What s new in AliasStudio 2009

Transcription

1 What s new in AliasStudio 2009 March 2008

2 2008 Autodesk, Inc. All Rights Reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. Trademarks The following are registered trademarks or trademarks of Autodesk, Inc., in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Create>what's>Next> (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Studio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert, DWG TrueView, DXF, EditDV, Education by Design, Exposure, Extending the Design Team, FBX, Filmbox, FMDesktop, Freewheel, GDX Driver, Gmax, Heads-up Design, Heidi, HOOPS, HumanIK, i-drop, imout, Incinerator, IntroDV, Inventor, Inventor LT, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop, MotionBuilder, Mudbox, NavisWorks, ObjectARX, ObjectDBX, Open Reality, Opticore, Opticore Opus, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint, ProMaterials, Reactor, RealDWG, Real-time Roto, Recognize, Render Queue, Reveal, Revit, Showcase, ShowMotion, SketchBook, SteeringWheels, StudioTools, Topobase, Toxik, ViewCube, Visual, Visual Bridge, Visual Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat, Visual LISP, Voice Reality, Volo, Wiretap, and WiretapCentral The following are registered trademarks or trademarks of Autodesk Canada Co. in the USA and/or Canada and other countries: Backburner, Discreet, Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, Stone, and Wire All other brand names, product names or trademarks belong to their respective holders. Disclaimer THIS PUBLICATION AND THE INFORMATION CONTAINED HEREIN IS MADE AVAILABLE BY AUTODESK, INC. "AS IS." AUTODESK, INC. DISCLAIMS ALL WARRANTIES, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS. Published by: Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA

3 Contents Chapter 1 What s New in AliasStudio Chapter 2 General improvements Improved Printing Solution Consolidated User Preferences Changes to the Object Lister Reference Manager Sharper display of curves and edges and software anti-aliasing Alternate view navigation mode New option in Look At Spider is being retired Windows 2000 no longer supported Customer Involvement Program (CIP) Chapter 3 Painting Selection Tools enhancements New Pastel Soft brush Changes to Shapes Simplified Color Manipulation Re-arrange, copy and paste layers Enhancement to Image Import Options iii

4 Chapter 4 Modeling New Align tool Keypoint Curves Enhancements Line Perpendicular Enhancements to Surface Fillet, Freeform Blend, and Profile Blend Draft surface enhancements Tubular Offset Enhancement Extending with snap Extending trimmed surfaces Vector integration New Construction Plane interface Displaying controls on new Blend Curves and Keypoint Curves Selecting overlapping curve-on-surface edit points Better hole filling tool for meshes Automated repair of meshes New Mesh Offset option Chapter 5 Evaluation New Dynamic Measurement tool Changes to Cross Sections Change to Check Model Chapter 6 Data Transfer DirectConnect Chapter 7 What s Where New tools Renamed tools Obsolete tools Re-instated tools iv Contents

5 What s New in AliasStudio 1 This guide leads you through the new and changed features of AliasStudio. We are very pleased to provide you with our latest release of Autodesk AliasStudio software. AliasStudio delivers new functionality and fixes to software limitations. Be sure to us with your comments at AliasStudio_Feedback@autodesk.com We look forward to hearing from you about this version of the software. 1

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7 General improvements 2 General changes and new features. Improved Printing Solution The Print Preview window that opens when you select File > Print has a new Mode button. This button offers the following choices: Plot Print This corresponds to the old behavior. The three orthographic views are printed by default, with an information box in the lower right corner. The current canvas and wireframes are printed but not shaded geometry. Print Canvas The current canvas is printed. The Preview Window shows the current canvas only. Use the Views lister to select a different canvas to print. Click on the Setup button to open the Print Setup window that lets you specify the Image Size. The image will always be adjusted to fit on the page. Only the canvas is printed, without any geometry. Print Window The whole content of the window is printed, including shaded geometry and canvas. This is the same content as what gets saved when using File > Export > Current window. The Preview Window shows the active window only. Use the Views lister to select a different window to print Click on the Setup button to open the Print Setup window that lets you specify the Image Size. The image will always be adjusted to fit on the page. Consolidated User Preferences All user preferences are now saved in a unique file called a Preference Set. 3

8 You can create, save and load your own custom Preference Set files. These are kept in C:\Documents and Settings\<username>\Application Data\Autodesk\AliasStudio\UserPrefs2009\Preference Sets. They have file extension.aps (Alias Preference Set). A Preference Set contains the following components: Shelves Marking Menus User Options Colors Hotkeys Workflows & Menus Construction Options To save a Preference Set 1 Set up your menus, shelves, hotkeys, etc, the way you want them. 2 Choose Preferences > User Preferences > Save Preference Set The file browser opens. 3 Type in a name for your Preference Set. 4 Click Save. Your settings are saved in the specified file. To load a Preference Set 1 Choose Preferences > User Preferences > Load Preference Set 2 In the option box, ensure that the components you wish to load have check marks. 3 Click Go. The file browser opens. 4 Select the Preference Set that you want to load. 5 Click Open. Your preferences are set. You do not have to restart AliasStudio for them to take effect. 4 Chapter 2 General improvements

9 Changes to the Object Lister The Object Lister now enables you to: Dynamically sort, group, and ungroup geometries Move, place and organize geometries as you choose. Search and find all objects whose names contain a given character string. The layer labels displayed in the Object Lister are now identical to the layer names (or layer numbers) appearing in the Layer Bar. Show > By Objects shows objects in more useful order When Show is set to By Object, the objects are now ordered as follows: Two envelops for Canvases and Construction Entities at the top of the Object Lister window Group Nodes All other geometries This special arrangement gives you the ability to further arrange, group, and order objects. Changes to the Object Lister 5

10 Right Click with Show > By Object Dynamically rearrange objects by selecting one or more objects (using Ctrl or Shift keys) and right-clicking while in Show > By Object mode. A menu opens with the following items: Visible Makes picked objects visible or invisible. When visible objects are picked, right-clicking shows the check mark turned on. When turning the check mark off, these objects become invisible in the view window, and are grayed out in the Object Lister. Previously, you could only make one object or group invisible at a time. NOTE To avoid errors, you cannot pick invisible objects. To make an invisible object visible, right-click on it and select Visible to turn on the check mark. The object then becomes visible. Group Creates a new group node and places the picked objects inside. Place Inside This choice becomes active only when right-clicking on a Group Node. It places the picked objects into this Group Node Insert Before, Insert after Right-clicking on any object and selecting one of these options places the already picked object(s) before or after the specific object. 6 Chapter 2 General improvements

11 These two choices are only active when it is possible to insert into the current position. For example, they are grayed out when geometry is picked if you right-click on a Group Node surrounded by other Group Nodes (since geometry cannot be inserted between Group Nodes). +/- All button This button works as "Expand All" or "Collapse All" for all Group Nodes and envelopes. Click on +/- All and all Group Nodes and envelopes are collapsed. To expand them, click +/- All again. Search and Pick Enhances the workflow of dynamically sorting and arranging objects. For example, if you have a large model, type Rail in this field, then press the Enter key. All objects whose names start with Rail (case insensitive) are picked in the Object Lister, as well as the modeling window. You can scroll up and down in the Object Lister to check the picked objects and can cross-check in the modeling window. Hold the Ctrl key and click to unpick the rail objects that are not required for the group. Then create a new Group Node or put the rail objects in an existing Group Node. If a collapsed Group Node has a picked Rail object, the Group Node expands, to make it easier to find the picked geometry. Changes to the Object Lister 7

12 You can also use the * character as a wildcard. For example, *shell* will find all objects whose names contain the string shell, and *30 will find all objects whose names end with 30. Scroll Up button If certain objects are picked and are not visible in the Object Lister, click the scroll up button to reach to the lowest picked object and show it at the top of the Object Lister window. Clicking once more on the button will show the next picked object, and so on. Scroll Down button Finds the highest picked object and shows it at the bottom of the Object Lister window. Click the button again to reach the next picked object. Reference Manager This new tool is available from File > Reference Manager. It lets you import reference data for use in two major workflows: Importing large amounts of engineering data while maintaining interactive performance Importing large amounts of design data and providing alternative shading and comparisons for design reviews The advantages over using stages are loading speed and additional functionality. The following tools work on reference data: Diagnostic Shading, Hardware Shade, Transparency, and Visual cross sections. You can also use measurement locators between reference data and real geometry data. 8 Chapter 2 General improvements

13 The basic functionality of the Reference Manager is described below. To convert an existing file to a reference file 1 Choose File > Translate from the Reference Manager window. 2 Set the translation options in the option box then click Go. 3 Select the geometry file in the browser and click Open. The translated file is placed in the reference sub-folder under the current project and has a.wref extension. It also appears in the Reference Manager window. NOTE You can translate several files at a time by selecting them in the browser. A progress bar is displayed over each file name in the Reference Manager window as it is translated. To cancel the process, right-click the file name. To import a reference file 1 Choose File > Import from the Reference Manager window. Reference Manager 9

14 2 Select the.wref file in the browser and click Open. The reference data appears in blue in the view windows. To create Alternatives 1 Select one or more files in the Reference Manager window. (You can use the Ctrl or Shift key to add to the selection.) 2 Do one of the following: Choose Edit > New Alternative With the middle mouse button, click and drag the selected file(s) to the right hand side of the Reference Manager window, and drop in an empty location. NOTE You may have to choose View > Both to see both sides of the window. Copies of the reference files are created and appear on the right side of the Reference Manager window under an Alternatives group. Alternatives are labeled Alternative, Alternative #1, Alternative #2, etc. If no reference files were selected, the Alternative will be empty. The new alternative is selected in the view windows. You can transform it, shade it, and hide/show some of its files of file layers. This allows you, for example, to display different versions of a part located in separate layers of a reference file by creating three alternatives of it and showing/hiding different layers in each. To add a reference file to an Alternative 1 With the middle mouse button, click on the reference file in the left side of the window, and drag it to the Alternative label on the right side of the window. A red outline appears around the Alternative label. 2 Drop the file by releasing the mouse button. The reference file is added to the Alternative. To delete a reference file from an Alternative 1 Right-click on the file under the Alternative. 2 Choose Remove File From Alternative from the drop-down menu. The reference file is removed from the Alternative. 10 Chapter 2 General improvements

15 To delete a whole Alternative 1 Right-click on the Alternative 2 Choose Remove Alternative from the drop-down menu. NOTE To delete several alternatives at once, select them in the Reference Manager then choose Edit > Remove Alternative in the window s tool bar. To select reference data and Alternatives 1 To select a whole reference file, alternative, or layer, click it in the Reference Manager window. 2 To select individual objects, choose Pick > Pick Reference and pick the objects in the view windows. The Pick Reference option box lets you pick the reference data at different levels: File, Alternative, Layer, or Component. For Components you can choose to pick Curves, Surfaces, Shells, and/or Meshes. 3 You can diagnostic shade individual objects from reference data, but you cannot transform (move, scale, etc.) a reference file or any of its components. Only whole Alternatives can be transformed. To promote reference data to real geometry 1 Choose Pick > Pick Reference. 2 Select the individual objects in the view windows. 3 Choose Edit > Promote Geometry 4 The reference data you selected is copied as real geometry and appears in the DAG. To promote a reference shader to the Multi-Lister Shaders on reference objects do not appear in the Multi-Lister. To be able to use such a shader on regular data or other reference data, you must first be able to see it in the Multi-Lister by promoting it. 1 Choose Pick > Pick Reference. 2 Select a reference object which is assigned the desired shader. 3 Choose Edit > Promote Shader Reference Manager 11

16 The shader of the reference object you selected is copied into the Multi-Lister. You can then modify the shader and apply it to other objects without affecting the original shader. To pack reference data A saved wire file only contains pointers to any reference data, not the data itself. The Pack functionality allows you to get all your data in one place for easy transfer. 1 Choose File > Pack from the Reference Manager window 2 In the Pack window, browse to the location where you want the information to be stored, and enter a name for the new pack folder in the Object name field. 3 Click Select 4 The wire file and all reference files are saved in the specified folder. You now have all your data in one location for easy transfer. To see different views of the Reference Manager window In the View menu, choose Reference Files to see only the left side of the window, Alternatives to see only the right side, or Both. You can also resize the window by dragging a corner. To modify the appearance of reference data To make it visible or invisible: click on the small square (with the double border) to the left of the data with the left mouse button. To change its color: click and hold on the small square (with the double border) to the left of the file name with the right mouse button, and select a color from the lister. To change its transparency: use the Reference Files Transparency slider in the Control Panel. This affects all reference data. 12 Chapter 2 General improvements

17 Sharper display of curves and edges and software anti-aliasing You can now adjust the quality of the display for wireframe and shaded surfaces through the new WindowDisplay > Anti-Alias > Wireframe Anti-Alias and WindowDisplay > Anti-Alias > Shaded Anti-Alias toggles. Wireframe Anti-Aliasing This tool results in crisper and smoother curves and edges, and gives you control over line thickness for both single and double lines. NOTE Surfaces boundaries are drawn as double lines when you choose ObjectDisplay > Draw style and set Surface Boundary to DOUBLE. Shader Anti-Aliasing You have the choice of two methods to anti-alias shaded surfaces: Software Anti-Alias and Hardware Anti-Alias. The choices for Software Anti-Alias are Off, Low, Medium, High, and User Defined. By default this setting is High. When you select User Defined, additional controls appear: Samples Sets the number of samples that will be taken and averaged. Generally, you should choose values lower than 36. Choosing a value that is too high for your scene may result in some artifacts, like banding. Pixel Sample Radius To create a smooth image, the technique used moves the camera slightly. Setting a value lower than 1 in this option means the camera jitters less than a pixel; values greater than 1 jitter it more than 1 pixel. Choosing a value that is high results in greater blurring than choosing a low value. Hardware anti-aliasing provides the same functionality as the Surface option in the old WindowDisplay > Smooth tool. To use the Hardware Anti-Aliasing method, you must first check on Allocate Hardware Anti-Alias Resources on Startup, then set Hardware Anti-Alias to On. You need to restart your computer for those settings to apply. Software anti-aliasing gives you a better quality result, but does not apply while you tumble in the view. Once you stop tumbling, there might be a time lag while the anti-aliasing is re-applied. Hardware anti-aliasing works during Sharper display of curves and edges and software anti-aliasing 13

18 tumbling as well but the quality is less. You can use both methods simultaneously if you want. Once you have chosen the appropriate settings in the option boxes, you only need to select the tools to turn the anti-aliasing on (check mark) or off (no check mark). Alternate view navigation mode We have added an alternate viewing mode, Azimuth/Twist, available when holding the Alt and Shift keys. This mode allows for a different style navigation in a perspective view. The Azimuth/Twist mode provides a "model-centric" view manipulation. The mode is similar to manipulating a model in your hand. For example, when using the right mouse button, a horizontal movement in the upper half of the screen to the right will twist the screen to the right.imagine twisting the model by moving the cursor in the direction you want the twist to go. 1 Choose Preferences > General Preferences 2 In the Input section set Alt/Shift Action to Azimuth/Twist 3 Click Go. When Alt + Shift are held, the mouse buttons now work as follows: Left Moving the mouse horizontally controls the azimuth. Moving the mouse vertically controls the elevation. Middle Tracks horizontally and vertically. Right Moving the mouse vertically dollies in and out. Moving the mouse horizontally twists. The Tumble/Zoom setting corresponds to the regular AliasStudio viewing behavior. In addition, when using the Azimuth/Twist mode, the View Step Angle option (also in General Preferences) lets you use the arrow keys to change the azimuth (left/right arrows) or elevation (up/down arrows) by the specified angle increment. 14 Chapter 2 General improvements

19 New option in Look At View > Look at has a new option called Orient to Ground Plane. When this option is turned on, Look at re-orients the view to place the ground plane at the bottom of the screen. This was the way Look at behaved in AliasStudio In AliasStudio 2009, this option is turned off by default. Spider is being retired The Spider product will be retired with the launch of AliasStudio This means that Spider will not be shipping with the AliasStudio 2009 products. Key workflows are going to be available in Autodesk Studio 2009, Autodesk SurfaceStudio 2009 and Autodesk AutoStudio Spider 2008 will be available for download on the support web site for customers on valid subscription customers. Windows 2000 no longer supported The Windows 2000 operating system will no longer be supported, starting with the release of AliasStudio Customer Involvement Program (CIP) You are invited to participate in helping guide the direction of Autodesk design software.if you choose to participate in the Customer Involvement Program, AliasStudio will automatically send Autodesk information about what features you use most, any problems that you encounter, and other information helpful to the future direction of the product.here is the complete list of the information that would be automatically sent to Autodesk: Installed Autodesk applications CPU/OS settings Display-related settings Input-related settings New option in Look At 15

20 Output-related settings Storage-related settings Software environment Internet settings License server List of tools the user selected What the CIP program cannot do The Customer Involvement Program is committed to protecting your privacy. It cannot do any of the following: Collect any drawing or design data Collect any identity information such as name, address, or phone number Send you or contact you in any other way For additional information, click the Privacy Statement link in the Customer Involvement Program dialog box. Why you should consider participating The Customer Involvement Program involves you directly in telling Autodesk: The commands and features that Autodesk should focus on The commands and features that are hardly ever used The most common problem areas The hardware typically used with AliasStudio You can start or stop your participation in this program at any time. Access to the controls is available from the AliasStudio Help menu. How to use 1 Choose Help > Customer Involvement Program. 2 The CIP dialog window appears. NOTE The CIP dialog window appears automatically the first time AliasStudio is launched 16 Chapter 2 General improvements

21 3 In the dialog window, select either: Participate anonymously Participate - with contact information Do not participate at this time. 4 If you selected Participate - with contact information, fill in your address (and, optionally, your company name) in the appropriate fields. 5 Click OK NOTE For this Beta, customers are required to join the CIP program to help Beta testing. Consequently, if you choose Do not participate at this time you will still be prompted to enter the program every two days. Customer Involvement Program (CIP) 17

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23 Painting 3 AliasStudio's unique integrated paint tools enable you to use 2D sketching throughout the design process to develop your concepts. Note that SurfaceStudio provides limited sketching tools. Selection Tools enhancements The new Paint Selection tools can be found under Paint > Select > Marquee (lasso) and Paint > Select > Marquee (polyline). 19

24 You can now select an area of a Canvas with more control using the pen or mouse by drawing a lasso or clicking down to create a series of polylines to create a marquee that encompasses the selection. You can fine tune your selection by adding/subtracting areas via the customizable hotkeys as well. The Marquee (circle) tool has been integrated into the Marquee (ellipse) tool. Hold the Shift key or turn on the Proportional option in the Marquee (ellipse) tool s option box to draw a circular marquee. You can also create a square marquee by holding the Shift key or turning on Proportional in the Marquee (rectangle) tool s option box. New Pastel Soft brush Choose Paint > Pastel Soft. Changes to Shapes Major changes have been made to the Shape tools in this release to improve the workflow. Different option settings for the Shape tools can now be saved: For the original Shapes tools in the palette. For any instances saved in the shelves. For any instances saved in the marking menu. You can save the options of the shape tools (instances) in the shelves and marking menu. The different instances can point to different option settings, enabling you to create a set of favorites. We have also introduced a new window called the Shape Editor which offers access to all the outline and fill parameters previously only accessible in the Control Panel. See details further down. To create various shape tool instances on the shelf 1 Use the middle mouse button to drag a shape tool from the palette to a shelf. A new instance of the tool is created in the shelf. 20 Chapter 3 Painting

25 2 Click the new instance of the tool The instance is made the active tool. The Shape Editor opens up. It displays the same settings as the original tool in the palette. 3 Select new values for the Outline parameters. 4 Select new values for the Fill parameters. The new values are displayed in the Shape Editor The new settings are saved for this instance. 5 Exit the tool by choosing Pick > Object. Pick Object becomes the active tool, and the Shape Editor appears empty 6 Repeat steps 1-4 for each variation of the shape tool you want. To use saved shape tool instances 1 Open the Paint window and the Canvas Layer Editor. 2 Select the active canvas from the pull-down menu. 3 Create curves using the Blend Curves tools or other curve tools. 4 From these curves, create new shapes using tool instances. Each shape is created with the settings previously saved for the tool instance that created it. To edit shape outline and fill parameter settings when the Control Panel is closed 1 Choose Pick > Object. 2 Choose Windows > Editors > Shape Editor. The empty Shape Editor opens up. 3 Pick a curve that forms a shape. The selected shape's Outline and Fill values are displayed in the Shape Editor 4 Modify the Outline and Fill values displayed in the Shape Editor. 5 The shape simultaneously updates to reflect these new values. Changes to Shapes 21

26 The Shape Editor A Shape's parameters can be edited without the use of the Paint Control Panel by using the Shape Editor. The Shape Editor offers access to all the outline and fill parameters previously only accessible in the Control Panel. The Shape Editor can be opened: By selecting any Shape tool in the palette, shelf or marking menu. By selecting Windows > Editors > Shape editor The values the Shape Editor displays depend on whether a Shape tool or an existing shape is active. If a Shape tool is active, the settings for that tool are shown. If an existing Shape is selected (picked), the settings for that Shape are shown. If many Shapes are selected, the settings for the first Shape picked are shown (as in AliasStudio 2008) If neither a Shape tool nor a Shape is active, the editor is empty. Shape creation and editing In AliasStudio 2008, shape creation and editing were intrinsically linked. Changes made during editing were affecting subsequent shape creation. In AliasStudio 2009, this link has been broken in order for each instance to keep its own settings. Shape creation in AliasStudio 2009 When you select a Shape tool, the parameters previously saved for that tool are displayed in the Shape Editor. They are applied to any shape created within the tool. 22 Chapter 3 Painting

27 If you edit the parameters of a new shape while still inside the tool, these new settings are saved for the tool. If you quit the tool before editing the parameters, these new settings apply only to the active shape. Shape editing in AliasStudio 2009 Shapes can still be edited exactly as in AliasStudio When selecting multiple shapes: The values for the shape that was first selected are displayed. Modifying the values of one parameter apply that parameter value to all selected shapes. This needs to be done one slider at a time. Each slider may need to be modified if you wish to make all parameters identical between two or more existing shapes. Copying parameters In previous versions, the intrinsic link between creation and editing enabled the implicit transfer of settings between existing shapes and shape creation tools. In AliasStudio 2009, settings can be explicitly transferred between shapes or tools. In the Shape Editor, values can now be copied and pasted for: Only the Outline Only the Fill Both Outline and Fill (All) You can copy multiple parameter settings between existing Shapes, and from existing Shapes to a tool as well as from any tool to existing Shapes. Minor changes to the Outline and Fill options The visibility check marks for the Outline and Fill are more prominent: The check box has been moved to the top of each section. The check box affects the visibility of the parameters in the editor window. The check box replaces the collapsible tab for all intents and purposes. Changes to Shapes 23

28 In AliasStudio 2009, Shape Outline and Shape Fill are regrouped into a single tool called Make image shape located under Paint > Shape. Because option settings can be saved, a Shape Outline tool now can be changed to a Shape Fill tool (by changing the Shape Outline and Shape Fill settings: on /off), and vice-versa. The Paint Control Panel Shape parameters are still editable in the Control Panel. Outline and Fill parameters look identical in the Control Panel and in the Shape Editor The Auto-Shape's options are only available in the Control Panel. The Auto-Shape's options have been regrouped into a single tab (one-level) Simplified Color Manipulation Go to Paint Edit > Color correction > Color manipulation to access this new tool. It combines the functionality of several color correction tools (Color Balance, Brightness & Contrast, Saturation & Value, Color Replace) in one easy to use interface. Furthermore, you can preview the changes directly in the Paint and view windows. 24 Chapter 3 Painting

29 You can also: Apply successive modifications to the active image layer without having to exit the tool Modify only certain colors from the image without the need to use masks or marquees Delimit parts of the image to be unaffected by using the current marquee or linked masks, prior to entering the tool Preview the modifications made to the active image layer in conjunction with the other visible layers Switch the display between the preview and the original image Preserve the capability to zoom and pan in the active window while in the tool Undo, while within the tool, modifications being previewed Simplified Color Manipulation 25

30 Undo, immediately after exiting the tool, modifications which have been accepted The interface The Color Manipulation Editor has three tabs, described below. The PreView check box, available in all three tabs, lets you compare the current state of the image with the original one, by switching between them in the modeling window. AllColors tab Sliders in this tab affect the entire image (all colors). You can control the Hue, Saturation, Luminance, Brightness, and Contrast for all colors simultaneously. You can adjust the Highlights, Shadows, Light Midtones and Dark Midtones independently, to be brighter or darker. NOTE If Hue Adjustment is set to Colorize Hues (or Colorize Hues & Grays), the Hue Strength slider must be set to a value greater than 0.0 for the Hue slider to have an effect. The Hue Strength slider acts as a blending factor between the selected hue and the current colors. ByColors tab Sliders in this tab affect predefined portion of the image based on colors. It is useful to quickly change one general color into another. The full color spectrum has been divided in 8 overlapping colors which can be simultaneously manipulated. The colors are overlapping as to not create hard breaks in the resulting image. You can control the Hue, Saturation and Luminance for each of the eight colors. Replace tab This tab lets you select the color that you want to replace (Replace From), as well as the color you want to replace it with (Replace To). The Replace From color can be specified as a range by adding several colors using the color picker. The Dropoff slider can be used to increase or decrease the tolerance for the selected colors. The four buttons at the bottom of the window behave as follows: Reset Undoes all the modifications since the last Apply. NOTE To reset individual sliders, drag the mouse to the small black mark in the center of the slider, and click on the white line that appears. Undo Undoes the last modification. You can press this button multiple times to revert modifications all the way back to the beginning. 26 Chapter 3 Painting

31 Apply Applies successive modifications without having to exit the tool. It bakes the resulting image and resets all the sliders to their neutral position. Clicking on another tab at the top of the window also applies the last modification. Accept Applies the modifications as with the Apply button, but it also exits the tool. The last brush tool used becomes the active tool. NOTE To undo a modification after clicking the Apply or Accept button, use Edit > Undo or Ctrl+Z. Re-arrange, copy and paste layers This new functionality applies to layers inside the Canvas Layer Editor. You now have the ability to select more than one layer at a time (including image layers, all types of mask layers and folders), move them to a different position within the same canvas, copy and paste them to a different canvas, or even to a different stage. The following workflows assume you already have a canvas with multiple layers. To select and re-order multiple layers 1 Choose Windows > Editors > Canvas Layer editor. 2 Click on a layer to make it active. The layer appears blue. 3 Use the Shift and Ctrl keys to select or deselect multiple other layers or folders. The interaction is the same as in Windows Explorer. The new selected layers/folders appear in white. 4 Click and drag the layers to the desired location. A small pink arrow points to the location. 5 Release the mouse button to insert the layers at the indicated location. To copy and paste layers into a different canvas 1 Repeat steps 1-3 from above to select layers 2 Choose Edit > Copy layers from the Canvas Layer Editor. Re-arrange, copy and paste layers 27

32 3 Select another canvas from the Canvas Layer Editor, or create a new one with Canvas > New canvas 4 Choose Edit > Paste layers from the Canvas Layer Editor. The selected layers are pasted into the active canvas, above its original active layer, and remain selected. The names and relative positioning of the pasted layers is preserved. To copy and paste layers into a different stage 1 Repeat steps 1-3 from above to select layers 2 Choose Edit > Copy layers from the Canvas Layer Editor. 3 Choose or import a different stage 4 Select a canvas on this stage through the Canvas Layer Editor 5 Choose Edit > Paste layers from the Canvas Layer Editor. The selected layers are pasted into the active canvas, above its original active layer, and remain selected. The names and relative positioning of the pasted layers is preserved. Enhancement to Image Import Options In the Canvas Layer Editor You can now import an image directly as a mask into the active canvas from the Canvas Layer Editor, if you are using the Windows browser. Previously, this could only be accomplished by using the options in the File > Import > Canvas image tool. NOTE The type of browser can be changed by choosing Preferences > General Preferences and going to the System section. Choosing Layer > New image layer (import) in the Canvas Layer Editor opens the Import Image browser which now has the Layer Type option. This option lets you import the image as is, or as a mask based on transparency or luminance. A Preview window shows the appearance of the selected image depending of what Layer Type option is selected. 28 Chapter 3 Painting

33 When Always create New Canvas is checked on, the layer is imported into a new canvas created in the active window. If it is checked off, the import operation behaves as follows: If there are picked canvas(es) and/or construction plane(s), the layer is imported into each picked canvas or construction plane. (Construction planes are thus converted into canvases.) If nothing is picked, the layer is imported into the active canvas. If there is no active canvas in the active window, the layer is imported into a New Canvas created in the active window. NOTE These new options only apply to the Windows browser, not the AliasStudio browser. To import an image as a mask layer from the Canvas Layer Editor 1 Choose Windows > Editors > Canvas Layer editor. Enhancement to Image Import Options 29

34 2 Do one of the following: If you want the mask layer to be created on a new canvas, click the view in which you want the new canvas to be created. If you want the mask layer to be created on an existing canvas, select the canvas by using the pick canvas icon next to the canvas name in the Construction Plane Editor or select it from the lister in the Canvas Layer Editor. (The former takes priority.) 3 In the Canvas Layer Editor, choose Layer > New image layer (import). The Image Import browser opens. 4 In the browser, choose an image to import. The image is shown in the Preview window. 5 In the browser, set Layer Type to Mask (Luminance) or Mask (Transparency). The content of the Preview updates. 6 If you want to import the image into a new canvas, turn on Always create New Canvas. Otherwise, make sure that it is turned off. 7 Click on the Select button. The selected image is imported into the picked or active canvas as a Mask layer based on its luminance or transparency, and becomes the active layer. It is linked to the previously active layer (if it was an image layer). If Always create New Canvas was on, a new canvas plane is created and the image is loaded onto it as a mask layer (filling the entire canvas plane). The size of the canvas plane is based on the size of the current view window. In the Canvas Image tool The options in the File > Import > Canvas image tool have been renamed and re-arranged to look similar to those in the Image Import browser. This option box is useful if you are using the AliasStudio browser. 30 Chapter 3 Painting

35 The Color option has been renamed Image. The Best Guess option has been removed since it provided the same results as Color in most cases. The Preview window enables more predictable selection, thus reducing the need for automated guess. The options selected inside the tool s option box and the Image Import browser are always kept synchronized (for a given instance of the tool). Enhancement to Image Import Options 31

36 32

37 Modeling 4 Changes and improvements to modeling tools help speed your workflow. This version of AliasStudio introduces a new Align tool, a new Mesh Hole Filling tool, a new construction plane interface, vector options integrated into tools, as well as improvements to Keypoint curve tools (including a major overhaul of Line Perpendicular), surface filleting tools, Draft, Tubular Offset, Extend, and Mesh Offset. New Align tool The new Align tool was created to simplify the workflow of a key modeling capability. Expert users of the Align 2008 (previous version of the tool) may not see a need for a change. However we have received a great deal of feedback which indicated that the number of options and the interaction was overwhelming for many users. Our intention with the new Align is to provide a reasonable number of options, allow direct interaction through the use of manipulators, and provide an output that is superior to the old tool. In AliasStudio 2009, both versions of the Align tool will be present, to give our users time to adapt to the new Align. The old Align tool can be found under Object Edit > Align > Align NOTE Existing instances of the Align tool on your shelves or marking menus will become invalid. We recommend that you remove them and re-create them for AliasStudio The new tool can be found under Object Edit > Align > Align. The interaction is based on four steps: 1 Define the Input edge (or curve) and Master target. The Input is the surface edge, or curve that you are aligning.the Master is the object you are aligning to. 33

38 2 Align the Input edge. You can modify the parameterization along the edge by modifying the value of the Influence slider. With the slider set to 0.0, the alignment attempts to maintain the Input surface s parameterization. This alignment will cause minimal CV movement. With Influence set to 1.0, the alignment attempts to match the parameterization of the Input surface to that of the Master as closely as possible. This gives the alignment more freedom to produce a closer fit (better continuity), but can cause more CV movement on the Input.The slider control provides incremental variation between the two alignment types. 3 Align the outside edges. When Continuity is set to Tangent or Curvature, mousing down on the edge labels allows you to switch between Edge Align and Skew. The edge is aligned to either the natural boundary or to a trimmed edge. Skew values can be set precisely, if required, in the control window. 4 Scale the Tangent and Curvature rows with the manipulators. Try the "Scale curvature from tangent" option. You may find it similar to the way Blend curves scale. We are continuing to provide direct interaction with the model through intelligent manipulators. We hope that once adopted, there will be less reliance on the option window providing faster interaction with the tool and less distraction for the user. 34 Chapter 4 Modeling

39 Each workflow starts with the selection of the Input object (the object that is being aligned) followed by the selection of the Master object (the object you are aligning to). After selection of the Input and Master geometries, only the applicable options are presented in the option window. The logical sequence of selections is reinforced by positioning of options in the window. Options The following options may or may not be displayed depending on the type of geometry chosen as the Input. New Align tool 35

40 Continuity Continuity level between the aligned geometry: Position, Tangent or Curvature. NOTE When Tangent or Curvature is chosen, The Outer Edge and Tangent And Curvature CV Adjustment sections appear. See details in workflow below. Alignment Type This option only appears when aligning a surface. Edge: This is the default setting and provides alignments for all surfaces where a vector constraint is not used. This includes the alignment of a surface to a surface edge, isoparm, or curve-on-surface (CoS). Vector: This option is useful when the Input surface edge already has positional continuity, and the tangent and curvature rows need to have their movement constrained to the direction of a vector. This option may be used in conjunction with the Accept button as follows: 1)Align the Input edge using the Edge option and Position continuity, 2) Accept the positional alignment (by clicking the Accept button), 3) Adjust the position of the tangent row if needed, and 4) Apply the Vector alignment with Tangent or Curvature continuity. 36 Chapter 4 Modeling

41 Project: This option aligns an edge to a surface by using a projection vector (along the current view by default). It is not necessary to have a curve-on-surface already on the surface to align to it. The curve-on-surface is created automatically. NOTE If Vector or Project is selected, a Vector Options section appears to let you define a vector. (These new options are now present in several tools and are described in this document under Vector integration on page 56). The default vector direction is based on the current view. Partial When this option is checked on, the corners of the Input surface aligns to the closest points on the Master edge. Use the position manipulators (or the Partials sliders) to control the extent. This option applies when a surface edge is aligned to another surface edge, isoparm or curve-on-surface. It also applies when a surface edge is aligned to a free curve. New Align tool 37

42 The Partial sliders manipulators snap to the currently set options in the Snap Options window (except for Snap to Center and Pivot). The partial sliders indicate they have been positioned at the full extent of the Master s edge by displaying only the internal arrow. Double arrows indicate that the Input edge is not positioned at the full extent of the Master s edge. Explicit Control Checking on this option gives you access to the Explicit Control Settings where you can adjust the degree and number of spans for the Input. Increasing the degree or adding spans can provide greater flexibility for the surface to align to continuity, or create a more subtle blend.when Explicit Control is not checked, the alignment may insert spans to achieve continuity. Explicit Control is checked on by default. Blending This applies to both Input curves and surfaces. It moves the inner rows of CVs to even out the modification in the Input. You can adjust the number of Extra CV Rows that get modified and the Blend factor to get the desired effect. The rows of CVs needed to maintain continuity are not touched. 38 Chapter 4 Modeling

43 In the following example, additional controls were added with the Explicit Control Settings and then the shape was extended with the use of the Blending Options. New Align tool 39

44 The next example shows the positional alignment flowing into the end of the surface by selecting the internal five hulls. Subsequently the blend factor is modified to shape the transition. Influence This option only appears when Alignment Type is set to Edge. 40 Chapter 4 Modeling

45 When Influence is set to 0.0 (default), the alignment process attempts to maintain the Input surface s parameterization. This alignment will cause minimal CV movement. When Influence is set to 1.0, the alignment attempts to match the parameterization of the Input surface to that of the Master as closely as possible. This gives the alignment more freedom to produce a closer fit (better continuity), but can cause more CV movement on the Input. NOTE This will sometimes result in the CV structure of the Input conforming itself to the Master s, typically when both edges are Bézier of the same degree. The slider provides for incremental interpolation between maintaining parameterization on the Input and providing continuity with the Master. New Align tool 41

46 Buttons Revert Press this button to cancel all changes to the Input and return it to its original shape, as if the tool was never invoked. All history is deleted. Accept/Restore Each time the Accept button is pressed, a configuration of the tool and the current Input geometry is saved. The Restore button is only available when the Accept button has been pressed at least once. Each time the Accept button is used, the state is stored and can be retrieved by using the Restore button. This way, it is possible to append a series of alignment operations. For instance an Input edge may be aligned for position, Accepted, and then the Tangent controls can be aligned with a directional constraint. Another operation may Align the positional row with the Influence slider set to 1 to ensure that parameterization is matched at the boundary, Accepted, and then the Tangent row may be aligned with Influence set to 0 to maintain the structure of the Input surface. NOTE Edit > Undo (Ctrl+Z) can be used multiple times to restore modifications to the scaling of tangency, curvature or partial edge location. This lets you explore modifications and still return to a preferred alignment. All the values controlled by manipulators can also be adjusted through sliders and numerical input in the option window. Workflows Using the manipulators The manipulators appear as small arrows (or double arrows) except for Skew which is an arc with a small circle. Once the manipulator is engaged by clicking 42 Chapter 4 Modeling

47 on the arrow or circle, mouse contact is not required to make further modifications. The following values can be adjusted directly through manipulators: Position of Attach Point on curves Tangent length and (if Scale Curvature from Tangent is off) Curvature value along the outer edges. A center manipulator lets you keep the existing length ratio between both ends (akin to sliding the hull). You can also click and drag the hull line. Partial join manipulators (if Partial is on). These change from double to single arrow when snapping to the edge of the Master surface. Skew angles on the outer edges Using Query Edit After aligning both ends of a curve, or opposite edges of a surface with the new Align tool, Object Edit > Query edit retrieves the construction history for the end closest to where you click. This way, you can edit both alignments after exiting the Align tool. General workflow for aligning a surface 1 To align an edge to the interior of a surface, select the Projection option and specify the projection direction through Vector Options. 2 Select the Input surface (surface to align) 3 Select the Master geometry (curve or surface to align tom The hulls and CVs on the Input surface become visible. This way, modification of the options in Align are easily seen and can be used as a diagnostic for creating an optimal transition. 4 Set the options for alignment of the Input s edge: Explicit Control, Partial and Influence. The position manipulators can be used to adjust the start and end of the Partial join. 5 Set Continuity to Tangent or Curvature if needed. 6 Set the options for the boundary edges of the Input surface: The options in the Outer Edge section of the option window control the direction of the tangent within the tangent plane. You can also click on the label in the view window to toggle between Edge Align and Skew. To constrain the movement of the tangent and curvature New Align tool 43

48 CV rows along a defined vector, select Vector and set the direction with the Vector Options. The options in the Tangent and Curvature CV Adjustment section of the option window control the length of the start/end tangent or curvature. The slider values are scale factors. You can also use the tangent and/or curvature manipulators to adjust those values. A third manipulator lets you modify both start and end tangents or curvatures by the same amount (akin to sliding the hull). 7 Turn on Blending if you want to involve a larger extent of the Input surface in the alignment process. Use the Blending Options to adjust the blending of CVs. The blending will not affect the continuity constraints on the opposite edges. General workflow for aligning a curve 1 Select the Input curve (curve to align) 2 Select the Master geometry (curve or surface to align to). The alignment is based on closest location between Master and Input. The hulls and CVs on the Input curve become visible. This way, modification of the options in Align are easily seen and can be used as a diagnostic for creating an optimal transition. 3 Define the position of alignment by sliding the manipulator (or using the Attach Point slider). In addition to closest position, the manipulator also snaps to the end points of the Master curve or edge. 4 Use Explicit Control, if necessary, to adjust the degree and number of spans of the Input curve. 5 Set Continuity to Tangent or Curvature if needed, and scale the tangent/curvature value with the manipulator(s) or option box slider(s). 6 Turn on Blending if you want to involve a larger extent of the Input curve in the alignment process. Use the Blending Options to adjust the blending of CVs. The blending will not affect the continuity constraints on the opposite ends. 44 Chapter 4 Modeling

49 Keypoint Curves Enhancements The keypoint curve tools have been improved and consolidated into a new toolbox. Choose Curves > Keypoint curve toolbox to open the following toolbox: This toolbox contains all the tools used to create and manipulate keypoint curves. Other enhancements to keypoint curves include: Ability to create accurate (non-periodic) circles and ellipses with a smaller degree and number of spans. The keypoint Lines tools now have a degree option. Possible values are 1 to 7. Options have been renamed to be consistent with other tools (that is Degree instead of Arc Degree and Spans instead of Arc Spans). For keypoint Arcs tools, the default number of spans is set to 1, and the default degree is set to the minimum value that will provide an arc of constant radius. The Join curves tool (removed in v13.0) has been added back. You can find it in the Keypoint Curve Toolbox under Break & Join > Join curves. To join two curves at their endpoints, make sure their endpoints overlap (are coincident), then choose the tool and click on the overlapping keypoint or edit point. Line Perpendicular The Line perpendicular tool in the Keypoint curve toolbox (Line Tangent & Perp > Line perpendicular) now lets you create lines perpendicular both from Keypoint Curves Enhancements 45

50 and to surface curves (curves on surface, surface edges, isoparms) in addition to free curves. The surface curves are treated like normal curves, so that the line is perpendicular to the surface curve, but not normal to the surface. A line perpendicular to a 3D curve at a given point can lie anywhere in a plane normal to the curve s tangent at that point. The specific direction of the line is determined by the second point selected, as well as the choice of the True or Projected option. These options are initially set in the option box, and determine the initial values of the buttons that appear at the bottom of the window after choosing the tool. This way, it is possible to create different versions of the tool that can be placed on a shelf. Degree The degree of the Line Perpendicular. Values range from 1 (default) to 7. True The line is perpendicular to the curve in 3D space (as seen in the Perspective window) although it may not appear perpendicular in all orthographic views. Projected The line appears perpendicular to the given curve in the active orthographic view. For a Perspective window, turn off Perspective in the Viewing Panel to get an orthographic view. From Curve The line extends from the selected point on the curve, perpendicular to the curve, and ends as close to the second point as possible. If the second point is selected on a curve, the line will end on that curve. To Curve The line extends from the selected point to the selected curve and is perpendicular to the curve. 46 Chapter 4 Modeling

51 Setting up the options You may want to create different instances of the tool on the shelf for each type of Line Perpendicular you plan to create. 1 Choose Line Tangent & Perp > Line perpendicular in the Keypoint curve toolbox. 2 Set Type to either True or Projected. 3 Set Select to From Curve to create a line perpendicular from a curve, or To Curve to create a line perpendicular to a curve. 4 Click Save or Go. Creating a line perpendicular From a curve 1 Choose Line Tangent & Perp > Line perpendicular in the Keypoint curve toolbox, or the appropriate version of the tool from the shelf. A set of 6 buttons appear in the active window: True Projected, From Curve To Curve, Next Change Settings. The button settings from the option box show as active. 2 If you need to change the settings, click Change Settings, then: Click either True or Projected Click From Curve NOTE If you select Projected while in a Perspective window, you must turn off Perspective in the Viewing Panel (Shift + Alt) to get an orthographic view where the line appears as intended. 3 Select the curve from which you want to make the line perpendicular. 4 Select a point in space, or a curve. A keypoint line is created that extends from the point selected on the first curve (to which it is perpendicular) to the location closest to the point selected. If the second item selected was a curve, the line meets the curve at the point closest to where you clicked. 5 You can modify the position of the start point while in the tool and see the line update interactively. If the second item selected was a point, you can move the end point of the line to adjust its length.you can also type in the line length. Line Perpendicular 47

52 6 Click Next to create another line perpendicular with the same options. Or click Change Settings to choose different options. Creating a line perpendicular To a curve 1 Choose Line Tangent & Perp > Line perpendicular in the Keypoint curve toolbox, or the appropriate version of the tool from the shelf. A set of 6 buttons appear in the active window: True Projected, From Curve To Curve, Next Change Settings.The button settings from the option box show as active. 2 If you need to change the settings, click Change Settings, then: Click either True or Projected Click To Curve NOTE If you select Projected while in a Perspective window, you must turn off Perspective in the Viewing Panel (Shift + Alt) to get an orthographic view where the line appears as intended. 3 Select a point that will be the end of the perpendicular line. To select a point on geometry, hold the Ctrl or Ctrl + Alt keys to snap to it. 4 Select a curve that the line will be perpendicular to. A keypoint line is created that extends from the selected point to the selected curve and is perpendicular to the curve. If no perpendicular line can be found on the curve to the specified point, linear extensions are built at the start or end of the curve, and the perpendicular is built from those. 5 You can modify the position of the end point while in the tool, and see the line update interactively. 6 Click Next to create another line perpendicular with the same options. Or click Change Settings to choose different options. 48 Chapter 4 Modeling

53 Enhancements to Surface Fillet, Freeform Blend, and Profile Blend The following tools now support Bezier surface output: Surface Fillet Freeform Blend Fillet Flange Tube flange Profile Blend MultiSurface Draft Tubular Offset The following modifications have been made to the surface filleting tools. Bezier segmentation You now have the option to create fillets as multiple Bezier surfaces, instead of a single multi-span surface, by turning on the Bezier Surfaces option in all seven tools. This option is found under the Advanced tab and only appears if Surface Type is set to MULTIPLE SURFACES. Enhancements to Surface Fillet, Freeform Blend, and Profile Blend 49

54 Surface type is a new option that replaces Span Placement. Now you can more easily specify whether you want your fillet to be composed of only one surface (SINGLE SURFACE), or several surfaces (MULTIPLE SURFACES), and, in the latter case, if those should be Bezier patches. The Bezier patches have a single span and their maximum degree in the U direction is set through the Explicit Control section. The default is degree 5. Positional Continuity in Freeform Blend The Freeform Blend tool now offers Position as a Continuity option (as well as Tangent and Curvature). Ability to specify independent continuity level on both walls In Freeform Blend and Profile Blend, independent specification of the level of continuity along both sets of boundaries is now possible. The Continuity option has been replaced with Side 1 Continuity and Side 2 Continuity which can have different settings. Indicators are placed on the geometry to show Side 1 and Side Chapter 4 Modeling

55 Draft surface enhancements The Draft tool now offers the ability to build draft surfaces on both sides of a curve simultaneously. The handling of corners has changed for the case where two draft surfaces are built on adjacent curves but do not intersect. We now extend both drafts, intersect and trim them, to create a sharp edge between them, instead of adding a third rounded surface to fill the gap. Creating double-sided draft surfaces 1 Choose Surfaces > Draft surfaces > Draft/flange 2 In the option window set Construction Type to Draft. 3 Under the Advanced tab, turn on Double Sided. A Single Surface option appears. Draft surface enhancements 51

56 4 Select one or more curves. 5 Click the Go button in the lower right corner of the window. Draft surfaces are built on both sides of the curve. The Angle, Surface Depth and Pull Direction apply to both draft surfaces. 52 Chapter 4 Modeling

57 6 Turn on the Single Surface option, to build only one surface, extending on both sides of the curve. 7 Use the dotted green line handle on the manipulator (under the white triangle) to toggle Double Sided on and off. Handling corners 1 Choose Surfaces > Draft surfaces > Draft/flange 2 In the option window set Construction Type to Draft. 3 Select two adjacent curves. 4 Click the Go button in the lower right corner of the window. Draft surface enhancements 53

58 5 Change the angle (from the option window or using the manipulator) so that the drafts move away from the surface and do not intersect anymore. The draft surfaces are automatically extended, intersected and trimmed to form a sharp corner. When the angle is such that the drafts move toward the surface, they are simply intersected and trimmed, as before. NOTE Because the depth you specify for the Draft is preserved, the top edge of both surfaces may not meet exactly at the corner. Tubular Offset Enhancement You can now select one or more secondary surfaces with positionally (G0) continuous edges which they share with your primary surface. The tubular offset is still built from the selected edge(s) of the primary surface(s). The secondary surfaces are trimmed or have curves-on-surface created on them by the tubular offset. Using this new capability along with the Chain select option further increases efficiency. 1 Choose Surface > Rolled edge > Tubular offset 2 Click on the edge (isoparm or curve-on-surface) of the primary surface. You can use the Chain Select option to select all edges tangent continuous with it if you want. 54 Chapter 4 Modeling

59 The Pick Chooser window appears if the selected edge intersects with other geometry. 3 Select the primary surface through the Pick Chooser. The surface turns pink to indicate that it s selected. The edge of the surface turns yellow showing the path of the tubular offset. 4 Select one or more secondary surfaces with positionally (G0) continuous edges shared with an edge of the primary surface. Hold the Shift key to select them through the pick chooser, or use a pick box to select them all at once. The secondary surfaces turn pink. NOTE You can combine steps 2 to 4 by using a pick box to select all surfaces, if you are not concerned about the order of primary and secondary surfaces. This will also work when Chain Select is turned on. 5 Click the Recalc button in the bottom right corner of the window. The tubular offset is built on all selected surfaces. Tubular Offset Enhancement 55

60 Extending with snap You can now snap to a curve, surface curve or trimmed edge while extending a surface with Object Edit > Extend. Simply hold down the Ctrl + Alt keys and click down on the curve. You can also hold down Alt to snap to a grid intersection or Ctrl to snap to a control point (CV, edit point). If extending curves, snapping to another curve will intersect the extended curve with the snap curve in the current view only. Extending trimmed surfaces You can now extend a trimmed surface if Merge is turned off, and you select a boundary which is a surface isoparm (constant U or V). You cannot select a trim edge. The Extend tool is using the untrimmed version of the input surface, and creating an untrimmed surface. In addition, if Merge is off, selecting an interior isoparm on a surface will now cause the extension to start from the selected isoparm, instead of from the closest end. Vector integration Several modeling tools now have additional options to specify an input vector from within the tool, when the particular settings require it. These are: Align, Draft/flange, Multi-surface draft, Fillet flange, and Tube flange. The new Vector Options are as follows: 56 Chapter 4 Modeling

61 X,Y, Z Select one of these to specify a vector along that axis. View Select this option to specify a vector normal to the current view. The vector is not drawn in the view windows. If the current view is changed, click Refresh View Vector to update the vector. Picked Selecting this option lets you specify the name of an existing vector in the Picked Vector field, or pick the vector in the view. Normal This option only applies to the new Align tool. The projection is done along the surface normals instead of using a single vector direction. Manip This option only applies to the Draft/Flange tool and gets selected automatically when you update the vector by manually modifying the manipulator in the view. Refresh View Vector This button only appears if View is selected. Click it to update the vector if the view has been modified. Retain Vector Click this button to create and draw the vector in the view windows. Unless you do this, the vector direction you specified is used by the tool, but you will not see the vector object. Vector integration 57

62 New Construction Plane interface We have clarified the process used to create construction planes by making it task-based. You can now also create types of construction planes that were not possible before. When choosing the Construction > Plane tool, five buttons now appear at the bottom of the view window. Each allows you to create a different type of construction plane. Instructions are given through the prompt line. The five types are: View This is a 1-point construction plane where you specify the center point of the plane. The plane is oriented so that the Z-axis is parallel to the view vector. You can also snap the point to any geometry. Slice This is a new type of plane where you specify 2 points. The third point is placed at the eye position so that you are looking at the plane from the edge. This type of plane is useful for defining cross sections. 3 Pt This is the regular 3-point construction plane where you completely define the plane by inputting three points. Geom This lets you snap the center point of the plane to geometry so that the Z-axis is oriented along the surface normal or curve tangent. World This is also a 1-point plane. You specify the center point and the three axes are oriented along the world axes. You can snap the point to any geometry. NOTE View, Geom and World planes have manipulators that you can use to tweak the orientation of the plane. After specifying the point(s) for the plane, you re given the option to either set the construction plane, or build the next plane. Displaying controls on new Blend Curves and Keypoint Curves You can now choose to display CVs, hulls and edit points while building new blend curves or new keypoint curves. The ObjectDisplay > Control option window has been redesigned slightly to clarify your choices. 58 Chapter 4 Modeling

63 When Scope is set to NEW CRV, a new Type option appears with the following choices: CURVE Lets you turn on or off CVs, hulls and edit points while creating regular curves. These are all on by default. BLEND CRV Lets you turn on or off CVs, hulls, edit points and blend points while creating blend curves. Only blend points are on by default. KEYPOINT CRV Lets you turn on or off CVs, hulls, edit points and key points while creating keypoint curves. Only key points are on by default. Selecting overlapping curve-on-surface edit points The pick chooser now appears when you pick overlapping edit points on curves-on-surface. This allows you to easily select the individual edit points. 1 Choose Pick > Edit point 2 Click on overlapping edit points on the curves-on-surface A pick chooser box comes up, showing the name of all the edit points under the cursor. 3 In the Pick Chooser box, move the cursor over one of the choices, click the mouse and hold. Selecting overlapping curve-on-surface edit points 59

64 The corresponding surface and curve-on-surface are highlighted in yellow, helping you make your selection. 4 Release the mouse on the choice that you want. The corresponding edit point is selected. Better hole filling tool for meshes A new mesh tool, Mesh > Mesh Patch, lets you fill holes in meshes while recognizing the curvature characteristics of the surrounding area. As with the Mesh Hole Fill tool, the boundary must be a closed region. To patch a hole while maintaining curvature characteristics 1 Choose Mesh > Mesh Patch. 60 Chapter 4 Modeling

65 2 Select a mesh. 3 Set the view so that you clearly see both sides of the hole as well as any features running through it. 4 Define two lines on each side of the hole (by putting down four points) that will act as profiles. A flowline is created between the two profiles.the profiles and flowline are view based, and will disappear if you change the view. If this happens, you can click Patch View to reset the view 5 Modify the shape of the flowline by moving its control points, so that it follows the shape of any feature going through the hole. You can also modify the position of the corner points. 6 Click Build to build a mesh patch. A mesh patch is built between the green lines. Shading the mesh will help evaluate the result. 7 Repeat steps 5-6 until satisfied with the result. You may need to hit Patch View if the view was changed. 8 Click Stitch to substitute the patch to the mesh area it covers and stitch it to the surrounding region, forming a single mesh. Better hole filling tool for meshes 61

66 Automated repair of meshes Mesh tools now automatically repair a mesh before proceeding, without you having to exit and use Mesh Repair. Modifications to the mesh as a result of repairs are reported in a confirm box. You can either Undo or Accept the repairs. If you accept, the tool will execute. Otherwise it will prompt you to use Mesh Repair, then exit. The Mesh > Mesh Repair option window has also been re-designed. It now shows the Mesh Topology Checks and the Stereolithography Validations Checks in separate sections. 62 Chapter 4 Modeling

67 The Mesh Topology Checks must be passed in order for other mesh tools to operate on the model. The Stereolithography Validations Checks are only required to create a dataset that can be used in stereolithography processing. New Mesh Offset option The Mesh > Mesh Offset tool has a new option called Output. If Output is set to Offset, the tool creates a simple offset mesh. If Output is set to Solid (the default), it creates a thickened solid mesh, as before. New Mesh Offset option 63

68 64

69 Evaluation 5 This version of AliasStudio brings a new evaluation tool: Dynamic Measurement, as well as changes to Cross Sections New Dynamic Measurement tool A new tool, Evaluate > Dynamic Measurement, gives you a quick way to measure distances. It is especially useful on shaded models during design reviews. To create a dynamic measurement 1 Click anywhere in an orthographic or perspective window to define the first point. Hold down the mouse button and drag to move the point around. A cross-hair appears. 2 Click somewhere else in the same window to define the second point. Hold down the mouse button and drag to move the point around. A ruler appears between the two points and the distance between the points is displayed (in the current linear units). NOTE Click with the middle or right mouse button, to align the second point horizontally or vertically (respectively) with the first point. 3 Repeat the steps above to create another measurement in the same window or another orthographic window. NOTE The measurements are not persistent and disappear as soon as you select another tool. 65

70 To modify the start and end points of a dynamic measurement 1 Roll the mouse over the start or end point. The point turns yellow. 2 Click and drag the point to another position. The middle and right mouse buttons move the point horizontally and vertically respectively. To move the measurement 1 Roll the mouse over the ruler. The ruler turns yellow. 2 Click and drag to translate the ruler. The middle and right mouse buttons move the ruler horizontally and vertically respectively. To anchor a measurement 1 Move the ruler so the start point is on top of a wireframe, shaded object, or locator. The start point turns into a square to indicate that it is attached to the object. The ruler becomes lavender and remains parallel to the view plane. 2 To free the measurement from the object, just move the start point off it. 66 Chapter 5 Evaluation

71 A measurement can be anchored in any view, including the Perspective view. To remove all measurements All measurements disappear as soon as you choose another tool. However, if you need to remove them while still in the Dynamic Measurement tool, press the Clear button at the bottom of the window. Using the tool in the Perspective window Dynamic Measurement works differently in the Perspective window depending if the mode is truly perspective, or if it is set to orthographic. (Hold the Alt and Shift key and uncheck Perspective in the Viewing Panel). The behavior is also different depending if the measurement is anchored or not. See the table below. Persp Ortho Anchor The start point of the ruler stays attached to the object when you change the view. The ruler is drawn in lavender and always faces you. Fixed Invalid. Measurement displays (in red) so you can anchor it. If you pan the view or rotate the view, the measurement appears to be anchored to the screen (it does not move relative to the modeling window). When you zoom the camera, the measurement appears to zoom with the model. New Dynamic Measurement tool 67

72 Limitations Unlike Locators, Dynamic measurements are not designed to be saved with a model or to persist beyond the use of the tool. As well, they cannot be truly snapped to grid or geometry, only temporarily anchored so they follow the motions of the object. Dynamic measurement works (that is, it is anchorable) even when a model wireframe is toggled off (for example, in a modeling window where only hardware shade appears). Snapping does not work when the model wireframe is toggled off. Changes to Cross Sections Changes to the Cross Section tool The Evaluate > Cross Section tool has undergone a few changes. In the option box, turning on Create Section Data automatically grays out the Construction History option. These options cannot be used together any longer. With Create Section Data option selected, the cross sections that are position (G0) continuous and belong to the same intersecting plane are merged to form a single degree 1 NURBS curve. A new Section Type called NURBS from Visual lets you convert visual cross sections (created from the Control Panel) into NURBS curves. Saving visual cross sections across stages and work sessions You can now create groups of visual cross-sections in the Control Panel, that you can apply to objects in different stages. These groups will also be saved between AliasStudio sessions, until you explicitly delete them. Creating and storing a cross section set 1 Create two or more stages 2 Select New from the Cross Section Control section in the Control Panel and choose the type of cross sections you want (e.g. Axis Aligned). The option window opens. 3 Select the options you want and be sure to check on Store as default. 68 Chapter 5 Evaluation

73 A new cross section group is listed in the Control Panel. 4 Switch to a different stage, and notice that the new cross section group is still available and can be applied to any picked object. 5 Exit AliasStudio without saving, and re-launch. The new cross section group is still present in the Control Panel. 6 To delete the cross section group, select it and click the Delete button. Change to Check Model There are now two different Duplicate Geometry check options in the Evaluate > Check model tool. They are found in the Product Data Quality Recommended Checks section. Change to Check Model 69

74 A new faster check called Copies checks for exact geometry duplicates only. Copies have the same CVs, same knots, and same degree (such as geometry created with Edit > Copy and Edit > Paste). In the report window, the results show up in a column called Copies. If Report is set to All, the original geometry is identified by the word Original. All the copies (except the original) can be picked by choosing Pick > Pick Copies in the report window. This way, they can be easily deleted if necessary. The other type of check corresponds to the old Duplicate Geometry check, and has been renamed Duplicates Within Tolerance. It works exactly as before, finding duplicates within the given tolerance, as well as embedded geometry. The related columns in the report window are called Tolerance Duplicates and Embedded In. The duplicates can be picked by choosing Pick > Pick Tolerance Duplicates in the report window. This leaves one single copy unselected for each set of duplicates. 70 Chapter 5 Evaluation