t_ -:er
-:-=e -cCJ -:"":.'; =-
Viewpoint
211
Close the part.
:tandard Lens -e., we selected different lenses, the SO mm lens was called a standard lens. In photography literat ure .:: also called a normal lens. In still photography. a normal lens is a lens whose foca l length is roughly :;_c! to the diagonal of the image projected within the camera. This roughly approximates the perceived ·;: :of view and perspective of the human eye. For a 35 mm camera, the image has a diagonal of 43 mm. --E -nost commonly used normal lens is so mm. but focal lengths between about 40 and 58 mm are also =.-sidered normal. . :; The so mm focal length was chosen by Oscar Barnack, the creator of t he Leica camera. as a =~promis e between the theoretical value and good sharpness. because lens t echnology at that time ~.s such that slightly longer focal lengths were able to achieve optimum sharpness. ~:e
The SOmm lens is only the normal lens for 35 mm film. The normal lenses for other film formats :=re different foca l lengths. For example, a large format camera that uses 4 x 5 sheet film has a normal E-s of 150 mm.
Jepth of Field .1en we focus a camera on a subject all objects in the scene are not in focus. Objects nearer and farther =-:Jm the subject will be out of focus. The depth of field is the distance in front of and behind the subject -.ich appears to be in focus. For any given lens setting there is only one distance at which a subject is =-ecisely in focus, but focus falls off gradually on either side of that distance, so there is a region in 1ich the blurring is tolerable. -,e exact point at which an object is considered out of focus is somewhat subjective and depends on, other fact ors, the resolution of t he human eye and t he viewing distance. In optics, the fuzziest a ::lint can be and still be ca lled "in focus" is defined, appropriately, as t he circle of confusion. For film ::ilotography this is usually calculated using the Zeiss formula of d/1730 where "d" is t he diagonal -;-;,easure of t he film. For 35 mm film (43 mm diagona l}, this comes out t o be 0.024 mm. The exact value :Jf 1730 is subject to some dispute - it's a ballpark figure - so this number is not exact. ~:nang
Use of Depth of Field :>hotographers use depth of field to direct the viewer's eye toward the subject of the photograph and ~o create mood. For instance, a shot of a woman's face in close-up may have shallow depth of fie ld with someone just behind her visible, but out of focus. lt is a common technique, for example, in melodramas and horror films.
212
Chapter 8
Case Study: Setting Depth of Field We will use an assembly to see t he effect s of depth of field. In this assembly, each Toy Car model is ia different color and some addit ional whee l assemblies have been added.
Viewpoint 213
..(edure
Open the assembly. -~=1 the assemb ly DOF - ~sembly. s ldasm.
Change view. : -ange t he view orientat ion to the ~ender Camera view by pressing the SJace bar, and then double-clicking ~nder Cam era. ~1is
is a camera position that would :present the height of a person's eyes =these were real cars.
3 Preview the rendered model. ..JSe the Integrated Preview to see how ::1e model will render. Without a depth ::>f field, all objects are rendered in ~JC US.
214 Chapter 8
4 Add depth of field. In the DisplayManager, rightdick Render Camera and select Properties.
Focus plane
Select Depth of Field.
5 Select the focus point. The focus point is the point in the scene you want to be in exact focus. This may be different from the point where the camera is aimed.
Focus point
Select Focus by selection. Select the vertex shown on t he middle car.
6 Set depth of field. Type so mm for the Depth of Field f . This will be the distance in front of, and behind, the focus point that will be in focus.
t-d-'(f-
<§1J !
[lJ Focus by selection:
Click OK.
f
,....50nvn
hi!t:•!!. tii •iflj!l * .-
Viewpoint
?review the rendered model. 2~ see that the red car is in focus. As ::-: 1e to either the foreground or · 5 ound, the other two cars lose focus . c -elps to guide our eye toward the red
Out of focu s
Loss of focus
!:
Change the focus point. :-click the Render Camera and select
~erties.
-c:::ge the focus point to the vertex shown on the _e car. Remember, we are not moving the camera :s aim point. only the distance at which the :=-era is focused.
Render the model. .::..·1 both the yellow and red cars are out of ::us, leading our eye back to t he blue car. - -.s would not make a very interesting : ::ture as the out of focus cars are too :..:oinant in the scene, but you can see t he = :;ult of moving the focus point.
Focus point
215
216 Chapter 8
10 Change the focus point. Right-click the Render Camera and se lect Properties.
-...ase c_
Change the focus point to the vertex shown on the yellow car.
11 Render the model. Our eye is now drawn to the yellow car because it is closer to us and in focus. The loss of focus as we move to the red and blue cars also gives us a greater sense of depth . Render the model. Now that the adjustments have been made and previewed, create a final render.
12
13 Close the file.
•
Viewpoint
2 17
:aseStudy: Getting Behind the Walls -"E :::Jther
-
capability t hat the camera has, that is not possible with Zoom, Pan, Rotate, and Roll, is the :y to get behind geometry.
-;;::;"!rendering large settings such as a room or large machine, the only way to get the proper viewpoint - Zoom, Pan, Rotate, and Roll was to cut away part of the model to take it out of the line of view. --the camera, there is no need to remove geometry as it will actually move right through the wall to - · ::o the desired viewpoint .
•
0 ~~0 -~ ~~~
:e Creating a rendering of this office can take significant time; however, it is not necessary fo r the -=sson. All the key elements of the lesson can be learned without rendering and just using OpenGL or =2aiView.
218 Chapter 8
Procedure 1 Open the assembly. Open the assembly Full Office assembly.sldasm found in the Chapter 8 \ Case Study\ Office folder.
Hide the ceiling. Hide t he part named ceiling.
2
This is an assembly of an office with furniture. Appearances, decals, and lights have already been added to the assembly so all we need to do is "frame the shot" or set the viewpoint. 3 Show the ceiling. Show the part named ceiling.
As you can see in the image above, the ceiling is part of the rendering of the room, so we must have it visible. 4 Zoom ln. Try to zoom in and get to a position inside the room. The only place you can possibly get inside the room is through the door, but if you try to pan, t he outs:: walls get in the way as your viewpoint is still outside the room.
The only way we could get a viewpoint as shown in the image above would be to cut away. suppress hide the walls and section of ceiling that are in our way. 5 Hide the ceiling. We are hiding the ceiling to make it easier to select the target point for the camera. Once the came: aimed, we can again show the ceiling.
Viewpoint 219
.-.dd a camera. ::new camera .
.e-:: Perspective and the 50 mm Standard lens. Select 3:2 for the aspect ratio. Aim the camera. E-:i a target point at a vertex on one of the monitors. E-:ling the exact vertex shown is not important. only that it is e-:ex in this area.
Position the camera. .: are going to put the camera in the .:csite corner of the room from the ~'Juter monitors. -:r drag t he camera to the position or use t he values shown at right to •ion the camera.
--:J•m
~
You must select Show numeric
_:. :1 ols, under Camera Type, to be able to _'"l:--t numerical values to position the ~Era.
::--the camera in this position, we are just the room.
"'5 :1e
25':.
Je7
-- ®)
45deg~
0
9deg
' 1 . -J
!'-;
....:-
220
9
Chapter 8
Move the camera.
Drag the camera by t he blue arrow of the Move Triad, to a position beyond the wall. Your viewpoint ~ now outside the room and we see the outside of the room. Move the camera back toward the target until it is inside the room again. A camera-to-target distar:= of 7000 mm is about right. We cou ld not get this view with Pan, Zoom, Rotate, and Roll as our viewpc would always be outside the room. Click OK. 10 Name the camera.
Name this camera Standard Lens. 11
Show the ceiling.
12 Select camera view.
Right-click the camera Standard Lens and select Camera View. 13 Examine the model.
We used a Standard Lens for this camera so we have a view with the same perspective as we would see if we were standing in this office.
14 Create another camera.
Right-click t he Cameras folder and select Add Camera. As we were in the Camera View fo r the Standard Lens, the new camera is set up exactly the sa;-'!' t he active camera.
-
----:-
Viewpoint
Move the camera. -.::_-:ge the longitude of the camera to 18 degrees. :ause we are moving in spherical coordinates, the ::rera is outside the room. -?::uce the Distance from target to 4600 mm to get back .~· :1e the room. - · :< OK.
Cle this Left Camera.
Examine the model. ::now have the problem faced -nost photographers when :=..-:ing pictures in a small room --= ;:he Standard Lens :stricts the field of view.
- Change the lens. Left Camera and select Properties.
::::~ght-click
Select the 35 mm Wide Angle lens. :::,ick OK.
·-;.
~=::
~ -
221
222 Chapter 8
18 Examine the model.
This opens up the field of view. but we are starting to see a distorted perspective. Look at the vertical lines of the window and compare them to the picture frame around the motorcycle.
19 Change to a wide angle lens. If we change the lens to 24 mm Wide Angle we can see even
more distortion due to ext reme perspective.
20 Close all open files.
Scenes and Lighting
J pon successful completion of this chapter, you will be able to: Understand the different scene elements. Add backgrounds to a scene. Understand the effects of environments. Control direct lights. Use environmental lighting. Control shadows in the rendering.
224
Chapter 9
Scenes and Lighting In the previous chapte rs, we explored the t hings that happen to the model directly. ln this chapter \',:will explore the things that are not on the model, but control t he environment and affect t he way thE model looks.
Scenery Choices When we set up a model to render, there are three choices for scenery:
• Studio Studio scenery shows the mode l as you might see it on the page of a catalog where there is a seamless background. With this type of scene, our complete focus should be the rendered model.
• In Use In some advertisements we want to show how the model will look when in use. In these images, there could be a combination of background images and some modeled props to create the proper context.
Scenes and Lighting 225
.:--.,.. c,· -
None 'Nhen the model will be used in a composited scene. we can render t he model with either no background or a background that is easy to remove. n the image at right, the gray and white checkerboard area is transparent.
S
to Model or View
-en using scenery elements or lights, the relationship between the model and scenery or lighting can of two types, Lock to Model or Lock to View.
::;e either
: ...-common perce ption is that when we use the view tools Rotate, Zoom, Pan, or Roll, the model moves. ·- -eality however. t he model stays fixed and we move relative to it. .-:
226 Chapter 9
Scenery The basic elements of scenery are the floor, background, environment, and user-created objects. 11
Floor
The floor provides a surface under our model. We can apply appearances to the floor, have it reflect or record shadows. The floor is locked to the model so that when we change our viewpoint, the relationship between the floor and the model remains constant. m Background
Environment
Backgrounds are large images located behind or around our model. Depending on the type of background, they are either locked to our viewpoint olocked to the model. If they are locked to the viewpoint, t he background does not move on the scr~ I as we move our viewpoint. If they are locked to the model, we see different parts of the backgrou;: when we change our viewpoint. Tiled and scaled image backgrounds are locked to our view while spherical backgrounds are locked to the model. Backgrounds can be images, plain single colors, or gradient colors. • Images When using an image as a background, the image will be scaled so that one image covers the er.: planar background. Background images are positioned normal t o the view, so they are locked to view. • Environments The spherica l environment can also be used as a background. It can be thought of as a large sp-= that encompasses not only the model, but our viewpoint as well. This is like being in a planetar;~ where we are inside a sphere and t he background image is projected all around us. We see diffe-=parts of t he background as we change our viewpoint and look around. Because we see different p. of the environment as we change our viewpoint, the environment is locked to the model. • Environment
Environments provide a 3D world around the model. We do not see the environment directly, unless also used as a background, only in reflections and the effects of the environment on the surfaces c=models. Environments are also used to light the model through image-based lighting.
Scenes and Lighting 227
---e are locked to the model so that as we change the viewpoint , the part of the environment that we ~ ..., the reflections will change based on the model, environment. viewpoint relationship. :__.. ..:onments are spherically mapped .
..:ser-Created
:... ::an create your own virtual studio by creating parts and assemblies to take the place of real world - ~~s. For instance, you can model a table on which to place your mode(. or seamless backgrounds to --:--._ -dthe model. Reflector q_ane(s and area a~ts caa 6e. q_act..u( &e.. s..~
X::enery Examples ~-
:.:t the different scenery elements in perspective, we will start with just the model, then add :ional elements as we move away from the model.
.:: Scenery £;:,;-;::.::-~so:
lg·; J...,.. :::
-.e :-._
::. 1odel is rendered without scenery, there is - ng to put the model in context or to have -e::ows other than the shadows t hat fa ll on the -::::el itself.
=--
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228 Chapter 9
Floors
Floors are not actual geometry, but appear as a planar surface under the model. They can be sized, oriented, and mapped like t exture appearances. The three primary characteristics of the floor are ~ : ability to capture shadows, produce reflections, and have an appearance.
No shadow or reflections
With shadow and reflections
Backgrounds
Background images are considered to be far enough away that shadows cannot fall on them. Scaled and tiled images are always parallel to our screen and are locked t o our viewpoint so they do not move as we change our viewpoint.
Background
In the images below, the viewpoint is moved, but you can see that the background is exactly the same.
/
Viewpoint and direction
With floor appearance
·lU!OdMa]A pue 1apow Jno spun:_ ~E'4l aJa4dS E' 5! lU
::.
230 Chapter 9
For spherical environments, a 360 x 180 degree image is spherically mapped to the environmental spc:::. A 360 x 180 degree image is so named because it covers 360 degrees of longitude and 180 degrees -:: lat itude. Notice that the image is stretched at both the top and bottom as the entire bottom edge will map t: single point at the bottom of the sphere. Similarly. the top edge maps to a point at the top.
Scenes and Lighting 231
.e-.cal environment is locked to the model so that when we change our viewpoint. t he background -:: :es as we ll.
5c:ene Selection - Jdels have a scene assigned to)hem. Initially, the =2 is assigned from the part or assembly template. --==-ent scenes can be selected from t he Scenes folder :.- e Appearances, Scenes, and Decals tab of the Task -=~:.
«
+
Appearances. S<:ene:s. and Decals
0
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Appearancos(color) "' It, Scenes ~ Basic Scenes ..;. Stud1o Scenes ~ Presentation Scenes ~ Custom Scenes +, .§ Decals
·ere to Find It ·~enu: Photo View 360, Edit Scene =:.ender Tools Toolbar: Edit Scene ~ J isplayManager: View Scene, Lights, and Cameras, -ight-click Scene -ask Pane: Appearances, Scenes, and Decals tab, Scenes fo lder. double-click a scene -:-ask Pane: Appearances, Scenes, and Decals tab. Scenes folder, drag a scene to the graphics area
Kitchen Background
Factory Background
Office Space Background
?J
232 Chapter 9
Appearances, Scenes, and Decals Tab The Scenes folder of the Appearances, Scenes, and Decals tab provides numerous predefined scenes The default folders are: • Basic Scenes As the name implies, just the basic elements of a scene. There is a floor that can be used to shm·. shadows and reflections. plus a plain or gradient background and an environment for surface reflections. • Studio Scenes Studio scenes have more choices and can add additional elements to the image. Some of the see-:!\ use floors that have appearances attached rather than just the floor that looks like t he backgrm;-_ • Presentation Scenes Presentation scenes add either rooms or different image backgrounds to place the model in con;::: • Legacy Legacy scenes are scenes that are still attached to the files from previous versions of SolidWor· PhotoView 360.
:.
Scenes and Lighting 233
- - Scene PropertyManager .=es are edited using the Edit Scene PropertyManager. It consists of three tabs to cont rol image ~~ion, size, position, and illumination properties of the scene. E~·tn~tmM Jll ~t'lll•m ~ I . moolB§.!il ~ controls the choice of ...? x ~ ..? X It) ~ X !f) ·- t;round and environment ~ (BaSi?( Adv
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-.=tanced ---= Advanced section controls the ::=of the floor and the rotat ion of -£: environment and can be used to =the scene file for reuse.
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0 Floor reflec~ons :=:nination [JJ Floor shadows --::Illumination section controls Align floor wi~1: ""E overall brightness of the (?J!xz ~! ~ C:lprogram Fies\Solidl'lor I =-~ered output from the offset I Browse.... j ~ 'omm- ~:~ -onment. In addition, t he I Save Scene... j _ J s:'ltness of the background can :e :ontrolled to better match the _s:-.tness of the model. The remaining control, Scene reflectivity, controls the reflection from the - =::~1 environment.
I
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--=units, w/srm/\2, are watts per steradian-meters squared. This represents the amount of light power - :::ng a surface area. Scene Library S: idWorks catalogs scenes in folders just as it does with appearances. Several scene folders are :,...::vided with SolidWorks, stored in files with t he extension * .p2s. The directory is located in t he .~c.idWorks installation fol der ... \solidworks\ data\ graphics\Scenes. _ser-defined Scene Archives _-ser-defined scenes can be created to store complete scenes (background, environment, and di rect 51ts).
_:;t like cust om appearances t hey should be saved to a locat ion outside the SolidWorks installation - -ectory.
234 Chapter 9
Case Study: Scenery In this case study we will continue with our computer monitor by adding some scenery and adjusting t he lighting. We want to place the monitor in an office setting created from a photograph.
Procedure 1 Open the assembly.
Open the Monitor assembly from the Chapt er 9\Case Study\Monit or folder. This is the assembly as far as we took it in Chapter 7.
Access scene PropertyManager. In the DisplayManager, select View Scene, Lights, and Cameras, then right-click Scene (Grill Lighting) and click Edit Scene.
2
The PropertyManager will open and show the three tabs.
t:;; ~ Scene (Gnll lighttng) ~ Background (Gradr.,... @ Environm~nt (orange_
,• .&l Lights '.f'
~Camera f. Walk-throug h
Preset Values Just to get an idea of what is controlled by each of the predefined scenes, we will explore the diffF= settings for this scene.
Scenes and Lighting 235
:m
Select the Basic tab. ~ - ""E Basic tab has settings for the type of background, the file to be used as the ~ )( l
::>ackground options will depend on the choice of background selected.
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e widen the PropertyManager. we can see what the file used for the • -onment is and where it is stored.
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236 Chapter g
4 Select the Advanced tab. The floor that shows shadows and reflections can be sized manually, or it can be automatically sized based on the model dimensions. As the primary lighting for Photo View 360 is from the environment image. that image can be rotated through 360 degrees to properly position the light.
~
I
F.loor S"tt.e/.Rotation
The scene file can be changed to something other than the current scene file and after making cha nges. the new scene can be saved as a custom scene.
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5 Select the Illumination tab. There are on ly three controls for Illumination: • Background brightness: controls the brightness of the background in
Photo View 360 only. Rea!View and OpenGL will not be affected. so you will only see the result in the previews or fi nal render. • Rendering brightness: controls the amount of light coming fro m the HD RI environment onto the model. It is like making the lights brighter. • Scene reflectivity: controls the reflectivity of the HDRI environment. Its effect can be seen in the reflections on the model from the environment.
~--~-
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Scenes and Lighting 237
...:ghting ~otoView
360, the images applied to the environment are used to light the scene. This is indirect ~[nation because there are technically no lights in the environmental image. To use environmental -~ .ng, we need two things: ,;;direct illumination -:direct illumination takes light from the surfaces that surround the modeL This could be the ;:-vironment and the other elements of the scene itself. We will more fully explore indirect Jmination in Chapter 14. The number of rays used to calculate the indirect illumination is controlled .::--• the output quality settings. Suitable environmental images -";gh dynamic range images, or HDRI for short, contain addit ional brightness and cont rast information :-at other image formats do not. These images are well suit ed to the task of lighting our scene .
.:ep Background -en a color, image, or gradient backgro und is selected, the option Keep background is available. :.;: ecting Keep background will maintain t he existing background when ot her scenes are selected. ~ere to Find It 4-opertyManager: Edit Scene, Basic tab. Background, select Keep background
Change the scene. : ;:::r Keep background on the Basic tab of the Pro pertyManager. ~
_.:;:ate the scene Office Space Background fro m t he Presentation Scenes folder in the Task =~-e. Drag the scene into t he graphics area to apply it to the current model. =..:mine the tabs. We can see that t here are several changes. : :k OK.
238 Chapter 9
7
Change the viewpoint. Change the viewpoint to Dimetria and examine
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==
t he render preview. While t his might be an accept able first rendering, and with some adjust ment, we could picture this monitor sitting on th e conference table, we would like t o make some changes. Notice that in the background image, there is a window that is lighting t he t able behind the monitor. At first, you might think of the background as a flat image. However, if you look in the Scene PropertyManager, the backgr ound is using the environm ent al image which is a sphere around the model. If you check t he file that is being used for the environment , it is called
0
=~
conference_room_hdr.
If we were to open this image with software that could read HDR images, it would look like this:
This is a 360 x 180 degree image. You can see that there are three windows along one wall and tv.: windows along the adjacent wall. The camera is in th e center of the conference table.
Scenes and Lighting 239
rtotate the environment. .=:t the Advanced tab in the Edit Scene PropertyManager and change the Environment Rotat ion to -. ~g. Repeat for 180 deg and 270 deg. As you rotate the environment, the background changes to a ·-=-ent section of the image and the lighting on the monitor changes because it comes from the -::mmental image. At 180 and 270 degrees, the windows in the image are behind us and cast more ~. on the front of the model. At 0 degrees, the windows are behind the monitor and the face of t he ---tor is in the shadow of the windows, so it is darker t han the other images.
s.
i\"0::;
240
Chapter 9
9 Take an office photo. To add realism. we take a picture of our office to use as a background. 10 Edit the scene.
In the DisplayManager. rightclick the Scene icon and click Edit Scene.
Change the background. Select the Basic tab.
11
For background. select Image from the list and click Browse. Locate and select t he image Office Photo.JPG in the Case Study\ Monitor folder for this chapc: Click Open.
Adjust the model position. Because this is a scaled background image, it does not move on the screen as we move our model. Adjust the viewpoint so that the screen looks like the image at right.
12
Once you have established the view, save it as a Named View. This makes it easy to return to correct position if you accidently move the model.
Scenes and Lighting
241
:=xamine the render preview. ~ :-re the rendered preview and we can see :E::. problems: - -.:= model is not as bright as the image above. --=~e are no shadows on t he desk. --=model in the previous step was brighter, .: ::auld be seen on the top of the monitor ::::-: the top surfaces of the base.
mfix each of these problems in the _uing steps.
--etch Image to Fit -.: 1 odel of the monitor and the background image are two distinct entities, one is 30 and the other ~ - :J make them look like they are both in the same 30 scene, we must not only position them correctly, - 2:so make sure we have a proper viewpoint and aspect ratio. ~
-~5es
used as backgrounds may have different sizes and proportions, just like the graphics area used earlier versions of SolidWorks, the image was always stretched or shrunk to make sure t: t:iltire background of t he graphics area was covered. As the SolidWorks model did not change size ::Jsition as the graphics area changed, the relative position of the model to the background would -~~ge as the graphics area was resized. To correct this, the option to stretch the backgrou nd image to -:1e SolidWorks screen can be cleared so that the original proportions of t he background image, and -e-efore the relative position of the model, are maintained. ~:!idWorks.ln
ere to Find It =>;-opertyManager: Edit Scene, Basic tab, Background, select Stretch image to fit SolidWorks window
242 Chapter 9
14 Adjust the model position. In the Edit Scene PropertyManager. select Stretch image to fit SolidWorks window. The complete background image is used once and is stretched to fit the view area. To see the effec: click Restore f1 on the SolidWorks window so that it is not full screen. Adjust the width of the SolidWorks window and observe the relationship between the monitor model and t he background. t.s. you change the window width. the monitor model will stay in t he same position while t he backgrourc: image stretches. This has the effect of changing the position of the model relative to the objects see" in the background image.
In the Edit Scene PropertyManager. clear Stretch image to fit SolidWorks window. Adjust the SolidWorks window again. This time the model will stay in the same relat ive position tobackground image.
Scenes and Lighting 243
- Adjust the output size. ---e second part of the alignment is the preview render. Its aspect ratio is set in the Photo View 360 :-::tons. ~ the
Output Image Size to 1280 x 1024 (5:4) and observe the preview.
::eat for image sizes of 1024 x 768 (4:3) and 1280 x 720 (16:9).
-=1 ake sure that both the image and the graphics area are the same aspect ratio, we must either adjust .: SolidWorks graphics area to the correct aspect ratio, or we can set the out put size to that of the --c"Jhics area. ::-;e Photo View 360 Options, select Use background aspect ratio for the Output Image Size. This will
.....:....se the output image size and aspect ratio to match the SolidWorks graphics area.
244 Chapter 9
16 Rotate the environment. One problem with our preview was t hat t he monitor was too dark. The reason for this is that all of the lighting is coming from the environmental image. Even though we are using the office background image, the environment is still t he same conference room we started with. Because the windows in the confe rence room were behind the monitor (where the walls are in our 20 image). we need to rotate t he image 180 degrees so that the windows are close to our viewpoint. Edit the scene and select the Advanced tab. Change the Environment Rotation to 180 deg. ,:
The monitor is now much brighter, but t he background has not changed because its brightness is controlled separately.
17 Adjust model brightness. Select the Illumination tab in t he Edit Scene PropertyMa nager. Observe the preview as you adjust the Rendering brightness. Reduce the Rendering brightness to 0.500 w/ srm/\2. Remember, this control is only controlling the amount of illumination fa lling on th: model from the environment.
18 Adjust background brightness. Experiment with the Background brightness to see how it only affects t he brightness of t he backgrc....: image but not the model itself. Between t hese two adjustments. we can achieve t he correct bright~~ for the two elements so that t hey look like they are in the same scene. Set the Background brightness to 1.600 w/srm/\2 and the Rendering brightness t o o.soo w/srrrf':. Note Rendering brightness and Background brightness will be discussed in more depth in Chapt:-
Scenes and Lighting 245
Add a floor shadow and reflection. _ look closely at the image used for the background, you will see t hat some of the elements in the :: cast shadows. It is important that any shadows we create in the rendering environment match I!5E shadows in both intensity and direction. ::-:ate a proper shadow under the monitor, we will need to have something fo r the shadow to fa ll on -=background image is behind the model and not under it like it appears. Shadows created by the -.:ilmental lights are generally not very well defined because the light source is a very large area. To -=well-defined shadow, t he other element we will need will be a directional light.
-:-,-::::1e Floors - :::aque or transparent floor can be placed under the model. The floor is t ransparent by default so ::- ::ny reflections or shadows appear to be on the underlying scene. If you add an appearance to the :- it takes on t he visual properties of the applied appearance. :~e
to Find It
,::;...:lpertyManager: Edit Scene, Basic tab, select Floor reflections or Floor shadows =:splayManager: Right-click Scene, select Floor Reflections or Floor Shadows
Turn on shadows and reflections. :"1e View Scene, Lights, and Cameras tab of the DisplayManager, right-click Scene and select Floor ::aJow and Floor Reflection. - ·-=shadow floor will give us a transparent surface t hat will show shadows. This is just what we need in :: :ase because we don't actually want to see the floor of the room, but rather the background image - ld it.
Examine the render =:view. --e preview render shows that ~ ~ow have a shadow that 'Ccears to be on t he desk (2), but -::s little definition because of ""E ::>road area lighting from the ; -:lows in the environment.
246 Chapter 9
If we examine the front edge of the keyboard (4). we will see a well-defined shadow that looks like .: comes from an overhead light. There is also a well-defined shadow behind the external hard drive (1 : the left of the image. This shadow is probably from the camera flash. On the right side of the desk is a weak shadow from something out of camera frame (5). This shadm· similar to the shadow behind the monitor. We can now see a reflection from t he monit or base on the :::of the desk. 22 Turn off reflections.
Examine the background image. The desk surface in the image does not show a reflection from the keyboard, so having a reflection from our monitor would be inconsistent and should be removed. On the View Scene, Lights, and Cameras t ab of the DisplayManager, right-click Scene and clear Flocr Reflection.
Light Properties Lights have controls in both SolidWorks and PhotoView 360. The Basic tab controls the brightness, color, specularity, and position of the light and whether the light is on or off in OpenGL and RealView. The PhotoView t ab controls t he brightness, shadow properties of the light, and whether the light is on or off in Photo View 360.
t
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As noted, the brightness of the light in SolidWorks (OpenGL and RealView) is set on t he Basic tab while the brightness of the light in PhotoView 360 is set on the Photo View tab. These brightness values are independent of each other.
0
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Where to Find It • DisplayManager: Right-click the light, select Edit [light typej Light • DisplayManager: Double-click the light
§iteoklr..
Ambien t:
Shadow softness:
L__
--
LJ Keep light when scene
Brightness
j
After a light is added in SolidWorks, it can be set so that it is on in either SolidWorks, Photo View 360, both. or neither.
-
Ill an in Solidworks
-
--..
SolidWorks Properties
Scenes and Lighting 247
_ ght s can also be turned on or off by right-clicking t he light in the DisplayManager and selecting : -=;)in SolidWorks or On( Off) in PhotoView.
Lights ::ositioning lights, the actua l position for each light can be shown by a light manipulator 3 . The :;:•_.ators can also be used to drag the light to a different position. The light positions can be t urned ::::-.::: :Jff by several means. : ~o Find It _s::.ayManager: Right-click the Lights folder, select Show Lights E-'J: View. Lights - :.rrn on a directional light. :c J isp layManager. right-click the light Directionall and select On in
__.View.
- :rrn on the shadow. --= J isplayManager, right-click the light Directionall and click Edit L ional Light.
r~off in SolidWorks • I On in PhotoView
1
IX I
Edit All Lights... Delete
I df IShow Lights i \?'
2=:
the PhotoView tab and select Shadows. Leave the Shadow softness at and Shadow quality at 16.
Add Directional Light
~ Add Spotlight
'()'
~-"eg
-
Edit Directional Light ...
Add Point Light Collapse All Expand All
Customize Men u
OK.
Show lights. -c:: JisplayManager, right-click the Lights folder and click Show Lights. This cont rol is a toggle t o - :1e light manipulators on or off. Zoom out. now see the physical position of each of the two ? _.ionallights.
E 2;1
248 Chapter g
27 Examine the preview. There is now a shadow under the monitor from the directional light; however, it is in the wrong locati=compared to the other shadows. It is also a little darker than the shadow under the keyboard and has :: harder edge.
We will fix these problems in the following steps. To do t his we will: • Move the shadow by moving the position of the directional light. • Lighten the shadow by reducing the brightness of the directional light. • Soft en the shadow edge by changing the quality sett ings fo r t he shadow. Lighting Coordinates Spot and point lights can be positioned using Cart es ian or spherical coordinates. Directional lights only be positioned using spherical coordinat es because they always point at the origin of the pa~ :; assembly. The origin of the coord inate system is always the model origin. The direction of the axi5 depends on whether the scenery is locked to model or locked to view. When a light is locked to the model, the principal directions are relative to the Front refere nce ~~ When a light is locked to view, t he principal directions are relative to the fa ce of our monitor.
Scenes and Lighting 249
J oning Lights : ·: sition of Directional, Spot, and Point lights can be adjusted by:
~· -
: :;.--
-erical input :o::_5ging the light by its manipulator ~ep osition the directional light. e-= on the position of the shadow under the keyboard, the light needs to be
-::arly overhead. ln t he DisplayManager, double-click DirectionalL This :sen the PropertyManager for t he light. E.
_s:-tt manipulator shows that the light is behind the monitor because its - Jn is locked to the model and it is at -180 deg. With a Lat itude of 65 deg, _5"lt is 25 deg from being directly overhead.
~
Li!Jhtl'osition
[J, Lock tn model ~ longtlude:
-unleg
1- -
e Latib..de= 65deg r
·-
1
::-.se the Longitude to o deg so that the light will be in front of the monitor and adjust the Latitude .=:; deg to move the light directly over the monitor.
--.: L 5--
•-:.crE 2. S
i'C·=
.- J
250 Chapter 9
29 Examine the preview. Examine the two areas shown. If the light is in the correct position, the relationship between the edge of the keyboard and its shadow should be the same as that of the monit or and its shadow. Because t-.= shadow from t he keyboard is very close to the keyboard itself. t he position is harder to determine tr;oif they were further away like the monitor. In this case, we are dose enough that the shadow looks correct.
30 Hide the lights. In the DisplayManager. right-click the Lights folder and click Show Lights t o toggle them off. Shadow Properties There are two controls for the calculation of shadow quality and soft ness. • Shadow softness is set from 0 to 10 degrees and controls the size of the transition area from= shadow t o no shadow. • Shadow quality controls the refinement or graininess of the shadow edges. Values can range f-:to 100. These controls will be discussed further in Chapter 14.
31 Adjust the shadow quality. Select the Photo View tab for light Directionall. The shadow under the keyboard is very well de= so only a small amount of softness is needed. Set the Shadow softness to 1 deg.
Scenes and Lighting 251
:=xamine the preview. :;-;:dow is now positioned correctly and edges match the shadows in t he background image. We now '""-:::; reduce the darkness of the shadow. To do this we will reduce the intensity of the direct iona l _.:st in PhotoView 360. A
Reduce the light brightness. of the light is controlled in two places. For OpenGL and Real View it is on the Basic tab, :x: ~or PhotoView 360 on the PhotoView tab of the light's PropertyManager.
--£: :xightness
-=.E:.:!ce the Brightness on the Photo View tab to 0.2 w/srm"2. -
C{
OK.
Examine the preview.
=::--ything is set except that the monitor face is too bright. To adjust this, we have t o remember where :ight is coming from. Some of the light on the monitor comes from the directional light. Because we ..sc::l this light to produce the shadow and adjusted it to make the shadow look correct, we do not want =:I1ange it. That leaves the light from the environment. ""E
~ s~ep 16, we
rotated the environment to get the windows of the environmental image behind our :=Npoint. To darken t he light on the monitor, we will reduce the light co nt ribution of the environment. -- s will not affect the brightness of the background image because that is controlled separately.
252 Chapter 9
35 Edit the scene. Open the Edit Scene PropertyManager and select the Illumination tab. Reduce the Rendering brightness to 0.3 w/srmA2. Notice that this has no effect on t he background ashadow.
36 Create a final render. With all the elements now in place, create a final rendering.
Scenes and Lighting 253
Review the image. a decision early in the process to set the render size to that of the SolidWorks screen in orde r _ 11aintain a consistent position of the model relative to the background image. One resu lt is that we ~c-. e an odd-sized image with too much background on the left side of the image. E made
·K-:1--c
=could have corrected this by adjusting the SolidWorks graphics area dimensions early in the process ....... : cropping the background image before we used it. With all t he available image editing software _ 2ilable. it is easier to just crop the fina l image.
- 3 Save and close all files.
utput Jpon successful completion of this chapter, 10 u will be able to: Create rendered output. Control preview rendering speed. Render using co ntours. Add bloom to rendered images. Save rendered output to various file types. • Insert images in a brochure. Insert images into a Microsoft® PowerPoint® presentation. Save Alpha channel information for post-processing.
256 Chapter 10
Output Design Intent Determining the desired output for a PhotoView 360 rendering is very much like determining t he desigintent fo r the model you creat e. Whatever the output you create, it is created for some purpose. Determining that purpose will guide you through the process.
Stages in the Process The key stages in the rendering process for this chapter are given in the following list: • Determine the desired output What are we trying to do? Create a sales brochure? A PowerPoint presentation? A graphic for a w?.:: page? Or just show someone sitting next to us what the final product will look like? • Determine the settings for best rendered output When ready to create the final output. readjust the settings to maximize the quality consistent \', the other out put considerations.
Output Options There is only one way to output a rendered image, and that is to an image fi le. Photo View 360 stor:-s the last final render images internally and shows them in the Render Browser. The quality and speed can be adjusted to provide a result suitable to your needs.
Preview Renderings Previews to the computer screen are not the final output. We generally use the previews for two reasons: • To visualize the effects of appearance and scenes. This is an intermediate step en route to the~ output. • To capture t he image with screen capture software for use in other programs. Many of the image::the intermediate steps in this book were made as screen captures from the preview images.
Methods to Increase Rendering Speed To this point in this book, we created preview renderings of ou r images to t he screen through eithe-integrated preview or preview window without consideration for speed or quality. We saw the effe-:of speed and quality in Chapter 4 as we changed the settings of both the preview and fi na l rendethrough the four possible settings of Good, Better, Best, and Maximum. The other consideration is the number of pixels to be rendered. To render fa ster, the basic rules are simple: • Reduce the number of pixels that have to be rendered • Reduce t he complexity of the image to be rendered • Reduce the quality of the rendering
Output 257
__.._.._._e the Number of Pixels to Render ,::"""E :Jf the methods include:
_o;;= a smaller graphics window. =:- the integrated preview, the number of pixels to be rendered will depend on the active window size ·= ::he monitor resolution. Typical screen resolution is 96 pixels per inch. Using a graphics window -.:=the size of the original will reduce the number of pixels rendered by 75 percent. =.: -the preview window, you can scale the window by dragging a corner. -- alternative method for preview renderings is to use a split screen where one viewport is the --:?grated preview and the other is in RealView. This allows the benefits of using the integrated :-=view as a separate window wit hout the problem of the preview window being on top of the work 3'"2a.
::asy methods to reduce the graphics window size are to use the splitter bars to divide the screen or Windows, Viewport, Two View- Vertical. Once the screen is split whichever viewport is selected •1hen you turn on the integrated preview will be the preview viewport. Suppress parts. Work on one part or section of an assembly at a time with all others suppressed.
258 Chapter 10
Reduce the Complexity of the Rendering
There are several options that will requ ire Photo View 360 to perform additional calculations to adc realism. By reducing the quality of the output we can save time in the early renderings. • Use only basic lighting. Until appearances are added and the scene is composed, additional lighting and lighting effects ca..:3" additional calculations. a Turn off shadows.
If you are using direct lights with shadows. turn the shadows off because they require additiona: computations. The more lights. the more complex the shadows will be. Red uce shadow edge qua Change shadow edge quality to its lowest setting. This reduces the manner in which pixels are rendered at the edge of the shadow. • Hide decals. Decals are frequently comp lex images that have to be merged with their masks. Suppress decals Lready for the final rendering. • Disable caustics. Direct caustics calculate t he effects of direct illumination where light from a source goes through :or more specular reflections or transmissions before hitting a diffuse object. Reduce the Quality of the Rendering
There are two parts to quality, that which SolidWorks does and that which Photo View 360 must de • Lower SolidWorks image quality. The rendered model uses the tessellation data from SolidWorks. Setting the Shaded and draft quality HLR/HLV resolution in the SolidWorks options to a lower value redu ces the ca lculation : • Use the Good setting for previews and test renderings.
Render Contours Contours provide additional detail to the rendered model. They are useful in illustrations to show additional detail, or by themselves as a line drawing. The model contours can be rendered either with the model or by themselves. Contour lines can be rendered in any color. Where to Find It • Photo View 360 Opt ions: Contour Rendering
Output 259
:ase Study: Contours --r micrometer will be used for an illustration in a manual.
::3
E -- 2!C':
E?!~
~
.......
- ocedure Open the part. :::en the part micrometer found in the Chapter 10\ Case Study folder. --e viewpoint shou ld be Cameral.
I:>.:
260
Chapter 10
Render the model. Look closely at the model in OpenGL, ReaiView, and the rendered image. Edges that should be smo::curves are squared off or faceted. PhotoView 360 uses the tessellation data from SolidWorks. 2
To improve the rendering quality, the image quality settings must be adjusted in SolidWorks.
Output 261
..:.njust image quality. ~:lOis,
:o:::s
Options.
~and aaft quaity
ft.R,H.v resokltion
low
1-i!tJ (slower)
__~he Document Properties tab. Image Quality. _ = the slider for Shaded and draft quality HLR/HLV to the right just before the red section.
~ution ~· OK.
Shad.d and aatt~llity H.RJH.V r~tion low
Devilltion: 0.0014751Sin
~ Op- edge length (ljgher quality, but slo'A'er}
.
Apply to o~l referenced part doCllml!nl5
[JJ Save tessd!ltion ";1h part document
Rebuild the model. :::.-:;ss Ctrl-Q to rebuild the model.
D
262 Chapter 10
5
Render the model.
Compare this image to the previous render ing. Edges are now much smoother. Rendering time was slightly longer, but for f ina l output. Image Quality should be at Best or Maximu!4
6
Render only contours.
For some illustrat ions. only contours are required. Click Photo View 360 Options ~·
•{) Contour Rendering
6~
lne tt.daless:
Select the Contour Rendering.
=2
!p t t1fl~
Select Render Only With Contours.
•
1eat t.r>e Cola
;,.e.
Output 263
Change line color. _ ant the contours to render white, on the same · -- ::>ackground as the previous rendering.
Color
•• Basic cokn
---1
d}..contour Rendering
Edit Line Color. =::::the white color: eighth column, sixth row. :.'" OK. ::..- OK to close the options.
~·
Final render only
. [] lal
line ttKkne-..s:
1 .
r• o
c•• • •••• • ••••••• c•• •• • • •••• •• r.ro
~r rrrrrr rrrrr rrr
[~ Custom Col~ »
I
OK
ll
Conce!
Render the model. are only rendered in the final rendering, so they will not be visible in the preview.
:::-:~ours
::now have only contours.
~
l
]
264 Chapter 10
9 Render both contours and the model. For some illustrations, the model is rendered with the contours overlaying the geometry for effect.
.il Contou ,:Rendering
Click PhotoView 360 Options ~-
Line thickness:
FNl r
~~
-
Select Render Contours and the Solid ModeL
2
USil [i_jfif
•
:
i ( i1 it1. .
IEditline Color... :
Click OK. 10 Render the model.
The contours are too prominent in this rendering. To improve the rendering reduce the thickness of::-::: contour lines.
-=
Output 265
-_::just contour line width. :lhotoView 360 Options ~ ·
'-d Contour Renderi:n;
[]~
- = the contour line thickness to 1 pixel.
J K.
~
-
Final render only
Line
tli3CneSs: 1
•
l
>.
1Editlile Color•• . 1
::!lender the model. - ,·ness
~
==•tours are not as dominant in t he rende ring. They now highlight t he edges wit hout overpowering - age.
3 Save the model. Save the model but do not close it. The micrometer will be used in t he next case study.
266 Chapter 10
Case Study: Sales Brochure Create a sales brochure for The Toy Barn. The brochure could be created using a variety of publishing applications. For this case study we will r.s:: Microsoft Word because it is widely available and the procedures used are fa irly typical of those us?: in most publishing programs. Our goal in this section is to explore the issues affecting the capture resolution rather than creating a flashy product so we will keep it simple.
Toy Car Ru
3..5 i=C,g Cy 2.5 i::1.~ I.az:.e. file ~:in -12 liB
Toy Tractor Radn'M st ."HIO
Filn.in- J llB
Toy Fire
En~Jne
Lo.s.safrtsol'D:tioB. Rez.duedn J!JJpixoth by7S ::?ixtll Filt"~in:- 29 KB:
Output 267
edure . use models of severa l toys. There are three different toy models for the purposes of rendering -:-::del with different appea rances. In all three models, the appearances, scenes, and viewpoints are ==-=! set. We wi ll render each t oy at a different resolution and compare the results.
:.0::
Toy tractor model courtesy of Marko M. Markovic
Start Microsoft Word. ::· Start, All Programs, Microsoft Office, Microsoft Word. Open the brochure template. the file The Toy Barn.docx found in the --~ :;:~ter 10\ Case Study folder. This is a simple document, E ::ed in Microsoft Word, with three boxes est ablished to hold 1 ages of each toy.
~ The To! Barn
-E"'
e
Toy('ar
=~~~
D
·,ill render one image of each toy. L~L•-·-•'-->--··---~·--~--
-""E
I
,'.Jord document has been created with text box placeholders Each text box is 3.5 inches x 2.5 inches.
~ :-:e graphics.
: If you are using Microsoft Word 2003 or 97. use the file -:::.: Toy Barn.doc.
'.)
To~·.._.Tractor ...,,.. .....
DD ··~::.~/=---
-·
---- -- ----
----~-
Toy FI..Moire E n2ine ol,..oiMin IOIJ pil.o:o O! · ' '·'~ '
"·- -"0
""''"""' -------------- "'
;;.._~ Many Pixels to Render --:r :he highest quality output with the most efficient file size, we need to determine the correct size to --:r-::er the image. As a general rule, do not scale up bitmap images. This causes loss of definition. images -c: be scaled down, but the origina l file will be larger than necessary. The general rule is not t o scale ~e than 20 percent either up or down.
268 Chapter 10
Dpi versus Ppi Dots per inch {dpi) and pixels per inch {pp i) are sometimes used interchangeably, but they are actuc. different. Dots per inch are the number of dots printed per linear inch. Pixels per inch measures thE resolution of an image projected on a display. Calculating Correct Number of Pixels Question: How do you calculate t he number of pixels to render for the fina l output? Answer: Work backwards from the output. For general reference: • Web images use a resolution of either 72 ppi or 96 ppi. • Newspapers use resolutions from 125 dpi to 170 dpi. • High-quality brochures and magazines use resolut ions from 200 dpi to 400 dpi. If you don't knov.: the industry rule of thumb of 300 dpi. • For books. the range is generally from 175 dpi to 350 dpi. • If the output is a laser printer. use 200 dpi. • If the output will be an ink jet printer. 150 to 360 pixels per inch is generally high enough even ifprinter lists its resolution as 600 or 1200 dots per inch. Printers generally only have three colors, C':!:" magenta. and yellow, with which to produce the millions of colors that can be rendered. They may -2 to place many ink dots to reproduce the color of a single rendered pixel. Output Image Size Output Image Settlngs [ ~ DynMlic he~ When you render to a file, you select the number of pixels for the height and OoJtput im4Qe size: width of the image. Photo View 360 has several predefined image size and ! L800X600 (4:3) aspect ratios for easy selection, but you can also choose to use the SolidWorks I 6 :soo iil:tJ:lljli!i f!!;J:: _IIC!:II: l =zJni-i. view from the graphics area or define your own size.
!:
li J : :
[0
600
~:o:p:m~ 1.33: I c " FIXod aspect rabo
llMge fcnnat
(I; ]
jl'fndowsBII'P
. DefaUti!Mge P
C:'j.Jsors\Ml'Pictu'e<
~... '
Output 269
:=e::: Ratio ~ : . on
to setting the number of pixels. Photo View 360 has predefined size and -atios for the most common image and video formats. There are three __..e- -:ed aspect ratios that correspond t o standard monitors {4:3). wide screen -:-s (16:9). and paper photography (5:4). ~
6'!0X360 (16:9) 6'10X'l80 (4:3) 720X5'10 (4:3) 800)(600 (4:3) 1024X763 (4:3) 1280X720 (16:9) 1280X1024 (5:4) 1920X1030 (16:9) Use SolidWorks V!e\'1
~
:~oose
to input a custom size. the rendered image is based on the height and - ;clues you enter. The height is the controlling dimension which means that the height of the work ·, will be rendered t o the size ent ered for height. The width will then be adjusted based on the :!: the widt h dimension. ~-... e
the Image "=-st image we will render will be placed in t he middle box. It will be the toy tractor. rendered with ::-rect resolution for the output.
J pen the toy tractor assembly. : : 3Works, open the assembly Toy Tractor found in the Chapter l 0 \ Case Study\ Toy Tractor Set the viewpoint. the space bar and double-click the view Camera l.
~_s
Jetermine the number of pixels to render. in the brochure is 3.50 inches x 2.50 inches. We are going to render the images for --r :1ochure at 300 ppi. t: :::!aceholder box
_ ::plying the size of the box by the desired dpi of 300 ppi gives 1050 x 750 pixels.
Set the output size. :
::::
Outputlmage Settings
D Dynamic help J Output io'Mge size:
: ..,oa;- Fixed aspect
ratio and Use Background Aspect Ratio, t hen type 1050 for --=Image width and 750 for the Image height.
-E
::ct Windows BMP for t he Image format.
~-
'1
3
a .~~~I!~I !J i i!pl>l1f;j [[J
750
-·
Hilt ! I
tJfi)i i t])11;1rit
1.'10: 1
=-:- Final Render Quality, select Best .
~ Axed as:~ct ratio
, u.. ~cx.nd Aspect
.e Setting the Image format to Windows BMP does not actually save the : -:de red image to that fo rmat. it only makes it t he defau lt setting whe n we save -e image from the Final Render window.
! J Ratio Image format:
[wroowsBI.P
=::J
Default mage palh: (;;;;]
C:~s\limlpicbses
I Browse...
J
270 Chapter 10
7
Render the assembly.
;.nsert tf
-..... .... ""-
The assembly must be rendered before we can save the image file.
-~
.... ;::::
Click Final Render.
8
Save the image.
- := e.:: z--.e -=-c:
For good print copy, this image will be saved as a BMP fi le. This will result in a la rge file but with excellent definition.
: =..x 5-:----:;--
Click Save Image in the Final Render window. Set the Save in directory to the Chapter 10\ Case Study folder. Windows BMP (*.BMP) should already be selected fo r the file type because we selected it in the PhotoView options. Name the file Toy Tractor.bmp. Click Save. ~
~ Save Image
@ Q 9jJ,. « Chapter 9 ' Org >niZe T New f older ... ·- ---
--··
T
(@
-----
Open the
..). Complete
Chapter 2 Chapter4
-' Chapter 5 _
~
Nam e
ProductVisualization· Ciean
.,;~~
_
.. ~
~!f.ng Up
.P I j;:
--------
..,.. Product V1 sualtzation_o ld .,~r
T~~! Sear
Case Study •
Chapter6
., Micrometer
Ji, Render Scheduler
J
ChapterS
-
Chapter9
-A
----= -Cr
Toy Car
.....,:~ Toy Fnetruck
j,: Chapter 7 -
:::- ::o ~-e ~ -""'be 3::-..:dy -
~
Toy Tractor
.Jeten nim
Case Study ..., Complete T
Fifenam~
Sove as type:
.
Hid e Fofders:
~ =--==-~=-.,_j
' T Tl
Toy Tractor
~s BMP (".BMP)
I
Sa\ll!
lI
Cancel
I
Set the oo
_ Options :::· --2!" fixed ~
OK
asp
Output 271
Insert the image into the brochure. ::h to the Word document. -. the middle text box. _,the Insert menu, click Picture.
I
~ The Toy Barn
I
Toy Cm· ~MIH4rl!l
11b!HtylS&:bo
Ln::t ~m.- u ua
ill the Toy Tractor.brnp in the Chapter 10\ .::..sa Study fo lder and click Insert.
--
~-
= The commands to insert a picture into a Word ~~:nent
may be·slightly different depending on the :: :::m of Microsoft Word that you are using.
~~ --~
....
Toy Tractor
IlL
a....,.. .,)ot t,~ JUack'f1H~ Nt lllt·l~tl
'
Toy Fire
- ·-
En~ ne
..........
~)(• • f ......- ·
~-.r
l:l).&oi.I)!'"1 ):I£.1
fi:utt. I'D
-~--
•. - .
::C::ling Up .e-.::ering to a small image size will result in a small image file size. lf the image is scaled up. however, e-e isn't enough information in the file for a quality output. Open the Toy Fire Engine. ::h to the SolidWorks application, and open the Toy Fire Engine from the Chapter 10\ :,.:s.o Study\ Toy Fire Engine folder. Like the Toy Tractor, this model is already set up for =ering. Determine number of pixels to render. - e second example we will intentionally render to a file that is t oo small for our needs. The a:eholder for t his image is the same size as for t he last image: 3.50 inches x 2.50 inches. We will render iOO x 75 pixels and then scale up the image when we insert it into t he brochure. Set the output size . • =< Options on the Render Tools toolbar. ~=-
Fixed aspect ratio and then type 100 for the Image width and 75 for t he Image height.
=< OK.
272 Chapter 10
13 Render the assembly. Click Final Render.
:.:a: :1g Do·,·.T. :..::. 5 co.·.~:::
We can see in the Final Render window that this is a very small file.
'P.?:s -e :::-:: ~:::ge- =s :----;;:.-c ,...._,:or . . . _c... -.s~
14 Save the image. Click Save Image in the Final Render window.
- 5·...-itch b.:
---=
Set the Save in directory to the Chapt e r 10\Case Study folder. Select Windows BMP (*.BMP) for the Format.
s ":; / -:::
C!lec:k the
Name the file Toy Fire Engine. bm p.
15 Insert the image into the brochure. Switch back to the Word document.
Set the ot
: =· Options :::
In the text box to the right of the caption Toy Fire Engine, insert the image Toy Fire Engine.bmp.
-s -zge ,•,
16 Scale the image. Scale the image to fit the image box. Depending on the version of Microsoft you are using. the scaling procedure may be slightly differen:. Generally, you can either drag a corner of t he image or right-click on the image and select Size and Position. This will allow a numerical input for the image size. When the image is scaled up, each pixel must be repeated for the printer to cover larger areas. The resu lting degradation in print quality becomes readily apparent as the image is very blurry.
Toy Fire Engine Loss of ruolurion R
- aspect« Egewidth c-
: .:· OK. ~ender
th :-- Final Ren Save the i : :::· Save I~ 5= -~e Save in
3e=:: Windo .
-
' nsert the
:
:::- 8c:c~ ::::: -e :ext b:::x ·
Output 273
3caling Down ....: .;,g down does not cause a loss of quality because t he image file will have more information t han it -:c:;. The problem with scaling down is that the image file is larger than necessary. With t he large size -:age files in general, routinely rendering too many pixels can easily exhaust t he space on your -:-age media. Switch back to SolidWorks. - :::a11 swit ch to the last open program or document by 1xessing A!t+ Tab. You can cycle through open
-:ows by holding down t he Alt key and repeatedly pressing the Tab key. ~::~1
the Red_Toy Car assembly from the Chapter 10\Case Study\Red Toy Car fold er.
Check the preview render. --s model should already be set up for ~::ering.
__ .- ----
Set the output size. - :.< Options on the Render Tools too!bar. image will be rendered fo r 600 dpi. Clear aspect ratio and then type 2100 for the -.cge width and 1500 fo r the Image height
--3
~
- --
I -
--=.~
~< OK.
x::::? a:-=
r::c=
Render the assembly. : :.< Final Render. Save the image. :< Save Image in the Final Render window.
i=: ~he Save in directory to the Chapter 10\Case Study folder. ~;e
:-::::t Windows BMP (*.BMP) for the Format.
.::-:e the file Toy Car.bmp. ~
: Insert the image into the brochure. :ch back to the Word document. :-e text box to the right of the caption Toy Car, insert the image Toy Car.bmp.
274 Chapter 10
23 Print. Click File, Print.
Screen Pre~
::e frequently
Select the local color printer and click OK.
24 Examine the printout. Notice that the 300 and 600 dpi images are the same quality. Going from 300 to 600 dpi quadrupled the file size as there are four times more pixels to render. However, the extra file size and rendering timE are usually not wort h the effort. The quality of image of the Toy Fire Engine model is unacceptable. Tr s would have to be rendered again at t he correct resolution.
~ The Toy Barn Toy C ar
:~ a
projectio·
·.eb pages a-e ~ ppi but COL .~onitor
and = ou are gal..=: owing are ~
.'GA - Vide:J SVGA - S~.;p; I(GA - Exte..., 5XGA - Su::>: • ..)XGA - Ultr< ~XGA- Quae :lSXGA - Q~•
Ral.td•t600 4f;li 3 5i:c_'loa~·~5 i:~
:s: of these :
Ur:tfiluizt - U liB
--.e ,•.idescree.., - :-e- projectc.es:: XGA resn TO)' TI·acto1· Ra.c!t:red. •t JCO lpi 35 !~.- ~~ ~y2
s i:.C'l.to filr,.sizt - llm
T oy F ire
En~ine
Lonofrael.U.u Rft!trt4&J lOJ~ '!ly .,5 ;.inh Filtm.t- 2fEB
25 Close Microsoft Word. Do not close SolidWorks as we will use the Toy Car in the next case study.
- :::er. they a
Output 275
Screen Presentations 2
frequently need to incorporate rendered output into web pages or presentat ions given with the aid projection syst em.
-~a
:~ pages are norma lly format ted for !?3': -~
&=n-:g a:.~~
J ..
72 or 96 pixels per inch. PowerPoint presentations are normally
=c ppi but could also be 72. If you are not sure about the projection system, use 96 ppi. "onitor and Projector Resolution
::Ju are going to use a computer monitor or projector, it is important to know its capabilit ies. The "': ZJwing are the standar d r esolutions: .'GA - Video Graphics Array. Resolution 640 x 480 pixels SVGA - Super Video Graphics Array. Resolution 800 x 600 pixels i...GA- Extended Graphics Array. Resolution 1024 x 768 pixels SXGA- Super Extended Graphics Array. Resolution 1280 x 1024 pixels ...;XGA- Ultra Extended Graphics Array. Resolution 1600 x 1200 pixels J.XGA - Quad eXtended Graphics Array. Resolut ion 2048 x 1536 ~SXG A- Quad Super Extended Graphics Array. Resolution 2560 x 2048
est of these standards also have a widescreen version t hat starts with "W' As an example, WSXGA is
-= Nidescreen version of SXGA with a resolution of 1440 x goo.
: ·==~ proj ectors are genera lly capable of SVGA resolution. Most current proj ectors are capable of at
==s: XGA resolution.
e:-y of t he lower resolut ions have disappeared from the capabilities of current comput er monitors; - 2ver, t hey are now used in many handheld mobile devices.
276 Chapter 10
Case Study: PowerPoint Adding gra phics to a PowerPoint®present ation can be very repetitive. so we will only create one sl :=. Start PowerPoint.
Click Start, All Programs, Microsoft Office, Microsoft PowerPoint. 2
Open presentation.
Click File, Open. and select The Toy Barn. ppt or The Toy Barn. pptx depending on your version of PowerPoint. The files are found in the Chapter 10\ Case Study folder. 3
Determine the image size.
How big do we want the image to be? Click View, Ruler. With the rulers visible, we can see that the slide is 7.5 inches x 10 inches. We want a reasonably big image to make it easier to see, so we will make it 5.5 inches x 4.25 inches. This is very subjective, so you may want to experiment with other sizes. 4
Render the image.
Switch to the SolidWorks application. Change to the Red_Toy Car model. Now all we have to do is render the image to a file at the correct size. Set the render size in the PhotoView 360 Options. Set the width to 528 pixels (5.5 inches x 96 ppi) and the height to 408 pixels (4.25 inches x 96 pp 5
Render the image. Click Final Render.
6
Save the image.
Save the image as a BMP file. Name the new file Lego Car-ppt.bmp. The approximate file size will be 841 KB.
Output 277
Insert picture into PowerPoint. e
~-
.tch to the PowerPoint application. On the Insert menu, select Picture.
=.-=·.vse to the Chapter 10\Case Study folder and select Lego Car-ppt.bmp. : :k Insert.
Position the image. - -e image is already selected. Drag it to a position as shown below and resize it. :.._ can add an image border and drop shadow if you desire.
View the slide. : :..-< View, Slide Show. This makes the slide fill the entire screen. With only 96 pixels per inch resolution,
':.?_can see that this quality is good for viewing on a screen with a very small file size.
~~~fltl
L@flifftJ.
~ . ll'l!'
-~ 1!!/J~ ~~~
Exit the slide show. ........ =""...S Esc
~•2
on t he keyboard to end the slide show.
PowerPoint open because we will use it again.
278 Chapter 10
Post-processing Images Images are frequently post-processed. They may have their color pallet changed, be composited "" other images, have artwork or text added, or may be cropped, rotated, or mirrored. The point is that--. rendered image may not be the final product, but rather just one element of the final product. Pos:processing of images will be discussed further in Chapter 16, Advanced Output.
Alpha Channels Alpha channels are masks that allow part of an image to be transparent in much the same way as ~ masks we used to apply decals. By masking parts of our image, we can better composite different images to create the final product. The alpha channel is an 8-bit channel. which means it has 2S6levels of gray from 0 (black) to 2SS (w;---? The level of gray in the alpha channel determines the level of transparency. For example, so percent 5? allows for so percent transparency. TARGA and TIFF file formats support the alpha channel. In add::_ Portable Network Graphics (PNG), while it does not support the alpha channel, does support transparency. To save an image with alpha channel information, you must have either a plain or gradient backgrc_ or no background. When the Photo View 360 output will be combined with other images in a high-end graphics prograr. can save the rendering with alpha channel information. For example, if you want to use a high-end graphics program such as Adobe PhotoShop to creat e composite images, you should choose a file format that has alpha channel support for transparency. When Photo View 360 images are render~:. the proper file fo rmat alpha channel information is captured and stored in the file automatically. An alpha channel image can also be stored separately by changing the final output option in the FRender window.
- ....
_, I; _ ..
Output 279
:ase Study: Alpha Channel - s case study, we will create an image with an alpha channel so t hat when the Lego® car image is ::ted into the PowerPoint slide, only the car and its shadow will show and the background will be ---- of the underlying slide.
-edure Tu rn on shadow.
-=model of the Red_Toy Car, locat e the light Directionall in the View ~e. Lights, and Cameras tab of the DisplayManager. Right-click - ..:"eCtionall and click Edit Directional Light. ~:t t he
Photo View tab and then select Shadows. This will turn on the shadow " ..:st this one light.
r·muwwu·
~ l!!ptoview Controls
.:Z On in PhotoV"oew I
i ang,~n=
1wfsrmA2
~
- . OK.
'!!11
(21
1
Shadows
' O.OOdeg
~ Shadow QUOioty:
e-
Render. .::er the model using t he existing settings. Save the image. : the rendering as a TIFF image named ...eg::> Car-ppt. t if. ~
:: Make sure you save the file as Tagged -~ge Format File TIFF (''.tif) and not one of the 3-: .t TIFF formats.
~ Red_Toy Car.SLDASM- Photoview 360 2011 spl.O PCI.:S:e
~! 1:-
I i
uII 1[11 II I"'''"'" j )
Shadow softne:!:s:
Examine the preview. "F e is now a well-defined shadow from light ::....~tionall .
~
~ )( !%)
~
280
5
Chapter 10
Insert the image into PowerPoint.
Insert this image into the second slide and size it appropriately. Because the image was a TIF file contains an alpha channel that makes the background transparent, the car opaque, and the shad!: partially transparent.
If we were to open this TIFF image in Adobe PhotoShop, we would see that the alpha channel is part of the image. 6
Save the alpha channel.
In SolidWorks, open the Final Render window if it is not open. If you closed the Final Render window ,click Recall Last Render ~ on the Render Tools toolbar. Select Alpha Output from the list. Examine the image and we can see that the area of the car ~::: which allows the car to be fully opaque. The background is black which means fully transparen~ shadow area is several shades of gray indicating various levels of transparency.
-=
Output 281
Save Image and save the f ile as Lego
Car Alpha Image.BMP.
=.xamine the image . ...:- : 11is new image in Microsof t Paint or any other image software. It wi ll look as it did above in the - ={ender window. • age can now be used as a mask in image editing software, just like we used masks f or decals.
Layered Image = alt ernative t o saving the image and alpha channel separat ely, you can save them both together -!; Save Layered Image. -=layered Image will save either one or two files depending on the file type chos en. If there is only ~
=e, the alpha channel is in the file, and if t here are two files, one cont ains t he f ull image and one
~ ...,s just the alpha channel information. There are only five file types available when saving layered ~5:
c:e=:
_: :;-ed PSD [*psd] -->fi le PNG Layers [*.pngl __:~-fi le PN G 16-bit Layers [* .pngl
• Layered Open EXR Half 16-bit [* .exrl • Layered Open EXR Float 32-bit [*.exrl
282 Chapter 10
8 Save layered image. In SolidWorks. open the Final Render window if it is not open. If you closed the Final Render window c Recall Last Render ~ on the Render Tools toolbar. Click Save Layered Image.
Select Multi-file PNG Layers (*.png) for the file type and name the file Lego Car-layered. Save~ file to the Case Study folder. Click Save.
9 Examine the resulting files. Use Windows Explorer to locate the Case Study directory. There will be two new files:
~
• Lego Car-layered.Final Color Output.png • Lego Car-layered.Alpha Out put.png
Car·layered.Aiph a Output.png
-Lego
lege Cor· I~ Colr:r 0~
Output 283
~e two fi les in Paint. We now have two separate PNG files that can be used in other image editing -. ::re.
Save and close all files. m ::c:11 is an effect used to add a glow around bright objects in an image. This effect is only calculated -e final rendering and not in the preview.
2-e to Find It :lflotoView 360 Options, Bloom =inal Render Window, Bloom
--e-e are only two cont rols to bloom: ~
3loom Setpoint identifies t he level of brightness or emissiveness to which bloom effect is applied. - , e smaller the percentage, the more items the effect is applied to. At 100 percent, bloom will not be =:;Jplied to any item. The percentage is based on 100 percent being the hottest specular highlight 3loom Extent controls the distance from the item t hat the bloom radiates. The larger the distance, :--:e more the effect.
: cedure Open the part. :::a1 the Bulb.sldprt from the Case Study folder. This is a basic light bulb that already has
.:r:-:earances applied.
284 Chapter 10
2
Render.
Render the model just to see the initial state before we apply bloom. The light bulb has a White LED appearance applied to the glass. The LED appearance is lighting the surface under the bulb.
3 Add bloom. In the Image Processing tab of the Final Render window, select Bloom. We wi ll use initial settings that might not be appropriate for most renderings, but will better illustrate the functions of the controls. Set the Bloom Setpoint to 50 and Bloom Extent to 40. 4
Examine the image. The Bloom Setpoint of 50 will set the threshold to
the midrange point. This means that anything with a white level above 50 percent will have bloom applied. The Bloom Extent of 40 will create a large bloom area around the object.
Output 285
.;djust bloom. ,c-:ase the Bloom Setpoint to .::L... I Extent at 40.
0
and leave the
-:ensity of the bloom is greater because all : 1alues are now contributing to the bloom ~The distance from surface that the bloom ==s has not changed because the Bloom ~ ..a.t has not changed. :: that it is not just the white part of t he bulb - -as the bloom effe ct, but also the highlight =:s ::~f the base of t he bulb and the tip.
Adjust bloom. :::se the Bloom Setpoint to 100 and render. - :ne setpoint at 100, t here are no white values .e=.::er than the setpoint, so there is no bloom ~::.
.s s the same result we got when bloom was --E::l off.
286 Chapter 10
7 Adjust bloom. The previous values used for bloom were extremes just to help understand the controls. For a more realistic rendering, set the Bloom Setpoint to 50 and Bloom Extent to 10. Th is is more realistic than the rendering without bloom.
8
Save and close the file.
Output 287
~ Bloom
- .-can also be used to brighten an image and give it more impact. Examine the two images below. " -age on t he left has no bloom and the image on the right does. By adding just a little bloom, the :o: stands out a little more from t he background.
isplay States and onfigurations _: on successful completion of this chapter, _.J
will be able to:
--:ply appearances to part and assembly display states. _se display states to show variat ions of a product. _:;e configurations to create different rendering scenes. ':Jdify appearance properties.
290
Chapter 11
Rendering Using Display States and Configurations In this chapter we will render both parts and assemblies with different display states and configu: Appearances will be applied directly to assemblies. subassemblies and parts. and t o different-states of both. Configurations will be used to establish different rendering environments such~ scenes and lighting. There are different options available when dealing with assemblies as to where appearances s'-applied and you must understand the appearance hierarchy discussed in Chapters.
Display States Display states are the visual settings counterpart to configurat ions. Display states set the vis:= color, texture. display mode, and t rans parency of components at bot h the part and assemb ly I!? _ display state is often associated with a specific configuration, but can also be independent of a:;:; configuration. You can create assembly display states by changing the visual properties in the assembly or IT specifying t he display state of each component. Each instance of a component can use a diffe? display state.
Creating Display States To create a display state, right-click in any open area of the ConfigurationManager and click AddState.
Stored Display States The display states are stored separately from the configurations under t he Configuration Manager tab. Every configuration has at least one display state. Display states can either be associated with a specific configuration or be used with any configuration.
Configurations Configurations allow you to represent more than one version of the part or assembly in the same file.
Display States or Configurations? Where do we apply appearances when there are severa l variations of a product? The most common method is to apply appearances to various display states so that they can be used with different configurations. Configurat ions a: to show different physica l changes to the components or to set up different re ndering envirc--. Display states offer the advantage of not having to rebuild t he model when you change betwee-:::. stat es. With configurations, the model must be rebuilt when changing between configurations.\',~ be much slower.
Display States and Configurations
291
: Sl!ay States versus Configurations ~
ay states capt ure changes in t he appearance of components. Configurat ions create alternate :;1s of assemblies by suppression, positioning. and differences in mate values.
:.:rnigurations
>:::Jress/ Resolve components ~-:rj)on ent ~
positioning
e::t part material properties
.; :::t part configurations
Display States
Hide/Show components No equivalent Assembly-based appearances Select part display state
=~u iva l ent
Display mode (HLR. Shade)
2::juiva lent
Assembly-based transparency
::e- ~umeric values (mat es)
No equivalent
=.ay Pane sc:tings can be controlled and visualized through the of the FeatureManager design tree. Clicking ~E ::on in t he row with the component name brings up a -:::::change it. lt can change a component at any level of ::55embly.
.,...
~ 10':~: ~ 1 ('if~ ~ Suppo
--
« MJ (j · ~ -- ")
(Pianks-~
@] Sensors it)
rn
Annotations ~ Frcr1t Piane ~ TopP\aM <& RiQht Plane
~
<& <& t
t Origin l±l ~ (f) Support_Leg <1> (Lon~ Arm«LOOQ Arm: ~ G) IB ~ 8race_Cross_8ar <1 > (Pia!n«Pia!n>_Displa• ~ (;J
.LJ .LJ w '% Brcce_Corner <1> (DefaLk<P' ~ ~ .LI 1±, ~ Slwort_Leg <2> (Long fll m«Loog Arm>-~ ~ ~ .LJ 00 ~ Brace_Corner <2> (Defa.l<_Dill! ~ GJ .LJ 1iJ ~ P~k (6!ue« 81ue>_DisplayState I>) '%13 .LJ
292
Chapter 11
The column options include: Option
Icon
Description
Hide and Show
A toggle t hat can be set to Hide or Show a component.
Display Mode
The display mode sets the display of the individual component to: • a • • • i;j
Appearances
Wireframe ~ Hidden Lines Visible [ID Hidden Lines Removed ~ Shaded With Edges ~ Shaded ~ Default Display ~ (of the assembly)
Sets the color and appearance using Appearances.
Transparency
A toggle that turns component Transparency on or off.
Tip Setting these visibility options can be done through the Display Pane, the Assembly toolbar, or b clicking a component. Regardless of how the setting is created, it is shown in the Display Pane.
Display Pane Icons The icons used in the Display Pane are used as both a visual display of the current state and as a method of changing the setting. Most are recognizable icons, but appearances are not. These options use one or two triangles to represent, for example, the Part appearance (lower) and the Component appearance (upper) or override. If the icons appear faded, the appearances are owned by subassembly models. Tip If there is only a single (lower) triangle, the Part appearance is used as the
assembly appearance.
r Compo-g·~
appea;.,. ...
\_Part
e, .
appea=--
~ Appec?
ownec. _ subassa-
Display States and Configurations 293
:~es
in the Process
.:: .r. ey stages in the rendering process for this chapter are given in the following list: -: eate part and assembly display states. display states based on the different appea rances in the product line. The dimensions of each ,.... are the same in each configuration, only the appearances change . ~:e
....,;Jply appearance to part display states. --:: at t he part level. Appearances applied at the assembly level will override part-level appearances. ~ ing appearances at the part level also keeps the appearance associated with t he part for use in .:- assemblies. -..:lply appearance to subassemblies. : appearances that are unique to the entire subassembly. -..:Jply appearance to top-level assembly. : only appearances that affect the entire assembly because these override all a ppeara nces applied ':'lier levels .
. ·earance Hierarchy in an Assembly 'CE2rances can be assigned at either the part or the assembly level. Appearances assigned in an -=•bly override the appearance assigned in the part. Contrast this to how appearances applied to a =:.verride the appearance applied to a feature. which in turn overrides the appearance applied to the ~o review the appearance hierarchy. see Hierarchy of Appearances on page 97. _t:arances applied in an assembly can only be applied to the whole part. not t o features or faces.
294 Chapter 11
Case Study: Assembly Configurations-The Locking Pin In this case study, we will add appearances t o different display st ates of parts and then use theassembly to show off a product line.
Model ~ourtesy of Fixtureworks Workholding Technologies
Procedure Open the assembly. Open the assembly Multiple Locking P ins from the Chapter ll \Case Study\ Locking ? folder. 1
Display States and Configurations 295
Jpen a subassembly. ::me of the TACH-18-050 subassemblies. - s case study, we are focusing on applying appearances to display states. Appearances have already ::;>plied to the spring clip, balls, shaft, and collar because the appearance will be the same in all ~ &-~rations.
_ ::ssembly will have three display states: ~2.ck
Handle - Blue Button ::-ange Handle - Green Button ~:"iow Handle - Red Button
- ;:o:r names indicate, the differences between the display states will be the color of t he handle ..::...:3:-18-050-HATA-31 -Mach) and button {TACH-18-050_BUTA-18 ). We will add the :e::·ances at the part level.
Jpen the part. f:
:he handle part TACH-18-050-HATA-31 -Mach in its own window.
=.xamine the part. ""-= is only the default configuration and display state.
;dd a display state. ....--::lick the default display state and click Add Display State.
:J•
J l
@5 _Display State l
c.-.e this display state to Black.
[ J lhk Display States to Configurations
.-.dd appearance to the part. s and hold the Alt key and double-click the appearance PW-MTll 0 l 0 ~ ::,e Plastic, Textured folder.
g ...
-~ =>ropertyManager under Display States, make sure that This display _z..: .s se lected because only this display state will be black.
OK.
r
Display States
-
~
o J:hisdisplaystate ......._ _
AI display states ~fy &spay state
~O- -J
l- .~
Ill
-=-· ,
296 Chapter 11
7 Add appearance to the text. Select the three faces that fo rm the tops of the letters.
--:--==
Press and hold t he Alt key and double-dick the appearance chromium plate.
In t he PropertyManager. select All display states because we want t he letters to have the chrome appearance regardless of the color of the plastic. Click OK.
8 Examine the DisplayManager. The PW-MTllOlO plastic is attached to the part and the chromium plate is attached to the three faces.
Display st>Jtes <,!
•Ills display staU, ~display states .............._
_
~display staU,
l[i-11 ~ ~
...
-
:
--
Sort order. !LHi_tsto....! ry_ _ -' ~ PW· Ml11010 . % TACH-18.050JiAT~ a ~ chromtum plate
0 Face [ ] Face<2> D Face<3>
9 Add a display state. Right-dick in t he Display States editor and click Add Display State. Rename the new display state to Orange. 10 Add appearance.
Press and hold the Alt key and double-dick the appearance PW-MTllOlO from the Plastic, Textured folder. In the PropertyManager under Display States, make sure t hat This display state is selected becaLs: only this display state will be orange.
Display States and Configurations 297
Change color. _-c_-:ge the color to orange. Double-click the ..;2nt color in the PropertyManager. : -< Define Custom Colors.
: -c-:ge the color t o Red: 232, Green: 113, Blue: 8 . ::-< OK to close the Color Editor and OK again ::::.ply the appearance.
•
Color
Basiccoloor
o r 1:1 o r • ro • r oou • • •
•o•• •• • • •a•••••• 1••••••••• ••c •r • r ' Cuslom colors
orrrr r rr rrrrrrrr
I
~.noow
I
OK
II
Cancel
I
Add a Yellow display state. .=.::eat the above procedure to apply the PW-MTllOlO appearance to t his configurat ion only and -.c-ge the color to yellow with the following settings: Red: 192, Green: 192, Blue: 0. Examine the DisplayManager. =::h the OisplayManager as you change between the four display states. Only the appearances used :..e active display state will be shown. ~ ~ry
3
[ffiStory
~]
IHistol}'
_r.'t~pt~,
::e::
~
St.stt' 1
[Htstol}'
~]
298 Chapter 11
14 Check the model.
Check your work using the preview window or integrated preview.
a.:-
--....':' ___.__ 15 Open the button part.
Open the button part TACH- 18-050~BUTA-18 in its own window. 16 Add appearances.
Using the same procedure we used for the handle, apply blue, green, and red high gloss plastic tot-= appropriate display state. The steps were: 1.
2. 3. 4.
Make the appropriate display state active. Press and hold the Alt key while double-clicking the appearance. Select This display state. Click OK.
17 Check your work.
We could check our work with a preview test render at this point to check our work. but with eitheRealView or OpenGL, we can see that the appropriate appearance is attached to each display sta;::
Display States and Configurations 299
Return to the assembly. ,;.• e the locking pin assembly TACH-1 8-050 window active. :·:ate three new display states called:
3:.a.ck Handle - Blue Button -:::-ellow Handle - Red Button ::2ange Handle - Green Button
Match display states. '2·.e the Orange Handle - Green _=:.on display state act ive. -;: Feature Manager design tree, click - ght-click the button part (TACH::-050_BUTA-l8) and click - - ponent Properties ~·
Co mpon
:li-18-()SO_BUTA-18_&
tnstance ld:
1
FtJ1 Name :
TACH-18-()SO_BUTI
component Rererence: Coonent Desa1>tion:
TACH-18-()SO_BUTA-18_&
Model Doa.ment Path:
C:\SoidWorks Step-by-Step Gtides'frociJct VtSUalzation
(~>lease use Fie/Replace amnand
to replace model of lh< compon
Display State specific properties
[ ]tid< Component
Green for the Referenced -.o:tlay State. E E:t
:.· OK.
Rt~enced Display State
rtepeat. 2:2at this procedure to make the ::.::W.ge display state active for the ::-•::.e part (TACH - l 8 -050_HATA- --~ach).
IThis display state-=::J
Configu-ation specific properties Referenced configuration
SUppressk>n state SUppressed
Default
_I
~
Rosolved
• li!,tltwe;gl1t
Repeat. .:::at t he above procedure for the - ::--:".{ Handle - Blue Button and the -£.:Jw Handle - Red Button display
~
Red" - - - - --
Chanoe dsplay properties n :
Ccancd]
F:e~
: ] ExWde from bil
Chanoe properties in:
~
!:ave as
->·R9<1
of11111terials
~
~= s.
;: -.ow have four display st ates for t he TACH-18-050 assembly, the three we created plus t he ~ -:al Default display state which uses the default color appearance on t he handle and button.
300 Chapter 11
22 Test.
Double-click each display state in turn and you should have the results like the images shown bel:; Notice that the appearances change almost instantaneously because there is no need to rebuild:-::: assembly.
23 Perform the final assembly. Make the window with the Multiple Locking Pins assembly the active window.
There are t hree instances of the TACH-18-050 assembly in this assembly. All t hree instances arE_ the same Default display state of TACH-18-050 . Use the same procedure as above to change the active display state fo r each of the instances t:: different display states so that each instance is different.
Display States and Configurations 301
Render the model. --sis our final rendering showing all three of our product configurations in t he same assembly.
302 Chapter 11
Case Study: Watches In this case study. we will use a watch t hat already has t wo display st ates and set up two differe;rende ring environments. The two environments will be used so that the images can be used for diffrpurposes s uch as an advertising campaign or for a product catalog. While the display states control t he appearance of t he watch itself. configurations will be used to t he other settings needed for the different renderings. Procedure 1 Open the watch assembly.
Open the file Watch Assembly. sldasm from the Chapter ll \ Case Study\ Watch folder. 2
Examine the assembly.
This assembly already has appearances applied. There are two display st ates to show the watch v gold fi nish and a silver finish. The display states are not linked to configurations.
Watch model provided and used by permission of Ed Hawkins. lnnova Systems. Cambridge. UK
Display States and Configurations 303
Add a camera. ::;;;: a camera and rename it Product Shot. ::. _st the camera location and settings as shown.
~
*
Camera Type G. Ained at target
.-::----::- - - .
!
[_] Position by
l
Aoaling
§ Spherical
./ Led< comero position except J v.ren eating
~Target Point
Cartesian
~
l JTorget by selection:
.
~l
•: ---~:..
-7()lvn
®
Q
sodeg
)--
l__ ,Cameret Rotation
l
~ ·22mm t: . I J , , , I II ' I I !! I I! ' 1 J;:ttl.•ai i ~ ll~g I~ Depth of field
. a lr. ~ r-: e---~.
l§n Angl~
As camera positions are very subjective. you can ·=-the settings as desired. 2
30.5'1deg
~ ill
·l
1
j Edge < l >@Watrn Body~ ~so
r SOSmm I!Jt t i!I J( li J !tJf,T:f1ijnf
Aspect ra bo (v.'!dth : heqlt):
4: 3
1
!'l] FoaJs by selection:
•.•
e /r.
~ Drag Aspect Ratio
~
r--d-rf1
..±.
9
~
~
[./j Perspecti:
f I
~
S
tjN !l!Jf! jj! I I lt d1:til''
Foeld of View
·-
<;Ode<;j
J.
IPolnttC>Qrigi'o
~ -25nvn
~oction;
IArc l@Sketrn 2
!
./] Show nuneric controls
~
'- Camera Position
1
l'l!Tvn , 3i
.·
I! I !J l • [ _l!_! i , i?'cuut
304 Chapter 11
4
Add a second camera.
Add another camera and name it Catalog Shot. Use the settings shown at right.
Target b y •election:
1
wt-r ~uu80nvn il 11 II J II 11 \i;) z
56mm
II I
~ L........
.
Q
' 6 2deg
~:-
Camera RotatiQn
Set rol by selection:
ifMfisaC
_ _ _ _ _, .
rn·1tDJTIJT( I I II
7deg
·J ·--
••
1
@
iJaf n wf
~
I
.I
~ -l6deg
=
1'
~~========rc·
ReldofV'oew .£Perspective
T
Depth of F>eld
~1 8
I
16.tdeg
d
J......c--
We now have two display states and two cameras.
h n;;;;;- --CJ! tf!!
I
328.'l8nvn
>:
t! It Iii 1l !JVI"II'
Aspect rotio (VIidth : height):
11: s.s
I
....~ Drag Aspect Ratio
5
Create configurations.
Create a second configuration and name it Product Shot. Rename the Default configuration to Catalog Shot. As the assembly model is the same in bot h configurations. we want to be able to use both display sta:~ with either configuration. Make sure that Link Display States to Configuration is cleared.
6
Set the scene and lighting. Make the configuration Product Shot active. Press and hold t he Alt key and drag the scene 3 Poin t Beige into the graphics area from the Task Pc:~ Under Configurations, select Specify configurations and select Product Shot.
Click OK. Note We could also have selected This configuration.
~
51!: ,::
Display States and Configurations 305
Change configurations.
2-·:e the configurat ion Cat alog Sh ot active.
-e DisplayManager, right-click Scene and click Edit Scene. -=:r Configurations, select Specify configurations and select Catalog Shot.
lt is a good idea to specify t he configuration before making any changes. If you make a change to the :c:re first. it is an easy mistake to click OK before you specify the configuration. Doing so can undo your ~~ se ttings.
Change the background. :-c..,ge the scene to Grey with Overhead Light. ~ :ct
Gradient for t he Background. Make the top
= dark gray and t he bottom color a med ium gray. ::1
: : =-< OK. Cu:ltomct>lors·
r• • oc• • •
r•• rrrrr I I
Define Cu:ltom Colors.»
OK
II ~
I
j
306 Chapter 11
9 Preview renderings. Check each of the four setups we have created to see that they are close to the desired result. Product Shot- Gold
Fine-Tuning While these renderings are pretty good, they could be better. While default settings will give you a ~ result. fine-tuning can make the rendered images even better. What is still needed is to adjust the seeand lighting for bett er results. Before applying adjustments, we need to evaluate each image.
Display States and Configurations 307
~.age
:!'5....-
Evaluation ~:c1 image should be evaluated to det ermine if there are elements that do not look right and how it can - ....,proved. Some things that do not look right at this point are: :atalog Shot The top of the watch is too dark because the outer ring is dark and does not stand out. • The shadow on t he background makes t he watch look like it is upside down. There are dark shadows between the wat ch body and the band. :>roduct Shot The shadow under the watch does not meet the band in the back as if the watch is not resting on the floor. • A floor reflection would make the watch look like it were resting on a shiny surface. The light on the watchband next to t he watch body is t oo strong.
-..:justments --= exact effect of each setting and the relationships between settings cannot be taught in any ::::sonable amount of time. It takes practice and experimentation to be able to quickly fine-t une t he ...c:-:~:ings. Understanding this cause and effect relationship is key to creating top quality rendered -~ge s.
:: e:ommended settings are provided in the fo llowing steps but you should also experiment with the :c:tings to see the result of each adjustment.
: Edit the lighting. =.:::h configuration can have different light settings, both in the scene light ing and the direct lights.
--e direct lights can be used to add specular highlights to the model. ~
the Product Shot configuration active and change the view to t he Product Shot camera.
=.:.t t he 3 Point Beige scene and select the Basic tab. Y.i :: 15
. ;-:-..:X:·_
F-
S:~ect
both Floor reflections and Floor shadows. This will give the model the 3::3earance of sitting on a surface.
rr -
[.lj Aoor refledions
R
['J] Floor shadows
Alogn floor >\1th: -_- Align floor with, select Selected Plane and select PLANE4 from the I(1J[i'.lected Plane =---:J =e::tureManager design tree. Because the model is oriented based on the model IPlM£4 I ~:om etry, PLANE4 was created tangent to edges that the watch wou ld rest on Floor offset: = t were on a table. Floor offset should be o mm so that the model rests on the (,. I~ -~:L:!Jm, !] I J l!! It I I 11 t
308 Chapter 11
Select the Advanced tab. The floor is aut osized so the width and depth cannot be f Floor Sizec/Rotal:ioo i [j Axed aspect"* changed. Rotat e the environment to 72 deg. This will move the environment al !l] Autoske floor lights around the model to create better highlights. Widtll ,...,
~
0
446.881mm
lliit1J]!j!!J ':' ---::zw Depth
[0 +l6.881mm ltJtttljfJ I! ill
-
Aspect ratio: 1.00 • Rotation
~
il
Environment Rota De. 72deg
. j . '
Select the Illumination tab. Set the Background brightness to 0.9 w/srmA2, Rendering brightness to 0.8 w/srmA2, and t he Scene reflectivity t o 1.0 w/srmA2_ Again, t hese settings are very subjective and you should experiment with each one in turn to see t he effect on the rendered output
PhotoView Illumina~ Bod
ro:-90ow/srmA2-
Click OK.
Edit the lighting. To add an additional specular highlight, we will use the directional light from t he scene. In t he DisplayManager, select View Scene, Lights, and Cameras.
11
Right-dick Dir ect ionall and click Edit Directional Light. Select t he Photo View bPhotoview Controls ~ ~ On i1 PholoVI
Select On In PhotoView so this light is used in the rendering and adjust the Brightness to 1 wfsrmA2_
L j:-~'~7~~
Select Shadows to allow this direct ional light to cast shadows in the rendering. Adjust the Shadow softness to 2.0deg and Shadow quality to 16.
IShadow softness:
II'' '
jk\ shad.ows 0
I
2.00deg
. - j..' •
Shadow quality:
Click OK.
'i6 .
12 Check your work. Examine a preview render to make sure the model looks the way you like. If not, continue to you see fit
adjt:~
Remember t hat all of these sett ings have only affected the Produ ct Shot configurat ion. We will ~= the Cat alog Sh ot configuration separately.
Display States and Configurations 309
Change configurations. !C·
e the Catalog Shot configuration active and change the view to the Catalog Shot camera.
Edit the lighting. ::-.:.~ :he
Grey with Overhead Light scene and select the Basic tab.
: '==- both Floor reflections and Floor shadows. Without the f loor reflection and -.=:ows. the model will appear to float in space.
Aoorr~~ ~ Floor
shadcw.'S
Aig1 floor "fth:
-::- Align floor with, select XY.
(?JE
-
:J
Floor offset:
I
€:t the Advanced tab.
~ lmn ,, "
;
I I
I II I II 1 I ' I I t1 ,,,,..
Floor SiZe/Rotation
A
r:J Fixed aspect ratio
- -e =toor is autosized so the width and de pth cannot be changed.
[{] Autosize floor
a
-:::::e the environment to 183deg.
IYtdth 4%.S3!mm iR,J I
•
\"f fn:fJ!I!IT!l..:f?jll.
Depth
ro
416.sa 1mm !Jill t
~
r f[lJTIIT1Tt '11!10'1
: I
Aspect ratio: 1.00 : I Rotaban
lQ ~
~ EA~nment Rotation l83deg
I
.1- -
-.c : :t the Illumination tab. :he Background brightness to 1.0 wfsrm"'2. Rendering brightness to .::. H/ srm"'2, and the Scene reflectivity to 1.7 w/srm"'2. These settings are very ..:::. ective, and you should experiment with each one in turn to see the effect on -e -endered output.
::!'t
: -:s: 3::
• I
*
RhotoVteW Jllumina tion BadqO
LOOO wfsrm"2 ilUJ
~;
J I I I! lj :t-'.'!IJ•iN
brig1tneso: rRondemg ........... ... .....
t:
' I i_j! ! I ! I l ' j J 1tI l_!rlp·IMI.
Scene reflectivity: !. 700 w/s'm " 2
- ::.- OK.
. Ai
unJ
,.;
11.0 11r 1J1 111 1 11 1t·iiJi1"••
310 Chapter 11
15 Add a directional light. In the OisplayManager. select View Scene, Lights, and Cameras. Right-click Directionall and click Edit Directional Light Select the PhotoView tab. Select On In PhotoView so this light is used in t he rendering and adjust the Brightness to 1 w/srm/\2. Select Shadows to allow this directional light to cast shadows in t he rendering. Adjust the Shadow softness to 2.0deg and Shadow quality to 16.
'
.-
:
~
!
Photoview Conbols
[./]On in Pho!DI'lew l!
GtJ. Shadowl; Shadow softness: 2.00deg I
Click OK.
J
Shadow quality: 16
L_· _ _ ·
16 Change PhotoView 360 Options. Photo View 360 Options are global. which means that they are not file-or configuration-specific. Select Bloom and set the Bloom setpoint to 80 and the Bloom extent to 4-
Cd Bioom AMI render orly Bloom setpoot:
Display States and Configurations
311
- View the final result. =can now quickly change between the two watch finishes, camera views, and rendering environment. --,=•e are eight possible renderings that we could do by different comb inations of configuration, -=-;era, and display state; however, we are only interested in four. Product Shot - Go ld
Product Shot - Silver
_ Close all open files.
~Reflective
and Transparent Appearances Upon successful completion of this chapter, you will be able to: Understand how reflections and refractions are rendered. Understand how the environment is used with reflections. Control t he number of reflect ions and refract ions.
314 Chapter 12
Reflections To create a scene with reflective surfaces requires a bit more than just applying an appearance ;·, reflective properties. The basic principle is that you know a surface is reflective only if you ca n s2= reflection in it. In other words, we need some other object s in the scene or a backdro p. A second problem is that in a software rendering environment, there is nothing behind the vi ewe- reflect. If we made a flat plate reflective and looked normal to it, we would have a mirror. In a ren::? environment, we can't see ourselves in the mirror, because we aren't part of the rendering space. SolidWorks and Photo View 360 solve this problem wit h the addition of environments. These ares.:::. elements that can complete ly enclose the rendering space. Environments were discussed in Cha:=: As discussed, environments are spherical. There are two primary things we use the environments One is to add environmental {image-based) lighting and the other is to provide the world arounc :x. model for reflect ions. Environments
Environments establish a virtual surface to apply an image. The environment is always large e nc_~ surround the model. We apply a single image to t he entire environment that can be seen in t he ref..:==surfaces of our model. Just like appearances where every surface has an appearance assigned, r.:.are never without a scene. Image Requirements
The spherical environment is designed to use 360 degree x 180 degree panoramic images. We cc.~ control t he mapping of t he image, so the image must tile seamlessly. Images should be created c.- :o level as the camera position will fall on the equator of t he environmental sphere. Most environment images are High Dynamic Range {HDR), which give us a lot of capability for ir.~ based lighting. Where to Find It • Menu: PhotoView 360, Edit Scene, Basic tab • Render Tools Toolbar: Edit Scene ~
Reflective and Transparent Appearances 315
:ase Study: Environments C:·=
-:- is case study we will use just a simple sphere to view the ~o nme n t.
/
---
.............
-"'dure
Open the Chrome Sphere part. ~,s :Jart has the appearance chromium plate applied. This --::arance acts as a mirror. The scene is Plain White which cs the Kitch en image as an environment.
Examine the model. -_, off RealView.
=- ":'1 though this is a highly reflective surface, it just appears ::..._ gray in OpenGL because reflections are not supported in : ::enGL.
Turn on RealView.
Change the environment. :=::t the scene and select the Basic tab. _-:der Environment we can see the image ..sed, which is Kitchen.hdr. We will change - s to a different image.
----, ~
Environment
~ C: 'Pr09"am Files\SolidWO
316 Chapter 12
5 Open the environment image. Using any available image viewing program, open the image PhotoStudio.jpg found in the Chapter 12\Case St udy folder. This is a 360 degree panoramic photo of a photographer's studio. lt is similar to a Mercat or projec: in that there is increased distortion as we get near the top and bottom of the image. Note Th is is a very large image file. It is 4800 x 2400 pixe ls and 7.2 MB.
6
Close the image file.
7 Use a different image file. Under Environment, click Browse. Locate and select t he image PhotoStudio.jpg found in the Chapter 12\ Case St udy folder.
Reflective and Transparent Appearances 317
=.xamine the image. .:: 1 age is viewed in the Isometric view which positions us '2 are looking down on the sphere. ~:ning the
Front, Right, Back, and Left views gives us -;~p ress ion of having t he sphere in the center of the room -::: ualking around it. You will see the walls behind you =:ted in the surface.
318 Chapter 12
The Bottom view gives us a fish-eye view of the ent ire room. Note With this method of using the spherical environment, we had no mapping controls over the image other than being able to rotate it about the ce ntral axis as we did in the Monitor case study. All other control is with the original image.
9 Select a predefined environment. Each predefined scene has an environment in its definition. ln the Task Pane, select the Appearances, Scenes, and Decals t ab and then expand the Scenes folder. Select Basic Scenes and then press and hold Alt while dragging Courtyard into the graphics area.
Appe
[±, .., App•ar•ncos(color}
<:: ~Scenes Q Basic Sc•nes ~ Stud io Scenes Presentation Scenes ~ Custo m Scenes
q
['!'
~
Decal5
Courtyard
.1
Reflective and Transparent Appearances 319
-=xamine the model. .E :an see that the
background looks like a gradient but the reflections from the environment are ::::'the image used for the environment
~=.
E ::~pened
the two images shown in the = E-tyManager we would see the fo llowing:
Courtyard
Front View
Daytime
[hange the scenery.
-.;; Task Pane, select the Appearances, Scenes, and Decals tab and then expand the Scenes folder.
.:-:: Presentation Scenes and hold ... 1ile dragging Courtyard ::::-.ground into the graphics area. a-me the Basic t ab. With presentation .::es, the Background is set to use the : -:::ilment image.
f!Sa;ckg.round ~
fnv'ironment ~ C:'frog
320 Chapter 12
12 Examine the model.
Now the reflections from the environment match the background scene.
13 Close the file.
Reflective and Transparent Appearances 321
2se Study: Kitchen Scene case study we will examine reflections and refraction from both the environment and other e:ts within the scene. - 5
;-z~ine
the image below. There are many reflections in t his scene that come either from other objects - e scene, or the environment. If we look closely at the toaster and coffee pot, we can see reflect ions :-the environmental image which makes us believe there is a room behind us. We also see the .:::tions of the coffee cups, glasses, plate, and bagel.
-= :::ountertop shows double reflections from the environmental lights to the coffee pot and toaster - e counterto p itself.
322
Chapter 12
Procedure Open the assembly. Open the Kitchen assembly found in the Chapter 1 2\Case Stu dy\Kit chen folder.
1
The individual parts have been put into an assembly that has a countertop t hat we will use as a piece of scenery. Appearances have been added to all parts and a kit chen environment has been added.
Change the viewpoint. Press the spacebar and double-click Cameral. This will be the view we will use for our fi nal renc=r
2
3 Open the PhotoView Options. Open the PhotoView Options and set the Preview render quality to Good. 4 View in OpenGL. View the scene in OpenGL. There are no reflections or refractions as these properties are not supported in OpenGL. The scene looks dull without any reflections and the lack of refractions makes the glasses only somewhat transparent.
Reflective and Transparent Appearances 323
------------------- --------- ---- ----- ------ ----------View in RealView. -_, on RealView. We now see =~ ection s from the environment. :...: not from the other models in --= scene. If you look closely at the -::2ster and kettle, you cannot see --=other models. You cannot even ?.:: t he reflection of the =,_.1tertop on which these items --=resting because it too is a -del and not part of the ••ronment.
Preview the rendered :-.age. -- sis just to see the progression ...= -eflections and refractions -:1 OpenGL to rendered image .:.F:::~re we begin to make changes. - =~ can
see the milk glass :-:ection in t he t oaster and _=::,e. as well as reflections from -.e other cups and plate. The -55 is now transparent, but -Fe is a black area in t he middle ....;::1e glasses. We will discuss the ~se of this and eliminate it with ..:::. ..:stments.
324 Chapter 12
7 Change cameras. Change the view to Camera2. This allows us to see the toaster, kettle and glasses a little better. Note that in the reflections on the toaster [1], we can see the kettle but it is not reflective, it is just gray. The milk glass reflection [2] is clear but we cannot see through all of it. There are three glasses in the middle of t he scene. We can see through a single glass; however, when there is more than one glass, it turns black. We also see similar results on the kettle [4].
Reflection and Refraction Options The number of reflections and refractions that will be rendered is det ermined by render quality sEAs the quality settings are increased, the number of reflections and refractions increases. ThesE are set internally in Photo View 360. Good Number of Reflections Number of Refractions
5
Better
Best
Maximum
4
8
10
9
9
11
Reflective and Transparent Appearances 325
3econdary Reflections ~en
we change render quality. the number of reflections changes according to the table above. To _-3w how this works. we will look at a simple example. -en the rendering ray from the camera encounters =-::;netry, it must determine if the appearance is reflective ·efractive. If it is reflective. another ray is cast from the .:: 1t on the geometry, based on the rule that the angle of --:::.dence equals the angle of reflection. -~e
reflected ray strikes geometry that is also reflective. "E -ay can be reflected again if the number of reflections is c;. to more than one. In the rendering above, only the first :='ection was calculated. because the render preview _...cClity was set to Good. That is why the reflected objects in ~ above image just appear to be gray.
Rendering Ray
--_s does not make the image very realistic because in the ~ sical world there would be multiple reflections. It would --::: be practical. however. to have the rendering engine _.::--: inue to calculate the reflections without limit. This could ~ into an infinite loop for situations where two reflective planar surfaces face each other.
-=.:a.y Tracing Depth e changed the render quality to Better, Photo View 360 -:;....d calculate four reflections. With fo ur reflections. there _-.::d be three additional rays cast from the reflective ....:aces. They are shown in blue.
a The illustration shows the angles of incidence and :=ection with reasonable precision. It is not meant to be e-""ectly accurate. It is on ly meant to illustrate the concept - ::dditional rays when ray t racing depth is used. -.: see this a little more clearly, we will use a simple setup --some props that are already in our assembly.
326 Chapter 12
8
Change configurations.
Change to the Reflector configuration and change the viewpoint to the Camera3. We are now looking at a corner of the counter that has a chrome version of the travel mug sitting i- of two mirrored surfaces.
9
Preview the render.
With the number of reflections set at one (render quality-Good), we can see the travel mug in the mirrors, but each is dull because the ray stops tracing after the first bounce.
10
Add reflections.
Change the render quality to Better. This increases the number of reflections to four. Now we have additional reflections where we are seeing the reflection of a reflection.
Reflective and Transparent Appearances 327
-.dd more reflections. _?;e the render quality to Best . This increases -_mber of reflections to eight. :::1 now see multiple reflections as the rays now -..: : eight t imes. Look closely at the areas :::ed by the arrows to see the multiple =-::ions of the travel mug.
'""hange to Maximum reflections. ~_ge
t he render quality to Maximum. This :ases the number of reflections to ten. While ~:-ing time went up significantly, the effect on "-:9ections is almost unnoticeable because t he -: -eflections are so small.
Change configuration. a-ge back to the Default configurat ion and change the viewpoint t o Camera2. - ge t he render quality back to Good.
328 Chapter 12
Refractions The t able showed t hat the number of refractions goes from five to 11 as we increase render qua tit. good to maximum. The res ult of having t oo few refract ions wilt be a black area in the transpare-;: appearance because the tight rays cannot go any further. Refraction increments are normally in multiples of two because when light passing through a transparent object is refract ed both at tr: surface and the back surface of the object. Looking at t he Top view of the kitchen, we can see several rays from the camera going through the scene.
1
2 3
c
Tracing each of the rays: • Ray 1 goes through just glass A. It must t herefore go thro ugh two layers of glass, the front and back side of a single glass. This means that it is refracted four times as it is refracted going in and out of a layer of glass. • Ray 2 goes through all t hree glasses and must be refracted 12 times. • Ray 3 goes through two of the glasses {Band C) so it must refract eight t imes.
b Camera
14 Select good quality. To see the difference, if we took at just the t hree glasses and start with a render quality of Good, we witt see several black areas. Where ray 1 passes t hrough the single glass we can see t hro ugh to the background because with the Good setting we have five refractions, which is all t hat we need. Rays 2 and 3 cannot go all t he way through, result ing in the black areas.
Reflective and Transparent Appearances 329
Increase quality. the render quality to Better. We now '?nine refractions, so ray 3 can also go through -..,e glass. Ray 2 needs more refractions so it is .Jiackc
~ease
~ ections
~c•
are now set to fou r and the ::=- ect ions in the toaster now show the other - ?-cts more clearly.
~
------#
Increase quality. ~:::-ease the render quality to Best. Because the ~oe r of refractions is still nine, there is no ;-z..,ge in the rendering.
=also do not see an improvement in the :: ..,ections as four was enough for the scene.
;
330 Chapter 12
17 Increase quality.
Increase t he render quality to Maximum. The number of refract ions is now the maximum available of 11. Because we need 12 refractions to get through the three glasses, we still have a black area even though we have two additional refractions.
Custom Render Settings
The number of reflections and refractions can be set to values independent of the render quality. Using the custom settings, both reflections and refractions can be adjusted from one up to 32. Note Setting the number of reflections or refractions to values above what is needed in the scFo: just increase rendering time wit hout any noticeable change in the quality of the output.
Where to Find It
• Photo View 360 Options: Custom render settings 18 Increase the number of refractions.
In the Photo View 360 Options, select Custom render settings. Change the number of refractions to 12. This will provide just enough refractions fo r all the glass surfaces.
Final render quality:
!Good RJ custx>m render sel:fn,;5
Change the number of reflections to 4. This is the same number as we had with a render quality of Better, which we saw was enough for this scene.
Numbero fre~
4
i&IIT i)QJ 1 '-
.....
Number ofrerracbcnl:
Change the render quality to Better. We do not have a need to increase the 12 IIDNJ_lj! t tl' quality above this point as all the other render settings were good enough at the Better setting. Pushing the quality higher would increase the render t ime without any notic::3.. improvement in the rendered output.
Reflective and Transparent Appearances 331
Preview the render. --€ preview shows that the black has been - - inated and the preview time is much less than as when the quality was set at Maximum.
332 Chapter 12
20 View the final render.
With everything set up, we can now do a Better quality rendering to complete the case study. We c.= using Better quality because we saw that with the exception of refractions, neither Best nor Maxi~ quality improved the rendering but took much longer to render.
Alternate Choice An alternative to changing the render settings is to just change t he model slight ly, either by moving -;:~ positions of the glasses or moving the camera. 21 Change settings. Clear Custom re nder settings and set the render quality to Better.
Reflective and Transparent Appearances 333
:.: Move a glass . .'ake a slight adj ustment to the posit ion of glass .:: 'JY moving it to the right. :3 Preview the render. --e problem is solved and t he dark spots have :een eliminated by reducing the number of s..:faces a light ray must pass through. :- Save and close all open files.
334 Chapter 12
Liquids In the previous case study, one of the glasses had a liquid inside the glass. There are two requirerr.eto show a liquid in a container. First, the liquid must be created as a separate part or body to insure that it can have its own appearc Second, you must also make sure that the liquid does not sha re a surface with the containe r bec.::.:x SolidWorks shows shared surfaces with streaks. One easy solution is to create the liquid such tha: fills the container to the desired level. Then apply a scale featu re to just the liquid part or body to enlarge it by a small amount. A scale factor of 1.05 is usually sufficient to overlap the bodies and pre ? the streaking. In the following images, the image on the left does not have an overlap between the liquid and conta ~.... The resulting image shows a lot of streaking artifacts at the liquid/glass interface. In the right imcE-:;. the liquid has been scaled to 1.03 to overlap the su rfaces .
Important! Both of these previews were done at Better quality because there are six refractions
required to have the rays go through the front and back glass and the liquid. If you were to use Gooc. the liquid would be opaque. The glass part has been provided in the Case Study folder of this chapter.
Reflective and Transparent Appearances 335
:C::ustics .2....stics are the condition where light emitted from a light source goes through one or more specular =- ections or transmissions, hits a diffuse surface, and then is diffusely reflected to the eye. --e ;ocusing of light from the diamond, the light patterns on the bottom of a swimming pool. and t he e= ection from a cylindric surface are some examples of caustics.
-:pes of Caustics --Ere are four types of caustics that can be calculated in a rendering: Indirect caustics 1direct caustics are based on the sources of indirect illumination. This would be from the image:Jased lighting. Direct caustics Jirect caustics are calculated based on direct lights. either spot or point lights. Refractive caustics =tefractive caustics are the result of light being refracted through transparent objects. Reflective caustics ~eflective caustics are the result of light reflect ing off of reflective surfaces.
:=the four combinations that can be created with indirect/direct and refractive/reflective, there are considerations:
~:Tle
Indirect-Refractive Indirect-refractive caustics are always calculated in Photo View 360 and require no user input. Indirect-Reflective Indirect-reflective caustics are currently not calculated in Photo View 360.
336 Chapter 12
• Direct-Refractive and Direct-Reflective • Direct caustics must be selected in the PhotoView options to be calculated. • The effects are only seen in the final render and are not processed in the preview windov. • There must be at least one direct spot or point light enabled for direct caustics to be calc • A real floor appearance is required because caustics will not calculate to a shadow f loor. Where to Find It • Photo View 360 Options: Direct Caustics
Caustic Settings Once direct caustics are enab led, t here are only two settings fo r the amount and quality of the E' Direct caustics are controlled by the amount of photons coming from the direct light sources. • Caustic Amount Caustic Amount sets the number of photons used in the scene. The caustic amount sets the i"'~ of photons which is then divided by the number of direct lights that are on in Photo View 36C number is proportioned between the lights based on their power so t hat if there were two c -E~ lights with one light at twice the power of the other. the more powerful light would get twicenumber of photons apportioned to it. The range of Caustic Amount is from 100,000 to 10,000,000. • Caustic Quality Caustic Quality controls the number of photons sampled at each pixel. Smaller va lues result - _ grainier caustic effect and higher values produce a sharper effect. The range of Caustic Quality is from 32 to 256.
Reflective and Transparent Appearances 337
:ase Study: Caustics - .s case study, we will use caustics to create the bright areas arou nd t wo glasses. These bright areas be caused by the focusing of light as it is reflected or refracted by t he glass.
....... j
:tedure Open the assembly. file Ca ustics assembly.sldasm found in the Chapter 12\ Case Study\ Caustics folder.
':E:1 t he
-~s
assembly has two glasses placed on a flat surface. Several lights have been added but they are - =ntly turned off. ate appearances. c;Jpearance laminate floor2 has been applied to the part Board for caustics.
--=
--2 appearances
clear glass and brown glass have been applied to the two glasses.
338 Chapter 12
---- -- ------------------ ------- - -------------------- -3 Note lighting. The direct light for t his assembly is a point light. located behind and above the model simulating a light over the counter on which the glasses are sitting. The remaining light comes from the environment.
4 Check PhotoView 360 Options. In t he Photo View 360 Options, make sure that Direct Caustics is cleared.
5 Render the model. As direct caust ics are only visible in the final render, we cannot use the preview window, so all images are from the final render. We can see the shadows from the point light, and the shadows are uniformly dark. There is no focusing of light coming through the glass.
6 Enable caustics. In the PhotoView 360 Options select Direct Caustics. Set Caustic Amount t o 100000 and Caustic Quality to 32. Click OK.
Reflective and Transparent Appearances 339
~ender the
model. 2.1 see some focusing of light around the - - :::f the clear glass and t he shadows are no ~-uniform. The focusing. however. is minimal. -:Jrove t his, we will increase the amount of ..cs.
::hange settings. Caustic Amount to 10,000,000 but leave Quality at 32. This is the maximum value ::.austic Amount.
~c
~ender the model. s ::u-ne the caust ic highlights are much brighter. : r -nore focusing is evident at the bases of the ~=s and there is a focused ring around the ""::..,_ ;:r edge of the shadow for the smaller glass.
=:2ustic highlights are very blotchy at this -: ~ecause the Caustic Quality setting is at - :.~m. To see the effect of t he quality setting, . increase it to maximum.
rhange settings. - :: Caustic Amount at 10,000,000 and cha nge ..:o..:stic Quality to 256. ~en der !E:
the model. s now less grainy in the shadow areas.
340 Chapter 12
12 Compare results.
In the Final Render window, you can switch between the different results. On the left is the irr::.:,without direct caustics and on the right is the image with direct caustics at maximum settings
13 Save and close the file.
dvanced Appearances
~~o n
successful completion of this chapter, Ju will be able to: Create custom appearances . .;djust texture mapping for different surfaces. J nderstand the different surface finish options. Jownload appearances from Luxo logy. J se Modo appearances.
342 Chapter 13
Advanced Appearances While many good appearances are provided with SolidWorks. some users have requirements ~c appearances that are not provided. In this section, we will explore methods to obtain and/or c-;:.,. additional appearances. Appearance Files It is important to understand where appearance data is stored and how to mod ify it. As in mos: = of SolidWorks. files and databases supplied with SolidWorks cannot be modified. This is done pL--:. to prevent users from losing custom files when new versions of SolidWorks are installed. The -_ most used for custom appearances is to start with one of the supplied appeara nces. modify it. a-c save it as a new custom appearance.
When appearances are applied to an assembly, part, body, feature, or face, t hat appearance is sa the assembly or part file. Any modifications to t he applied appearance only affect that specific of the appearance. Things that are part of an appearance file: • What does it look like? In a procedura l appearance. this is the mathematically defined pattern. In a texture. this is a s;::. image file. • How is it mapped? With procedura l appearances, you do not have control of this. For a textu re, we have differemapping controls. • How does it react to light? These are the illumination controls. • Special effects A displacement map is a special effect as it changes the physica l characteristics of t he geo-..-bump map is an effect to make the surface look like something it is not. Image Files When an appearance, decal. or scene is saved wit h a part or assembly. all the appearance data E in the part or assembly file with one exception: the image file. As a general rule, image files C": saved in *.p2m or *.p2s files because of their size. This leaves t he image file as a linked refe-t:r" While this method reduces the file size of the part or assemb ly. it also red uces the porta bilil ~ must remember to send the image file(s) when sending the part or assembly to someone e[s=
Advanced Appearances 343
-=
t o Find It
:-::ions: Document 1perties, Model :..splay
Syst= Options J Doa.ment Properties L
D...fttng Standard ttl Annotations ~ Dimemion!f Virtual Sharps 00 Tables Dl!t•iling Grid/ Snap Units
•t::::eum
Mate:rial Properties
Image Quality Shel!t Ml!tal Plane Display DimXpert Size: Dimension l ocation Dimension Ch;,in Dimension Geometric To[erance Chamfer Controls
Display Options
Model/ reab.J'e oolors Shacing
Hidden Bend
Boss Ca\oity Chamfer
cut
Ad·:.3!1~erl ...
CuHoft CUt·Strl>ce lcut·S\o\'eeQ
[
Reset Colors To DefaUts
----l
ICUrvab.J'e... j
::-J
n Apply same color to ..-reframe, ~and sNded
C IIIOOfe feature colors Go To System Colors [;l]Store appearance, decal, and scene cklto in model file (Note: w~ inaease file size ltJAutomoticaly scn1e appearance Wxt>..res, surf= Mishes, and decals to the model size
344 Chapter 13
Overview There are t imes when the existing appearances supplied with SolidWorks do not meet our rer:.=. needs. In these cases we can get appearances from a variety of sources and add them into ouSolidWorks. To catalog these new appearances, we can add custom folders to the Task Pane.
Case Study: The Chess Set We will render the chess set provided in the Case Study folde r of this chapter. Where appearcnot provided with SolidWorks. we will import from other sources or make our own.
Stages in the Process The key stages in the rendering process for this chapt er are given in the following list: • Create appearance
Any image file of the types supported by SolidWorks can be used as a texture ap pearance.
Advanced Appearances 345
::stem appearance folders :=:e user-defined appearance folders to organize the new appearances . irE
.:£just illumination ::::arances have multiple controls to affect the way they interact with light. These adjustments can :-:une t he look of the rendering.
:pearance Library :.Vorks organizes appearances in a library consisting of folders. Each appearance is a separate f ile _-.::.. :1e *.p2m extension. The directory is located in the SolidWorks installation folder :solidworks \ data\ graphics\ materials . ..s:;;--defined Appearance Folders _ z--::!efined folders can be created to st ore special appearances t hat we define, keep appearances of --g.e project togethe r for consistency, or reduce the number of open folders necessary for a big
- -::t. ~::n
appearances can be stored in any location you choose; however, good file management practice : 5ave all custom f\les outside the SolidWorks installation path to avoid losing them if SolidWorks is · ~:ailed or upgraded. One solution is to create a directory called SolidWorks Common with sub': :-::ories for appearances, scenes, and lights.
-a:i Images ~=s
used for texture appea rances are normally tiled. This means that a single image is repeated and 2d t ogether to form a larger, repeating pattern.
"E s:Ze
e
of these f iles is usually small, generally 100 to 200 pixels on a s ide, but may be as large as 4096 :: s on a side. They do not have to be square.
346 Chapter 13
If they are to create a seamless pattern. the image must have a right side that fits smoothly agains: left side. The top and bottom must fit as well.
Seamless t ile pattern
Nonseamless tile pattern
Pattern breaks
Advanced Appearances 347
::c.rrces of Additional Appearances -""E-e are numerous sources for additional appearances . .'odify an existing appearance, either procedural or texture :-eate an appearance in an image editing program, such as Microsoft Paint, Adobe Photoshop, Jasc® :!oint Shop Pro™. or CorelDRAW® Scan an image and edit it with image editing software :::~wnload an image from t he web ::;ownload Modo®materials from t he SolidWorks Asset Sharing site Modo materials are the equivalent of SolidWorks appearances. but are not equivalent t o J'Works materials as they do not carry any of the physical properties of the materials. 2
:tedure
-= .'lill start with the chess board. There are three different appearances to add: one fo r the board, one :'le border around the squares, and finally the checkerboard pattern itself.
Open the part named Chess Set Board. -- s board is 460 mm square. We want to put a checkerboard pattern composed of SO mm squares in t:: ::enter plus an 8 mm border around the pattern.
Find an appearance for the Board.
-=• looking through all the folders in the Appearances folder. we are not satisfied with any of the -c :es. so we go to the web and search fo r textures. At one of the sites we find a few that are - ::--esting. We right-click the individual images and select Save Picture As.
,;: -ave saved several files to the Chapter 13\ Case Study\Downloaded Image Files folder as
-:::images. We can save them as either JPG or BMP files.
348 Chapter 13
3
View the image files.
_==:.:;
Use Windows Explorer to examine the image files. Look in the Ch apter 13 \ Case Study\ Downloadedlmage Files fo lder.
• [ +t Jl s~"rrh Dcwn!oodt::llmage F•:es File
Edit
Orgamze ...,.
View
Tools
Jd Preview
Help "'
Share with •
Shdeshow
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E·mail
Burn
New fold er
~ Photoreari~ic Rendering
... Chapter2 Chapt
,.o Chapter9 ChapterlO
I~
Chapterll -
Chapt.r12
.,. Chapt
Downloaded Image Files
marblOl.bmp
...., Chapter14
Marble Jmage.bmp State: ~ Sha red Date mo d1f1ed: 3/ 10/200811:07 AM B1tmap 1mage
4
Marble lmage.bmp
metaKJOl.bmp
Dunen!i10ns: 160 x 120
S1ze: 563 KB
Close Windows Explorer.
Creating Appearance Folders The appearance folder structure is similar to the standard Windows file structure. Appearance folc~ can be created in Windows Explorer and function the same as library feat ure fo lders in SolidWorks
Folders are color-coded in the Appearances, Scenes, and Decals tab of t he Task Pane: • Yellow 1!:7 = predefined appearance folders • Blue (!7 = custom appearance fold ers
:s
::.,..
Advanced Appearances 349
:reate Custom Folders :::Jstom folders can be creat ed to st ore all appearances fo r a project together or as a place to keep :-..:stom appearances t ogether. Depending on our workflow, we can create custom folders before =-eating custom appearances, or we can do it as we create the new appearance. - :J
create a custom folder: Creat e a new folder using Windows Explorer. Set the path to the folder in SolidWorks Options, System Options, File Locations. Click New Folder e'} on the Appearances, Scenes, and Decals tab of the Task Pane.
Specify a new folder and path when creating a new appearance. _ -.ccessing Custom Appearances -=have the custom appearances available, the path -::the location of your files should be specified in -e SolidWorks Options.
Syst= Options [ Docunent Properties! General
Show folders fur:
Draw ings
[Document. Tetl1)1ares color swotches
Area Hatch/Ftll
Costing Repo
Colors
::reate Appearance -::;use an image fi le as an appearance, we will st art .th an existing ap pearance and modify it. We can :=this by applying an appearance to a model : ement and t hen editing and saving t he ==?earance to a new name.
Sketch R
Perform ance
Assemblies External Referenc es
Default Tem plates
File locat,ons: FeatureManager Spi n Box Incremen ts
View
.e can also copy and paste an existing appearance, - en edit the copy.
Backup/ Recover Touch H.ole Wizard/Toolbo.x
Fire Explorer
Jeleting Appearances or Folders -::;Jearances or folders can be re moved from the .::1ary by selecting the appearance or folder and:
...............
Display Style
Search Collaboration Messages/ Errorsf\!Varning s:
CUstom - Decals
Custom - Sce11es Custom Property Files Design Checker Files Desig1 Jotrnal Template Design Library Dimension/Annotation Favorites DimXpert Callout Format FHe Drcflin!l Standards Function Builder Seg:nent Type Definitions Hole CaMout Format File Holt. Table Templates Hole Wizard Favorites Database Line Style Definitions Macros Macro Fe•ture Files
~
l.:.
" I I
"'
~1aterial Databases
Punch Table Template Revision Tab:e Templates Search Paths Sheet Formats Sheet Metal Bend Line Note File Sheet Metal Bend Tables Sheet Metal Gauge Tab!e Speling R>lders Sus!ainability ReportTemplate Folder
~Te~~e~ . ___
.
f· .
350 Chapter 13
Appearances Folder Location When we create custom files for use in SolidWorks. it is generally a good idea to locate the folce:outside of the SolidWorks installat ion directory. One approach is to create a directory named SolidWorks Common with subdirectories for each type of custom file such as appearances. sc: decals. The advantages to locating the custom files outside the SolidWorks installation directory are: • Prevent loss When you do a clean installation of SolidWorks. all files in the SolidWorks directory may be c? If all the customized files are stored outside t his directory they will not be deleted and still.;:;: available for use in the new installation. • Ease of movement When you change computers. it is much easier to copy all the customized files if they are in C"'=
5 Create directories. Using Windows Explorer. create a directory named SolidWorks Common . Create subdirectories:
SolldWorks (
om;:;w'<
Custom AFr:c=a== Custom Decals Custom Scenes
• Cu st om Appearan ces • Cu stom Scenes • Custom Decals
6 Set file locations. Click Tools, Options. Select System Options and t hen File Locations. Add t he path to each folders to the appropriate folder type.
of ~
7 Try alternate method. Another way to set the file location is direct ly from the Appearances, Scenes, and Decals tab in::-Pane. On the Appearances, Scenes, and Decals t ab select the Scenes folder. Click Add File Location e; from t he Task Pane toolbar. Choose the Custom Scenes folder you creat ed in step 5 and click OK. If you examine the File Locat ion for Custom Decals in SolidWorks Options. you will see that th:: has been added.
Advanced Appearances 351
Examine the Task Pane. --e:: • ew custom folders are now listed on the Appearances, Scenes, and :e:a1s tab. The folders are blue because they are custom folders.
cw
o=::
«
Appearances. Scenes. and Decals
ffJ <::!
+
'" We did not specify the path to the Custom Appearances folder ::::!.Jse we will do that by anot her method, just for demonstration. If ::..... check the File Locations option, there should be no path listed for :.:stem Appearances.
31:
Copy images. ::-:;y all the images from the Downloaded Image Files folder to the ::.:stom Appearances fo lder.
~
e Appeanoncos(color) • ...e Metal +" vj Pamted ff' ...e Rubber ~ Plastic
I+ ~ Glass ~ Sohd ·+; ~ L
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the Face .: have to add one appearance (marble) to the entire part, then two additional appearances to t he ..:::;=~er surface of the board, one to make the checkerboard pattern and another t o add the border around - e first pattern.
Sce:oes
-::: apply different appearances to a face, the face must be split into smaller faces. :;; ::-; WE :'E
C.:: L i:·:-:1:
: Split the upper face. :::-eate a sketch on the upper fa ce. ::-aw a rectangle 400 mm x 400 mm :entered on the origin. :::.ick Split Line ~. or click Insert, Curve, Split Line.
~ :~.: s
f!f.:jz
352 Chapter 13
For Type of Split, select Projection. Use t he curre nt sketch and select t he upper face of the board as the face to split.
Click OK. 11
Split the border.
The upper face has now been divided into t wo faces . Next we need t o split the outermost of the two faces. Open a sket ch on the up per face and create an offset 10 mm to th e outside of the 400 mm square face.
Advanced Appearances 353
_ Split line. _s? Insert, Curve, Split Line to split the
:ce.
~ View results. --e ::Jriginal upper face is now three separate :::::::s which are shown here in blue, red, and :: -:>w for clarity.
Add appearance. =will start by adding an existing appearance t o the entire part. The appearance we select will have a ~ :2 shiny appearance to make the board look like it is polished marble. -==the appearance whit e high gloss plastic to the entire part by pressing and holding the Alt key ::::-:: dragging the appearance into the graphics area. By using the Alt key, the appearance's properties ::::=opened in the PropertyManager so you can edit them.
354 Chapter 13
15 Edit the appearance. Select the Advanced tab and t hen click Browse in the Appearance section of the PropertyManageNavigate to the SolidWorks Common\ Custom Appearan ces folder we created. Select All Image Files for Files of type. Select the Marble Image.bmp file. Click Open. (f/l Open
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marb002.bmp
marb015.bmp
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Advanced Appearances 355
_ Save the appearance. S=.-e the new appearance to --= Cust om Appearances ': ::er as Custom Ma r ble.
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- e Appearance File --t:re are now two files for t he appearance Marble - ag e: the image file Marble Image.bmp and the :=Jearance file Custom Marble.p2m. -=see what is in an appearance file, you can open it in a =r.: editor such as Notepad. -_- any stock texture file, t he contents of the file will be s.1ilar t o that shown in the image. The path t o the image · :: used as t he texture is shown along with a list of the ::::::>earance sett ings.
J
Save
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polished beech 2d. p2m · Notepad
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color "texture "col or _t:exname" "ImageS_ _ _ ,
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356 Chapter 13
When we create a custom appearance, there will be additional information in the to p of the file, but what is import ant to us is t hat the path to the image and the sett ings are listed at the end of the file.
"'I 1
m.uble unage_l.p2m · Notepad
Filr: Edit Format o-=v;':''""','='H-':-ei:O,p=~,=~=~:-:c- color text:ure "color_texname" "c: \s ol~
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17 Examine the folder. Using Windows Explorer, examine the fo lder Custom Appearances. It should have the new appearance file Cu stom Marble.p2m and the image fil e marble image.bmp. 18 Examine the model. The new custom appearance is applied to the chess board.
Create the Checkerboard Pattern After searching the appearance library, we find a checkerboard pattern. but we would like a blac· red pattern rather than black and white. We will make a new appearance from scratch.
19 Start Microsoft Paint. Any image editing or paint program could be used for the following steps. We will use t he Micros: Paint program because of its universal availability and also t o keep things simple. Click Start, All Programs, Accessories, Paint.
Advanced Appearances 357
e Remember that this book was written based on Windows 7. If you are using a different version of 1dows, the sequence necessary to start the Paint application may be different. Also, older versions ::= =>aint will have a simpler interface.
: Size the image. :- the Home tab, click Resize.
~
Resize and Skew Resize
By. +-+
Percont..g e
PIXels
e will make the image square. Any size will do as long as it is square. --e actual dimensions are just fo r convenience.
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5:: Resize to Pixels and the width and height to 400.
Dr
Vertica~
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[J] Mt!rntain aspect ratio
: : k OK.
Skew (Degrees) t -t
J
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Divide the image into four squares. _se the Line tool I' with the thinnest line weight to draw :.
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358 Chapter 13
..
22 Create two black squares.
Use the Fill with color ,.,: tool and a foreground color of black to make the upper-right and lower-left squares black.
Unbtfed - Patnt View
0 Clipb oard
r=
r:f'l
Image Tools
~
Brushes
~ Shapts
To set Color 1 {foreground color), select Color 1 and t hen click the color square in the color palette.
..
23 Create two red squares.
24 Save the image.
Click t he Paint icon
IIlii and select Save as.
Untitled- Paont View
0
.
--··
Clipboard lma.ge
S.•.t
0
50%(-)
Set the foreground color to red. Use t he Fill with color ,.:_ tool to make the remaining squares red.
--
,:_A Tools
~
Brushes
£{? Shapes
-·
Name the file B-R Checker Pattern and save t he file as a 16 Color Bitmap file in the SolidWorks Common\ Custom Appearances fo lder.
50% (- )
0
Monochrome Files If you make images that are only black and white, it is tempting to save t he file as a monochrome:. This would be a significantly smaller file size than a 24-bit colo r image (6 Kb versus 130 Kb). He _ SolidWorks does not accept monochrome fil es. A16 color bitmap works we ll and still keeps the!: : small {78 Kb).
Advanced Appearances 359
~lor
Models :;st color images conform to either RGB (Red, Green, Blue) or CMYK (Cyan, Magenta. Yellow, Black) or models. The computer monitor works in RGB but the printing process works in CMYK. When "'"""::Orting graphics files, they must be in RGB because SolidWorks will not open files that use CMYK.
=
- _- a further explanation of RGB and CMYK color, see Appendix A.
.:; Close Microsoft Paint. e are now done with the Paint program. Click the Paint icon l:ilil and select Exit. _: Add the checker pattern as an appearance. :.e ect the top center of the board to select t he face inside the split lines. This ::. :.e area where t he checkerboard pattern goes. : :< the to p level Appearances folder in the Task Pane. Press and hold AIt and -...;)le-click t he appearance t exture. This is the default appearance fo r t exture -c:erials. The PropertyManager opens, showing the pro perties of the default .=::earance. --~er
Image, Image file path, click Browse and navigat e t o the SolidWorks :.::nmon \ Custom Appearances folder. Select the B-R Checker ?-,c-..ern.bmp file and click Open. _-::ier Appearance, click Save appearance. Save the appearance file ::=:- 3 Checker Pattern.p2m to the same Custom Appea r ances folder. -~
Je Sa-.e As
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360 Chapter 13
27 Apply the checker pattern.
Mapplng
With the PropertyManager still open, select Advanced button and click the Mapping tab. Using the Rea lView preview, adjust the scaling and position of the ap pearance to get an 8 x 8 pattern. The correct position should be achieved with: • • • •
Width: 100 mm Height: 100 mm Offset Horizontal: so mm Offs et Vertical: 0 mm
s -.ze/Orientation
[./]Axed aspect ~
[J At width to selodor L] At heiglt to ..rc-
a
Note Why the width and height of 100 mm? The area we are applying t he pattern
to is 400 x 400 mm. Each instance of the pattern gives us two squares wide and high. Therefore. to get an 8 x 8 pattern we need four instances of the pattern, so each pattern instance must be 100 mm wide. Why the 50 mm horizontal offset? So t hat the pattern starts with the correct colored square in the correct corner. This is required because the chess pieces are already set up in the assembly.
100.000mm
[0 lDO.OOOmm
I
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Advanced Appearances 361
....
Add the border. - ghlight the board, we are going to add a ::cen inlay strip around the board. We have ::=:dy added a split face, so we just have to :..:: .::n appearance. - :oct the face between the checker pattern -..: :he marble. Add the appearance ....:.:Shed t eak from the :=same\ Wood\ Teak folder.
... ...
Examine the model. :.:.: 11 in on the corner and render the model. We have a problem in that on two sides, the wood grain .:=6 across the inlay strip instead of along the strip. --sis caused by the fact that we applied the appearance to a single surface, so the wood grain goes -,;: same way on the entire surface. To correct this problem, we will split the face int o four pieces, then ~-Y t he appearance to two sets of parallel sides.
Split the face. : 2te a sketch that converts two edges of -c .1lay trim face and two additional lines to _e off the ends like a miter joint.
~
so= ::he sketch to split the face. ~ ~
The appearance has been removed to -::.· e it easier t o see the sketch.
liil
a
. iii
~
li/J
362 Chapter 13
31 Split the face again. Repeat t he process on the side opposite so that the original inlay t rim face is in four pieces.
32 Add the appearance. Add the appearance to two trim strip faces on opposite sides of t he board.
Because we picked a face, the mapping type will be Projection. Select ZX for the mapping direction to make sure the direction is normal to the selected face.
Set the mapping height and width to 75 mm.
r Ha .:.z.; pp::;: in:=, g ======fi ~
IProjection :J Qf ~~======~ ., -
O.OOOnm
$'1Ze/Orientat:ion
[l
J Fixed aspect ratio
fl Fit ...idtll to seledxr ['J Fit hodlt to seleaxr
6 [0
7S.OOOnm
7S.OOOnm
Aspect ratio: 1.00 •
<& ,o.oodeg 1 '
,J MiTor horizont;l. .__] MiTor verticaly
Advanced Appearances 363
: Repeat. -=-c-::eat the procedure and add the same -.:earance to the remaining two sections of ::.v strip. se the Mapping tab to rotate the ::"Jearance go degrees. Preview the corner. _s.e one of the previews to see how t he "":::Jearances look in the corners. The inlay - ;p should look like a mitered corner. : Save the part. estill need to adjust the appearances further because they do not yet appear to be shiny enough. We .• discuss t he other characteristics of illumination later in t his chapter and t hen we will come back t o - s model. - : Open the Chess Set assembly. --e assembly was created using multiple instances := the six basic pieces: K ing Queen. Bishop, -:--,ight , Rook, and Pawn. - "ere are two of each modeled piece, one White ?"d one Black. but no appearance has been :ssigned to the part. ==ch piece has one Coincident mate to hold it to the :nard. Each piece can be moved on the board. te You will get a mate error for each of these coincident mates because the top surface of the Chess Set Board has been split. so its face name has changed. To fix this problem, right-click the Mates =::1lder and select Replace Mate Entities. With this command. you can replace all the missing faces at : 1e t ime. Setting the Pieces =erfect alignment was not desired because real pieces are set by hand. We can move a piece and see :1e checker pattern.
364 Chapter 13
37 Preview the rendered assembly. The assembly is rendered but all the pieces are rendered in the default appearance color. We have just a plain white background, but the shadows give the appearance that the board is sitt ing on a white surface.
Assembly Structure The FeatureManager design tree shows t hat half the pieces are named White and the other half are named Black.
We could apply the appearance at either the part or assembly level. Because the assembly is already put together, it may be easier to apply the appearance at the assembly level. One consideration we must make is how the appearance will be mapped, and this is determined by the type of appearance we choose. If we use a procedural appearance, where no mapping is required, then applying the appearance in the assembly would be easy as we could select all the black pieces and apply t he appearance to all of them at once. If we have to use a texture-based appearance, then we have to adjust t he mapping, and this would be easier at the part level as applying the appearance to one part, like a pawn, applies it to all instances. In this particular case, we are going to apply a marble appearance. As there are currently no procedural marb le appearances, it will be easier to apply t he appearance in the part where we can see and adjust the pattern more easily.
~ Chess Set (Ddault) @] Sensors Ann otations .: Front Plane <$( Tof> Plane <$( Right Plane 1. Origin [jl ~ Chess Set Board& l:ti ~ (-) Queen Whl!e ~ ~ (-) Bishof> White 1±J ~ (-) Kni.g ht White [jl ~ (-) Knight White (<' ~ (-)RockWhite S ~ (-) RookWhite< l> r.fl ~ (-) PawnWhite<1> $ ~ (-)Pawn White (<'; ~ (-) PawnWhite<3> S ~ (-) Pawn White<4> S ~ (-)Pawn White<5> f.il ~ (-)PawnWhite<6> [+l ~ (-) PawnWhite<7> ~. ~ (-) PawnWhite<8> r} ~ (-)King Black ti:l ~ (-)Queen Blade f!-: ~ (-)Bishop Blade<:> !±, ~ (-) Bishop Blade $ ~ (-) Knight Blade ~ (-)Knight Black •il ~ (-)Rock Blac1<<2> ffi ~ (-)Rook Black<3> l'f1 ~ (-)Pawn Black 1'6 ~ (-) PawnBiack ~ (-) Pawn Black<3> tt: ~ (-)Pawn Black<4> [+' ~ (-J P•wnBiack &' ~ (-) Pawn Biack<6> ~~ ~ (-}PawnBiack<7> [<' ~(-) Pawn Black &:. @@Mates
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lP
Advanced Appearances 365
trid Appearances :J appearances are a mix of cha racteristics from both procedural and texture appearances. They -:::have an associated image file like textures, but can be mapped and scaled to t he model. Hybrid -:t::-ances can also have a color overlay that will change the overall color of t he appearance. _
_ ant to use a white marble appearance fo r the white pieces and a black marble appearance for the ..... ;:>ieces. If we look through the appearances that come with SolidWorks, we see t here is neither · 1or white marble, so we will have to create a custom appearance from something that already .s:s
- c:-om Hybrid Appearances : .ke texture appearances where we can create t he appearance from an existing textured :.::arance and change it by using a downloaded image, custom hybrid appearances can also be created ~ existing hybrid ap pearances. c::Jpearances provided wit h SolidWorks cannot be modified until t hey are embedded int o a file. Once ::edded, they can be modified, but t he changes only apply to that particular file. ::-eate a custom appearance that can then be applied to our parts, we must make a copy of an existing ..:Earance into one of our custom folders .
.:c-."E Appearance ~c Save
Appearance command can be used to make a copy of an existing appearance file . The new file - .::::e saved to a diffe rent location and t hen modified separately from the original file.
· :-e to Find It -:Jpearance PropertyManager: Advanced, Color/Image, Save Appearance
Add appearance to the black pawn. ::::.::1 one of t he black pawns in its own window. "'?Ss and hold the Alt key and double-click t he appearance blu e v ein m ar ble polished fo und in the ~.:J.e, Architectur al, Marble folder. -~rid
Appearances Colors
- :;-id appearances have two color selection boxes listed as Dominant Color ~ Secondary Color. The Secondary Color does not perform any action and is a ~ :;over from previous versions. It will be removed at some point so depending ~ ..our version of SolidWorks, it may not be visible.
.~v•v•
I,;;P;;;Iiliiiiijiiiiii ;:P ··~~~~
366 Chapter 13
The Dominant Color does not actually change one of the colors of the appearance; rather. it ad:::: :. to the color pattern that multiplies t he dominant color with the color of the existing appearar::. effect of changing the dominant color can be seen in the top four sets of images below. The fi~ shows that changing the secondary color has no effect on t he final color of the appearance.
r-:.solor_____
I~ Iil][
.. stmdard
~J
~~ ~ p;.o~r-
/ ~[stm<~ard
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~~ ~
Advanced Appearances 367
~ Eo"lo - .- Change the color. .::'ge the dominant color to light gray by clicking ' / 1 1 -e Dominant Color box and then selecting the ...P : T :: color square shown. liiiJ~~-d ::::J ~ --e rendered appearance will now look like this: ~~~
~
-ttz,
L£Jih~
Custom c:ololt
rrrrrrr r r rrr rr rr
[
Dome Custom Colen~
[" OKJ I Cmcd I
- Save the appearance. e want to save this as a custom appearance so that it can easily be applied to the other black pieces. ::.:-the appearance properties, click Advanced and select the Color/Image tab. : ::k Save Appearance and save the appearance as custom black marble polished to the :'i..:Stom Appearances folder in SolidWorks Common.
Adjust the appearance mapping. - ·:e look closely at the model. we can see several lines where the appearance is ;:: continuous. This is because the default mapping is Automatic. As discussed - ::::hapter 6, this method applies the appearance by projecting it from the three :--nary planes. ·- 11ore appropriate mapping would be cylindrical as this part has a central axis.
=::it the appearance and change the mapping to Cylindrical using XY for the axis ~ ~ectio n.
Also adjust the height and width to 2.5 in.
te The choice of 2.5 inches for the mapping size is subject ive, but we will use -:s value again so this is an easy number to remember and enter.
368 Chapter 13
42 Examine the model. This has partially fixe d the problem as there is now one vertical seam in the appearance. This is good enough to use as we can always orient the parts so the seam is away from our view. We have a new problem with this mapping as it causes radial lines at the top of the model where the surface approaches horizontaL To fix this, we will apply a second instance of our cust om appearance and map it differently.
43 Apply the appearance. Select the surface shown and apply the appearance custom black marble polished. Adjust the height and width to 2.5 inches. 44 Examine the preview. This is better but not perfect. At this point the question becomes one of the quality required. If we were rendering this one piece full screen, it might not be good enough. But in the rendering of the entire chess set, where each piece is very small, it might be good enough. The only way to tell is to render the entire chess set and evaluate the results.
45 Change back to Edit Assembly. Press Ctri-Tab to change the active window back to the Chess Set assem bly. Render the image. We can see that the chess pieces are so small compared to the overall image that we do not need to refine t he mapping further.
Advanced Appearances 369
.: Add appearance to remaining black pieces.
:E ect the remaining black pieces in t he FeatureManager design t ree and apply the custom black =..arble polished appearance t o all of them at the component level. . - Create a test render.
=:c-.der t he assembly and evaluate the :r::earance to see if more refined mapping ~ -equired. -.: : he image will not be printed in a large 2 . we will leave the mapping as it is .
.:: Examine the DisplayManager. --~ OisplayManager shows that the appearance is att ached to all the : ~(k parts. For the pawns it is attached to the part file and for the other -.c;ts it is attached to the components of the assemb ly file.
Sort order:
li"ierarchy
•J
t= ~
Components 13 ....) custom black marble pofished . ~ Rook Black_&-2@Chm Set_& '% Knight Slack_&-2@Chess Set_& '% Bisho~ Black_&-2@Chess Set_& '% Bishop Black_&-l@Chess Set_& '% King Black_&-l @Chess Setc& '% Knight Black_&-l @Chess Set_& '% Queen Black_&-l @Chess Set_& Rook Black_&-3@Chess Set_&
- ~, change we make to the custom black marble polished ::::::::eara nce embedded into the black pawns will not be applied to t he - er black parts.
'%
t;'· I:JI Face (+1- , } custom blatk marble polished<2> I£
1' b-r checker pattern
j
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&• -J co(or + - marble image
370 Chapter 13
Modo Assets Another source of appearances is Modo, the program at t he core of Photo View 360. If you own'. you can use appearances provided with Modo and its many kits, or you can create appearances Modo and use them in Photo View 360. If you do not own Modo, but are a SolidWo rks Subscript:.customer using SolidWorks Professional or Premium, you can download many appearances fror ~ SolidWorks Asset Sharing site.
Many of the Modo assets are named differently from SolidWorks, so in some cases t here may ~ confusion. In SolidWorks, visual assets are called appeara nces, while in Modo t hey are called ma-.=As already noted, the term material in SolidWorks refers to the mechanical properties of a comp::_,.not its visual properties. Using Modo Assets
Before downloading or creating custom appearances, you shou ld create a place to sto re them s:: are easy to use in SolidWorks. In our case, we have already created the SolidWorks \ Custom Appearances folder to save c_.. custom appearances. 49 Create a folder.
Create an additional folder in your custom ap pearances folder and name it Modo Materials. Downloading Modo Material Assets
To access t he Modo assets, you use the SolidWorks Customer Portal and click on t he link Downlca:. More PhotoView 360 Appearances.
Advanced Appearances 371
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-,is will take you to an intermediate page .::~inting out that the shared assets are for ::.:stomers with SolidWorks Subscription 3ervice and using SolidWorks Professional or ::::-emium. Click the link to the Luxology :=olidWorks Asset Sharing site. This will take :;u to the Luxology website on a special page .:evoted to SolidWorks/PhotoView 360 S..:bscription customers with access to their -sset Sharing section.
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W elcome SolidWo rks PholoViow 360 Use r s UoxoiOWf V.~::..."tr.r..cn R•so::rce Cl'fttH
_,der SolidWorks Asset Sharing, click Take t o the Assets.
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5 :J Locate a Modo appearance. _sing the procedure described above, visit -e SolidWorks Asset Sharing site.
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372 Chapter 13
51 Locate the material. On the right side of the Home page, under Assets, select Materials.
» »
Papui3r Me-:t
1-!~te.r~_s
Oo~·,-nl~-1:.:.-:=
)) High.~' Rab~
)) By
The materials are organized similarly to the way they are in the Task Pane in SolidWorks. Expand the folder Stone, then Architectural, and click on Marble. Select the material CreamMarble.
Environment!>
It~ms
>>
Extem;iomo Script5.
52 Download the material.
))
Scene~
\) Sho-.·" & Te11 Ca.Uery
The page for CreamMarble will provide information on the material and what fi les are included with the download.
• l·hscol!.ln.ous ,. Org ;mic: •
P.1.ntad
• PI::!:Lc: ._ Rt.lbbor
!;o!.d • Stone: • Wood
)) By Tag S e-arch
Click Download, and save the ZIP file to the Modo Materials folder created in step 49. Create a folder.
53 Unzip the material. Locate the file Material_Cream.Marble.zip and unzip it to the Custom Appearances fol::~ There will be a folder with two images, plus index.xml and CreamMarble.lxp files.
54 Apply appearance to the white parts. In the FeatureManager design tree, select all the white parts. Double-click the appearance Modo Asset: Cream.Marble found in the Custom Appeara.r'r!; folder. A dialog will appear telling you t hat:
You are applying a Modo material asset. It may look significantly different in :2::.: SolidWorks graphics area than it does when rendered in PhotoView 360 or Mock will also have limited editing capabilities for this appearance. It is important to understand what this is saying to avoid trying to cha nge and adjust qua lit ies tdo not have access to change. Additionally we will see that some changes we make to the visua properties of these appearances will only affect the rendered output or the ReaiView output, b-_ both.
Advanced Appearances 373
55 Edit and save the appearance. ::jit the appearance Modo Asset: CreamMarble. In the J.-opertyManager we will get the message shown indicating that we are orking with a Modo material asset. You will also notice that when you select the Advanced t ab. there are very few controls available.
r l1essag·.··- -
-
:::
You Me editing a Modo material asset. It may look significantly diffurent in the SolidWorks gaphic:s area than it does •,\lhen rendered in PhotnView 360
or Modo. You w~ have limited editing copaboties for this appearance.
=:ick Save Appearance and save the appearance fi le as creammarble.p2m to the Custom _;ppearances folder. :::iick OK to finish editing t he Modo asset.
55 Edit the appearance. ::::lit the creammarble appearance. First note that t he appearance name has changed from Modo Asset: Cream Marble to just creammarble as this is no longer a Modo asset. .aw that we are working with a SolidWorks appearance, the re are more controls available to adjust : ppearance. '/e can also see t hat just as the warning dialog told us, the appearance looks different in RealView as :Jmpared t o being rende red.
RealView
Rendered
374 Chapter 13
57 Change the color. Change the Dominant Color to white on the Color/ Image tab. The RealView appearance will become lighter, but the rendered appearance will not change.
Editing Modo Materials Materia ls created in Modo can be constru cted using a much larger array of tools than are available in Photo View 360. When these materials are turned into SolidWorks appearances, only the tools used to create the original Modo appearance, that are also available in SolidWorks. can be adjusted. Because of this, the tools available in SolidWorks may be different fo r each appearance.
Editing the Appearances Now that we have all the appearances applied to the parts. we will edit the appearances so that ~ marbles and chessboard have the visual properties to make them look as we desire. When we edit the black appearances, we will have to change all the instances. The appearance \'. .S applied to the pawns as two instances and the appearance applied to the other black pieces was c ~ instance of the appearance. When we edit the white appearance, we only have to do it once becc._s. there is only one appearance definition t hat is used by all instances.
Advanced Appearances 375
rtlumination ::ach appearance and decal has a set of collectively called illumination. lumination defines the surface finish and :::etermines how it will behave when illuminated. 3oth procedurally defined and texture-mapped i:;Jpearances have illumination properties that can .Je ed ited.
~ro perties,
::iven all the possible combinations of controls, no ::mount of descriptive text can adequately relay :ne possible outcomes. Considering the subjectivity of determining when the rendering is ·;ust right:' a certain amount of t rial and error may be required before t he final rende ring is satisfactory. =or more information on illumination, see Appendix B.
-C'E
B3 :: -~
:::t:5i?
.'/here to Find It DisplayManager: View Appearances, Illumination tab DisplayManager: View Decals, Illumination tab :numination Controls Standard controls adjust the basic reflectance charact eristics of light on the surface. Some illumination :roperties are only available under certain conditions. For instance, Index of Refraction and Refraction ~oughness are only available when Transparent Amount is not zero. Control
Description
Diffuse Amount
Represents the light striking a surface and being scattered equally in all directions. Increasing the diffuse value will cause the appearance to be brighter and more colorful.
Specular Amount
Rep resents the degree that an appearance exhibits highlights. Increasing the specular value causes an appearance to appear shinier.
Specular Color
Controls the color of the specular highlight. There must be a direct light illuminating t he surface.
Specular Spread/Blurriness
Controls the blurriness of reflections on a surface. Can make t he surface appear rough or smooth.
Reflection Amount
Represents the degree that an appearance reflects light in the mirror direction.
376 Chapter 13
Control
Description
Transparent Amount
Represents the degree that light is allowed to pass through an appearance. Increasing the transparency allows more light thrm:5-
Luminous Intensity
Controls the brightness em itted from t he surface.
Index of Refraction
Represents the degree an appearance refracts (bends) light bet;-_5 transmitted through it. A perfect vacuum has an index of refract-:; of 1.0. Water, glass, and diamond have indices of refraction of approximately 1.3, 1.6, and 2.4, respective ly.
Refraction Roughness
Sets the degree of blurriness of objects viewed through the surf--==A value of zero turns this off. Higher values simulate frosted gle:.-s
Dynamic Help Learning t he illumination controls and how they affect the rendering cou ld be tedious if we had t: continually search online Help or refer back to this book. An easier way to learn about the controls s turn on Dynamic help. Dynamic help will provide explanations for many of t he illumination controls in the appearance's PropertyManager. Once enabled, Dynamic help will provide definitions for each control the cursopasses over.
Advanced Appearances 377
58 Edit the illumination.
c:·~
E'~
After reviewing the tast rendered image, we .vant to make the entire checker pattern look shinier.
n the DisplayManager. doubte-click the B-R Checker Pattern appeara nce.
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!
~
Basic
I
Ad
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~ SoXfoce """'
~ Jbrination
-
~1
- he PropertyManager opens. Diffuse an10101t:
Select Dynamic help. !love the cursor over the Reflection amount slider. Dynamic help gives a description of Reflectivity.
~~
1.00
Setect the Illumination t ab.
r
Speojar an10101t:
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15
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'!love the Reflection amount slider to the right "or a value of 0.20. On the Color/Image tab. click Save Appearance.
R•~tion an10101t (l(eaMew
10 .200
)- I
w
-
RoflectM!y Blurry reflections
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r -~
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Reflectivity
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Cont rols the reflect!Vrty of a surfa ce. on : a s cale of 0 to 1. [!set to 0, no refle ctoor.s are vosoble. [f set to 1, t he \. surhce simuletes a perfect mirror.
.ve do this so that whenever we use the Lumous nt.nsity: '>j 0 .00 w/snn"2 checker pattern appearance in the future, the nj.i 1 !I I !\ fi t I I I p ; [t-:'11' ' Reflectivity will be at 0.20. If we do not save ;:he appearance, the Reflectivity for onty this one insta nce of the appearance wilt be 0.20. 1
~lick
OK.
378 Chapter 13
59 Render the assembly.
The checker patt ern will appear to be shinier and we can see the reflections of the pieces in the bca;-
60 Edit the marble appearances.
Edit all the marble appearances and increase their reflectivity to make the chess pieces shinier. Beca.. the amount of reflectivity is very subjective, experiment with different values until you are satisfiec the result. 61 Render the assembly.
The final rendering should look similar to the image shown.
·saJH ne asop pue aAeS
~9
6LE sa:»ueJeaddy pa:»ueAp\f
380 Chapter 13
Case Study: Part Display States-The Chessboard (continued) In t his case study, we will create two display states for a part used in an assembly so that we cc:- "" the part with different appearances.
The chessboard will have two variations. • The checker pattern can be either red/black or granite/black. • The inlay border can be either single wood strips or wood pattern. • The same marb le will be used for the basic board in both versions.
Procedure 1 Open the Chess Set Board. This is the same part we were using in the previous case study. 2
Add a display state.
In the ConfigurationManager. right-click in eit her the Configurations or Display States pane ar: : Add Display State.
The new display state will have the default name Display State-2.
3
Examine the DisplayManager.
All the appearances that were attached in the Defa ult configuration are also att ached in t his ""'? display state because the default setting. when there is only one configuration. is All configurcn:::
4
Rename the display state.
The method to change the name of a display stat e is the same as for features. either click-pa- 521:: the display state name to edit it. or select the display state name and press F2. Name t he new display state Granite Checker & Inlay. Rename the default display state to Red & Black Checker.
Advanced Appearances 381
Clear display state linking. ,..:; .ve are only going to have one configuration of the part. but more than one display state, we do not ;:,-:t the display states linked to specific configurations. : -:cr Link Display States to Configurations in t he Display States pane.
Cha nge display states. c
'=•'' that we have two display states. we must make sure that the appearances already in the part know ~;other ~e
they are attached to all display states or just ce rt ain display states.
DisplayManager, click the View Appearances t ab.
:=.:: the B-R checker p attern ap pearance by right-clicking it and selecting Edit Appearance. _..-:er Display States, change the setting to This dis play stat e.
Display SQtes
*
c> This display state
-.o::eat with the two polished teak appearances and set them t o This :Splay state.
AI dsplay
I~:
:=.: : the custom marble appea rance and change the setting to All display 52tes.
. I
-,JII .
Change display state. c:..
Detach appearances. the B-R checker patter n and polished teak appearances are attached to a specific s::.ay state. we can detach t hem from the other display state. ._'I that
=~~-click
the B-R checker pattern appearance and select Remove Appearance.
::-.=::eat for the two polishe d teak appearances.
fiE.... ~ . , ,::~_.._::
J
382 Chapter 13
10 Check your work.
In the Display States pane of the ConfigurationManager. double-click each display state in turr ~ make sure t hey look like the two images below.
11
Add a new appearance.
Earlier in this chapter. we made a very simple image using Microsoft Paint. Using a different program we created two other images that we will now use for a new appearance. Copy the two image files. Granite Checker pattern.jpg and Wood Inlay.jpg, from the Case Study\ Chess Set folder of this chapter to the SolidWorks Common\ Custom Appearances folder.
Wood Inlay
12 Add the checker pattern.
Select the face of the chessboard. Press and hold the Alt key and double-click t he B-R checker pattern appearance we made ec.the course. It will be in the Custom Appearances folder in the Appearances, Scenes, and Decaos Select the Color/Image tab. In t he Image box. click Browse and locat e the Granite Checker pattern .jpg image in the Cl:5 Appearances folder.
13 Save the appearance. When the Save As dialog appea rs, save the appearance file to the Custom Appearances folc.~
:!:""
:::21.5
:;=.--
Advanced Appearances 383
- Assign display state. 5-:::ect This display state because we only want Granite Checker pattern in this display state and -e defa ult red and black pattern in the other display st at e.
= Adjust the mapping. : "ck Advanced and then the Mapping tab.
S=t the height and width of the pattern to 100 mm. : :k OK to fin ish applying the appearance. -5 Rebuild and save.
- .s always a good idea to rebuild after majo r changes and to save your work.
-
Check the display states.
-:ggle bet wee n the two display states to make sure the appea rances are applied correctly.
3 Apply the inlay. •e will add another new appearance to the inlay fa ces ..sing the Wood Inlay image. Select the two faces shown. - ::ply the default texture appearance. ~;
Image, click Browse, then locate and select the -o;o od Inlay.jpg image in t he Custom ~pearances folder.
1en the Save As dialog appears, save the appearance file to the Custom Appearances folder.
= Select the display state. ::tlect This display state so that this new appea rance is only applied t o the Granite Checker &: Inlay :splay state.
384 Chapter 13
20 Map the appearance.
Zoom in on the corner of the chess board. Select the Advanced butt on and then the Mapping tab. Set the Mapping t ype to Projection and the Projection Direction to ZX. Clear Fixed aspect ratio and set the width to 25 mm and the height to 10 mm. Adjust the Horizontal location until the image looks like the image at right. The tip of the dark wood should be at t he miter line. A Horizontal location of -1.5 mm should be about right.
21
Adjust illumination.
Select the Illumination tab. Change the Reflection amount to 0.20 to make the appearance a little shinier. 22 Save the appearance.
Now that all the settings are correct, we should save t he appearance again so t hat the I!lumina· ~ values will be the same when we apply the appearance to the other two inlay faces. Click Save Appearance. Click OK.
Advanced Appearances 385
_ Repeat. _'I that the appearance has been created, select the remaining two inlay ..ces. press and hold the Alt key, and double-dick the Wood Inlay ::c·e arance in the Appearances, Scenes, and Decals tab of the Task Pane.
-::rtant! Make sure you are only applying this appearance to This =-splay state.
a the appearance so it looks like the image shown. c.
""apping is Projection to the ZX plane. -.age is rotated go degrees. -;,age is mirrored horizontally.
11appii>!J
[Projection
0
Iii
6
j Face< 1> -
'O.OOOmm t! {J!'
In:,., -~ --
t
e You may have to make very small adjustments to -.E ?Osition of this and the previous appearance t o get -E ;Jatterns to line up just the way you want t hem.
Fit 1vi<;!th to selection
[ ]Fit ~ight to selection
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Mirror verticaMy
: . ;:,< OK.
Re set scale
Examine the DisplayManager.
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:=...=..11ine the DisplayManager for each display stat e.
Sort ord er:
=:.:Zl have the marble image appearance because it was
sO
-::1ied to all dis play states. The remaining appearances e-e only attached to one of the display states so they - ; appear in the appropriate display state.
>; .
111, 11 1! 1 1 t utaP.•'*"
IHierarchy •J
Face ~- 0 pollsh~d t~ak 1:i:J b~ r checker pattern . 9 . polished teak<2> ·3 ~ Part ""~1 custom marble
2
.
II
1
Red & Black Checker
-~~T~~
Sort order: {Hierarchy
.... J
eO
Face ,.~. wood inlay
. t!J ·· texture -t #J wood inlay<2> ·~
~
") ~ Part custom marble
,., II
Granite Checker & Inlay
386 Chapter 13
25 Render the model. We now have two versions of the chessboard. Render the chess set using the current displays:? t he chessboard.
Advanced Appearances 387
Change display states. - e chess set assembly, right-click -;E Chess Set Board component and .:~
~
Component Properties General properties
Component Name:
Component Properties.
Chess Set Board_&
Instance id:
1
Ful Name:
Chess Set Board_&
Component R.eferem:e: Spool R.eferer=:
t? ::ct
Red & Black Checker for the =z.erenced Display State, then click
Componl!r1t Desaiption:
Chess Set Board_&
Model Doa.ment P•lh:
C :~•Jorlcs StJ!IH>y -Step Guides'fhoto
(Please use File~eplace command to replace model of the component(s)) Display Slate spedfic properties
[] Hide Component
..
Referenced Display Slate
-
~
"' ~·
av>_PhotoWorlcs Display state GrMte Checker & Inlay Change cisplay properties in:
-
.
Configuration spedfic properties
Refe-en=l configuration
-
Default
Suppression slate
' s,_essed <> Resolved
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,) Rl9d
'-
Change p
~ li:~=:J ~
l
Hexb:e
·-- - ~
:JEnve',ope 0 ExdJde trom bil of ma terials
388 Chapter 13
27 Render the model.
We now have two different renderings using the same components. We can quickly change betweertwo display states of the Chess Set Board without creating display states at the assembly le ? because only one component is changing.
28 Save and close the assembly.
Photographing a Texture If you have a good camera and image editing software. you can create a real-world. tileable te:c_ photographing an object and making it tileable. Frequently, this is done to capture large areas s_7 wall covering or the appearance used on t he outside of a building. The method to turn the photcE"" image into a texture is a simple procedure but requires image editing software with the appro=~ tools. We will look at the steps required to make an image t ileable, but as this is a photo editir5 technique that uses software other than SolidWorks. we will not do a case study. The purpose_ following section is just to show the method.
Advanced Appearances 389
Creating a Tileable Image ,'./hen you shoot a picture fo r use as a texture. the image could be of either a regular pattern or 5omething that is a random texture. Regular Patterns =you have an image with a regular pattern. you may just need ;:3 properly crop the image and save it to make it tileable.
1 e image at right is a garage door with a repeating pattern. ·:e could use the entire image. but we will get the large ;;ceams between the door panels.
·--------------- - ----- - - - - - -
390 Chapter 13
Rat her than use the entire image, all we need is one of the pattern instances. Using the crop tool. we can cut away all except one instance. One of the issues that can be a challenge to correct is any variation in exposure across the image. We can see in the image that the exposure varies slightly from t op to bottom and right to left of the image. This has caused the final t iled pattern to be less t han uniform. This can be correct ed by either reshooting the image with correct lighting. or by post-processing t he image to get the correct balance. Another issue may be the seams between t he pattern inst ances. This may or may not be a problem depending on the texture of the origina l surface. To clean up the seam. the technique shown in the following section can be used. Irregular Pattern and Photographs
Sometimes. the best textures exist in t he physical world and can be captured with a camera. It is rare, however, that t hese images can be used without some post-processing. To create a tileable image requires just two editing steps. • Offset the original image • Repair the transition areas In this case, a t exture was needed for an exterior stucco walLA photograph was t aken looking r_ to an existing walL The photograph was opened in Adobe Photoshop and edited.
Advanced Appearances 391
The Image As Shot.
This is the original image from the camera. :f we use this image as it is. we will see seams in the pattern because the left and ~ight edges do not fo rm a continuous texture. The same is true of t he top and uottom edges. To eliminate these seams, .ve must blend t he image across the seam.
Blend the Image
-he first step is to offset the image. Using :he Offset filter or equivalent in other :Jrograms, you move the image relat ive to :he frame. The image is moved about one 1alf the image width down and t o the -ight. What scrolls off the right edge -eappears on the left edge. Likewise, what goes off the bottom reappears at the top. - he goal is to move the parts of the image :hat do not match into the center. J nce the image is offset, you use the :ools available in your image editing software to blend edges so that t hey are no longer visible. -low you do this is dependent on the tools of your image editing software. Tools such as cloning or :ont ent-aware fill can be used t o remove the seams so that the image blends properly from side to side end t op to bottom. When fixing the seam, you must be very careful where the seams meet edges. J epending on the complexity of the image, you may fix all but those four spots and then offset again to :Jring the t rouble spots back into the middle, and then repair them.
392 Chapter 13
The finished image looks like this. If we apply it to a surface, we no longer have breaks in the pattern, but we do see that the pattern repeats. There are two things we can do at this point: • Scale the image so fewer patterns are used. • Reshoot the image and make it show a much larger section of the wall.
Photo Tips Creating a good texture from a photograph begins with a proper photograph. When shooting ar to be used as a texture, keep in mind the following tips: • Lens Use as long a focal length lens as possible to reduce the amount of perspective in the image.
Advanced Appearances 393
Camera position The camera-to-subject axis should be as close to perpendicular to subject as possible. lf you are not perpendicular, you introduce an effect called keyst oning where the sides of the image are not parallel. While keystoning is not a problem in many images, it will cause a problem when the image is overlapped during t he process of making it t ileable. Lighting Lighting needs to be uniform across the image. lf the lighting is not uniform, it will cause a repeating pattern t hat is not easy to remove when creating a tileable image. :::1
Area Generally, you shoot as large an area as possible so that there will be less repetition in the tiled image. If the area is large enough, you may not need to make it t ileable as it may never exceed the area of the single image in the final application.
Surface Finishes Surface finishes add another layer t o the appearance of the model. Surface finish is used to give the ::ppearance that the surface is somet hing other than smooth. This is done by one of two methods, a Jump map or a displacement map. - here are several predefined surface fi nishes available with SolidWorks and you can make addit ional :ustom finishes with most image paint programs. For more information on surface fi nishes, see .;ppendix C: Surface Finish.
'/here to Find It =>ropertyManager: Surface Finish tab Bump Map Images ~ you are creating your own bump map images, they can be any of the fo llowing file types:
'5'=
Bit map ('''.bmp) High Dynamic Range (*.hdr) Joint Photographic Expert Group ('''.jpg. <'.jpeg) Portable Network Graphics (*.png) Adobe Photoshop ('~. ps d) Silicon Graphics 8-bit RGBA (<'.rgb) Targa (<'.tga, ·"'.targa) Tagged Image File Format [<'.tiff)
394 Chapter 13
Surface Finish Controls There are just three controls used to adjust the surface finish.
Mapping Bump maps are 20 images which must be mapped to the surface. The controls for mapping surfc:: finishes are the same that are used for mapping texture appearances and are found on the Mapping in the PropertyManager.
Bump Mapping Bump mapping simulates the surface finish by modifying reflections and shading. Some surface finishes, such as knurl and dimp led, have additional controls to modify the way the surface finish looks by truncating the surface of the appearance or changing the size of the pattern elements. A bump map is generally a gray scale image used to give the appearance of high and low areas. The whit er the area of the bump map, the more the surface ap pears as a high spot. The darker areas appear to be va lleys. When using a bump map, the surface finish of an appearance does not chang: actua l surface of the model. ln the image, a dimpled surface finish was added to a sphere. As can be seen, t he silhouette edge c s: a circle as the surface of the sphere is unchanged.
Displacement Mapping Displacement mapping performs an actual geometry displacement of the s urface of the model. Because this method is computationally expensive, there can be a significa nt reduction in rendering performance.
Advanced Appearances 395
Case Study: Flashlight
§5....~-=
·~?Ls -
The flashlight model needs to have a knurled surface in the grip area. To create a modeled pattern of the knurl could take a lot of rebuild time because of the large number of surfaces that would need to be created. Instead of modeling t he knurl, it is much quicker to represent the knurl with a surface finish. Desired Image The flashlight should have a shiny red finish but we should be able to see the surface details. The handle section should have its surface knurled.
· -;c~u
==:s= 5 st
Procedure 1 Open the part named Flashlight. The flashlight was created as a single part for simplicity.
2 Apply appearance. Press and hold the Alt key and apply the appearance blue anodized aluminum to the entire part. This appearance is located in the Metal, Aluminum folder.
396 Chapter 13
3
Change the color. Change the color to Red: 192. Green: 0, Blue: o. This is a dark red color.
~ Color-
Click OK.
o
4
Preview the render.
!l_GB
t:!5Y
~ Fla
Changed to the named view Rev isometric and examine the preview.
5
Create a split line.
We only want part of the flashlight handle to be knu rled. To apply an appearance to only part of c surface, we have to split the surface into multiple surfaces. Create a sketch on the Front plane. Sketch a single vertical line and dimension it 70 mm from the end of the flashlight.
;r, l .ul
i --~'---+-l--------CIT> ~~
70
Advanced Appearances 397
6 Split the surface. Click Split Line ~. or click Insert, Curve, Split Line. Select the face of the handle as the face to split. Ensure that Single direction is cleared. Because the sketch is in the middle of the model, we want the projection t o go in both directions to split the whole surfa ce. Click OK. The handle is now two surfaces.
~ Type of Split
~
• ' Silhouette '? ' ~ojectlon
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7 Split the remaining surface. We do not want the knurl to go all t he way to the butt end of the handle, so we need to split the face again.
rnc=~~CCD=~~~---~-
Create another sketch on the Front ?lane. Sketch a single vertical line and dimension it 20 mm from the end of the handle. Click Split Line ~ . or click Insert, Curve, Split Line. Select the face of the hand le shown in blue in step 6. Click Finished.
398 Chapter 13
8 Add appearance. The first step is to have a separate instance of the blue anodized aluminum appearance on the -:a face we have created. This is to allow us to edit the appearance on t his one face without affecting~ rest of the model. In the graphics area. select the face to have the knurl fin ish. Right-click t he blue anodized a lurnir::::=. appearance in the Task Pane and select Add Appearance to Selection. Change the color to the same red color as the rest of the part, Red: 19 2, Green: 0, Blue: 0. We now have t he appearance attached to the part and to this face as separate instances.
9 View the DisplayManager. The DisplayManager now shows two instances of the blue anodized aluminum appearance which we need so that we can have different settings for each instance.
...
..-..
Sort order. [Hcel"l!cthy
+ •
+ •
10 Edit the appearance.
:r -
c ~~
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r... Dynamic help Kncsl art9e: 90.0000
:
)
Kncsl heiglt cap;
Select Knurled. Click OK.
bl ue anodtzed ~
~~"rfass finish
Edit the appearance attached t o the face. Click the Advanced button and then select the Surface Finish t ab in t he DisplayManager.
blue anorl1zed ~
'" ~Part
1.0000
[ PhotoV.ew Surface Finish
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This is an example of the Knurl image provided with the PhotoView 360 software. The heights of the intermediate shades will be interpreted based on t he gray scale shade.
:
,....,..
Advanced Appearances 399
::-
Preview the render. Surface finishes on ly appear in t he rendered image and RealView. not in OpenGL. The knurl has been ::pplied, but it is hard t o see because the size and scale are wrong.
~ Flashllght_&SLDPRT" • Photoview 360 2013
( -~P~se
' 2 Edit the knurl.
We will adjust the knurl pattern in two places. The Mapping tab will be used to edit the size of the pattern and the Surface Finish tab will be used t o control t he visual characteristics of the appearance. On the Mapping tab, change Size/Orientation to:
0 =!1
~Geflnish Kro.riod
• Height: 3 mm • Width: 3 mm
[i~;/Orientation
:::Fit wi!lth to selection n Fit h!#lt to selection
~-I] Dynamic help
Knurl ongle:
a
'· r.
90.0000
}
On t he Surface Finish tab, change:
Ktul hel!lht cap:
• Knurl height cap: 0.5 • Bump strength: 2.0 mm.
0.5000
:r
lI
rPhotoVite\~ce~• J~ \....{l~rnappDJ Bump Slrer19th
Click OK.
2.00000010mm
Re build the model.
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Displacell1
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400
Chapter 13
13 Examine the model.
~ Fla>hhght_&.SLDPRT" - Photoview 360 2013
Notice that because this is a bump map. the silhouette edges are straight because t he surface is still a cylinder. Also note that if you look from the direction of the button (Top view). the knurl pattern has a slight mismatch and does not meet exactly. Depending on how close the final rendering will be and the angle of the flashlight in the rendering. you could choose to leave this just as it is. Adjust the mapping. We want to be able to render the flashlight from several positions. so it is better to have the pattern match correctly. Edit the mapping and select Fit width to selection. This will yield one bump around the circumference of the flash light. The width is 50.00000075 mm f:r one instance of the pattern to fit around the cylinder; therefore. if we divide this width by any whole number we will have an even number of patterns. Clear Fit width to selection and then in the width s;:box type "/17" to divide the current width by 17. This will yield a width of 2.9411765 mm and we will he: :: a pattern that matches correct ly. 14 Render the model.
The size and scale of the pattern is now more realistic. Look closely at the knurl pattern. Even t hough it looks like high and low spots. the surface is actually still smooth. You can tell this by looking at the top and bottom silhouette edges. They are still straight.
Advanced Appearances 401
-
~5
Change to a displacement map. If we want the actual surface to be knurled, we can change from a bump map to a displacement map.
~
Knurled
17J D)'lll>llli<: help Ktu1 ongle:
Edit the appearance and under Surface Finish clear Bump mapping and select Displacement mapping. Set the Displacement distance to .75 mm.
~
90.0000
J
I
Ktu1 helght Glj): 0.5000
j: -
Click OK. Rebuild the model and render.
.
.: i i
Phot oView Surface Fuits~
Note that it takes much longer to render with a displacement map.
[ Jllu mapping Bump strongth:
' 6 Examine the result. If we look closely at the edge, it is no longer straight as t he knurl is now modeled into the surface. To see this more clearly, the right image was made with the kn url height cap increased to 0.9. In both of t hese cases, the surface changes are only part of the rendering process and are not part of the original model.
r
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:JJOispiac~trr~ Displacement ast>nre: 0. 7500000 1nvn
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Knurl Height Cap = O.S
Knurl Height Cap = 0.9
17 Save and close the file. Surface Finish Patterns Surface finishes can be used to apply a repeating pattern to a surface that ca n save a significant amount of time by not requiring a complex pattern to be actually modeled. These patterns can also be used to cut holes in the surfaces of the model during the rendering process.
402 Chapter 13
Case Study: Surface Finish Hole Patterns In this case study, we will use a surface fin ish to add holes to several surfaces rather than creating a pattern of holes by modeling t hem.
Procedure Open the part named Box. This is just a simple part with the appearances already applied. Our goal is to make the sides of the box look like they have a series of holes.
1
2 Examine the appearances. There are t wo appeara nces applied, a blue medium gloss plastic to the features t hat form the frame of the box, and brushed aluminum on the sides of t he box.
Advanced Appearances 403
3
Edit the appearance.
Edit the brushed aluminum appearance and select the Surface Finish tab.
¥" )( ~
C.Ba~c
Advonced
Select Circular hole mesh. Once selected. in the graphics area the four sides of the box will appear to have holes cut into them. brushed .unn.n
Set the Hole size to o.s. This will make the hole diameters and the space between the holes equal. As you change the size, the holes should change size dynamically so you can see the effect of this control. 4
Adjust the mapping. Select the Mapping tab.
FromRe
Brushed Pt Sandllasted
Burnished Cast Ma~
aamond Treadplate Treadplate 1 Treadplate 2
:1:: ~
Surface finish
Crru!ar ho!e mesh
F.tJOynorroc help
....-
j
!
Change t he height and width t o 10.0 mm. 5
Examine the results.
xnur/ed o;mp~ed
O..in F.nk Wrought Rough 1 Rough 2 None
[ :"".:
'
>0- l
Diamond hole mesh Custom ho~e me:sh
The model appears to have holes in ReaiView and when rendered, but the sides will be so lid in OpenGL.
OpenGL 6
Close all open files.
404 Chapter 13
Other Uses of Displacement Maps
Because displacement maps can be any shape, they ca n be used to deform a model more easily than actually modeling a feature. A simple example would be to create a raised company logo on a model. Editing the appearance applied to a surface, we can select From file and choose a black and white image such as shown at right. The white in the image will be the raised surface and the black will be at the default surface level.
v> X -!E
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Basic
~QJ O>lor/1"""'9"
1
1~ ~
~. !bi)rlation ~
Surfac., -
IMessage Surface Finish
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Image path:
~ [;~.!]
C:'l'rogram Files\,SolidW:rl:!:
! Browse...
J
~ Normal map
Pho toVie-N Su.rfuce Finish
P} Bump mapping Bump strength: O.OOOmm
··~· !•.ltl!Ji •!lill ! " i
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[{l Displacement mapping Displacement distance: 0. 7500000 l.mm
~ l!!!!ll!i
ttw
Advanced Appearances 405
Rounded Corners
Sharp corners do not render well as there is no surface to reflect highlights and show specular highlight s. The round sharp edges function can round all edges in the model as part of t he rendering process. Like the displacement map. t he rounded edges do not modify the model itself. Where to Find It
• PropertyManager: Illumination tab Procedure 1 Open the part named Block with hol es.
This is just a simple part to show how edges are rounded. Change the view display to Shaded.
I
~~
I
2 Examine the model. As the entire model uses the same appearance, there are many edges that are difficult to see.
'f we render the model. some edges are a little easier to see because of specular highlights. 3
Edit the appearance.
:=dit t he blue high gloss plastic appearance and select :he Illumination tab. :=nt er o.os in for the edge radius. Click OK. Mlot:oView I Uuntination
~
'
-
=--
O.OSOin
---
~<:.0
406 Chapter 13
4 Render the model. Notice that the edges are easier to see because the rounded edges reflect light differently from the adjacent faces. This one command rounded all the edges. Note that it cannot be used to selectively round specific edges. 5
Save and close the file.
Missing Files As we learned earlier, appearances are embedded in the model files. But, unless the option t o store appearance, decal, and scene data in the model file is selected, the image files used for appearances, scenes, an:: decals are not stored in the model file. If an image file is moved or renamed, SolidWorks may not be 2 :: = to find the file. Missing image fil es are indicated in the DisplayManager with the f3 icon. Search Order When the SolidWorks file is opened, images that are not stored with the model must be located. Tr£ search order for these images is a little different from the order used to find referenced So l idWor~ files. For images, the system searches the following locations in this order: The path specified in the appearance, decal, or scene PropertyManager and saved in the mode~ The folder containing the current model, or for assemblies. the folder conta ining the part to wr:::: the appearance is applied. 3. The list of folders specified in Tools, Options, System Options, File Locations, in the order liste:. 4. If not found, the system prompts you to browse for a path.
1.
2.
Handling Missing Images When an image is missing, the following will happen in the graphics area: • For a missing appearance, the area to which the appearance is app lied will appear black. • A missing scene, decal, or decal mask will not display t he scene or decal.
Advanced Appearances 407
To resolve a missing image, in the DisplayManager, right-click the entity with a missing image and click one of the follow ing: • Click Find Missing File t o browse for the image. • Click Ignore Missing File to prevent further searches for t he image. To resolve missing images during rendering: • When you render immediat ely. either by performing a preview or final render, you are prompted t o locate missing files. Click Yes to browse for the file or a replacement Click No to ignore the missing file. • For batch rendering, all missing fil e references are temporarily set to Ignore Missing File.
~~~. ~
-=ib:
~::.
-_r
Advanced Lighting
Upon successful completion of this chapter, you will be able to: • Understand indirect lighting. • Understand the illumi nation controls. • Create area lights. • Create a reusable lighting studio. • Understand and use ca ust ics. • Understand and use bloom.
410 Chapter 14
Lighting Concepts In the previous chapters we briefly discussed the different types of lights available in SolidWorks a--Photo View 360 and some of the concepts used to position lights. We have also covered some of t~ methods used to calculate the lighting in the rendered scene. In this chapter we wilt look at some c= these methods in more depth. Lighting Calculations We have seen that there are two types of illumination, both in the physical world and in our rende:- ~ world: direct and indirect. Direct Illumination
Direct illumination is light which comes directly from a light source. When we shine a flashlight on a surface in an otherwise unlit room, the spot of light we see is the c.-::c light. Indirect Illuminations
Indirect illumination is any light that comes from another object in the scene, not directly from a 1:~ source. Light reflecting from a mirror, light passing through glass, and a light reflecting from a rec ~ onto a white walt are some examples. When we shine a flashlight on a surface in an otherwise unlit room, we can see objects not in the d:-2':"" beam of light due to the light reflecting and refracting from t he surface. These objects are lit by inc -:coillumination. Illumination Capabilities PhotoView 360 can calculate both direct and indirect illumination. In the case studies in proceedir5 chapters. indirect illumination was the primary type of illumination that was calculated. For each p in the scene, the contribution of light from the surrounding surfaces on that pixel was used to deter;the characteristics of the rendered pixel. The rendering engine casts rays from each pixel, out into environment. The light properties found by these rays would be summed during final gathering anc :E added to the direct illumination.
Advanced Lighting
411
Rendering Basics Many of the lighting. reflection. and refraction concepts are easier to comprehend if we have a basic understanding of how Photo View 360 conducts the rendering process. - 5::LE
<:
The Physical World 'n the physical world, light travels in a straight line from a source until it is reflected. refracted. or absorbed. Eventually, some of the light rays may enter our eyes. Some rays are never seen because they are absorbed or reflected from objects and travel into space. The Computer World Nith the large amount of light produced that does not enter into the rendering. it would not make sense ;:o calculate the path of all the light rays leaving the light sources. A more economical approach is to ,vork backward from our point of view into the scene and only calculate the rays t hat will enter our eyes. This concept is called Point of View (POV) rendering.
:-:::t::: ·-
~3:::. :
:iG : r-=-=.
Ray Tracing The rendering engine starts at our point of view (the camera) and divides the field of view into an array of pixels. The number of pixels is determined by the size and resolution of the image being produced. The size and resolution of the final image t herefore has a direct relationship with the final file size and -endering t ime. The rendering engine projects a ray from the camera to each pixel. When the ray intersects geometry, it determines the properties of the appearance. It must then determine the amount and properties of t he ~ight that fa lls on the object. To do this, a ray must be sent back to each light source in the scene.
;-.A?-:. 5
·=' e::c-
~
I \:~· 3-r~·e=.:
--- -_ :_ L
.,._
f-;~--.5~
=>hotoView 360 can calculate the lighting contributions of both direct and indirect illumination.
Lighting Methods .n OpenGL and ReaiView. lighting is only done by direct lights. When rendering with Photo View 360. .ighting can be done with direct lighting. indirect lighting. or both, but indirect is used by default. There can be a total of nine lights added to a model. However in ReaiView. only the first three lights are Jsed and they are considered to be directional lights regardless of their definition.
Direct Lighting =>roper lighting can greatly enhance the quality of the rendering. The same principles used by photographers work well in Photo View 360. _ights are created and positioned in SolidWorks. Photo View 360 has a few additional controls to refine :he quality of the light and shadows.
412 Chapter 14
Types of Lights SolidWorks and Photo View 360 use several different types of lights: • Ambient In the physical world, ambient light illuminates the model evenly from all directions. ln a roor. white walls. the level of ambient light is high, because the light reflects off the walls and other G::ln SolidWorks, ambient light is a brightness control for the entire scene that simulates the e::=2'""" real-world ambient light. There is only one ambient light. You cannot delet e it nor add any me-:. • Directional Directional light comes from a source that is infinitely far away from t he model. It is a collimate: source consist ing of parallel rays arriving from a single direction. like the sun. The central ray:= directional light points directly at the center of the model. • Spot A spot light is a restrict ed, focused light with a cone-shaped beam that is brightest at its cen-c:.r spot light can be aimed at a specific area of the model. You can adjust the position and dist ar: : : . the light source relative to the model, and the cone-angle through which the beam spreads. • Point A point light comes from a very small light source located at a specific coordinate in the modelsThis type of light source emits light in all directions. The effect is like a tiny light bulb floating ins-_ • Lighting appearances Lighting appearances are used to make a surface act as a light source. These can simulate LEOs tubes. backlit LCDs. and area lights. • Environmental lighting Environmental light ing, also called image-based lighting. is the closest type of lighting to the re world. lt uses high dynamic range images and indirect lighting to light the model and scene.
Creating Lights Depending on the scene used by the default template. SolidWorks creates two or more lights with : : . new part. These are normally Ambient and Directional! and possibly Directional2 but coulc : other combinations. Additional lights can be added in SolidWorks and can then be used in the Phot oView 360 renderirfr
Where to Find It To create additional lights: • Shortcut menu: In the DisplayManager. right-click either the Lights folder or any existing light [;Lights folder. Add Directional [Spot, Point] Light • Menu: View. Lights and Cameras, Add Directional [Spot, Point] Light
Advanced Lighting 413
Intensity Controls Jirectional, point, and spot lights have controls for three aspects of the light's intensity. They are: Ambient, Brightness, and Specularity.
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?hotoView 360 only uses the Brightness characteristic when rendering and has a separate control from that used in OpenGL and Photo View 360. Changes to the Ambient and Specularity settings have no effect on PhotoView 360 renderings. Such changes would only be apparent in t he regular SolidWorks shaded view. The reason that PhotoView 360 does not apply the concept of ambient or specular intensities to lights :s because these are OpenGL concepts. PhotoView 360 associates ambient, diffuse, and specular ::haracteristics with the appearances themselves, and these are managed through the Illumination tab of the PropertyManage r.
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Lighting Schemes ?hotoView 360 stores direct lighting information with the existing scene. If you modify t he direct :ighting used with your model. you must save t he scene as a cust om scene or else the lighting changes will be lost if you apply a different scene. Keep Light To avoid losing a light when you change scenes, an alternative to saving the scene is to select Keep light when scene changes on the Basic tab of the individual light.
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Photographic Lighting Model lighting is very subjective and is as much art as it is science. To obtain the best results, yo~ 5 think like a photographer. There are many books on the subject of lighting, with different technic;-3. most are based on a combination of using three basic lights. Photographers generally either start with the environmental lighting and then add add ition light t-:' standalone lights or use direct lights in a st udio setup. When starting with environmental lightir; may add addit ional lights and reflectors to reduce the contrast ratio in shadows, highlight some~~ the frame, or for special effects. In studio lighting, direct lights are t he primary lights used. The- 3 used with diffusers and reflectors added to balance the light and control shadows and contrast In studio lighting, lights are assigned to three main purposes: • Key light
This is a strong. front light to provide overall illumination of the model. The key light is somet-,:also called a primary light • Fill light This light is generally of less intensity than the primary light and is used to lighten shadows b. reducing the overall contrast between light and dark areas of the model. • Backlight A light usually above and slightly behind the model to help out line the shape and make the mo::d easier to see against the backgrou nd. Special Lights In addition to the basic three lights, special lights are used to focus attention on some part or fea:~ of the model, or to create some desired effect For example. a point light might be positioned insi::~ lamp, to simulate the illumination coming from the lamp itself.
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Lighting Plan To add r ealism and show depth on our modeL we will position three light s. To simulate a st udio. we will lock the scenery and lights to the view. We can t hen reposition the model without causing the lights or scenery to move. To visualize their positions, when facing the model (the ca mera position) we will have t he key light over our left shoulder and th e f il l light over our right shou lder. Both lights will be above the mode l and t heir beams will int ersect at about 90 degrees. The backlight will be directly above the model pointing almost
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The Key Light The first light we position is the key light. Key lights are normally positioned between 15 degrees c45 degrees to the side of the line between the camera and subject and between 15 degrees and 45 degrees above the line from the camera to subject.
-·-·-·-·-
To View
Ri ht View
-~~
-~-
Advanced Lighting 417
Fill Light
The second light we position will be the fill light. Fill lights are normally to the opposite side of the camera from the key light and positioned between 15 degrees and 60 degrees to the side of the line between the camera and subject and between 0 degrees and 30 degrees above the camera-to-subject line.
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Top View
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Right View
Fill lights are generally less bright than the key light because they are used to show detail that would have been in shadow from the key light alone.
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Backlight The last light we will add is the backlight. The purpose of the backlight is to highlight the top edges= the model to help separate it from the background. Backlights are generally positioned directly above and slightly behind the model.
Advanced Lighting 419
re .:op ec,ses
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All Together
When we put the three lights together, we can see the effects of each light.
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Shadows Shadows are important to the process of creating realistic renderings. They can be used to do t - = following: • Define spatial relationships
Without shadows, the relative position between objects may be difficult to understand. The be~:; the left image looks like it is sitting on the tiled surface. Adding shadows shows t hat it is actuc floating above the surface.
Advanced Lighting 421
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• Reveal alternate angles Shadows can be used to show a side profile to help define t he overall shape of an object. The shadows in this example show both the front and side profile of the bottle.
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Add contrast When t he subject and background are of similar tone, a shadow can help to separate the two.
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Chapter 14
• Add to the composition of the image Shadows can be used t o break up a background pattern or to help lead the viewer's eye to the subje:-
• Indicate off-screen space The shadow in the above picture can also be used to indicate that there are other objects just ou: _ view. This helps to show that the world is larger than just the image.
Shadow Clutter As additional lights are added to a scene. the shadows caused by many of t he lights can be distract--; t aking the focus away from the subject. One advant age of computer rendering over photography is
Shadow Control Shadows can be controlled by each individual light. Shadows can be turned on or off. and the width c-.quality of the shadow edges can be controlled.
Where to Find It • DisplayManager: View Scene, Lights, and Cameras tab, double-dick on an individual light for its properties • DisplayManager: right-click a light. d ick Edit [Directional/Spot/Point] Light
Advanced Lighting 423
Shadow Properties There are two controls for the calculation of shadow: quality and softness. • Shadow softness is set from 0 to 10 degrees and controls the size of the transition area from full shadow to no shadow. • Shadow quality controls the refinement or graininess of the shadow edges. Values can range from 0 to 100. To see the effects of these two controls, we will use a simple shape and a single direct ional light.
In the first set of images, Shadow quality is held at 0 while t he Shadow softness is adjusted. Shadow quality = 0
s.o deg Shadow softness
In the second set of images, Shadow softness is held consta nt at 10 deg and the Shadow quality is adjusted. Shadow softness = 10 deg
25
so Shadow quality
~
75
100
424 Chapter t4
Case Study: Lighting Principles To put lighting principles in perspective, this case study will review the way light is calculated in botSolidWorks and by Phot oView 360.
Procedure 1 Open the part named Sphere. The part is a simple sphere with the appearance stoneware applied. This appearance is off-white ,., a matte finish. This makes it similar to flat white wall paint.
The part is in a predefined view named Render and perspective view is on. 2
Examine the model.
Turn off ReaiView. The sphere has been placed in the center of a box with one wall removed. The box has a white satin finish plastic applied. The environment is black to prevent unnecessary light from changing our results. The background is white, but it has no effect on t he lighting of the model itself.
Advanced Lighting 425
3 'C: L~ .: :;_:-'
Review the lights.
There are four lights in this model. but only two light s are currently on in SolidWorks. Ambient and Left
Light. From our viewpoint. the directional light is over our left shoulder which makes the upper left portion of the sphere brighter than the lower right. Right Light,
...::
Left Light Top View
Right Light
u
Left Light
Front View
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4
Compare OpenGL with RealView
Turn on shadows by either using the Heads-up View toolbar or by selecting View, Display, Shadows Shaded Mode in the menu. Cycle between OpenGL and RealView and note the differences. In Oper:::_ the light does not cast a shadow on the geometry. As was discussed in Chapter 2, the only shadow OpenGL is det ermined by t he scene f loor and is independent of the lights. In Real View there is a shadow from the sphere on the box as well as a shadow from the box onto its= In Real View, on ly light f rom the first t hree lights is used. All of th ese lights are considered to be directional lights regardless of their actual definition.
Open GL
5
Observe RealView shadows.
Only t he f irst light casts a shadow in Real View. In the DisplayManager. right-click Right Light anc select On in SolidWorks. When both lights are on, the model is brighter because bot h lights are nm· lighting the scene; however. the shadow is now caused by Right Light because it is the first light in:~ list.
Left Light Only
Advanced Lighting 427
6 Observe the render preview. ln order to see the differences between the SolidWorks and PhotoView 360 rendered display, open the
PhotoView 360 preview window and arrange it so that you can see the preview and the model in the graphics area at the same time. Or, split the screen vertically and turn on the Integrated preview. Initially, the preview window will be black because the direct lights are off in PhotoView 360 by default 7
Adjust the lights.
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For the next step, we only want the Left Light on.
(
Off in SolidWorks : On in PhotoView Edit D~r~ctionallight. ..
In the DisplayManager, right-click Left Ligh t and select On in Photo View. Edit the Left Light and make sure that Shadows is selected on the Photo View t ab.
Edit All lights...
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f': Shadows
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Examine the preview.
There are several things to note about the preview. We have only a single directional light from the upper left and no light from the environment because it is set to black. The sphere does not have a hard edge on its shadow and the bottom right edge gets brighter as we approach the edge [1]. The bottom of the box is not uniformly lit and it has a dark area under the sphere [2]. We will explore the causes of these lighting effects in the following section.
Delet e
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Show Lig hts
9'
I Add D~rectJanallJght
; ~ Add Spot L1g ht
Shadow softness:
Right-click Right Light and select Off in PhotoView.
X
(lf Add Point L1ght Collapse All ' Expa nd All
I Cu>tomize Menu
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9 Turn off the shadow. Double-click Left Light in the DisplayManager and select the PhotoView tab. Clear Shadows. Click OK. With shadows off, light passes t hrough the geometry as if it were not there.
Direct Lighting The procedure used to calculate the direct lighting is as follows: Ray Tracing
To render t he above scene, the rendering engine sent out rays t o all the pixels it had t o render. Each ray was projected until it encountered some geometry.
8
Camera
(viewpoint) Directionall
Advanced Lighting 429
Determine Direct Lighting Contribution From t he int ersection of the ray and geometry, rays are projected back toward each direct light source (red arrows).
2
Shadow Settings When shadows are turned off, the rays from the geometry to the light source will act as if there is no geometry between them. In this case, the ray from point 2 back to the light source behaves as if the sphere is not there.
Shadows On With shadows on. ray 2 cannot get back to t he light because the sphere is in the way; t herefore, the contribution of the light is zero at point 2. In other words, it is in the shadow of the sphere.
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10 Change lighting. Right-click Left Light and select Off in PhotoView.
The preview should now be black because there are no lights on in Photo View 360. There is a point light positioned in the center of the sphere. Right-click Point Light and select On in PhotoView. With shadows off, t he light passes through the sphere and illuminates t he walls as direct lighting. The outside of the sphere is lit by indirect lighting fro m the walls. If you turn on the shadows, the scene will be black again because the light cannot escape from the sphere.
Ambient Light Ambient light is not really a light at all. It is in effect just a brightness co ntrol for the entire scene v. - :?" using OpenGL or RealView. It is a quick way to approximate the effects of light that would reflect c =t he walls and model wit hout calculating any light reflection; it does not cast shadows or transmit c:: :r t hat would actually reflect off the walls.
I
To get physically accurate am bient light we must use indirect illumination. Add ambient light. Right-click each of t he directional lights and select On in SolidWorks.
11
Double-click the Ambient light. Select On in SolidWorks and set the Ambient to 0.7
5
Advanced Lighting 431
· 2 Examine the results. The model will be brighter in both OpenGL and Real View but there will be no change to the preview window because Ambient .ight is not calculated in PhotoView 360. It uses indirect lighting instead. The Ambient light just brightens the entire scene. It simulates the light that would reflect off the walls and model.
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0 OpenGL-Ambient Off
OpenGL-Ambient On
Real View-Ambient On
= Indirect Lighting Indirect lighting simulates the light that bounces off objects. From the point where the ray from the camera strikes the geometry. the rendering engine projects rays in all directions to determine t he lighting contribution fro m the surrounding surfaces. It gathers this information to determine a single value that it can then apply to t he pixel being rendered. Indirect illumination allows an illuminated mode l to reflect rays to other entities of the model or the scene. If you illuminate a model that is green. other entities in the scene will have a green tinge to them when indirect illumination is enabled. The pu ll-down lists for Preview render quality and Final render quality in the Photo View 360 Options set the number of ~ reflect rays and other settings used to calculate the (_/ contribution of indirect illumination. The rendering time will increase as the number of rays increases.
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The number of indirect rays is shown in the final render window and will be as follows for the four rer.::.2"" qualities: • • • •
Good: 128 Better: 512 Best: 1024 Maximum: 2048
13 Change the color of the walls.
Add the default appearance color to t he two walls shown and make one wall red and the other cyan.
------~------~--~·7
Note The exact color of each wall is not important, only t hat
you have a colored appearance applied to each. 14 Turn on the point light.
Turn on the point light in PhotoView 360.
0
15 Note indirect illumination.
The preview shows that the sides of the sphere now take on the color of t he adjacent wall because the indirect rays reflect off the sphere and gather the information from t he surrounding surfaces.
Indirect Illumination and Qualit y
We have seen that the number of rays was defined by the quality settings fo r both preview and final rendering. In Chapter 4 we saw that as the quality settings increase, the re ndering times also increase but not linea rly. If we repeat the comparison c= quality settings and t ime as we did in Chapter 4 using our cu rrent model, we can compare the resL~ and the rendering times. Remember that the exact time is dependant on the individual computer sc-;;-t imes you get will be different but will fo llow the same trend.
Advanced Lighting 433
Compare t he images below. As the Final Render quality setting increases, the rendering times increase in proportion, i.e., double the number of rays roughly doubles the rendering time. You should be able to see an improvement in the smoothness of different lit areas of the sphere and box.
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at.B rays-,-5.5 Sfi!%)nds
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512 ray?-37 seconds
Best
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6 Close the file .
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Maximum rays- 2 min 11 sec
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Ambient Occlusion Ambient occlusion is an effect seen with indirect lighting. As the name implies. ambient {indirect) : 5 is occluded {blocked) from some surfaces. so the surfaces appear darker. Ambient occlusion is a real-world phenomenon as can be seen in the photograph of the corner of a room. The corner appears darker than t he adjacent walls and ceiling as we can see following the arrow from A to B. With images that are rendered. the occlusion is calculated as part of the ray t racing of indirect light beams. When indirect rays are projected from a flat surface. t he rays can be spread out over 180 degrees {point A). but near a wall, they can only spread out over go degrees (point B). so they will collect less light.
When viewing a model in ReaiView, ambient occlusion is calculated by the distance to surrounding surfaces. It can be applied t o all scenes.
Advanced Lighting 435
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Ambient occlusion will be different in RealView from that found in a rendered image as it is a form of shading that darkens areas enclosed in corners and is not affected by t he color or light.
Note Ambient occlusion is not available when viewing a mode l in OpenGL.
Where to Find It • Menu: View, Display, RealView Graphics • Heads-up View toolbar: l¥ 1Ambient Occlusions
Case Study: Illumination Controls In this case study we will explore the illumination controls for indirect and direct lighting. Using the model of t he SpaceNavigator. we will adjust the different cont rols to visually see the effects. Procedure 1 Open the assembly. Open the assembly SpaceNavigator.sldasm found in the chapter folder. Examine the preview. There are four areas of control: background, scene reflection, directional light. and indirect light. 2
From our initial settings, we will vary each of the controls separately.
Background
Scene Reflection
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3 Vary the background. Edit the scene and select the Illumination tab.
Change only the value of the Background brightness. Preview the render with Background brightne53 set at 0.5, 1.0, and 1.5 w/srm/\2.
Notice that in each image, there is no change to the lighting on the model itself. only the backgrm.::-4 Vary the scene reflectivity. Return the Background brightness to 1.0 w/srm/\2.
Change only the value of the Scene reflectivity. Preview the render with Scene reflectivity set at c · and 3 .0 w/srm/\2.
1.5,
In each image, the change in brightness is only noticeable in the reflective appearances. The flatte-appearance, the less noticeable the changes are.
c- :-- ·-
Advanced Lighting 437
5 Vary indirect lighting. Turn off the directional light in Photo View 360 and return the value of Scene reflectivity to 1.0 . ~
Change only the value of Rendering brightness. Preview the render with the Rendering brightness set at 0.1, 1.0, and 4.0 w/srm/\2.
With Rendering brightness, all t he surfaces change in brightness because the indirect illumination is being calculated from the spherical environment. That allows light to get t o all sides of the model. 6 Vary direct lighting. Retu rn the Rendering brightness to 0.1 w/srm/\2.
Turn on light Directionall in PhotoView 360 and also turn on its shadows. Change only the value of Brightness in the Photo View Controls. Preview t he render with the Brightness set at 0.1, 1.0, and 4.0 w/srm/\2 .
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Unlike with Rendering brightness, increasing the brightness of a direct light only brightens the area of the model toward the light because the other surfaces are in the shadow of t he model. We can also see t he effect on the specular highlight as it is coming directly from the light. 7
Close the assembly without saving.
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Case Study: Photo Studios and Area Lights Photographer's studios are generally set up with certain standard pieces of equipment such as spotlights. area lights. reflector panels. backdrops. and other equipment t o properly light and posit;::r the subject. Product shots in a studio are frequently done against a featureless background to keep.:-:: focus on the product. SolidWorks provides many of t hese studio scenes that are alrea dy set up and can be used with litt.E adjustment. lf the provided scenes are not exactly what you are looking for, it is easy to set up a cust:: studio where you can just attach a new model and render it with predictable results. ln this case study. we will create a custom studio and use area lights to provide diffuse light on aumodel.
Advanced Lighting 439
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t
To create t he above rendering, we could put t ogether all t he elements of a studio each t ime we have a new mod el, or we could create a stud io and then just insert the model into a previously created studio and render. We will focus on the studio itself rather than the model. The Fire Engine model we wi ll use already has all the appearances and decals applied. The studio setup that we will create will look like this: Area lights
Backdrop
---Model courtesy of Marko M Markovic
I
_____ Subject
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--------------
Procedure • Create a backdrop
Many photographers use backdrops t hat are just rolls of paper or clot h that hang from a roller and t hen cover the floor. This provides a seam less t ransition from the horizontal to vertical surface. • Create panels
Light can be provided by area lights or by reflecting light from umbrellas or flat panels. • Create camera pos itions
We can have preset camera locations that are based on t he model being at a certain position. When establishing the camera position we must check to make sure we do not see past t he ends of the backdrop.
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Create the backdrop.
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Create a new part with the units set to millimeters. Sketch two lines on the right plane and dimension them as shown. The horizontal line should have a mid-point relationship with the origin.
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1 ·~-----750------·~+1~-250~ ~ 2
1
Create the transition.
Sketch a two-point spline bet ween the two lines and make the spline tangent to each line. Adjust t he spline to achieve a smooth transition. We are using a spline rather than an arc to prevent seeing a seam where the surfaces join. 3
Extrude.
Create a midplane, t hin extrusion 1 mm thick and long.
1600 mm
The backdrop needs to be long enough so that it will always be in the camera view. The actual thickness is not important.
4
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Save.
Save this file as Studio Backdrop. 5
Create an area light.
Create a new part with the units set to millimeters. Sketch a rectangle centered on the origin. Dimension the sketch to be sao mm by sao mm. Extrude the sketch to 1 mm. Again the thickness is not important. Save the part as Area Light.
1
Advanced Lighting 441
5
Create a studio assembly.
Create a new assembly with the units set to millimet ers. Save the assembly as Lighting Stu dio. Add component.
1sert the Studio Backdrop part and mate it to the origin. 3
Create a light position sketch.
~ather
than mate each area light to a fixed position in space, we will use a 30 sketch. The sketch will :::mtain construction lines from the origin. The area lights will be mated perpendicular to the end of each 1e. This will make it easier to reposition the lights as all we have to do is edit t he one sketch. - the assembly, create a new 30 sketch. :3-
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9
Establish the rough positions.
One way to get all the lines in the 3D sketch going in the right direction is to split the screen. This \',:: we can see the Front, Top, Right, and Isometr ic views together. The advantage of this is that w'::=we drag an endpoint in a view, it moves in the plane of the screen.
5 3
Drag the lines to t he approximate posit ions shown. • 30 Sketc hl of lightmg Stud1o.SLDASM •
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Add components.
Add t hree instances of t he Area Light and mat e the origin of each to t he end of a line. Add mates to kee p the area lights perpendicular to t he 3D sketch lines. Add the Fire Engine asse mbly and mate it t o the Studio Backdrop at t he origin. Angle the assembly slightly as shown.
=
Advanced Lighting 443
~ote Remember. the setup of the model position and cameras is subjective. The values given in these steps are suggestions for t he starting points. You should experiment and adjust until you have the scene and views you like.
Add appearances . .\dd the appearance Area Light, found in the Light s, Area Light folder, to the Area Light part. ·1
!l.dd the appearance ceramic to the Studio Backdrop. Change its color to Red: 222, Green: 199, Blue: i6S. This is a beige color. "2 Change reflection property.
.'le want the background to be flat with respect to lighting (like flat wall pa int) so t hat it does not reflect ::ljects or lights outside the scene. Select the Illumination tab and change the Reflection amount to 0 .0 . ::amera or Zoom and Pan? ';'hen we use a studio with area lights, cameras are generally a better choice than using the zoom and :2n method for establishing a viewpoint. When using direct lights, t here is no geometry associat ed with -e light and we can literally put a light right in front of our viewpoint and not see the light. With area gnts, we have a physical part, which will be seen if it is in the field of view.
3 Establis h viewpoints. -.:::l a camera and establish a viewpoint. Use a so mm Standard lens. Position this camera at X= 92 mm, ~ = 111 mm, and Z = 4SO mm. Aim the camera at the windshield. ·-.::d another camera with a SO mm St andard lens at X = SO mm, Y = 37S mm, and Z = 4 00 mm. Target ·-.e camera so that the toy is completely in the frame.
==spective should be on for both cameras. Choose aspect ratios to be able to see the model.
eX>al
Camera2
~ ~
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Lock Camera View With Lock Camera View selected, the View commands are disabled and prevent us from moving the viewpoint.
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14 Lock camera view. Right-click Cameral and select Camera View and Lock Camera View. 15 Set up the scene. We are going to make sure that there are no influences on t he light sources other than the three a-:: lights. In the Task Pane, locate the scene Pitch Black under Scenes, Basic Scenes. Press and hold Alt \'-. dragging it into the graphics area. Examine the scene properties. This scene has a black background and the environment image is p~ black. The only light is the Ambient light which is not used in Photo View 360 rendering. Edit the Ambient light and increase its brightness to O.S. The reason for this is that the area lights not light the model in Real View or OpenGL; the ambient light just allows us to see the model. Click OK.
16 Turn off area lights. To turn off all the area lights, you can either suppress or hide t hem. Hide a\\ three area lights. 17 Preview the model. The scene should be black in the preview window if we have all t he lights off. If it is not black, we IT 5a light source. 18 Turn on one area light. Locate and unhide the area light that would be over our right shoulder.
Advanced Lighting 445
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19 Examine the preview. Examine the preview window. The area light does not provide much light. Before adjusting the light, we must remember that we currently have three instances of the same area light part. If we adjust this light to make it bright enough. the scene will be too bright when the other lights are added. 20 Turn on another area light.
Locate and show the other two area lights.
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21 Examine the preview. We can see specular highlights on the model and actual reflections of t he area lights on the fireman and his helmet.
The scene is still too dark. but now that all the light panels are on, we can increase the intensity. p5
Note The position of the specular highlight s may be different on your preview due to differences in the positions of the area lights. 22 Increase the light intensity.
Nith this studio setup, we used three instances of the same part as our area lights. Therefore. when we increase one area light. we increase them all because they are the same part. If we want ed to control the intensity of each light separately, we could have created each area light as a separate part, or applied the area light appearance to each instance separately. 'l
the DisplayManager. edit the appearance Area Light.
Lli'IWlous inltn
8.00 w/srm A2
Select the Illumination tab. The area light brightness is controlled by uminous intensity, which has a defau lt value of 4.00 wfsrm/\2. .ncrease this to 8.00 w/srm/\2. Click OK.
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----------- -- ---------- --- ---- ----- -- ------- --- --- -- -- 23 Examine the preview.
Our brightness is about right. but the background is blotchy. The blotchiness is caused by too few indirect rays being cast du ring the rendering process. To smooth out the rendering we need t o increase the rendering quality. which will increase the number of rays. 24 Increase render quality.
Adjust the preview render qua lity to Best
25 Examine the preview.
With the three area lights, we have specular highlights. some dark shadows under the model. and diffused shadows around the mode l.
26 Render the model.
Your rendering should look similar t o the one at right
Advanced Lighting 447
What's Next? We could add additional area, spot or di rectional lights t o this studio or change the positions of the existing area lights by editing the 3D sketch. Using configurations. we could use the same studio and have a variety of repeatable lighting and camera setups. Once we are satisfied with the studio setup, we can delet e the Fire Engine model and save the assembly. The next time we need to render a product, we just have to add it to the studio assembly and '"ender.
27 Save and close all files.
Case Study: Point and Spot Lights n this case study we will exp lore some the opt ions available with spot and point lights.
Procedure Open the assembly. :::Jpen the assembly SpaceNavigator.sldasm found in the chapter folder.
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Select a section view.
::lick View, Display, Section View.
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Select the Front plane. - he model was created with a parabolic reflector and a lens. We will add appearances to make the lens glass, and the reflector a shiny reflective surface so that the reflector looks real.
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Add appearance to the Reflector. Select the Reflector in the FeatureManager design tree. : :ick Appearance ~ on the Photo View 360 toolbar. :::.ight-click the chromium plate appearance fro m the metals, chrome folder and click Add .!l.ppearance to Selection. :::ick OK.
448 Chapter 14
-- --------- ---- ----- --- -- ----- ---- ---- ------ -- -- ---- --Pair 5 Add appearance to the Lens. Select the Lens in the FeatureManager design tree.
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Apply the clear glass appearance from the Glass, Gloss folder.
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6 Examine the preview. We can now see the reflector through the glass lens.
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Set th 7 Add a scene. In the FeatureManager design tree, show the body named Box. This body is just three walls of a box to give us a frame of reference and a wall to see the beam from the light we are about t o add. An appearance has already been applied to this body.
Advanced Lighting 449
Point Lights Point lights can be very useful in simulating unfocused light coming from a very small source. They most closely represent t he properties of standard light bulbs. Point lights are what their name implies, light from a point. Unlike the physical world wh ere light s have to have some fi nit e dimension, in SolidWorks, point lights come from a dimensionless point and radiat e in all directions.
Where to Find It • DisplayManager: right-click Lights, Add Point Light • Menu: Lights and Cameras, Add Point Light
8 Add a point light. Change the view orientat ion to Right and the v iew display to Hidden Lines Visible. Right-click the Lights f older, and select Add Point Light. Set t he light position to coordinates 0, 0, 0.
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---------- --- --- -- --- ---------- ----- ----------------- -9 Reposition the point light. Because we are looking at the Right view, we are looking normal to the X-Z plane. Select Lock to Model so that the light moves with the flashlight. Change the X va lue to 25 mm. Both Y and Z values should be zero. 10 Change the shadow settings.
Photoview Olntrols
Select the Photo View tab.
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Change the view. Change the display to Shaded.
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Examine the preview. We see the flashlight and the scene, but no beam of light from the flashlight. We can also see bright spots on the walls caused by the point light.
12
Why didn't the flashlight stop the light from striking the walls? The problem is the shadow setting. Shadows have been turned off. Rendering with no shadows means t hat light can pass through solid objects as that is how the light gets to areas t hat would normally be in shadow.
13 Display the shadows. Edit the Point light and select the PhotoView tab. Select Shadows and click OK.
1
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Advanced Lighting 451
14 Examine the preview.
We get a beam of light closely resembling a real flash light. The point light is not actually being reflected by the chrome reflect or. The only light t hat is hitting the wall of the scenery is that which travels directly from the point light to the side through the lens opening.
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15 Change the beam angle.
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Edit the Point light and select the Basic tab. Change the light position value of X to 12.5 mm. Click OK. 16 Examine the preview.
This time we get a wider beam angle.
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452 Chapter 14
Point Light or Spot Light? The point light gave predictable results in the above example, but we had to control the beam by way-: the surrounding geometry. A spot light has additional controls that make it a better choice in most applications. With a spot ligwe can cont rol the cone angle, shadow quality. and the intensity across the light beam.
Spot Lights Spot lights are very useful lights when trying to add realism to the rendering. They most closely represent t he properties of the lights used by professional photographers in a studio. Spot lights are restricted, focuse d lights with a cone shape beam that is brightest at the center. Sr:-:lights can be aimed at a specific area of the model. The position of the spot light can also be adjus:e: relative to the model. Cone angle and edge properties can be adjusted t o add more realism.
Where to Find It • DisplayManager: right-click Lights, Add Spot Light 11 Menu: Lights and Cameras, Add Spot Light Adjusting the Light Positions
The spot light position, target, and cone angle can all be adjusted by dragging the manipulators. \', t he manipulat ors are used, the position inform at ion is updated in the PropertyManager. For consistency, the lighting values will be given as their numerical values. You should adjust the : 5 by both numeric input and dragging t he lights to gain practice at bot h.
17 Turn off the point light. In the DisplayManager, right-click the light Pointl and select Off in Photo View. 18 Add a spot light. In t he DisplayManager, right-click the Lights folder, and select Add Spot Light.
Advanced Lighting 453 ..r ::::e27 ::;y ·--
19 Adjust the spot light. Edit the Properties of Spotl. ,~ ;-& as::~-
Select On in PhotoView. Select Lock to Model. ~::;sr close
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Set the Position to X = 12.5 mm, Y = 0, and Z = 0. This is t he same posit ion as the point light. Set the Target to X:::: -100. Y :::: 0 , and Z = o.
Do not click OK yet.
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Set t he Cone Angle to 20 degrees. Changing the Cone Angle gives us direct control over the light beam rather than forcing us to use t he indirect method t hat was necessary wit h t he spot light. Click OK.
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PhotoView 360 Light Characteristics The PhotoView 360 Controls section of the spot light's PropertyManager has some addit ional lighting controls.
Brightness This contro ls the intensity of the light in Photo View 360 only. The intensity of the light in OpenGL and Real View is contro lled by the Brightness contro l on t he Basic tab. Soft edge This controls the transition of light outside the beam. The lower t he value, the sharper the edge of the light beam.
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Advanced Lighting 455
21 Examine the preview.
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Edit the PhotoView 360 Controls of Spot l. Set the Soft edge angle t o 20.0 degrees. Click OK. --sa harder
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23 Examine the preview. The circle now has a softer edge. Notice that t he intensity of the light is very uniform across the circular area.
456 Chapter 14
---------------------------------------------------- -- 24 Unsuppress the ball.
Show the body Sphere. This is a simple sphere located along the axis of the flashlight. It already has an appearance assigned to make it easier to see. Notice that there is no shadow because the shadows have not been turned on.
25 Edit the spot light properties.
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Advanced Lighting 457
::6 Examine the preview. n ere is now a shadow on the wall. .'le notice that the shadow edge caused by the ball is :jJferent from the edge of the light beam because i::-te two edges are controlled separately.
27 Edit the shadow radius. =:dit the Spot light radius and set it to 7.0 mm.
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458 Chapter 14
28 Examine the preview. The edge of the shadow is now less well defined. It is also very grainy because of the low setting of Shadow quality.
29 Adjust shadow quality. Adjust the Shadow quality to 100. It will t ake much longer for t he preview to fu lly render because we have greatly increased the number of calculations.
30 Add fog light. On the PhotoView tab, select Fog.
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Set the Fog distance to 75%. Click OK. Note In some service packs for So lidWorks, Fog distance will work differently. If you do not see the same result as shown in the book, increase the Fog distance to about 400%.
Advanced Lighting 459
--- --- ------ - ------- -- -------- -- - - -------- -- ---------- 31 Examine the preview.
The small amount of fog makes it easier to see the light beam. Fog distance can be up t o 1000% (10 t imes the lightto-target dist ance). Change the fog distance to 1000% and the fog will go all the way to the walL 32 Save and close the part.
Advanced Scenes
Upon successful completion of this chapter, you will be able to: • Understand the different scene elements. • Understand the different fil es used for scene elements. • Add backgrounds t o a scene. • Understand the effects of environments. • Understand the process for creating custom environments.
462 Chapter 15
Scene Images
Photo View 360 and ReaiView use different images for their environments. As we saw in Chapter ; scene images used for rendering are 360 x 180 degree panorama images. RealView uses a differem:of image called a cube map. Cubic environmental images are more computationally efficient, whicmakes them better for the dynamic environment of Real View. Cube-mapped images are also usee most video games. Spherical images are less efficient computationally, but have bette r quality which makes them bezfor photorealistic rendering. Cube-Mapped Environment Images A cube map uses six images to fo rm a cube. This cube forms the environment around our model. You cannot open cube map files, which have the file type DDS "Direct Draw Surfaces" (*.dds), directly in Windows Explorer or most of the common image edit ing programs without add-in software or a dedicated program for cube-mapped images.
The cube map file consists of six images arranged as shown below. These images are then arranged in a cross which forms the six surfaces of a box. The cross is folded to form the final environment.
Advanced Scenes 463
If we examined the file used for the kitchen in SolidWorks. we would see the following. Using t he diagram above, you can see how the individual images are assembled in the cross and how that will then fold int o the final cube.
Spherically Mapped Environment Spherically mapped images provide a better quality image for use in the rendering process. These images can be most any of the common image file formats and can also be HDR images. Many of the images provided for use as environmental images are purposely not in crisp focus. The images appear as they are seen in the reflections on our models. As such, they represent scenery that is much farther away than the model and would be a little out of focus in an actual photograph due to depth of field.
464 Chapter 15
Creating Scene Files You can create your own custom scene files in essentially the same way that custom appearances decals were created. That is, you start with a stock scene, modify it, and save it as a new custofTl s::Scene files have the ext ension ~'.p2s. When we create a custom scene, it will contain both the scene and the lighting sett ings. Prior to PhotoView 360, scene and lighting properties were contained in separate files with the lights be ~~ contained in ~'.p21 files. When you create a custom scene file, it will contain the following information: • • • • •
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Direct lights (directional, spot. point) Environment image (file, orientation, illumination) Background image Floor (size and appearance) Floor shadow and ref lection settings
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Creating Custom Scenes Finding panoramic images for environments is generally very easy, but there are several issues to consider before using them in a rendering of your product. The large majority of the images available are for purchase and are not free. Some of the images that are free t o download are copyrighted so that while you might use them for testing and private pu rposes, you may not be able to use them in images you intend to publish. The other problem is finding background images to go with t he panoram ic images. Depending on the image you are trying to create, you may need both a well-focused background image and a soft-focused environmental image to properly light the model and show soft reflections. If you know precisely where the panorama was shot you may be able t o search for images of the same site, or you may possibly be able t o shoot the required images if the site is close by.
There may be circumstances, however, where you cannot find commercial images for the scene you need for a product shot. If you have some experience as a photographer, you may be able to create two images t hat are suitable for your needs. At first. this may appear to be a daunting task, and if you have no experience with photography and photo editing. it probably is. However, for the many people today who have experience with photo editing and phot o editing software, the process is relatively straightforward.
466 Chapter 15
As an example to show the process, we need to create a product shot of our model automobile. Because this process is outside of SolidWorks. the process will be expla ined without step-bystep instructions. We have a locat ion close by that is freq uently used by professional photographers t o shoot pictures for local car dealers that will be su itable fo r our needs. What we would like to create is the following image. We are going to need two images. The first is a well-focused photograph to be used as the backgand the second is a soft-focused panoramic image to be used as the environment. This second - _ needs to match the background image because the reflections we see on the car need to be thcs: would be expected if an actual car was photographed in this locatio n. The images also need to r::lighting conditions so that illumination from the environment casts shadows t hat are consistent \', :background image. Likewise, we also need to insure that any shadows cast by the direct lights ;;- _ rendering also match the angle of our images. Background Image Shooting the background image is st raightforward. The key elements are t o get the camera pos.: :correct for both lighting and scale. It can be helpful to have a rough mockup of t he model basec -::,full-sized car. All that you need is a couple of stakes in the ground to get the position and height Sa test shot or two until you establish the correct camera location. Once located, shoot images bo:t he stakes and without the stakes. You can use t he image with the stakes to align the model to ~--= background in SolidWorks and then just switch the background images. Because both images are 3 from the same posit ion, all that should happen when you change images is that the stakes disa;::::_ The stakes also serve as a visual clue as to the location of the sun. Once the SolidWorks model :s positioned, the shadow in the image can be used to position a direct light that represents the SLSpherical 360-Degree Panoramic Image If your goal is to create usable images, it is not that difficult or expensive. If, however, you want g-HDRI images that are sharp all over. it can be costly. While t here are special cameras that can crea:: panorama as a single image, these cameras are generally for photographers that make a living sh:::::panoramas and not for people that just need one or two images.
Without a camera that is made specifically for shoot ing these images, t here is no simple or instantaneous method t o create HDRI panoramas, but the common method for nonprofessional photographers requires:
Advanced Scenes 467
• A camera t hat can shoot mult iple exposures of the sa me set up • A camera t ri pod • A spherical mirror, generally called a mirror ball or gazing ball, and a mechanism to ho ld the ball in place • Software to create HDRl images from multiple shots • Software to convert the mirror ball shot to a latitude/longitude (360 x 180) image or cube map • Image editing software t o combine and layer multiple images, then remove image of camera and phot ographer. And finally, fli p the image horizontally. The process is one of shooting a closely cropped image of the mirror ball. As the reflections from a spherical mirro r cover almost the entire 360 x 180 degrees needed, the image can then be unwrapped in the correct software. Once unwrapped, the image needs to be edited to remove the reflection of the camera and photographer and t hen to mirror the final image. In t his case, the mirror ball was placed where the model was going to be posit ioned in the scene. The image below was not used fo r t he panorama as t he mirror ball is too small in the frame. This image was shot just to show the basic setup.
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468 Chapter 15
Procedure Below are the steps used to create the two images used for the product shot with downtown Sar. ::: in the background. • Photograph the site for background images. Clea n up any imperfections in the photograph, fix white balance and exposure using image editing software. The original shot had some areas where the grass was brown or worn. These areas were fixed in the image editing process. • Mount mirror ball at the location the model will be rendered in. The mirror ball was placed based on the first image. It was t he location where the car model was go ing to be placed at the height of t hE of the car. • Go back to t he positions used in step one and shoot the images again. The purpose of this is to get the mirror ball in the image with its fixture. This is used to show::-.: shadow direction. When you use the background image in Photo View 360, you can start with t-: image that has the mirror ball to insure that the rendered shadows will fall in the correct direc -.Once everything is adjusted properly, you just have to change to the background without the r. ball. • Position t he camera so that with the longest lens you have, the diameter of the ball just fills t:-:o vertical height of the frame. Make sure you do not clip off any of the ball. but have the ball fill as much of the image as pos~ Make sure that the camera is at the same height. relative to the ball. for this and the shots tak:othe alternate positions. • Adjust the camera: • Set the ISO value at t he lowest you can use for the lighting. The lower the ISO value, the less -::in the image. • Set the camera to shoot a bracketed exposure if it is capable: five shots, one step apart. Th;~ yield EVa, EV+l, EV+2, EV-1, and EV-2. You can also use three shots or more than five if you ch:): depending on the dynamic range of the setting. If you do not need an HDRI image, you can jLsshoot one exposure.
5
Advanced Scenes 469
• Use Aperture Priority so that the camera will adjust the exposure by shutter speed. This avoids having a different depth of field in each shot. • Lock down the focus and base exposure. You want to make sure the exposure is fixed so that the middle image of each set is shot with the same sett ings. This avoids problems when you merge the images later. • Shoot the images. Usually t his is just pressing the shutter release once and letting t he camera do the work. If your camera does not support this mode, you can always shoot in manual mode and adjust the settings after each shot. Remember that you are shoot ing 360 x 180 degrees, so you and the camera (and maybe your camera bag) are all in the scene. If you have an infrared release and a place to hide, you can eliminate yourself from the image. If you cannot get out of the image, stand behind the camera and stay low. This just reduces the area you are going to have to fix later. • Move the camera to a position about 120 degrees around t he mirror ball and shoot the next series. • Move the camera to a position another 120 degrees around t he mirror ba ll and shoot the next series.
Problems Shooting outside in public places has its own set of problems. For instance, in the San Diego shot, the idea l time for lighting was late afternoon. However, this is when there are a lot of tourists. As you are shooting 360 x 180 degrees around the ball, you will wind up with a lot of people in the images that are in different locations in each frame. As there was no way to remove the people at the time t he shot should have been taken, the alternative was to shoot the images in t he morning. The light ing was not ideal. but there were no people to contend with. Finding a good-quality mirror ball can be a challenge as these ba lls are genera lly made for garden decorations and are not optical quality. A glass gazing ball works bett er than a stainless steel ball because it has a smoother mirror surface. The stainless steel ba lls tend to be not as shiny and minor scratches can cause streaks, particularly from bright sun. You need to use the highest camera resolution you can find. The shots created in this example were made with a 10 megapixel camera. While this might seem to be plenty of resolution, the geometry of the problem is against us. With a 10 MP camera, the image will be about 3800 x 2850 pixels. The problem is t hat we are only going to use the part of t he image that is from the mirror ball itself, which is a circle.
470 Chapter 15
The area of the circle will only be about half of the number of pixels of the rectangle. Theoretic.:: 59 percent if you cou ld capture the circle so that it was tangent to the frame border, but the re= you are going to overshoot just a little to make sure the ball is not clipped. So, you need to mak= s.... you do not clip the circle while at the same time making sure that the circle is as big as it can bE frame. Developing the Images The first step is to take the multiple images from each camera position and combine them into c;;---:: HDR images. This can be done with a variety of image editing software packages.
Advanced Scenes 471
Next is to convert the spherical image into a latitude/longitude (360 x 180) image. In this case, this was done with HDR Shop, although there are other programs that will also do this transformation.
We can see that the center portion of this image came out reasonably well, but there is more distortion near the right and left edges. The other pro blem is that we can see t he pole and fixture used to support the mirror ball. Once we do the same st eps to our other two views of the mirror ball, the three images can be combined and corrections made to eliminat e a lot of the distortion and remove the photographer, mirror ball, and shadows from the final image. The end result will look like this.
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Note that this is not a sharp-focused image, but that is not a problem as we generally do not wantsfocus for out door environments. The reason for this is that the environment is generally so far c from the subject in outdoor photographs that it will normally lack sharp focus due to the depth o" = In our case, there are no flat reflective surfaces on the car model, so all reflections from the envirc are going to have some distortion. Could we make this image better? Yes, we cou ld do additiona to blend the images together and smooth out some of the rough areas, but is it wort h it? That is dependant on the outcome of the rendering. If we look at the finished image, the problems in the panoramic image are not noticeable because the surfaces of the car are not flat and they are no: complete ly reflective. At the zoom level of the final image, we can see the buildings and coastline reflections, yet the imperfect ions of the environmental image are not apparent, so t here is no nee: clean up the image further.
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Advanced Output Options Upon successful completion of this chapter, you will be able to: a Understand the post-processing tools in Photo View 360.
• Choose an appropriate file type for saving images. • Understand the basics of color management. • Schedule renderings to process at a later time. • Set up and use Network Rendering.
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The Photography Workflow The change from film photography to digital photography has significantly changed the workflow ::= creating images. The same workflow changes that affect photographers have also changed the workflow of the digital rendering process. With film photography, most of the process was centered around getting the correct image on the = Color balance was primarily achieved by choosing the proper film type for the lighting conditions. T-.:.-was indoor film that was used when the light was from tungsten-based bulbs and outdoor daylight =when the light source was the sun. Photographers loaded a roll of film into the camera and shot 12. -=or 36 exposures. If lighting conditions changed, the choice was to either change film and waste thE remaining images on the roll or shoot with the wrong film using a correcting filter {if you had it availa: = If you shot indoors with daylight film, the images would develop with a warm reddish-orange tint. lc _ shot outdoors with indoor film, the images would have a cool blue tint. If you shot daylight film un::::r fluorescent lighting, the image would have a green tint. Correct ing these color shifts was sometirre5 possible in developing. but that was very expensive, time-consuming. and generally beyond the mec::. of all but professional photographers. Photographers also used filters to change the color of the light entering the camera to strengther :o color, or create specia Ieffect s such as to add blur or star effects. Special tilt-shift lenses could be t.:S?_ to correct the perspective such as when looking up at a tall build ing. The point is that with film photography, most of the photography process was done in the steps lea:: -:: up to the shutter release. This was also true of the process of computer-based digital rendering; yoL:.:: all the work to get the image just as you wanted it before you rendered it. Rendering was like the developing and printing process. As photography changed to digital image capture, the process shifted from getting the correct im<=~= on the film to one of getting the camera to record exactly what it saw and then making all the corrections in the computer developing process. Today's digital cameras do a variety of post-processing tasks, in many cases without the person ta"--: the photograph even knowing what is happening. The camera sensor records what it sees, and ther based on both the user's and manufacturer's settings in the camera, adjust ments are made before 1=-. see the image on the screen. The manufactu rer's sett ings include the algorithms to adjust to senseoutput based on the knowledge of how the sensor records what it sees. The user adjustments inclL:.:: such things as white balance, tinting, red-eye reduction, and special effects. Today, professional photographers shoot in a mode called camera RAW. In this process, the camera its:: makes no adjustments and records exactly what the sensor sees. These RAW images are then postprocessed to make all the corrections allowing the photographer to have the creative control.
Advanced Output Options 477
In the current version of Photo View 360. this change to more post-processing can be seen in the Final Render window.
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When final rendering is done. this is like our camera RAW image. In the final rendering window. adjustments can be made before saving the image to its final f ile format for use elsewhere. With digital rendering. we are working in an area between the film and digital paradigms. Our goal is to make the rendering look correct without having to make later adjustments; however. we now have more options if the rendering is not exactly as we would like it. or if a customer changes his mind and wants some "minor" adjustments.
Post-Processing Changes can be made to the rendered images in two places. inside Photo View 360 or in other image editing software. In the Final Render window, there are several controls and displays to adjust the rendered image. From the Final Render window. images can also be save in one or more file types to be post-processed using other commercial software.
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Final Render Window The Final Render window allows for manipulation of the final rendered image.
You can adjust aspects such as color saturation, tone, brightness, and bloom in the Final Render viUsing the compare functiona lity, you can perform a side-by-side or magnifying glass comparison between two renderings. The Final Render window contains the following three tabs: • Image Processing • Compare and Options • Statistics Image Processing
PhotoView 360 creates high dynamic range images. These high-quality images include extreme ligand darks, which allow for a great er degree of manipulation and editing. On the Image Processing :_ you can monitor intensity, saturation, and color channels. You can also make adjustments to input \' gray, and black levels as well as bloom, tone mapping. saturation, and gamma. Use the Colorizatio;option t o add a color tint to your image. All adjustments are nondestructive, meaning that you car always go back to your original image. Image Size
Maximum image size is dependant on the version of PhotoView 360 installed. With PhotoView 3~ 64-bit, the maximum output size is 20,000 x 20,000 pixels. For Photo View 360 32-bit. the maximurP s.:= is 11.580 x 11.580 pixe ls. High Dynamic Range
It was noted earlier that our rendered images are high dynamic range, and in Chapter 9 that we cc_: use high dynamic range (HDR) images for the environmental images. As we use HDR images in diffe~2~ places in our workflow, it is important to have a basic understanding of what high dynamic range me~ Dynamic range is the highest overall contrast that can be found in an image. This is oft en called thE contrast ratio, which refers to the difference between the brightest and darkest color values.
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Advanced Output Options 479
In photography, dynamic range refers t o the range of exposure values {EV) that can be recorded. The exposure value is a combination of aperture size and shutter speed. Cameras are designed so that each adjustment of shutter speed or aperture doubles or halves the amount of light on the film or sensor. The shutt er speed adjustments should be obvious. in t hat if you change a shutt er speed from 1/500th of a second to 1/250th of a second, t he shutter is open twice as long, so you will let in twice the amount of light. While the effect of shutter speed may have been obvious, f-stop numbers at first look confusing. F-sto ps are just the square root of the change in opening area. If the original area is 1, then the f-stop is f-1.0. If you halve the area {divide by two), then the f-stop is f-1.4 (the square root of 2), and so on giving the common f-stops of 1, 1.4. 2, 2.8. 4. etc.
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In the physical world, exposure values can range up to about 24 st ops, which is a contrast ratio of about 1:10,000,000,000, from the darkest black to the brightest white. Our eyes can see a range of about 14 ste ps or a contrast ratio of about 1:10,000. Film could only record about eight stops and modern digital camera sensors up to t he 10 t o 12-step range. The problem is that when we photograph a scene, it will not look the same to us as we see with our eyes because of the differen ce in dynamic range . Creating HDR images in phot ography requires two things: enough data to cover the dyna mic range and a file fo rmat t hat can support the range of values throughout the dynamic range. With computer rendering, we are not limited by the camera's sensor capability as we are in photography, so computerrendered images can cover a range that is essentially only limited by numeric capabilities of the software.ln the past decade, fi le formats have been created that su pport the large data set ranges. The key aspect of the HDR file formats is that they use floating point numbers instead of integers. With integer formats, red, green, and blue values were stored as numbers from 0 to 255. All the combinations of those numbers yield only 2563 or about 16.8 million choices. While this in itially appears to be a large number, it is actually very small when compared to the full range found in the physical world. Histograms Histograms are found in most image editing software and are a valuable tool when analyzing and evaluating images. They are simply a bar graph that shows a representation of the tonal range (brightness) of an image from pure black {t he darkest an image can be) at the left end of the horizontal axis to white (the brightest an image can be) at the right end. The height of the gra ph indicates the number of pixels at each luminescence value. It is important to understand that by black and white we are talking about brightness, or luminescence, and not black and whit e images.
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Histograms work equally well with full color photos, since we're dealing with brightness values, not colors. In some programs, the histogram may be able to show additiona l values such as specific co:::-s or luminosity. In a world scale, low dynamic range results in the horizontal axis limits being close together and a t- 5 dynamic range places these axes far apart.
HDR Photographs Our intent in t his book is to create comput er-rendered images and not to use a camera to take photographs. However, we use photogra phs as background and environment images, so it is import=:to have an idea of the difference between low dynamic range (LDR) images (standard photographs) c--:: high dynamic range (HDR) images. In photography, HDR is a digital process effect used to combine a number of images of differing exposures to create a consistently exposed picture throughout the entire frame. This increases thE luminance, the amount of light. visible within an image.
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The camera's limitation of the amount of color and luminance it can record is governed by the sens::-capability and the dynamic range of the camera's electronics. To see how the process works in photography, we will examine a photograph taken in a high cont ras: environment. Because the camera cannot record the same range of exposure values that our eyes are able to see, the photograph does not look like what we see when we are actually standing in the room. In t his image, we have a wide range of contrast from the bright light outside the windows to the dark shadow areas inside the room. Depending on how the camera exposure is calculated, we could end up with a photograph where the detail is lost outside the windows because it is so bright that everything above a certain level is just recorded as the maximum luminance value.
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Advanced Output Options 481
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.Ve can see this on the right side of the histogram where there are pixels that are at maximum value. In Jhotography, this is generally referred to as being "blown out:' If we decrease the exposure of the image :::> capture the detail outside the window, the shadow areas will become too dark and everything below c certain value will just be considered black. In photography, this is referred to as "crushing the blacks': - he histogram shows that a large percentage of the image is very dark by the large percentage of the ::urve that is in the left third of the graph. -o create an HDR version of this image, we will need several ot her exposures of this shot. HDR images are created from a minimum of three exposures, but it is not uncommon to use five, seven, or nine .mages to better fill in the exposure range. In this example, we will only use three as t he process is the same. This first image is recorded at one stop underexposed. The bright areas outside the windows are now better exposed, but the areas inside the room are so dark that we cannot see the detail.
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The second shot is exposed normally. Now, the walls are better exposed, but detail is being lost both outside in the bright sun and inside in the shadow areas.
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The third shot is exposed one stop overexposed. The inside shadow areas now show detail, but outside the windows is overexposed.
The histograms show that data t hat would be piled up at either end in the middle photograph is now pulled out into the usable area in the other two images.
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Tone Mapping The completed HDR image can be created using several different software programs. These programs align the images and then combine the information from the individual images into a single image. The histogram shows how the luminescence has been mapped more evenly across the entire exposure range.
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Remember, we do not have to go through this process with our rendered images because we do not have the problem of recording with a sensor t hat has limited dynamic range.
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Advanced Output Options 483
Gamma Correction
Gamma is an input to output relationship that adjusts the mid tones of the image. The input is the image as it was rendered by PhotoView 360 and stored in memory. This is essentially the camera RAW image. The gamma correction maps the tonal values of the input to the output through a smooth curve. With a gamma of 1.0, there is a 1 to 1 linear relationship between input and output, so there is no change. With gamma values greater than 1.0, the mid t ones of the image are brightened, and with gamma values less than 1.0, mid to nes are darke ned. When the values of gamma are changed, all pixels are not affecte d equally because this is not a linear adjustment. In the fo llowing images, we can see several values of gamma. The watch was only rendered once and the value for gamma is applied non dest ructively to the rendered image. This means that you can create several different output files, at different output gamma values, from the same rendered image. If you examine the four images, notice that elements that are pure white, such as the numbers on the clock face and elements that are pure black, do not change with gamma adjustments. At first glance, the pure black face of t he watch get s lighter, but this is t he result of having a layer of glass in front of it, plus a lightening of the t one because of reflected light from t he environment, so it is not actually pure black when rendered.
Note The gamma curves are provided for illustration purposes only and are not available in PhotoView 360.
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484 Chapter 16
The global value fo r gamma is set in the PhotoView 360 option. This wil l be the initial va lue used in the Final Render window, but this value can be overridden on an image-by-image basis.
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Advanced Output Options 485
Image Processing
Once an image is rendered. there are adjustment s that can be made in the Fina l Render window using the t ools on the Image Processing tab. The tab is divided into a Basic Image Processing t ab and an Advanced Image Processing tab. ~
Note The Statistics and the Compare and Options tabs were discussed in Chapter 4.
Because image adjustment is such a subjective topic. you should take an image and run through each adjustment to see what it does. Generally. the best method to do this is to push the adjustments to the extremes to see the result and then back it off to get a feel fo r how much actual adjustment is req uired. For the most part. image adjustments are usually small corrections and are used just to make subtile differences in the fina l image. The other significant point about the image processing done within the Final Render window is that the adjustme nts are applied to t he entire image. If adjustment s are required to only part of an image or just certain components, the model either needs to be corrected and re-rendered in PhotoView 360, or the image edited in a dedicated image editing program.
486 Chapter 16
Case Study: Image Processing Controls Understanding the controls and displays on the Image Processing tab can be confusing when looking at the results of a rendered image. To more clearly demonstrate these tools, we will use a couple of very simple models that have appearances that use just the primary and secondary colors for additive color space. If you do not have a working knowledge of color principles, review Appendix A where color is covered in much greater detail. There are many combinations of controls on the Image Processing tab so we will only explore some of those options, but the best way to ~r : good understanding of these cont rols is to experiment with each adjustment and observe the chc'"'?in your image.
Procedure 1
Open the part.
Open the assembly Vectorscope found in the Chapter 16\Case Study\ Vectorscope folder.component s and assembly already have the scene, lighting, and appearances attached. The assembly consists of six spheres arranged in a circle. Each sphere has an appearance that is e;one of the primary or secondary colors. 2
Render the assembly.
The image will render against a black background. Once the image is rendered, in the Final Render window select the Image Processing tab and show the Advanced Image Processing pane. Under Output Levels, change the Output Gamma to 1.0 so that we are looking at the image as it is rendered.
Input Levels and Offsets
The input levels and offsets can be used to evaluate and adjust the contributions of each of t he prir..a-' colors and/or the luminosity to the overall image. These adjustments can be made either through t= graphical interface or numerical input. Each display has a control to change the display intensity t o rra .= it easier to see the data in that display. The range of the display can also be adjusted to take a cloS?" look at specific data.
Advanced Output Options 487
• Waveform The waveform display shows the color and luminosity intensity as a series of vertica l slices of our rendered image. The left edge of t he display is the left edge of our image and the right edge of the display is the right edge of our image. This display can be helpful in determining where t he image is blown out and has lost the detail in the highlight areas and also the reverse where areas are so da rk that you have lost detail. • Vect orscope The vectorscope shows distribut ion of colors in a circle with the saturation increasing from the center outward similar to an HSV color wheel.
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• Hue and Saturation Pa rade This display uses two graphs t o show the hue (color) on the left and the amount of saturation on the right. Like t he waveform dis play, it provides the information in vertical bands that correspond left to right with the image.
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3
Adjust the Input Levels and Offsets.
Expand the Input Levels and Offsets sect ion. Select Vectorscope and Monitors, and Luminosity for Levels Channel. To make the display easier t o read, change the Display Intensity to 800.0% (Maximum), and Display Range to SO% . Examine the display. There are six spokes caused by t he six colors used for t he six spheres. Saturation is zero at t he center and maximum at the ends of each spoke.
At first you might ask why, if the appearance applied to each sphere is fully sat urated, is it represented by a spoke instead of a single point? If we look closely at the red sphere, we can see t hat the rendered saturation is not uniform because of lighting and reflections. At the specular highlight, the ball is actually rendered near white, or zero saturat ion.
4
Modify the image tones.
The vectorscope can adjust t he tones by either dragging t he disp lay (1), or by numerical input (2). Change the Hue Offset to 60 degrees.
Advanced Output Options 489
In the vect orscope, the spoke t hat showed the saturation of t he red ball has been shift ed 60 degrees count erclockwise and is now pointing at yellow on the inner ring, so the far-right ball is now yellow. Experiment with the controls and watch t he color of the balls change.
5 Close. Close t he assembly. 6 Open an assembly. Open t he assembly Wav eform from the Ch apter 16\ Case Study\ Waveform folder. This assembly is similar to the one we just used except t hat t he spheres are arranged in a straight line.
7 Render the model. Change to the t op view and make sure the model fills the screen, then render the model. 8 Adjust the Input Levels and Offsets. Expand the Input Levels and Offsets section. For Monitors, select Wavefo rm. For Levels Channel select Co lors. To make the display easier to read, change the Dis play Intensity to 800.0% (Maximum).
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9
Examine the display.
At right. the rendered image is shown above t he display to make it easier to correlate the two. The highest peaks under each sphere show the predominant color used to create the mixed color. If we examine the waveform under the magenta sphere. we can see green under the magenta. The magenta is not really magenta as the waveform display only shows red, green. and blue. Because magenta is equal parts of red and blue, we are seeing the result of the mixing of the two colors. The green is what is added to reduce the saturation and you can see that the green peak is under the specular highlight. In turn. select red. blue. green, and luminosity for the Levels Channel. We can now see the individual contributions of the three primary colors to the enc result When you select luminosity and each color. the numerica l input fields will change to that co lor.
Advanced Output Options 491
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If we examine the Hue and Saturation Parade graphs we can see that in the Hue display the colors are positioned relative to the six balls. In the Saturation Parade, each ball has about the same saturat ion. These are all vertical areas because each ball goes from zero saturation at the specular highlight to about 50 percent saturated in other areas.
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492 Chapter 16
Input Levels There are several input levels that can be set using the above monitors.
Change the scene background illumination to 1.0 w/srm2. Render the model. If we look only at the background, the gradient goes from pure black at the top of the image to pun: white at the bottom. In other words, white is at 100 percent at the bott om and zero percent at the:::-::
The Input Black Level and Input White Level can be controlled bot h numerically and by sliders on th: graphs. On a histogram, the background will look like a horizonta l line because there are an equal nu m~ of pixels at each tone level from black to white. By adjust ing the input levels, we are saying that the n!? value for black or white is something else and everything beyond the new level is either pure black cpure white.
Advanced Output Options 493
Let's make some adjustments and see the result. The following images are just vertical slices of the background of the previous image. The left image is the original as rendered slice with 100 percent white at the bottom (1.0 W/srm 2) and 100 percent black at the top (0.0 W/srm 2). As the black level increases. values that were dark gray become black. When the white level increases, values that were light gray become white .
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W/srm 2, which darkens the image. The histogram shows more pixels at the left end.
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With the black level restored to 0.0 W/srm2 and the white level reduced to 0.7 W/srm2 we can see t - =-the white area is now larger and more pixels are on the right end of the histogram.
Advanced Output Options 495
Saving Images to a File To make the rendered images usable in other programs, they must be saved as separate image fi les. Image files can be used for many purposes including printing. web pages. training manuals. sales brochures, and PowerPoint®presentations. Rendered image files can be further manipulated with other software to add lettering and effects or make adjustments beyond the capabilities of the PhotoView 360 software. This is known as the postproduction phase whe re images can be composited to add multiple elements and images together to create t he final out put. All of the final renderings in this manual were ma de by rendering to a file. then importing the file into the desktop publishing software.
Where to Find It • Final Render window: Save Image • Final Render window: Save Layered Image
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Post-Processing in Other Software As we saw in the previous section, adjustments applied in the Fina l Render window apply to the entire image. If. after rendering, a change is required that only affects a part of t he image, other software can be used to apply changes or corrections to only part of an image. If a change was required to only the yellow locking pin. you could change the appearance in SolidWorks and then render the image again. If this was a more complex image that took several hours t o render, making the change in anot her program might be more efficient if you have software with the capability and you are proficient wit h that software.
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File Types Rendered images can be saved to the following file types: • • • • • • • • •
Flexible Precision Image Format [*flx] Windows Bitmap [*.bmp] JPEG 2000 [*.jp2] JPEG 2000 16-Bit Lossless [*jp2] Portable Network Graphics PNG [*.png) SGI RGB [*.SGI) 16-Bit TIF [*tit) Open EXR Ha lf 16-Bit [*ex r) Open EXR Tiled Half 16-Bit [* exr]
• • • • • • • • •
Targa [* tga) Radia nce High Dynamic Range[*.hdr) JPEG 2000 16-Bit [*.jp2] J PEG [* .jpg] Po rtable Network Graphics PNG 16-Bit [* png Tagged Image Format File [TIFF) [*tit] 16-Bit Uncompressed TIF [*tif) Open EXR Half 32-Bit [*exr] Open EXR Tiled Float 32-Bit [*exr]
Which File Type Should You Use? With the many available file types, how do you choose the best format for your images? The overric ~ consideration is the intended purpose of the image. While some images may be used as rendered, in :-s digital age, images are most often manipulated in some way to meet their intended purpose. This cc_: be to composite the image into an advertisement, add text or changes to the color, tone, or brightnE.:: of the image. There are three basic characteristics that should be considered in choosing a file type: • Quality The quality of the image is a function of the relative size of the pixels in relationship to the image s.::= and the bit depth. The quality needed in the final image is usually determi ned by its use. If it is to::>: printed at 300 ppi, then the image must have enough pixels to cover the printed size at that resolution. If the image is going to be used on a web page where the monitor will only show 96 p= then the image can be smaller. Bit depth includes several areas. The number of different colors that can be recorded are dependc-on the number of bits used to define the color, usually as the amount of red, green, and blue. The format may also dedicate a certain number of bits to luminescence and/or an alpha mask. • File Size File size has a direct relationship with quality. In digital photography, most professional photographers use a format called camera RAW where the file is exactly what the sensor recorde= without any bias or correction. When shooting in any other format, such as jpg. cameras will appl: correct ions to the sensor image based on the manufacturer's understanding of the sensor.
Advanced Output Options 497
Most of the common image formats include some form of compression to reduce file size to reduce storage requirements and to increase portability. Compression, however, can reduce the image qua lity by discarding some of the image information. With compression, we need to consider if the compression is lossless or lossy. • Channels/Layers Channels and layers are important when the image will be post-processed. By having layers and channels, images can be manipulated in a nondestructive process so t hat the original image is always availab le. Individual edits can be reversed or comb inations of edits can be combined differently. You should choose the file type based on the capabilities of your post-production software and the desired end result. For example, if you want to use a high-end image editing program such as Adobe Photos hop to create composite images, you should choose a file format that has alpha channel support for t ransparency. When Photo View 360 images are rendered to the proper file format, alpha channel information is captured and stored in the file.
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File Type Variants Within each of the file types, there may be several variations. A TIFF file for instance may or may not have an alpha channel. Usually, TIFF files with an alpha channel are designated as RGBA (Red, Green, Blue, Alpha}. Different variations of the same format may have different bit depths, but still have the same file extension, such as TIFF. The amount of compression in an image may not be evident as formats such as JPG can have the amount of compression specified when saving the file, but t he file extension is still just JPG. File Compression While some file formats do not compress the data, most formats have some form of compression to reduce file size. In some file types, the amount of file compression is adjustable, but compressing too much can significantly decrease the quality of the image. When talking about compression, compression schemes can be lossless or lossy.
• Lossless Loss less compression does not degrade image quality as a trade-off for compression. When uncompressed, all the data that was available at the time of compression is still available in the uncompressed file. • Lossy When the image is compressed, some data is permanently lost, which degrades t he uncompressed file. This compression however results in a smaller file size.
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The following table is a comparison of some of the file types available to save our rendered outpl..!:.. QJ
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Note • Compressed The image data is compressed through an algorithm fo r the purpose of reducing file size and makir_s the file more "portab le~' Optional means that compression can be specified at time of save. • Bit Depth The number of data bits the format uses. The higher the number, the more precision. • Alpha Channel The file carries an extra eight bits of information for the background layer which is separated fro rP the foreground image. • Layers The file format can save layers that can be used in advanced bitmap editors such as Photoshop.
Advanced Output Options 499
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Choosing a File Format The format you choose should be a matter of what the file will be used for. There are also cases where more t han one file t ype will provide you with the attributes you need, so in some cases it may come down to personal preference. Some additional information on the available file types:
• JPEG This is one of the most universal format s and has one of the best compression algorithms per file size. This is a popular format when you need your image to be portable and you are sensitive to file size, such as when sending as an attachment or embedded in emails. • BMP This is a popular format within the Microsoft operating system. It is a good choice when you want to ret ain image quality. • TIFF TIFF is a popular format for phot ography because it is loss less. It is frequently chosen when image quality is of absolute importance. When post-processing is expected, it has the benefit of saving both layers and an alpha channel.
X
X
• PNG PNG is a popular format in cases where you want image quality (lossless) with t he smallest possible file size. It is one of the few formats that is lossless and 8-Bit that automatically supports an alpha channel. This is a good format to use when rendering or animating where you want the background to be transparent in your post-process compositing. • PNG 16-Bit This format gives you the benefits of PNG but with t he addition of luminance information. This gives you great er control over exposure.
;:rr - -
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• TGA This fo rmat was originally developed in 1984 for video games. It has good compression for higher bit formats but is being used less as people move toward JPEG and PNG. • TGA 2.0 This is a later development of TGA format that includes an alpha channel.
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• HDR HDR is a variation on the TIFF format with t he addition of a luminance channel. It is very useful when you want to alter exposure of an image after it is rendered and also as an environmenta l image used in Photo View to light the 3D scene.
SOD
Chapter 16
• EXR This is a high dynamic range format, similar to HD R, developed by George Lucas-Indust rial Light~ Magic computer division. Arguably. it has better compression than HDR and is also open sources.:: additional"flavors" of it are still being added. • PSD PSD is the Adobe Photoshop format. If you have Photoshop installed on the same system as SolidWorks. and want a high quality image. luminance (exposure cont rol). and layers. PSD is a pop_ ~ choice. SolidWorks uses the Photoshop format to import decals into SolidWorks. This format aile- ~ the layers established in Photoshop to carry artwork layers and mask. in a single Photoshop file, i~ SolidWorks. • FLX This is a variation on the FLIC format used for animation frames and supported by Autodesk® 3DStudio Max and Ulead. This format cannot be opened in Photoshop CSS or CS6. Methods to Increase Rendering Quality The quality of the image file can vary depending on the options chosen in bot h SolidWorks and Photo View 360. Generally speaking. the higher the quality the longer the rendering. Some choices t:: improve image quality are: • Increase SolidWorks image quality PhotoView 360 uses the tessellated data of the shaded SolidWorks models when importing those models fo r rendering. Increasing shaded image quality reduces jagged edges on curved surfaces. • Increase PhotoView 360 render quality Use the Good setting for speed. but Best or Maximum to improve the rendered quality. • Increase the number of pixels rendered Render more pixels to provide more quality deta il. • Increase shadow quality Increasing shadow quality improves the edges of shadows. • Enable direct caustics Caustics add realism by adding the highlights caused by direct lights refracting through t ransparent appearances.
Advanced Output Options
.-- ·:_~
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25
SOl
Color Management In Chapter 2 we made a very basic adjustment t o our computer monitor to make sure that it was showing a reasonable representation of the actual colors of our models. While this was acceptable for basic work, professional photographers use more advanced methods to make sure that the colors they are seeing on the screen, and later the color which is printed, match their work. Using the correct profiles for your work with SolidWorks is just as important to insure that what you see on your screen is what you get when used in its final form .
Proper color management requires calibration of bot h the computer monitor and printer through color profiles.
Monitor Correction C2Sl
~
There are many monitor calibration systems available on the market. The method used by many of these is to place a sensor on the surface of t he monitor and then have the software send color signals to the monitor. The sensor records what it sees and the software then determines the difference between what is seen and the correct color. From this, it generates an offset curve which is saved as a profile for the specific monitor. This profile is then used to correct the signals sent to the monitor so that you will see the same color as the software is creating.
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Printer Correction
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Printers also have profiles that are used to mat ch the characteristics of the printer to the ink and paper used to print your image. Most printer manufacturers install profiles with the printer software. These profiles cover most of the commonly available papers available on the market. To use the correct profile, all that is required for most printers is t o select the correct paper in the print dialog box. If you are using a paper that is not listed, check the paper manufacturer's website for ava ilable profiles.
Set Affinity When rendering an image, SolidWorks will use all the available CPU processing power. As shown in the image, when the final render starts, all t he cores go t o 100 percent. ;Ill Windows Tas.k Manager
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502 Chapter 16
If you choose to continue to work on other tasks while a render is in progress, you can, but whatever ; :;_ are doing will take processing t ime away from the render. Each time you t ry to do another task, it m..swait until it can get time from a CPU core, which will make the process very slow. To keep a core or co~ available for ot her tasks, they can be taken away from the rendering process in the Windows Task Manager. To change the number of cores available to Photo View 360 for rendering. start a final render and then open the Windows Task Manager by pressing Ctri+Shift+Esc. Select the Processes tab and then rightclick the Photo View 360 process and click Set Affinity.
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Clear t he selection of the cores that you do not want to be used by Photo View 360. In the image, CPUs 6 and 7 have been cleared. These cores will now be available for the other tasks.
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Advanced Output Options 503
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The final rendering process now only uses the first six cores, which are shown running at 100 percent and the last two cores are running ot her tasks at some pa rtially loaded value.
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Scheduled Renderings Some renderings. particularly those done at maximum quality with a large number of pixels. can take a significant amount of time. While the rendering process can proceed while you continue to work in SolidWorks. both the rendering process and SolidWorks will be slowed due to the limits of the computer. As rendering will try to use all CPU cores at 100 percent. all other tasks take away from that tota l capacity. L..__jl
The alternative is to schedule the rendering process to run at times when the computer is otherwise idle such as at meal breaks or overnight Renderings are scheduled in SolidWorks and then managed by the SolidWorks Task Scheduler.
Scheduling Renderings Scheduling a file to render is done within SolidWorks. Several renderings can be set up fo r each file so you can create renderings at different file sizes and formats. Once the renderings are scheduled, you must open the Task Scheduler to have the scheduled renderings proceed. Within the Task Scheduler. you can review and manage the render schedule. Where to Find It • Click Schedule Render ~ on the Render Tools toolbar. • Click PhotoView 360, Schedule Render on the menu.
Case Study: Render Scheduling In this case study. we will set up several files to render at a later time. We will set up to render several views of one product and an additional render of a second product
Procedure Open the file. Open the assembly Toy Fire Engine found in the Chapter 16\ Case Study\ Toy Fire Engine folder. 1
504 Chapter 16
5 (
This is the same assembly we have used previously and is already set up to render. 2
Click
Position the model.
For the first image, we want an image of the model in the position we have established by t he camera named Render. Press t he spacebar and double-click the camera named Render.
3
Set the PhotoView 360 Options.
This i Optic a set Phot£
We cc OK.
Set the options as follows: • Output image size: 800 x 600 (4:3) • Image format: Windows BMP • Final render quality: Good
Click
Click OK.
4
Schedule the render.
Click Schedule Rende r from the Render Tools toolbar. To ident ify the settings of each render. we will add some information into the file name. Name the file Toy Fire Engine_800X600_Good.bmp. For Save File To, click Browse and select the folder Rendered Images. Clear Start aft er Previous Task. As this is the fi rst image to be rendered, we will set a specific time. All later images will be set up to Start after Previous Task so that they will all run in sequence.
Schedule Render Fi~e
Name ·
6
Toy Ftre Eng:ne_8cn<600_Good.bmp Save File To .
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Set the Start Time for some time in the future (about one hour}. This will give us enough time to set up t he remaining files.
• Oui • lmc: • Fin,
Click ~
Advanced Output Options 505
5
Check settings.
Click Settings.
=·- -
This is a summary of t he settings we set in t he Photo View 360 Options for this specific render. You cannot make changes here, so if a setting is incorrect. you must cancel and make the changes in the PhotoView 3 60 Options.
~
Rende r Settings Doa.rnent Properties
Good
Render Quaity: Bloom:
Off
Bloom S.lpOOt:
:oo
Bloom Exrent: Contctx Rendering:
Off
We can see that t he size. quality, and file format are correct. so click li1e l!>dcness:
OK.
lt1e Color:
Click Finish. This sends the task to t he Task Scheduler.
OUtput Selttlgs
Ftle Format· Windows 8I>P Image Size • 800 X GOO AspectRatio·W : H ~
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Second image.
Reorient t he assembly to the Trirnetric view and zoom in so t hat the assembly almost fills the screen from top to bottom. 7
Set the Photo View 360 Options.
Set the options as follows: • Output image size: 640 x 360 (16:9) • Image format: TIFF • Final render quality: Good Click OK. ~=
s::- --
506 Chapter 16
·----- -- - -------- ----- ---------- -- --------- -----------8 Schedule the render. Click Schedule Render from the Render Tools tool bar.
9
Render Setti ngs
c-::
Document Properties
The path for Save File To should show the directory Rendered Images in the Chapter 9 folder. lf not, click Browse and set the path.
Bloom:
Off
Bloom Setpoint
100
Bloom ExtEnt: Contour Rondering:
Select Start after Previous Task. This task will run after the render we set in steps 4 and 5.
Off
Line Thd
Click Settings. Examine the settings and note that they are both correct and different from the settings used for the first image. Click OK and Finish.
Good
Render Quality:
Name the file Toy Fire Engine_640X360_Good.tif.
OUtput Settings
File Format - Tagyed Image Format File
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Image Size - 640 X 360
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Advanced Output Options 507
9
Start the Task Scheduler.
Click Start, All Programs, SolidWorks 2 011, SolidWorks Tools, SolidWorks Task Scheduler. The rendering tasks will be listed in the order in which we entered them.
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Important! Leave t he Task Scheduler open. If it is not open, the task wi ll not run.
508 Chapter 16
10 Add anot her task.
In SolidWorks. reorient the model as shown and then set the options as fo llows: • Output image size: Custom 600 x 600 (1:1) • Image fo rmat: JPEG • Final render quality: Good Click OK. Schedule the render to follow the previous task. 11
Close the Toy Fire Engine assembly.
Open. Open the assembly Red_Toy Car from the Red Toy Car folder.
12
13 Add another task. Change the view to Camera l and then set the options as fo llows:
• Out put image size: 800 x 600 (4:3) • Image format: Portable Network Graphics PNG • Final render quality: Good Click OK. Schedule the render to follow the previous task. 14 Close SolidWorks. We could leave SolidWorks open but we will close it to show that the Task Scheduler will start SolidWorks and open the files as necessary based on the scheduled tasks.
Advanced Output Options 509
15 Check the schedule. Make the Task Scheduler window active. All four tasks should now be listed. £{'} SolidWorks Task Scheduler File
Tasks
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You may have to occasionally press Refresh in the Task Scheduler toolbar to update the display. !-=.a~
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510 Chapter 16
17 Check files. Once t he rendering is complete, check the Rendered
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511
18 Examine the results. -=-= i::J:::
Once the tasks are completed, examine the rende rings. Using Schedule Render, we were able to have various rende rings of a single model or multiple models.
19 Close all open files.
512
Chapter 16
Network Rendering To reduce render times. the rendering process can be distribut ed to multiple computers using the Photo View 360 Network Rendering client. The Network Rendering client is on ly available to SolidWorks Subscription Service customers. To be able to use additional comput ers for the rendering process. t he SolidWorks Network Rendering Client must first be installed on the client machines. It is not. however. necessary to install SolidWorks on the client machines.
In Tc Re
When using network rendering. the computers involved are designated as the coordinator comput er or client computers. Coordinator Computer
The coordinator computer is the computer on which you are doing the rendering. You must have SolidWorks loaded and running on this computer. Client Computer
Client comput ers are computers on which the Network Rendering Client is installed and are in the Client Mode. SolidWorks itself does not need to be installed on client computers. Network Rendering Process
Wit h network rendering. bucket rendering is done on both the coordinator computer as well as client computers. When the final render is selected. the irradiance passes are do ne on t he coordinator computer first. During this phase, the client comput ers are id le. Once the irradiance is calculated. individual buckets are sent to the available client computers based on the number of cores they have and the percentage set in the Photo View 360 options. The client workload determines how many buckets will be sent to each client processor. At 100 percent. one bucket is sent to each processor. at 500 percent f ive buckets are sent. The process is not continuous in that when rendering starts. t he coordinator computer will render one bucket per core. As each core finis hes a bucket. it is sent another bucket to render. With the clients. the flow is different. If for example you have eight client cores to use and client workload is set to 200 percent. 16 buckets will be sent ou: to the client. When the client finishes rendering all16, the data is sent back to the coordinator compute~ which then sends out another 16 buckets' worth of data. The sign ificance of this is t hat if one of t he client cores gets buckets that take more time to solve, all the other cores might finish and be idle waiting for just one core to finish.
Re
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Advanced Output Options 513
Install and Ready the Client --gtne
SolicWor:
To install the render client, use the SolidWorks Installation Manager and select Photo View 360 Network Render Client.
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./ Send data for networi
Client Workload The client workload specifies the ratio of buckets that will be sent to client nodes as compared to coordinat or nodes.
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514 Chapter 16
Render Settings in Client Computers Once SolidWorks Network Render Client is installed. users can specify when their machines are available fo r network rendering. In order for SolidWorks to use the client computer, the SolidWorks Network Render Client must also be in the Client Mode.
The SolidWorks Network Render Client is start ed from the Windows Start menu. Once running, the client must be placed in the Client Mode. This can be done based on a schedule or manually. To enter the client mode manually. click Enter Client Mode Now. To make the client available at particular times according to a set schedule. such as after normal working hours. make the appropriate selection on the Schedule tab. You must click Start Schedule to allow the client to be used.
Once the client is in t he Client Mode, it will show a dialog to confirm it is in fact in the Client Mode.
Render Chent
Advanced Output Options 515
Final Render Process When the final rendering process starts. the irradiance passes are done solely on the coordinator computer.
Once t he irradiance passes are complete, t he individual buckets will render. The orange buckets are rendered on the coordinator computer and the blue buckets are rendered on the client computer. In the images below, there were two computers set as render clients wit h a total of 12 cores. In the left image. Client workload was set to 100 percent and in the right image 2 00 percent. The coordinator computer had eight cores so there are eight orange buckets. With client workload set at 100 percent. t here are 12 blue buckets as each client core gets to process the same amount as the coordinator cores. With the client workload set at 200 percent. t here are 24 blue buckets as each client core gets twice as much to render as the coordinator computer.
When to Use Network Rendering Using Network Rendering can significantly reduce rendering times for many large renders. but t here are situations where you will see little gain. There are no hard and fast rules when choosing to use network rendering or how t o adjust the client workload. These situations are:
• The rendering t akes less than five minutes on a single machine. The computer time to coordinate the clients. end data to and receive data back from t he clients, and cache the data is overhead that takes away from CPU t ime available on the coordinator computer. • The client computers are significantly less powerful than t he coordinator computer. At some point. t he overhead of managing the process on the coordinator computer becomes great er than the gain from the clients.
IIi
516 Chapter 16
• The irradiance cache portion of your rendering is 30 percent or more of the total render time. The irradiance is all calculated on the coordinator computer, so the only part of the process tha: ~ network rendering clients can affect are the bucket renders. • The network is very slow. No matter how fast the clients are, you still have to move the data to and from them. While da::: _ moving, the client cores are idle.
;:-
Tips and Techniques
:2
Upon successful completion of this chapter, you will be able to: • Understand some of the techniques and settings used t o speed up the rendering process.
518 Chapter 17
Putting It All Together The purpose of this final chapt er is to highlight some techniques that can be used to improve render; performance.
!!
There are many factors that will influence the time it takes to render an image. These can be categori=E= into the broad categories of mode l setup, options. and hardware. Below is a list of factors that affe::: performance while using PhotoView 360. Model Setup There are many things we do when preparing the model fo r rendering. In some cases, we have little choice as to t he appearance we need to achieve the desired results. However, each choice has a consequence on rendering performance, so when setting up a model for a rendering that will take a significant amount of time, we need to be aware of the possibilities. Appearances
• Surface Finish Some appearances take longer to render than others. Brushed and Satin Finish metals can take a I~ time to render. The rougher the surface, the longer the rendering time. As an example, going frorr :: shiny steel to a burnished steel can more than double the rendering time. Transparent glass appearances can also render very slowly due to t he reflections and refractions f-.= must be calculated. • Reflections and Refractions The more reflections and refractions, t he longer the rendering time. Use only the number of reflections and refractions you need to make the rendering look correct and no more. • Views Though it is highly recommended that a camera be used for all renderings, turning on Depth of FiE= can slow down the rendering speed. • Level of Detail Reduce the level of detail in the model. If t here are perforated sheet meta l part s or tread plate canything that is a st andard repeated pattern, these should be replicated, if possible, using appearances and/or decals as opposed to being modeled as featu res. Just as a large pattern of features can take a long time to rebuild, a large pat tern of feat ures can also take a significa nt amm.; of system resources and processing time to render. • Patterns Instead of patterning repeating featu res, consider using a decal or surface finish to mimic the look c= repeated patterns. This might also be useful while modeling.
Tips and Techniques 519
s=a::-i!C"
Some appearances have surface finishes that cut holes in the faces onto which t he appearance is applied. Consider using one of the perforated appearances to replicate repeated holes on the face. If the appearance has to be metal then you can change the illumination to match the illumination of a metal appearance. Use an appearance surface finish to visually represent surface patterns like dimples, tread plate, or knurling. While displacement mapping takes longer t o render and consumes more memory than bump mapp ing. it takes less time than actually creating the features on the model. In the following images, the displacement map on the right took more than twice as long to render than the bump map on the left with all other fa ctors being equal.
tc.:
_
. .. _...
· ~-
E •::Jr
Render Preview When you render using the Photo View 360 preview window or the integrated preview, the size of the window greatly affects preview render performance.
Decreasing the size of the preview window will improve performance as a smaller image renders more quickly. The performance of the integrated preview, which renders in the SolidWorks Graphics window, can be improved by decreasing the size of the SolidWorks Graphics window. Some methods to do this are to split the graphics window, shrink t he entire SolidWorks window, or shrink just the graphics window.
520
Chapter 17
Memory Usage • Overhead Windows and SolidWorks take a significant amount of RAM before any other programs are opened.
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• User Memory Free up memory by closing all other programs when you are rendering. Though you can continue working with any model in SolidWorks when the fina l rendering is t aking place, it is important to note that this consumes system resources which can slow down the final rendering. • Rendering Lightweight Models can be rendered in lightweight mode which reduces the amount of RAM used by the model itself. lf you need t o make any changes to the appearances applied to the model, you must resolve the affected models first. But before you render, the model can be returned to lightweight to save memory.
PhotoView 360 Settings Photo View 360 settings can significantly affect performance. Note that with each of these items you make a tradeoff between the desired rendering/rendering quality and the rendering performance. • Output Image Settings When the output image is created, it is stored in an uncompressed format before it is converted to the desired output format. This can take a lot of memory, so the general ru le is, the smaller the re ndering t he less time and memory it will take. There is a 11.580 x 11.580 pixel limit for 32-bit SolidWorks and a 20,000 x 20,000 pixel limit fo r 64-bit SolidWorks. This is true no matter what kind of hardware is available. lf you need to render images larger t han the limit, divide the rendering into smaller parts then merge them together in an image editor. • Render Quality The table found in Render and Preview Quality on page 75 shows what items are controlled with the Good, Better, Best, and Maximum final render settings. Rendering times tend to go up proportionately to the number of indirect rays, so rendering at Better t akes about fo ur times longer than rendering at Good. Best takes about twice as long as Better, and Maximum will be around 16 times longer than Good. Remember that this is not exact as other factors affect the rendering time, but it should give you a rough idea of what the changes cost in time.
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Tips and Techniques 521
Using a final render quality setting beyond what is needed will needlessly slow down the rendering. Typically, there is little difference between Best and Maximum. The Maximum setting is most effective when rendering occluded spaces or interior scenes. Increasing the number of reflections and refractions beyond what is required will slow the rendering down. If a refractive model is a prominent part of the rendering, then you will need to turn up t he reflections and refractions to make light properly travel through the model. Using too many reflections or refractions will cause the rendering to needlessly take a long time. • Direct Caustics Using Direct Caustics can have an impact on rendering speed. Caustic amount and Caustic quality should be set to the lowest values that give you an acceptable result for the image size you are creating. i?.l
• Render Process Use the SolidWorks Task Scheduler to complete the render when you are not otherwise using the computer. By scheduling a render you free up system resources to successfu lly render larger images or models. The reason for this is that SolidWorks is not required to complete a scheduled static rendering. Only a very lightweight application is run when scheduling a static rendering. For this reason scheduled renderings can be significantly faster. In some cases they are the only way to render very large models that cannot complete when SolidWorks is loaded. Use the Network Render to speed the render process by using other computers to share the t ask. You can use up to 10 computers to speed up the process. Hardware For many users, the hardware you have is what you are going to have to work with. There are times, however, when you get to purchase new hardware or give an input into a prospective purchase. It is therefore beneficial to understand the importance of different hardware elements on the rendering process.
• Graphics Cards The kind of graphics card that you have does not directly affect rendering performance because Photo View 360 uses software rendering. Though we do not rely on the Graphics Processing Unit (GPU) on your graphics card to process renderings, having a supported graphics card with the correct driver is very important for the overall stability of SolidWorks. For Real View the power of the graphics card is important, but, again, not for the rendering.
522 Chapter 17
• RAM If you are creating a larger rendering. or rendering a large model that consumes a significant amo:..:of system memory. your rendering will be very slow if the computer has to use system cache as c~ space t o process t he rendering (i.e.. you start to run low on system memory). The best thing you cc.do t o improve performance while rendering large images or working with large models is to get me:: RAM. In this respect users benefit greatly from having a 64-Bit machine because they can have mo-= RAM available. On a 32-Bit machine. using the 3 GB switch may provide some performance benefit by allowing 'TOt o access up to 3 GB of RAM. There are some tradeoffs with system reliability when using t he 3 c::: switch which can cause your system to crash. It is also important to note that the 3GB switch is n:::: supported by either Microsoft or SolidWorks. so it is a "use at your own risk" solution. • CPU PhotoView 360 takes full advantage of multiple processors on your machine. Multicore machines s::: dramat ic improvements with rendering performance compared to users with fewer cores. Faster processors also directly improve rendering speed. All other things being equal, the faster tr: CPU speed. the faster the rendering.
~-JE 3
Photo View 360 Gallery
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Throughout this book we have concentrated on individual elements that are required to create a good rendering in Photo View 360. Most of the tools were used in isolation. Because the goal was to learn how to use the tools and settings in Photo View 360, most of the renderings were ke pt simple and not fully refined. To demonstrate the capabilities of PhotoView 360, this section includes renderings created by SolidWorks employees and SolidWorks customers.
524 Chapter 18
526 Chapter 18
528 Chapter 18
•
·sawat.ps JO]OJ • ·sat.p:p?MS JO]OJ • ·sa!+JadoJd JeJ!+do • ·swa:j_SAS JO]OJ • -A'BO]OU!WJa:j_ JO]OJ •
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530 Appendix A
Acknowledgement Some of the material in this section is adapted from the SolidWorks World presentation "Making Sense of All Those Colors" by Steve Howe and is used courtesy of Computer Aided Technology, Inc.
Color
The CIE records oflesse diagrarr
Color is the perceptual characteristic of light described by a color name. Specifically, color is light. and light is composed of many colors; those we see are the colors of the visua l spectrum. Objects absorb certain wavelengths and reflect others back to the viewer. We perceive these refelected wavelengths as color.
-· · -~
;oo
500
'6oo
100
aoo
Wavelength
Visible Light Within the spectrum of visible light. there are billions of colors. In the early 20th century a color system was developed by the Commission lnternationale d'Eclairage (CIE, International Commission on Illumination) which depicts our percept ual color identification based on additive mixing of light. This syst em is shown as the CI E 1931 color space chromaticity diagram. CIE 1931 Chromaticity Diagram The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image, in this case a printed page, and no device has a gamut large enough to present an accurat e representation of the chromaticity at every position. So, what you see on the page is not actually the entire range of visible color.
0.9
0.8
07 0.6 500
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y 0.4 ' !
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0.3
0.4 X
0.5
0.6
0.7
0.8
Limita1 The din limitati• The twc that cat (as that renderir produce frequer renderi·
Color 531
2· ""5Se-s= IC.
The CI E diagram is only one plane within a color-space which records the sensation of light. Other planes represent colors of lessen ing brightness, in other words. the respective diagrams show how colors will appear when there is less light.
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Limitations of Media
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The different methods of displaying color have 0.9 limitations as to which colors they can produce. I The two areas of interest to us are the colors 0.8 that can be produced by our computer monitor 0.7 (as that is where we are generally creating our renderings), and t he colors that can be 0.6 produced by the printing process (as that is frequently our final output product from our 0.5 renderings). y
Visible light
520
0.-l
7t 0.2
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I 0.0 ' 0.0
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02
0.3
0.4 X
~ 70()
07
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05
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0.7
0.8
532 Appendix A
Color Wheel Sir Isaac Newton first created the color wheel as a method of displaying the relationships between the various colors. In the color whee l, colors are arranged according to t he chromatic relationship.
Terti< Tertia and a
It may appear in different fo rms in different references.
Primary Colors Primary colors are co lors that cannot be created by mixing other colors. They are like the prime numbers of color. Depending on the color system used, the primary colors are different.
• In light addition: red, green. and blue • In painting: red, yellow, and blue • In printing: cyan. magenta, and yellow
Compl Compl oppos equal1 eit her
Secondary Colors Secondary colors are created by mixing two primary colors.
Anal a~ Ana log
Color 533
:s:vwee- ~m.:
Tertiary Colors Tertiary colors are created by mixing a primary and a secondary color.
Tertiary
Complementary Colors
Complementary colors are colors located on t he opposite side of the color wheel. When mixed in equal proportions, complementary colors produce either white or black.
I I / 0
·~
\
Analogous Colors
Analogous colors are located close together on a color wheel.
~
534 Appendix A
Color Terms
A
To bett er understand color we need to understand the basic vocabu lary:
T
• Hue: The name of a color, such as red. blue. or green. • Gamut: The range of color a device can produce, or the range of color a color model can represent. • Saturation/Chroma: The degree of purity of a hue; t he intensity, st rength. or saturation of color. distinguishing the chromatic colors from black and white. Adding black causes the color to become dark, or shade. Adding white will wash out the color or give it tint.
rr
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s T d VI lc al T
p· Saturation
• soo;.
51
I
w
rr
• Intensity: The brightness or dutlness of a hue. One may lower the intensity by adding white or black. • Luminance/Value: A measure of the amount of light reflected from a hue. Those hues wit h a high content of white have a higher luminance or value.
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soo;.
J 10o% 1 ~.
The variation of a hue can be referred to by shade. tint. or tone. • Shade: A hue produced by the addition of black • Tint: A hue produced by the addition of white • Tone: A color of a middle value is frequently referred to as a tone. It is a mixture of a hue with black and white. The add ition of a complementary hue tones a color. • Chromatic: All hues except black. gray and white • Monochromat ic: Tints and shades of a single hue
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Color 535
Additive and Subtractive Colors
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The colors we see can be created by either color addition or subtraction. Additive colors are created by mixing light of different colors. Subtractive colors are used in painting and print where color is absorbed by the paint or ink.
Subtractive Color Method The subtractive color system creates color by absorbing different colors so that only the remainder is reflected. When we shine a white light on a red apple, the ap ple looks red because the blue and green colors have been absorbed and only the red is reflected. This is what we see when we use paint or a printing process. If we mix together the three primary colors in a subtractive process, we absorb all the color and are left with black. With no color, we have white. The three primary colors used in the printing process are cyan, magenta, and yellow.
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-=-
5 ·'"
Additive Color Method With additive color, the different colors of light are added together to get the color that we see. In the additive color we start with the absence of light (black) and add light of diffe rent colors which mix t o form the final color. This is how computer monitors and televisions work.
Color Models There are several different color models that can be used to create t he various colors. Our primary focus is using additive colors because most of the time we use Photo View 360, we are rendering on a computer monitor which uses the additive color method.
RGB Color Model With the additive color method, the primary colors of light are red, green, and blue (RGB). We create all the other colors by some mixture of these three primary colors. HSV Color Model As an alternative to specifying values for red, green, and blue, we can also specify the hue, saturation, and value (HSV).
536 Appendix A
CMYK Color Model The CMYK system is used in color printing where the primary colors are cyan, magenta. and yellow. When mixed together. they result in black. For efficiency and a more pure result. black ink is used insteac of mixing the other three in equal measure. The letter K is used to represent black because we alread) used the B for blue. Color Depth Color depth refers to the number of bit s used to define each of t he primary colors. For instance. if we had just one bit to specify each color. each bit could be just zero or one. so that each of the three primary colors could be on (one) or off (zero). The total number of co lors would then be eight, 23. With eight bits per color, each color could have 256 different intensit ies. Over time, as both computers and monitors have progressed, the ability t o address. st ore, and create the information needed to expand the number of colors has increased. The first monitors were only black and white. early color computers supported just 256 colors. Today. computers, video cards. and monitors can support millions of colors. Through the years. the number of bits used to define a color has increased. Some of the different color depths used through the years include: • • • • • • • • • • •
•
1-bit color (i = 2 colors) basic monochrome or black and white 2-bit color (2 2 = 4 colors) CGA, grayscale 3-bit color (23 = 8 colors} many early home computers with TV-out displays 4-bit color (24 = 16 colors) used in the EGA standard and by the least common denominator VGA standard 5-bit color (25 = 32 colors) 6-bit color (2 6 = 64 colors) 8-bit color (28 = 256 colors) VGA at low resolut ion, Super VGA 8-bit grayscale allows for 256 shades of gray 12-bit color (i 2 = 4096 colors} 16-bit color (i 6 = 65,536 colors) 24-bit color (224 = 16.777 million colors} Today, it is common to use 24-bit color. Eight bits describe each of the three . . 16 Levels. g il'JSCa!e 256 Levels. grayscale primary colors. Sometimes. 24-bit color is described as 8-bit color because 8-b~. 256 colors 16·brt. 65 thousand color: eight bits are used to describe each of the primary colors. Because an 8-bit 24-bot. 16 Mikln Colors 32-bll. 4 bilion colors number can be 0 to 255. the total number of colors is 2563. or about 16.8 million. 32-bit color. This standard actually produces the same number of different colors as 24-bit color. However. the additional 8 bits are used to represent alpha channel information.
Color 537
Understanding RGB Color 'C "'" ...
In the default triad used in SolidWorks, the three axes are the three primary
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co lors of light. The X-axis is red, Y-axis is green, and the Z-axis is blue.
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If we start w it h a single ball, at the origin with no lights it will look black.
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We then add balls along each of the three axes. Along the
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Along the Y -axis, green increases while red and blue
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remain at zero. Along the Z-axis, blue increases while red and green remain at zero.
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The RGB Yellow Corner If we add balls in the Y direction f rom the last red ball, the value for r ed will remain at 255 while the green value will increase f rom zero to 255. Likewise, adding balls from the top of theY-axis, red will increase while green will remain
255
at 255, When both green and red are at maximum and blue is at zero, we have yellow. 0
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538 Appendix A
The RGB Cyan Corner
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In a similar manner, if we add balls from the end of the Z-axis where blue is at maximum, and the t op of t he Y-axis is maximum, we will have cyan.
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The RGB Magenta Corner
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In a similar manner, if we add balls from the end of the Z-axis where blue is at maximum. and the end of the X-axis is maximum, we will have magenta.
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The RGB White Corner
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Continuing from the cyan, magenta, and yellow corners we get to the white corner where red, green. and blue are at their maximum values of 255.
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Color 539
·----------------------------- ------ --- ----------- ----The RGB Primary Planes
If we fill in the remaining balls on each side of the cube we get the co lors shown.
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To fill in the entire cube, we could start at the bottom layer of the cube where green is zero. With each successive layer, green is increased.
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In this example, each ball Green=l~JH represented an increase in color value of about 28, just to save Green~ I/O time and make t he example manageable. If each ball GrePn=l4:~ represented an increase of just one number along each axis, there Green=l13 would be 256 balls along each axis and a total of 16.777.216 balls. (jreen=85 Green=t>l Green~28
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540 Appendix A
HSV Model Definitions
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HSV is an acronym th at stands for Hue,
To
Saturation, and Value. In some cases it may be
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called HSL (hue, saturation, luminance). HSB (hue, sat uration, brightness), or HSI (hue, saturation, intensit y). When creating colors, the standard Windows dialog box graphically represent s t he colors in HSV format. Within the appearance's PropertyM anager color can be def ined by RGB or HSV. What is HSV and how do we get from RGB t o HSV?
r • r••• ••••• ••••••••• •••••• • ••• • r= • r Custom colors
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Hue • The color type (red, blue, green) • Ranges f rom 0° to 360°
Saturation • The vibrancy of the color
Q HSV
0HSV
• Ranges from o to 100% or 0 to 240 The lower the saturation of a color, t he more grayness i s present and the more faded t he color will appear.
Value • The brightness of the color • Ranges from o to 100% or 0 t o 240 The higher the value of a color, the more whiteness is present and t he more washed out t he color will appear.
Rc
Color 541
RGB to HSV Transition To picture visually how we go from RGB to HSV, start with just the edges of the RGB color cube.
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Rotate our perspective so that the pure white and pure black spheres are aligned.
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Rotate our point of view 30 degrees counterclockwise. ::-:e color will
542 Appendix A
Now show the rest of the cube.
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This flat image is what we see in many of the color dialog boxes. Co!orr.
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What we see is the range of colors represented by o• to 360•. Saturation is zero in the middle (white) and increases t o maximum at t he outer edge.
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While we are representing this as a flat image, there is depth, which is the value or luminescence. As value is decreased, all the colors converge to black.
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Color 543
Defining Color in Design Tables
~ <.:olor Des1gn table xlsx
When colors are defined in a SolidWorks design table, they must be specified as a 32-bit integer value in a design table variable
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A _ B C D 1 Design Table for: Color Design table
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$COLOR = (Red x 16°) +(Green x 162 ) +(Blue x 164)
blue, we can use basic Excel functionality to compute the 32-bit integer.
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A·100 B-100 A-200 B-200
100 100 200 200
1
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To enter values f or red, green, and blue and have Excel fill in t he
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If we want to be able to enter a color as values of red. green, and
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correct 32-bit number is a simple matter of creating input cells and us ing an equation in t he cells of t he $COLOR column. Create three parameters in cells B2, C2, and D2 by typing $USER_NOTES. ln cell E2 t ype $COLOR. ln t he f irst cell under $COLOR, type the equation =MA.X(MINCB3,2 55) ,0) +
MA.X( MIN( C3 ,255),0)* 16* 16 +MA.X(MIN( D3 ,255),0)*16* 16 * 16 *16. We can now enter the values for red in column B, green in column following result s:
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C. and blue in column D to give t he
544 Appendix A
Note We could have just used the equat ion =B3 + (03
*
161\2) + (D 3 * 161\4); however, the longer
equation provides error correction because it insures that each value can only be a number fro m 0 to
hexc: Ther
255. The minimum and maximum functions work together as fo llows. Just looking at th e f irst part of the
hexa
equation MAX(MIN(B3,255).o). the portion MIN(B3.255) says t o take t he value which is smaller; eit her the
bela·
value in cell 83 (our red value) or 255. If we type a correct value of any number from 0 to 255. that value
CM't
will be used. If we type a value greater than 255. then 255 will be used because it will be t he minimum. The MAX operator says to take t he greater of either the value f ound by t he MIN funct ion or zero. If we enter a negative number, it is less than zero. so zero would be used. As a test, the table below shows the va lues that should be calculate d f or t he primary and secondary colors. Color
Red
Green
Blue
Integer
Black
0
0
0
0
Red
255
0
0
255
Orange
255
128
0
33023
Yellow
255
255
0
65535
Green
0
255
0
65280
Cyan
0
255
255
16776960
Blue
0
0
255
16711680
Magenta
255
0
255
16711935
White
255
255
255
16m215
Eacr
basE t he r gree
Colo
Colo1 f reqt infor swat
Color 545
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c::;; or zero. ;; ""= c-:; second.::;--
hexadecimalDefining Colors in Hexadecimal
~ Red
There are different places where color is defined by a hexadecimal number. Notice in the Color Picker dialog below. the color red is shown in four systems: HSB. RGB. CMYK. and Lab.
.-------------------~~ G reen
r--------_,~ Blue
Black
Each two-digit hexadecimal number can represent 256 base ten numbers (16 x 16 = 256). The first two digits are the hexadecimal number for red. the second two are for green, and the last two are for blue.
White
Red Ume Blue
Color P1cker (Foreground Coeor)
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DtJ arrrent
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~ ~ [ Add·To Swatches
ColorL~ · L:
77
5: 0
%
a: 0
S: 75
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b:
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C: 25
%
G: 191
~1:
20
%
B: 191
Y: 20
%
bfbfbf
K: 0
%
____.,#
J
Color Swatches
Color swatches provide a way to save a color scheme or frequently used colors. Swatches are created to save color information but they do not save appearance information. Color swatch files have the extension* .s ldclr.
Cu rrent color
£ ·-·
_J:A~-:=====,=:~=-....: · :~"--"
Colo r swatch
-
~~ Colo r selection area
Color sliders
RGB-HSV system
..,
1
• C
. 191
.
191
.
191
, .. 0;;L..._
.'-~
1 HSV
546 Appendix A
Creating Color Swatches To create a new swatch, click New Swatch [lli:!J. Save the new swatch either to the default directory SolidWorks\ SolidWorks\Lang\english\ colorswatches or to a common directory that can be shared with coworkers. You now have an empty swatch.
Use t he sliders or the color box to pick a new color. Or, you can double-click in the current color box t o open the standard Microsoft Color selection dia log. When the preview color is correct, click Add to swatch ~ To remove a color from the swatch, select the color square and click Remove from swatch [£).
F
~
Color picker
[
New swatch ~ :ru l[swatmtest ·] Add to swatch t.l ~ Remove from _,,J.!'Jj swatch
l' •
,.
191
I
)
••
191
•
191
I
ORGB
r
..
HSV
Where do you find color schemes? While there are many people that can just look at colored objects and know what goes t oget her, there are also many people who cannot Depending on your intent. color schemes can be used to convey different ideas such as: • • • •
Monochromatic: unifies a design Complementary: grabs attention Analogous: harmony Contrasting: balance
If you are not good at choosing colors that go together. there are many sources to help.
c
Web Resources There are many resources available on the web to help choose colors that go together. In many cases. you can choose based on what you are trying to achieve with the color. from flashy to sedate.
c
5
Color 547
PowerPoint Microsoft PowerPoint has a large va riety of color combinations found on t he Design tab under Colors. Rather t han try to pick individual colo rs, you can use a series of colors with confidence that they are compatible.
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Grayscale Aspect Civic
Concourse Equity f (O\'/
Foundry
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Median
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Module
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Metro
Opulent
Oriel Origin
Paper Solstice
Technic
•c~::•EIClll• Trek
.:•oJ•••••• EDI····
--=-=
:ases
Urban
Verve £re;,te New Theme Colors...
m e
Paint Manufacturers Paint manufacturers have different predefined color combinations. The page to t he right comes from Glidden paint showing the colors of NFL football teams. By downloading the image and opening it in a paint program with a color picker, you can det ermine t he settings to reproduce the color. As an example, we could determine that the color values for the colors of the San Diego Chargers are:
-·-o: -· :. .
SD Gold: Red-255. Green-194. Blue-a
-~ ~ or;~LJ •.- ;:::;-... ~ ~-- ... -'1
SO Navy: Red-O, Green-47. Blue-91 SO Powder Blue: Red-O, Green-121, Blue-186
-~.....~ ..-;;.;-~ ll!l'-1:';ftl O·"""• O~..::::::J ...V .!o~ O'~'t::!l
- i ..,.. ... ... o if0,- 1::1 ~... r:;::?~; .. va.- a.Vllo ...
- ---
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·-
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l
SO White
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548 Appendix A
Color Names With all t he possible colors, how do we know what the settings are for a color when we are told that it should be "CadetBlue"? There are multiple sources on the web that will yield tables that will give the RGB or Hex values for each color.
The examples below are from 'i\fWYY,_Qigi!l~QID. and wwww3schools.com. We can see that to mix CadetBiue, we use Red-95, Green-158, Blue-160, or Hex #5F9EAO.
Color Matching Systems Color matching systems are used to insure that the final co lor of a product is what is specified in the design. There are several standards which can be used including: • • • •
HTML Pantone TRUEMATCH FOCO LTONE
These standards do not support the full range of color. Pantone for instance only supports 1,114 colors, but these systems are important for consistent, re producible color.
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51
Color 549
: ::-.a~ - :
5·•= ~1iE
Color on the Web When preparing out put for the web, there are only 216 colors that are considered to be "browser-safe': While most computer monitors today can handle the range of 24-bit color, handheld devices cannot Therefore output dest ined for viewing on the web should be limited to those colors considered browser-safe.
Shown in the image are the browser-safe colors with their hexadecimal and RGB values.
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II II
552 Appendix B
Acknowledgement Some of the material in this section is adapted from work done by Mike Wilson and Phil Sluder of Triaxial Design and Analysis and is used with their permission.
Illumination Within the settings for all appearances is an Illuminat ion tab. To understand t he choices, we must first understand the different settings.
Appearance Properties Appearance properties control the way the surface reacts t o light. Each property has a control in the PropertyManager. Understanding each of the individual controls can be difficult because the individual effects are almost always mixed with other appearance properties. In the following section, the images are meant to show the effects of changing a single appearance property through its entire range while holding all other properties constant.
Oii Dif sur a pi api Dif
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BaSe
p;;J Colo<
Advanced }
/lm1lge
~
Ibrination
1<6 MoppOJg )
YQ& ~rnmj
~Illumina tion
J; Dynamic help
Common Controls In this section, the various common controls will be examined individually. These are the settings that apply to all appearances. In each graphic, only one control will be varied to see its effect.
Doffuse amount: 1.00 )
Speajar color:
Th the Ph
Speajar spread: 0.6875
1
Reflection amount:
USI
0.200
j ~~ BUry reflections Transparent amount:
0.00
:) L..mnous intmsoty: 0.000 w/srmh2
•
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Illumination Settings 553
Diffuse Amount _::e- o"
:: ~:..!st ~irs~
Diffuse amount controls the intensity of the light on the surface. This property is dependant on the surface's angle to the light source but is independent of the viewpoint. If you change your viewpoint, the appearance of the model should not change. The higher the diffuse value, t he brighter the model appears. This is a nonmirror type reflection. Diffuse at values from 0.0 to 1.0; Specular amount: 0 .0
g;~.__ :
:21 !Utioa: Fi'ilil
~
The above image was captured in RealView and the below image was re ndered in PhotoView 360. Note that when rendered, there are specular highlights even t hough Specular amount was set to o.o. Within Photo View 360, t he specular amount is set by the appearance definition and cannot be adjusted by the user.
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554 Appendix B
Specular Amount
Diffl
Specular amount controls the intensity of the light on the surface. This cont rol only affects the appearance in OpenGL and ReaiView and has no effect in Photo View 360. This is a mirro r type reflection. so t he property is dependent on the position of the light source and the position of t he view. With the light position locked to model. as you move your viewpoint. t he specu lar highlight will appear to move on the surface.
As a
the b back speC!
Specular values from 0.0 to 1.0 with Specular spread constant at o.s
Spec
Spec1 illumi
If we render t his image. we can see that there are no changes in the appearance from instance to instance because the specular amount only affects OpenGL and ReaiView.
Illumination Settings 555
:ts:he · ;:-:ne r s: the viev/. 1: .·. ill appear
·o ::x;: ~o
Diffuse versus Specular As a comparison, in the leftmost image, the ball on the left uses Diffuse and Specular reflections while the ball on the right uses just Diffuse. In the rightmost image. we are looking at the assembly from the back so the ball positions are reversed. Because the light is locked to the model. we can see that the specular reflection has followed our viewpoint.
Specular Color Specular color controls t he color of the specular highlight. In each case below, all the spheres are illuminated by t he same light but each specular highlight has been set to a different color.
556 Appendix B
Specular Spread
Blurr
Specular spread controls the blurriness of any highlights on a surface. Increasing the Specular spread value makes high lights larger and softer.
This b by thE reflec
In the following image, Specular amount is constant at 1.0 while Specu lar spread is increased as indicated.
In the adjust1
Reflective Amount Reflective amount controls the reflectivity (ability to act as a mirror) of a material. If Reflective amount is set to 0.0. no reflections are visible on the surface. If set to 1.0, t he materia l simulates a perfect mirro r.
Illumination Settings 557
11~ar
spread
:.ed as
Blurry Reflections This blurs the reflections so that the surface does not look as smooth. The amount of blur is controlled by the specular spread. This image has t he same settings as shown above where each has a different reflection amount, except that Blurry reflections is se lected.
In the following image, all spheres have the same Reflective amount of 1.0 and the Specular spread is adjusted. ctive amount c perfect
558 Appendix B
Transparency Amount Transparency amount controls the degree to which a material allows light to pass through it. The model consists of six spherical lenses.
Material: color; Index of refraction: 1.59 (default)
Additi1 Some a t o the r Refrad
Index 1 Index o is only. the mo· of refrc:
above ~
1.0, the
Appear
Luminous Intensity The Luminous intensity cont rol is used to control the light radiation property of the appearance, which allows the surface to radiate light.
In the image, each sphere is acting as a light source.
-
Illumination Settings 559
Additional Controls Some appearances or properties have additiona l controls which appear when that appearance is applied to the model. Whenever an appearance is t ranspa rent, additional controls for Index of refraction and Refraction roughness become available.
Index of Refraction Index of refraction controls the bending of light as it passes through a transparent object. This control is only available when the t ransparency amount is greater than zero. The higher the index of refraction. the more that light is bent. In the below image, all the lenses are geometrically identical. With an index of refraction of 1.0, light would not be bent as it moves through the material. With an index of refraction above 1.0, the lens acts t o magnify the image on the other side. With the index of refraction less than 1.0, the image is reduced in size (like looking through the wrong end of a telescope). Appearance: color ; Transparency amount: 0.5
c"'Ce, which
o.s
1.1
1.25
Index of Refraction
1.5
1.75
2.0
560 Appendix B (
Refraction Roughness Refraction roughness sets the amount of blurriness of geometry seen beyond the transparent object. In the fo llowing image. the index of refraction is held constant at the default value of 1.59.
T 0
• • 0 .02
Refraction Roughness
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562 Appendix C
Surface Finish Surface fi nish is used t o give t he appea rance that the surface is something other than smooth. This is done by using either a bump map or disp lacement map. The bump map is generally a gray sca le image used t o give the appearance of high and low areas. The whiter the area of t he bump ma p, the more the surface appears as a high spot. The darker areas appear to be valleys. The displacement map changes the surface of t he model during t he rendering process to give it an act ual 3D property.
Brushed Brushed g st riations.
There are several predefined bump map surface finishes available with SolidWorks and you can make additional custom finishes with most image paint programs. Bump Map Images If you are creating yo ur own bum p map images. t hey can be any of t he following file types: • • • • • • • •
Bitmap ('~.bmp) High Dynamic Range (*.hdr) Joint Photographic Expert Group ("'.jpg, '''.jpeg) Portable Network Graphics (~'. png) Adob®Photoshop ("'.psd) Silicon Graphics 8-bit RGBA ('''.rgb) Targa (*.tga, ''.targa) Tagged Image File Format ('~.tiff)
Sandblasi Sandblaste sandblaste
Surface Finish Examples The fo llowing section shows each of the predefined surface finishes applied to a cylinder. Wit h defau lt settings, some of the surfaces may appear distorted, so after reviewing the differe nt surface finishes. we will examine t he available settings that can be used to customize the appearance. The base appearance in all the renderings is color . In each of the following images, there are two planar faces and one cylindrical face as you will see if you examine both t he hard edges and silhouette edges.
Burnished Burnisheci knocked c::
Surface Finish 563
c::.~~
This is ca e image e •ore the r:: ::aanges
Brushed Brushed gives the appearance of regular linear striations.
:.::--. make
Sandblasted Sandblasted gives the appearance of being sandblasted with a small irregular pattern.
- ~defa ult
E
r,nishes,
52
see if you
Burnished Burnished gives the appearance of a smoothed, or knocked down, pattern over an irregular surface.
564 Appendix C
Casting The casting surface finish applies an irregular casting pattern.
Treadp Treadpl; plate pc
Machined A machined surface finish should look like the surface has been ground.
Treadp l This is a
Diamond Treadplate Diamond treadplate provides a regular pattern of diamond shapes.
Knurlec
Knurled the surf. The kmr
control ~
appear.::
Surface Finish 565
Treadplate 1 Treadplate applies a regular rect angular tread plate pattern.
Treadplate 2 This is a variation of Treadplate 1.
Knurled Kn urled simulates the pattern created by knurling the surface. The kn urled surface finish has an additional control t o adjust t he height of the knurl appearance.
566 Appendix C
Knurl Controls Knurl height cap controls the height of the individual knurls. With a setting of 1.0 , each knurl is a pyramid. As the value is reduced, the pyramid is truncated. Knurl height cap cannot be set to zero because it
would eliminate the surface finish.
DimplE Dimple means zero, a t here <
Dimpled Dimples are a regular pattern of uniform-sized dimples.
Chain
Chain I just th
Surface Finish 567
sa pyramid. E£ause it
Dimple Size Control Dimple size is relative to dimples that are sized so that they just touch each other. A dimple size of 1.0 means that each dimple is tangent t o the four surrounding dimples. Dimple size can be adjusted from zero. at which point the dimples disappear. to 1.5. which has dimp les overlapping each other. Notice that there are exactly the same number of dimples. in exactly the same location. on each plate.
Chain link Chain link simulates the pattern of a chain link fe nce. In RealView. the solid will become t ransparent and just the chain link will be visible.
568 Appendix C
Wrought This appearance simulates a wrought surface with appropriate grain and imperfections.
Bump P
The folio maps for
Bump N
• The br tone ir • Diffus • SpecL bump~
Rough 1 This is a finish of random variations.
Rough 2 This is a coarser variation of Rough 1.
• The s, if t he • Shade surfac • Shade really • Unlike shado • The li· map. • Refle1 • Refra:
Displao • The b1 in a ci • Shaclc but c· shado • Shade topog • Like rshado • The lil smoc·
Surface Finish 569
Bump Maps versus Displacement Maps Summary The following is a comparison of some of the different characteristics between bump and disp lacement maps for surface finishes: Bump Maps • The brightness of a bump map is used to cha nge the visual appearance of a surface. The brighter the tone in a bump map, the farther out a point on the surface will appear to be. • Diffuse shading is varied as if the bumps really existed in the surface. • Specular highlights are broken up and scattered. Tiny highlights can even appear on t he individual bumps caused by a bright pixel in the bump map. • The surfaces of the model are not changed by a bump map. They will remain smooth or straight even if the map simulates a rough surface. • Shadows cast by a bump-mapped object will still have their shape of the original object. Because the surfaces are not deformed, there is nothing to create the shadow. • Shadows received on a bump-mapped surface will remain straight and will not be distorted as if they really landed on a rough surface. • Unlike modeled or displaced details, details added to a surface via a bump map do not produce self shadows onto the surrounding surface. • The line where a bump-mapped surface intersects with another surface is not changed by a bump map. This can give away the real shapes of the objects. • Reflections are distorted and broken up. • Refraction is correctly modified and distorted. Displacement Maps • The brightness of a displacement map is used to change the shape of a surface. The brighter the tone in a displacement map, the farther out a point on the surface will be displaced. • Shadows are cast by a displacement-mapped object because their original shape has been changed, but only during the rendering process. Because t he surfaces are deformed, they naturally create shadows. • Shadows received on a displacement-mapped surface will be altered based on t he displacement topography. • Like modeled or displaced details, details added to a surface via a displacement map produce self shadows onto the surrounding surface. • The line where a displacement-mapped surface intersects with anot her surface will not blend smoothly as each surface has a separate displacement that ends at the boundary of t he surface.
Hardware and PhotoView 360 Performance This appendix provides additional information on: • Hardware effect s on rendering. • Operating system effects on memory.
572 Appendix D
Hardware and PhotoView 360 Performance Like other rendering software, PhotoView 360 performance is heavily influ enced by the hardware that makes up the computer system. Being SolidWorks users, we know how hardwa re can affect the performance and stability of the software. Having a high performance SolidWorks system does not necessarily translate into having a high performance Photo View 360 system. In t his appendix we'll examine what role the following parts of your system hardware and operating software play in Photo View 360 performance. • Central Processing Unit • Random Access Memory Operating System • Graphics Card
Central Processing Unit (CPU) CPUs come in a variety of configurations. CPUs can have multiple cores (Dual Core, Quad Core, Six Core} and combinations such as dual quad cores or dual six core CPUs. In addition to t he number of cores, most modern CPUs are multithreaded so that each core may act as two CPUs . Some portions of SolidWorks take advantage of multithreading and use the additional processors: • File, Open is a multithreaded process. One thread loads the view information, while another thread
works on loading the mode ls from disk. • Creating a new drawing is a mult ithreaded process. One thread displays the draft quality views as quickly as possible while a second thread is used to calculate the precise HLR views in the background. The swap from a draft to high quality view is done transparently when the calculation is complete. • Generally speaking. multiple cores/ threads will allow for mult itasking. For example, wh ile SolidWorks loads a large assembly/drawing. you can more effectively take care of other tasks such as email. word processing. or spreadsheets. Multithreading therefore can produce a performance increase with computers equipped with more than one processor or processors with multiple cores/threads. Because of this, having more than a dual core or dua l processor comput er benefits SolidWorks performance.
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Hardware and PhotoView 360 Performance 573
The Photo View 360 rendering engine however is a
9 '
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100% multithreaded application and can see a
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"' large performance increase when multiple 0 7 u processors are available. The more cores or 0 6 :::! 5 processors available, the fa ster Photo View 360 0 ~ 4 can process the information t o complete the u ~ 3 0. rendering. Two cores or processors are faste r than one, four cores or processors are faster t han two, 0"" 21 eight cores or processors are faster t han four. The 0 - ---performance gain is almost linear. If a single core Slow Fast or processor machine can process an image in an Render Processing Speed hour, a dual core or dual processor machine will process the same image in about 30 minutes, assum ing the processors are of similar type and speed. QJ
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Not only is t he number of processors important, but the speed of the processor plays a role as well. The higher t he processor speed, t he faster the rendering will compute. To obtain the most performance from PhotoView 360 the computer system should contain a multiple core or multiple processor CPU at the highest clock speed available.
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Render Processing Speed
Random Access Memory (RAM) L:""' ;nore than
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RAM stores the information to be processed by t he CPU. Unlike a syst em's hard drive, which is meant fo r permanent data storage, RAM is a temporary area to store data required by the CPU based on the instructions from software. Larger amounts of RAM allow for the storage of more data. As your model fi les become larger and more complex, they require more RAM to store and process the data. Like SolidWorks, Photo View 360 will benefit from the installation of larger amounts of RAM. The key element when determining if you have enough RAM is that of having to page information t o t he hard drive. If your system is paging (using the SWAP file). then you do not have enough RAM and your system wi ll be slow.
574 Appendix D
The amount of RAM a user requires for rendering is controlled by a number of fact ors: • Complexity of model
• Size of final rendered image • Appearances being rendered • Render quality settings Generally speaking. the higher the level of realism and the larger t he size of rendering you require, the more RAM the system will require.
Operating System The amount of RAM installed on a computer system is limited by the operating system. Today's operating systems are either 32- or 64-bit, with 64-bit now t he dominant choice in computers used for SolidWorks. One of the most significant differences between 32- and 64-bit operating systems is the amount of memory they can address. A 32-bit system can have 232 addresses while a 64-bit system can have 264 addresses.
32-bit Operating Systems 32-bit operating systems (Vista 32 and Windows 7- 32) allow for t he insta llation of up to four gigabyt es (GB) of RAM. Limitations of 32-bit operating systems do not, however, let your software applications take advantage of the full four gigabytes of RAM. In fact the 32-bit operating system reserves up to almost one gigabyte of RAM for devices which require memory mapping. An example of a device which requires memory mapping is a graphics ca rd. If your graphics card has 512MB of on board memory, that memory will be mapped in the one gigabyte the operating system has set aside for these types of devices. A computer system with four GB of RAM actually only has approximately 3.12 GB of RAM available. In addition to the one GB of RAM set aside for memory-mapped devices, a 32-bit operat ing system only allows each running application a maximum of two GB of RAM. Basic math tells us if you have four GB of installed RAM, you subtract one GB for the memory-mapped devices and two GB for the running application limit, there is one GB of RAM not being utilized by your system.
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Hardware and PhotoView 360 Performance 575
The Three-Gigabyte Switch The three-gigabyte switch is a mod ification made to the boot.ini file that allows running software applications to access more RAM than the default 2 GB limit. Modifying the boot.ini file of your operating system is an advanced operation and can have detrimental consequences if done incorrectly.
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While enabling the 3 GB switch may appear to be an answer to a low memory problem with a 32-bit system, it is not recommended by either Microsoft or SolidWorks and can cause some system instability for which there is no fix. If you are in a situation where you need more memory, consider moving to a 64- bit operating system.
64-Bit Operating System 64-bit operating systems (Vista 64, Windows 7- 64. and Windows 8- 64) allow for the installation of up to eight terabytes (that's 8,096 gigabytes) of RAM. Generally speaking. 64-bit operating systems can use as much RAM as you can afford to install. No 3GB switch or other technique is required to address all the system memory available by running applications. This means SolidWorks/ PhotoView 360 can utilize all the installed memory if need be. Because 64-bit operating systems allow for the installation and usage of such large amounts of memory, t hey are ideal for memory intensive applications such as PhotoView 360. If you will be creating high quality large scale renderings (20,000 pixels x 20,000 pixels) and utilizing the advanced tools of Photo View 360, it's highly recommended you run a computer system with a 64-bit operating system.
Graphics Card The graphics card (video card) processes the information from software to paint an image to screen pixel by pixel. Complex 3D information not only requires the graphics card to compute lines, color, and shading but also textures, lighting, sha dows, reflections, transparency, and more. Applications that render 3D information in real time. like SolidWorks, use the widely known programming API OpenGL. Graphics hardware certified for use with SolidWorks is optimized to execut e OpenGL calls very efficiently and effectively. ReaiView is GPU- (graphics processing unit) based and requires a certified OpenGL graphics card to process huge amounts of information to display semirealistic rendered models in real time. When using SolidWorks the model is rarely in an idle state. Since the model is continuously being dynamically panned, zoomed, and rotated, the graphics card needs to be of a higher level to process the display information quickly and efficiently at high frame rates. The higher end the graphics hardware, the more information it can store and process in real time. Any graphics card certified for use with SolidWorks will also be suitable for Photo View 360 since Photo View 360 is CPU-based rendering and does not place as high a demand on graphics hardware. You can view SolidWorks certified graphics cards and drivers on t he SolidWorks website.
577
Index Numerics
folder location 350
8
3GB switch 575
folders 345
background 228
from Modo 370
A additive color method 535 adjusting arrow keys 186 alpha channels 278 ambient light 412, 430 ambient occlusion 434 analogous color 533 anti-aliasing quality 75 apparent depth 209 appearance properties See also Appendix B appearances 3, 17, 22, 33, 40,
from photograph 388 hierarchy 97, 117, 293 hybrid 122, 365 illumination 95, 375 image files 342
images 226, 466 backlight 414, 418 backlit LCD lights 412 bloom 283 blurry reflections 557
level of detail 518 library 345 lighting 412
bump map 393, 562 burnished surface finish 563
mapping 95,122 missing files 406 patterns 518 procedural 99
68,92 101,345-350 advanced properties 95
PropertyManager 41 , 95 reflections 518
appearances, scenes and decals tab 26
refractions 518 removing 130 rounded corners 405
applying 93 basic properties 95 callouts 94 color 106 color/image 95 create 349 custom folders 110 default 33 deleting 349 display 98 editing 374 file composition 355 files 342
environment 226
search order for files 406 sources of additional 347 surface finish 95, 393, 518 target 93 texture 99, 122 transparent 334 user-defined 345 views 518
brushed surface f inish 563
c camera 36, 189 -222 adding 189 aiming 190 apparent depth 209 aspect ratio 202 depth of fie ld 211 effects of focal length 209 field of view 194 lenses 194 lock camera view 444 lock position 191 rotati on 193, 200 standard lens 211 use in photography 5 view area 208
area lights 412, 438 arrow keys
view rectangle 195,199 casting surface finish 564
adjusting 186 aspect ratio 202, 269
caustics 335, 521 settings 336
578 ~------------ ---- ----- -------- ---- --------- -- ----------
chain link surface finish 567 chroma 534 chromatic 534 CIE 1931 chromaticit y diagram 530 CMYK color model 536 color
value 534, 540 web safe 549 See a/so Appendix A color correction 18 color management 501 color models 359 color wheel 532
additive 535 analogous 533
color/image 95 CommandManager 25
chroma 534 chromatic 534 CMYK color model 536 complementary 533 create definitions 107 custom 106
comp lementary colors 533 computer hardware See also Appendix D contours 258 convention s 8 CPU 572
depth 536
cube mapped images 462 custom
gamut 534 HSV color model 535 hue 107,534, 540 in design tables 543 intensity 534 luminance 107,534 mat ching syst ems 548 monochromatic 534 names 548 optical properties 546 primary 532 RGB color mode l 535 saturation 107, 534, 540 schemes 546- 548 secondary 532
folders 110, 349 render settings 76 scene files 464 cylindrical mapping 135, 142·· 145
default appearance 33 depth of field 211 diamond treadplate surface finish 564
see files
diffuse amount 553 dimpled surface f inish 566
fi lllig final r cor. sta·
direct illum ination 410 direct lighting 428 directiona l lights 412 displacement mapping 394 display pane 34, 94, 291 icons 292 display states 3 DisplayManager 25, 34 view appearances 35 view decals 36 view scene, light s and cameras 36 dpi (dot s per inch) 268 dynamic help 28, 376
D
E
decals 22, 152- 175 adjusting 167 applying 156, 162 file typ es 152 gradient mask 176 illumination 156
edit ing appearances 374 environment 225, 226 environment al images 237 environment al lighting 314, 412
shade 534 subtractive 535 swatches 545 terminology 107
mapping t ypes 162 masks 169
tertiary 533
order 175 PropertyManager 156 saving 156
tone 534
p2s sa
mor sav
f loor Focol·
fog L folder
app see·
G gamrr
ga mu: gradie graph grays
image 156 image masks 169 mapp ing 156, 158, 162- 165
tint 534
visibility 169 decals PropertyManager 152
H hard\', 3 G: 32 t
F
64 : CPL
field of view 194
gra~
fi le compression 497 fi le types for deca ls 156 fo r rendering 496 p2d 156 p2l 464 p2m 345
RA. he lp dyn< Pho· Solil hide/ s hieran
579
,'l.anager 152 :.~ce
33
1: ate
surface
:P4 .:J:J3
; !:inish 566
::-: 410 t~8
s 412 apping 394 ., 94. 291
=3. 34 1Cf5
p2s 464 saving images 496 scene 464 files monochrome 358 saving 495 fill light 414, 417 final render window 84, 478 compare and opt ions 86 statistics 85 f loor 226, 228 Focoltone 548 fog 454 folders appearances 345 scene 233
35
117 histogram 479 HSV color 535, 540 hue 107,534,540 hue and saturation parade 487 hybrid appearances 122, 365
I illuminat ion 95, 375 capabilities 410 illumination controls
35
gamut 534 gradient mask 176
specular amount 375, 554 specular color 375 specular spread 375, 556
graphics cards 14, 575 gray scale adjustment 18
transparency amount 558 transparent amount 376
·.:ges 237 0 ing 314, 412
H hardware 3 GB switch 575 32 bit operating system 574 64 bit operating system 575 CPU 522,572 graphics card 521, 575
.!..97
~ ~..-
:~
RAM 522,573 help dynamic help 28 Photo View 360 27 SolidWorks 27 hide/show decals 169 hierarchy of appearances 97,
K keep light 413
L
G
i- 226
rays 75 indirect lighting 431- 433 input levels 492
luminous intensity 376, 558 reflection amount 375, 556 refle ct ion roughness 560 ref raction roughness 376
gamma correction 483
:es 374
quality 432 ray tracing 428
key light 414, 416 knurled surface f inish 565
*'l:s and
376
index of refraction 559 indirect illumination 237, 410
blurry reflections 557 diffuse amount 375, 553 index of refraction 376, 559
5
268
speed 256
image based lighting 314, 412 image evaluation 307 image masks 169 image quality rendering 500 image size 268 images cube mapped 462 HDR 314, 478, 480 maximum size 478 monochrome 358 spherical 463 spherical panoramic 466 tiled 345 increasing rendering
LCD light 412 levels input 492 library appearances 345 scene 51, 233 light media limitations 531 visible 530 lighting 17. 22. 237. 414-423 backlight 414. 418 concepts 410 direct illumination 41 0 environmental 314 environmental images 237 f ill light 414, 417 image based 314 indirect 431 indirect illumination 410 key light 414, 416 lighting plan 415 methods 411 Photo View 360
sao ~------ - ---------------------------- -- ---------------- -
materials 33, 68
photo studio 438
ligr
principles 414
memory
soft edge 454
3 GB switch 575 RAM 573 missing files 406 Modo assets 370 editing 374
photographing a texture 388 phot orea listic rendering 4
SCE
characteristics 454
special 414 spot light radius 454 lighting concepts 410- 423 lighting principles 424- 433 lighting schemes 413
monitor
lights 36, 54
Photo View 360 15, 22- 28,32 appearance target 93 ap pearances
Q qualii ren
PropertyManager 41 CommandManager 25
qualit
def inition 22
R
ambient 412, 430
adjustments 17 correction 18, 501
DisplayManager 25
RAM
area 438
resolution 275
interface 56
ray-tr
menu 25 options 28, 520
Real\1
brightness 454 creating 412
monochromatic 534
ray-t r
directional 412
N
fill 414, 417
named views 187
scene Propert yManager 73
reflec
fog 454 intensity 413
neon tube lights 412
starting 23
reflec
network rendering 512- 516
user interface 24, 33
quality settings 77
sha
env
keep light 413
client 512, 514
point lights 412, 449
opt
key 416
coordinator 512
post-processing 477, 485, 495 ppi (pixels per inch) 268
qua rayseo
point 412, 449 positioning 248
0
presentation scenes 232
properties 246
on-line help
preview quality 75
show light s 247
Photo View 360 27
spot 412, 452 liquid appearances 334
OpenGL 10
lock camera view 444
opt ical properties of color 546 options
luminance 107, 534
shadows 12
luminous intensity 558
M machined surfa ce finish 564
qua
preview window 57 primary colors 532
rou.; remo>r
print screen 152
rende1
Alt+print screen 153 printer correction 501
system 29
proceduralappearances 99 product visualization 2, 10-17,
design intent 256 layered image 281
mapping 95 adjustments 138
preview render 256
PhotoView 360 28 output
t ypes 22
cylindrica l 142- 145
f ile · f in a
32- 38
ima!
projection mapping 138 141
ima! me;-
projector reso lution 275
netv
PropertyManager
pixe
p
spherical 145--149 textures 125
Pantone 548
advanced properties 95
perspective view 103, 187
appearances 41, 95 decals 152, 156
modify 103, 187
bas com
elements 16
decals 167
masks 169
refrac
qua ray-1 redu
581
------
--e 388 4 .::: 28.32 93
·------------- ------ -------------- ------------- -- -----lights 246 scenes 73,233
-· ~g
ger 41 . 25
Q quality rendering 500 quality settings 77
R 5
ncger 73
:n I L ~S.
495
258
232
53
c•: es 99 2. 10 17.
~
-~B-i 41
?:o ES
:.;
95
RAM 573 ray-tracing 411 , 428 ray-tracing depth 325 RealView 13 shadows 14 reflection amount 556 reflections 314 environment options 314 options 324 quality 75 ray-tracing depth 325 secondary reflections 325 refractions quality 75 roughness 560 removing appearances 130 render basics 411 contours 258 file types 496 fina l render window 84 image evaluation 307 image quality 500 memory usage 520 network 512 pixel quantity 267 quality 75, 520 ray-tracing 411 reduce number of pixels 257
reducing complexity 258 reducing quality 258 results 5 scaling down 273 scaling up 271 scheduler 503 screen presentations 275 speed 175, 256 Render Preview 56 Render Tools toolbar 25 RGB color 535, 537- 539 rough surface finish 568 rounded corners 405
s
sand blasted surface finish 563 saturation 107, 534, 540 saving images 495 scene background 226,228 elements 226 floor 226, 228 lock to model/view 225 scene library 51, 233 scene PropertyManager 73 scenery 226- 233 scenes 17, 22, 51, 224 225 custom 464 environment 225 in use 224 legacy 232 presentation scenes 232 PropertyManager 233 scene library 233 stretch image to fit 241 studio 224 studio scenes 232
user-defined 233 schedu ling renderings 503 secondary colors 532 secondary reflections 325 set affinity 501 shade 534 shadows 420 423,429 clutter 422 OpenGL 12 properties 423 quality 454 Rea lView 14 show lights 247 snapshot 36 soft edge 454 Software OpenGL 12 special lights 414 specular amount 554 spread 556 spherical mapping 136, 145149 spherically mapped images 463 spot light radius 454 spot lights 412, 452 standard le ns 211 studio scenes 232 subt ractive color method 535 surface finish 95, 393 brushed 563 burnished 563 casting 564 chain link 567 diamond treadplate 564 dimpled 566 knurled 565 machined 564
582
rough 568 sandblasted 563 threadplate 565 treadplate 1 565 treadplate 2 565 wrought 568 See also Appendix C surface finish controls 394-
568
bump mapping 394 displacement mapping 394 mapping 394
T task pane 38, 94 tertiary colors 533 text ure appearances 99 text ure mapping 122, 125 automatic 125, 129 by the numbers 138 correcting 130 cylindrical 129, 135 mapping types 128-130 projection 130, 138-141 projection direction 126 reference 128 size and alignment 130 spherical 129, 136 surface 128 threadplate surface finish 565 t iled images 345 t int 534 tone 534 tone mapping 482 toolbar Render Tools 25 transparency amount 558 treadplate 1 surface finish 565
treadplate 2 surface finish 565 Truematch 548
u
user interface 24, 33
v
vectorscope 487 video cards 14 view appearances 35 view decals 36 view rectangle 195, 199 view scene, lights and cameras 36 viewpoint 184- 188 arrow keys 186 middle mouse button functions 185 named views 187 perspective 103 positioning 184 visible light 530
w
walk-through 36 waveform 487 wrought surface finish 568
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IMPROVIN6 ASSEMBLy DLAR6E USIN6 SO ES16N STEp -By_f~';:ORtcs A self-study g 'd opt· .. Iarge assembl Utd e to . tmtzmg in SolidW y estgn orks software
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