~

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,
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The information and the software discussed in this document are
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Patent Notices
Solid Works 3D mechanical CAD software is p rotected by U .S.
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eDrawings software is protected by U .S. Patent 7, 184,044; U.S.
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COMMERCIAL COMPUTER SOFTWARE -
PROPRIETARY
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software" and "commercial software documentation" as such
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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 . . .. . .. . . .. . .. . . .. . . . .. ..... . . . . . . ... .... .... . . ............ ... 8

Chapter 2: Visualization Methods

Product Visualization Overview .. .... . .............. ... .. . .. ......... . ...... .. . . . . .. . . . .... . . . . . .10
OpenGL . .. . .......... .. .... ...... . . .. . . . .. .. .. .... ..... . .. .. . . . . ........ ... .... .... ........10
ii

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
 iii

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
iv

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
 v

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
vi

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
 vii

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
viii

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
 ix

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
X

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
 xi

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
xii

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
 xiii

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
xiv

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
 XV

Render Settings in Client Computers ................... .......... ....... .......... ........ . 514
Final Render Process . . . .......... . . ..... ... . . . . ......... ..... . . .. 0 0 0 .515
When to Use Network Rendering ..... ..... .... 0 0 0 0 0 0 .515

Chapter 17: Tips and Techniques

Putting It All Together ... 0 0 0 0 0 0 0 0 0 518
Model Set up .. 0 0 0 0 0 0 0 0 0 0 0 0 . 0 518
Appearances .. . ... ... .... ..... . ........ 0 0 0 0 0 0 518
Render Preview . . 0 0 0 0 0 0 0 519
Memory Usage ....... ....... .. ... 0 0 0 0 0 0 520
PhotoView 360 Settings ... . 0 0 0 0 0 0 0 520
Hardware ........ .... 0 0 0 0 0 0 0 0 0 521

Chapter 18: PhotoView 360 Gallery

Appendix A: Color
Acknowledgement ...... . ...... 0 0 0 530
Color ..... ... 0 0. 0 0 0. 0 . 0 0 0 0. 0 0. 0 0 0 0 0 0. 0. 0 0 530
Visible Light ......... 0 0 0 0 0 0 530
CIE 1931 Chromaticity Diagram .. ....................... 0 0 0 530
Limit ations of Media .. .. 0 0 0 0 0 .531
Color Wheel ............ 0 0 0 0 0 0 0 0 532
Primary Colors .. . ... 0 0 0 0 0 532
Secondary Colors ... 0 0 0 0 0 532
Tertiary Colors . .. 0 0 0 0 0 533
Color Terms ...... . .... . .......... . 0 0 0 0 0 0 0 0 0 0 534
Additive and Subtractive Colors... . .... . .. 0 0 0 0 0 535
Subtractive Color Method . 0 . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . 00 .. .. 00 .. 0 00 . . . . . . . . .... 0 0 535
Additive Color Method .......... ..... 0 0 0 0 0 535
Color Models 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 535
RGB Color Model . . ..... . .. 0 0 0 0 0 0 0 535
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. J,. SohdWorks Step by-Step Guides
assemblies, and other files that are used throughout this book. Running .:.liZ Creating Animations with So!idWorks
~ Photorealistic. Rendering
the Installation Wizard on the DVD will create a directory named _, Cnapter2
SolidWorks Step-by-Step Guides that wi!l have a fo lder for "'-' Chapter4
_ ChapterS
Photorealistic Rendering and subfold ers for all but the first chapter
-<~-" CaseStudy
in the book. Each chapter folder will contain the files used during the ...; Chess Set
various case studies in that chapter. ~ 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 7

-:p The Design Library is a convenient way t o access the parts and oes.gn Library
2ssemblies used in this book. After you install the files from the DVD, st art ~ ~ d ~
SolidWorks. 00 tJl SohdWorks Content
ttJ ~ Photorealistic Rendenng
In SolidWorks. click Tools, Options, System Options, File Locations. [~l @) Oes1gn Library
l:f.l 'f1 Toolbox
ffi 8 3D ContentCent ral
Under Show folders for, select Design Library.
Click Add. J 0 J
Chapter l O Chapt er ll Chapterll
ln the Browse for Folder dialog box, browse to where you installed the
files. J __:; :_:;
Chapter 13 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
running on Windows7. If you are not using Windows 7. or if you have a Images

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 . - . '

visible from the surfaces.

-

-' .
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
~ea iView, surfaces become more realistic as they now
;;;,ow reflections in real time.

:::
'
~-~

=: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<h.1th llmltiiltion s (SoQ! Neta s ) (L!,l S upports R.~~IVie.wwlth llmitatioM

Sig nificant stability or ri! palnt problem s 41>! S upports pre2.00S R.eaiVIw features
S Us SolidWorks gra phics card display se.tti ng s ~ Multi-hnd hardware accelruad

;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 .
. . 1
-
_,.,.I ~

-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.
., . -
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.

Ray-traced Transparency
Ray-traced Textures
Bump Map 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 fine-
tune 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 19

3 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. Add-Ins ~
~the Add-Ins dialog box, select Photo View 360.
Active Add1<1s l StartUp I
8 SolidWorks Premium Add ins
: :ck OK. D ~ CirOJitWorks
IFi ~
[tl e Photnv~ew 36o OJ
~~r':; ScanTo30
D~ SolidWorks Design Ched<er
0 I} SoidWorks Motion
t5
[]
[)~ SoidWorks Routing D
O (j SoidWorks Simulation []
D SolidWorks Toolbox []
07 SoidWorks Toolbox Browser D
ow solid\lllorks utilities D
[] So&dworks Workgroup PDM D
D liaToiAnalyst El
El SolidWorks Add-ins
0 Autntrace D
D Solidl'lorks Aow Simulation D
[\lj~ SolidWorks Forum 0
D Soid\lllorks Plastics 0
0 SolidWarks XPS Driver D
El Other Add ins
0 30tontrol 10
0 30VIA SolidWorks Plug.;., 0

! OK
I I ~ I A
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 ~

a0
l ~ ~ Iii! :ll~e ~ ~ r I . .t
App.<~r;m~~{,olor}
~ ~Plastic
te
Meul
'4! P.tntcd
e ~ Components
;ir.~ P\'/-Mn1040
Render Tools toolbar ~Car
te Sprayed
r.iJ..Y
brown gl,-,s~ te Powder Coat
1:!:.4i
PWMTllOOJ ,!. te Rubber
~"41 bloe low glos~ pintle . ~ G!Ms
t ....~ white lowgiO!:s pla~tc: ~SG!id
4 V <:hromiom plat~
[i; ~mortte rubbef

d ~~rt<olor
If'-' colorZ ..
r:, ...) color<)>
~...) color<4>
l, ,..) cctor<.S>
f'ti..,J color<~6>
tt.-.....J co!or<7>
it;""\) colo:<S>
1; -..j color<9>
~.;!-...) c:;olor<lO>
ti....:J colordl:>
lt-r~ color<ll>
tt....) c:ol0f<l3>
G...,) color<l4>
rtr~ color<l5>
$-ft blue II"glou pl"tk<2~
s ..J color<16>
~-....J c~or<l1>
,_;....,J cuior<l8>
tV-~ c.olor<li>
.rr....) color<20>
~ color<21>
 PhotoView 360 25

Photo View 360 Menu ( PhotoView 360 1

::::1ce PhotoView 360 is running, the PhotoView 360 menu will provide I fl> Edit Appearance...

=:::cess to all Photo View 360 commands. "" Copy Appearance

..# Poote Ap pearance _____ , i
& Edit Scene... iI
j Edit Decal...

~"] Integrated P~ev1~w

~ 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
:::::essed through the
Edit
"'
Copy
~
Paste
&
Edit
ta ,j Integrated
Eot
~ %
Preview
e ~ ~
Fnal Options Schedule
~
Reca~
Appearance Appearance Appearance Scene Decal Preview \V"IIldow Render Render Last
- - ;;JmandManager. Once the Render

=-~to View 360 add-in is loaded,

-? render tools will be located on the Render Tools tab.

: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.
E;J~ Scene (Light Cards)
--=J isplayManager indicates which items of geometry are attached to which ! ~~
[ l_~
Background (Color
Environment (kitchen)
=:::::>earances and decals. $-ibJ lights
f <V Ambient
--2 J isplayManager also makes it easy to: j. ~ Directionan
l If' Directiona12
~Camera
Jnderstand the way in which appearance and decal inheritance works. J.. Walk-through
Select and edit appearances and decals associated with the model.
Access the appearance, scene, lighting, camera, and decal properties.
111 -:-ransfer appearances and decals between components, features. and faces.
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 1;}0 Appearance>(color)
00 ~ Plastic
tab and dropping it int o t he graphics area or on the model. 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
~-te Organic
i tiJ te Stone
: Jh-~ Miscellaneous
e-~ Scenes
t l-Y Basic Scenes
J ~- tit Studio Scenes
j L.~ Presentation Scenes
e-!!lli Decals
L~ logos
 PhotoView 360 27

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 Ir.troducr:,on

:=: User Interfare
:=: SohdWor'k..~ Futld<'ment:ll!; Getting Help
~ -MoVIng from 20 to 3D
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
~ <:.onfigu r.~tior.s
for many new f eatures.
.!: Sol:dWorks Co!>tino
Cfick Help, > What s New > PDf or Help > Whats New >
2 D~gn Checker fflML
; .Oe54 ~n Sb.Jdies: in SclidWorks
Interactive Whaes
=.: Oeta1hng and Drawings New
Hichliohts new features in the SolidWorks product and
add-ins.
3- OriveWork!:Xpress Cfid< ~ next to new or dlanged menu items and
PropertyMana(l'ers.
3 -fioXpress:
E Import and f xport !ntroducing Oisrusses conc.epts and terminolooy osed throughout the
2: -Model D1!;p(l!ly SofldWorks SolidWorks application. This dorument is for new
6 Appearances SolidWorks users.
8 Displaying lv1odel lnformc;ti~H'I Qick Hel p > Introducing S<JiidWorks (pdf).
e~camera!;
SofldWori<s Tutorials Steps you through introductory to advanced examples th at
8-0ecaf!; team the functionality of the SolidWorks product and add-
$Scenes ins.
G Ughting
$ Walk~th(oogh Overview
In the Task Pan e, dick the Solid Works Resources tab (j].
Under Getti'ng Started, dick Tutorials <0.!.
8--Snapshots
@ -RealistiC Display and Rendering SoftdWorks Glossary Defines solid modeling and SolidWorks t erms.
&J did< Gl~t~ssa ry in the table of content s.
28 Chapter 3

Dynamic Help
Dynamic help is provided t o assist you in understanding ~ ::-q
the effects of various controls. Dynamic help can be <I? x -i13
enabled separately for appearances, decals, and Basic f~1
PhotoView 360 Options.

Whenever you select, or hover over, an item on the

Illumination or Surface Finish tab of either an
Iliumina tJon
appearance's or a decal's PropertyManager, or certain
settings in the PhotoView 360 Options, dynamic help will o;ffi...., amount:

appear as a balloon. [c~ .. ~..,.

Move the cursor over any active illumination or surface
finish property to display dynamic help pertaining to that
~~t~~-.
J Controts intensity of hght on a surface. A
Sperular cokx": J ~1gher value m akes the surface appear
property. 1 ~b_n~gh_~~'
---------------A
Specular spread:
As an example, with the cursor over the Diffuse property, r.
l o.~r.;
r
dynamic he lp shows the way the model will reflect light as rr-Tr--:~.'

Reflection amou<1t:
t he slider is moved.
[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:

different areas of SolidWorks and its add-in programs fO:OOii~i.;;;,_2---r:

i~tt~ 1 t i I l 1 U1 l! .1 -Hil~.-l 1

such as PhotoView 360. This is a good place to ask

questions of other Photo View 360 users and to share information.

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
11Menu: Photo View 360, Options
Render Tools Toolbar: Options ~
DisplayManager: PhotoView 360 Options ~
 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.
Output Image Se~ ~
::- ::-e initially only concerned with the Output Image Settings and Render [[{] Dynamic help
i
.::s::Uty. ! OUtput image sue:
! [nox5'!0 {'!:3) I
::: ==- Bloom, Contour Rendering, Direct Caustics, and Network Rendering. . .....CJ 720 ,
10t1Jf! ( ! ! ! !!tf.l~}lf~

Choose output image settings [0 5'10 >

ttH j''.\f _llt !t Jj#Jytuti
3-= =::'.: Dynamic help. This will make it easier to learn the various illumination 1.333 : 1
=:-: s~rface fin ish settings as we proceed through the case studies. ,
I
[J] Rxedaspect ratio

jl r1 Use background
1 .J ratio
aspect
- _- :onsistency, set t he options as follows:

:M-put image size: 72Qx54Q {43}

I. .' Image for
,.........
ma_t: _ _ ___,
[J>EG I
?ixed aspect ratio: Select~d II
1
Default image path:
l:.>l:i C: \SoidWori<s S!Ep-byStep

:Jse background aspect ratio: .c:l~9red l B<owse ... J

!.mage format: JPEG RenderQuality *
:Jefault image path: 0: \ SolidWorks Step-by-Step . Preview render quality:

3uides \ Photorealistic R endering\ Rendered Images !Good I

I Final render quaity:

Choose render quality. I !Good I

' r-J CustDm render settings
--eie are fo ur levels of re nder qua lity: Good, Better, Best. and Maximum. For Gamma:
-
:_- initial renderings. a qua lity setting of Good will be sufficient to see t he 1.6 t .. i
jU,ll1 II 111 1 l " l B~rt !
::-.::..:ects an d also to preview and render quickly. j0 Monte Carlo j
j fJ OU~ent Occlusion j
Preview render quality: GQDQ L_ ~ J

Final render quality: Good tiT~ -- - ~1

Gamma: 1,6 ~~ Rendering ~;
[0 Dire9'(:ausl:ic:s ~j
:::.!ck OK. JQ:-R~dering 4,.l
-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.

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 ---~--
...Jt;: - ~ '= .
the final rendering steps being done in
Photo View 360.

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. =r:r.s..:
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 --c-

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.
 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
:;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
ry.
::-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
>

User Interface
eo or alpha channel - ..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.
CJrput may be used
34 Chapter 4

Display Pane
The Display Pane is used to view display visibility settings of parts and
~ Space Navigator-1 (Defaul
assemblies. . ~ Sensors
1hJ Annotations
Where to Find It ! j ~ Front
~ Top
FeatureManager design tree: Click to open the Display Pane and ~ Right
to close it t.
Ongon
~ (f) Base-1 <1 >
It: ~Trim Ring-1<1>
DisplayManager e ~ Button-1 <1 >
The DisplayManager provides an out line view of the key propert ies used 1 ciJ ~ Button-1 <2.>
ffl~ Center Controll<1>
for product visualization associated with the active SolidWorks part or iJJ ~ (-) Rubber Base-1<1>
assembly. The DisplayManager has four different sections: . &liMates

View Appearances [%'(if] 6% ~~Jf@l_

View Decals (f]~~ ~

~f/
View Scene, Lights, and Cameras
PhotoView 360 Options v;ew Appearaoce<
View Decals
The informat ion in the DisplayManager makes View Scene, Lights. and Cameras
it easy to: 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 35

/iew Appearances
~e View Appearances tab lists all the appearances attached to t he model and can be sorted by:
: :l)efaul

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
~
1.. :Jrecedence over appearances lower in the listing.
~ ~ L]
-
I
~~ ....
~ ~ ..oillll
~~ .... ~~ ~ ~ ~@ ~ ~
. .1<1> ~~ ....
....1<1> ~~ L1
Sort order: Sort order.

blu~ pohsh~d ABS plastic l blue polished ASS plast1c ';l ~ wnn

~
blu~ polish~d ABS plastic<2>
green glas5
;}.
ffi
blu e polished ASS plastic<2>
blue polished ABS plast1C<3> :B .
f ..J yellow h1gh gloss plastic
b lu e polished ASS plastic

'_;~ $.
yellow high glo" plastic @ blue polished ASS plastic<4 > 1: blue polished ASS plastic<2>
~ blue polished ASS plastic<3> [+' ~ blue polished ABS plastic<S> 00 ~ green glass
yellow high gloss plastlc<2> +1 blue polished ASS plastic<6> 1: J yellow high gloss plastic<2>
yellow high glos. pla.stic<3>
yellow high g loss plastic<4 >
~ blu~ polish ed ASS plastic<4 >
$ ..
tk j
blue p olished ASS plastic<7>
blue polished ASS plastic<S>
color
@
.
:)

E' (]Face
blue pol ished ASS plastic<3>
blue polished ABS p lastic<4>

yellow high gloss plastic<S> [- \.J color<2> fh -..) yellow high gloss plastic<3>
yellow h1gh gloss plastic<6> s J color<3> I# J cream high gloss plastic
color @J color<4 > !! b lue polished ABS plastic<S>
color<2> ...) color<S> ~ J yellow high gloss plastic<4>
color<3> . FP .,J color<6> ~~Features
cotor<4> i$ -;J color<7> :tJ blue polished ABS plastic<6>
[ ~ yellow high gloss plastJc<S>
color<S> It] ...) color<8>
e \) matte steel
color<6>
color<7>
matte steel
color<9>
color<lO> :J. blue polished ABS plastie<7>
&, , ) yellow high gloss plastic<6>
color<8> 8 ~ Parts/As.emblies
color<9> til ,) yellow high gloss plastic<7>
color<lO> matte steel f!: b lue polished ASS plast1c<8>
~ . . blue polished ASS plastiC<S> 4i red high gloss plastic ffi Jcolor
~ red high gloss plastiC e- ..1 yellow h1gh gloss plastiC !tHJ color<l>
- ~ blue polished ABS plastic<6> @ J yellow high gloss plastic<2> e0 color<3>
: .J cream high gloss p lastic
- ~ blue p olished ABS plast ic<7>
_ yellow high gloss plastic<7>
~ ~ yellow h igh gloss plastic<3>
$J .) yellow high gloss plastic<4 >
!>) ..) yell ow h1gh gloss plast1c<S>
.!.J
ffi \.) color<4 >

IJ
red high gloss plastic
c olor<5>
- ~ blue polished ABS plastic<8> $ .,) yellow high gloss p lastic<6> $0 co lor<6>
color<ll> IJ 4,) yellow h1 gh gloss plastic<7> 00 V color<?>
iJ ,.J color<8>
itJ 0 color<9>
IJ -,.) y ellow high gl oss plastic<8>
!; blue polished ASS p lastic<9>
IJ ..1 y~llow htgh gloss plastic<9>
@..,) color<lO>
d.-l \ color<ll>

History Alphabetical Hierarchy

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 2 tj Decals (fop mam sheH)
E' TruckGnll
decals. .I:Jl
Face
I!J .@logo
!J Face<2>
+ @ Decal< (fireman)

---;::,
- -J:-
View Scene, Lights, and Cameras
Scenes, lights, and cameras are listed and controlled by this tab.
-= ~ Scone (3 Point Orange) - : : .:J
Scene Vd) Background (Environment) 2' ~
Both the background (that which is seen behind the model) and t he e Environment (3 point orange)
1.'- b}Lights
environment (a spherical image surrounding the model) are listed and can ~ Scene Dlum1natron

be controlled. Q Amboent
Q' r$1 Diroctionall
l.l' r$' Dored:lona12
Lights - ~Camera
Lighting from the scene and direct lights are shown here. For direct lights, ~ Cameral
~ Cam ....2
their stat us in both SolidWorks and Photo View 360 is shown. ). Walk-through
r=. ~ Snapshots
Cameras 0 Home

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 37

t :lhoto View 360 Options ( '.~l.nl'lilit'J 'iij 0 llloom ~ I

~ -en Photo View 360 is loaded, the options used to ~ )(;
1
F10ol render orly
Bloom setpoint:
a !'":op main sheiQ =-~o l the settings unique to rendering are displayed in "Outp;;ti"mageS..tti~~
A 100
-~emu fem I .i! (! I \ 1 1 1 _~ 1_r)lit;mnwj
- = options. lJ Dynam<c help 1 I
.l:lgD
face
Output lfllage Sl;re: IBloom extent: I
;J Fac.e<l>
a wernan)
Output Image Settings ,...,
1?20X5'!0 ( 4:3) vI IL 5
!o!fFilTIXITikVA"lii1
-
j
~sed to control t he size, aspect ratio, and format of .o 720
fmf} _l I I I 11 I I! l,khhfrl;trd


1
Con_
t our R,;-ndet)lng ~

::~e rendered output. [0 540 ....,- F111al render only

:;q iU.fTTl lllJIJlJJ)j~Ni'f
~
[]] ~
E,.
t. 333: 1
Render Quality [JJ Fixod aspect ratio
...:sed to control four preset image qualit ies for both
. -. :
Lre thid<ness:
.,. (J Pomt Orange) '_] Use backgound aspect I= .!'"-

<Image~: ~--1
~nd (Environment )
::-:e preview and final render or use custom settings for
...
&-onment {3 point orange)

Sr.:er ltumination
rDent
l:lectlonaU
--:10re controL
Bloom
IDef.U::::epa~:
~~
d::J
C:\SolidWorks Step-by-Step
L" Dir~:Color. . ~

l:lectlonafl ...:sed to add a glow around very bright emissive or ! Browse... J

~

~ -eflective objects in the image. ' Render Qua.rny--

' 100000
1!1T 111 !_ ~ 11 U ! "'rHl1?ti11
~ 1
Pre\ilew render quality: ICaustic quality:
~ Contour Rendering
.__
!~~Dots
J sed to add separately rendered edges in the fina l 1. 1Good . llI --'---'-----
32
isnp H ,, \ ! i " 1rif'"'1
-~
FK1al render QU<>kty: I '. ... --
-endered output. I 1 Ii,J Hetwork Rendering
III
Good ~

In Cusmm render settings

j
Clent workload:_ - .....
~..
Direct Caustics Gamma: 2QOD/"
rm:rrn::rrnww,
16 f ... !' n:Fj" ........................
-.:o an observer J sed to add caustic effect s (light refraction) from m .!! !l ! ! t ! 1'1 U~tl"...-11 i 1 [J] Send di!ltz:l for n~twork job
1
! j

--------'
c irect lights through transparent objects.
Network shared directory:

Network Rendering C:\ t<rnp\

- hide/show state J sed to share the rendering task across multiple aro.-.""Se .
,.
J.tes. computers.
38 Chapter 4
-------------------------------------------------------
Task Pane Appearances. Scenes. and Oecals

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
: :; e Appemnces(color)
~ U legacy
added in or not. ffi ~ Plastic
ttr ~ MI!tal
(tj ~ Pairrt~
. .teli!!l!m
$ ~ Glass
'4j L1ghts
&., ~ Fabric
(f) ~ Orgamo
tl ~ Stone
~ -te Misct.llaneou!i
ees
' t.e
Scnos
BasiC Scenes
~ Studio Scenes
~ Presentation Scenes
~ Custom Seen..
i!:J Decals
t@ logos
-=-
~ 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 The SpaceNavigator is a product of 3Dconnexion. This model
has been provided by them and used with t heir permission.
initial setup is complet e. we will use Photo View 360
to create the final rendered image.
 Basic Visualization Workflow 39

_.z There will be places in this initial case study that you will be told to make adjustments to
~ ,.
i..-c;es. Scenes. and Decals
:-::::~erties without a full explanation of why you are doing it or specifically what the expected result is.
~es(color) --ese details will be covered later in the book. For now, the important t hing is to understand the overall
-~ te!C'J
~ i'ioslx:
::-:::::ess and to gain an exposure to the different elements of the rendering process.

~:x:edure
Open the assembly. Specular
::::il the SpaceNavigator Assembly found in the highlights
-~apter 4\ Case Study\SpaceNavigator folder.

~ \fiscelaneous
ia,. Orient the model.
~'""""Scenes 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
~-=specular highlights from t he lights, there are no reflections seen in the surfaces.

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 __ ::e;a:as
Appearances affect the way a surface reacts to light. In a part, they may be applied to parts, features, - --= -::::":16
bodies, or faces. In an assembly, they may be applied to assemblies or components. Appearances are of -~~...rt
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 ~
 Basic Visualization Workflow 41
---- ----------------- -- -- ----- ------------------------
.!..ppearances, Scenes, and Decals Tab Appearc:snces. S.cenes, and - ~ ttD 1

{; t:o parts. features, - -e Appearances, Scenes, and Decals tab of the w lil
.;ppearances are of -::sK Pa ne lists all the appearances that are c e Appear.mces(cofor)
Chapter 5: Applying :: ailable to be applied to the model. '+' te Plastic
+' ~ Metal
' ~ Painted
- '-e top pane is the Appearance Library where sxe Rubber
~ Matte
::::::earances are listed in Appearance Folders. ~Gloss
-'-e appearance tree s hows all the folders Appearance ~ Texture Appearance
:Jcge 41) into the -., ~ G lass Folders
:-_-ently loaded. Each folde r can be expanded by Library : ~lights
: :<ing the plus sign next to it to s how the sub- iF <.e
Fabnc
c.=-. the appearance '! t4 Organc
=:: ::!ers. The bottom pane is t he Appearance ;E <.e
Stone
+' ~ Miscellaneous
c.,ce Selection a rea :::.ection area. l+_ ~Scenes
5 @ Decals
l Logos
:earance Selection

rager and click Add

-;i.y, feature, or face, Appearance

color
Selection
Area
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 t0 Low Gloss
SN_BUTTON (Default< ..te Textured
~ Sen&Ors te Clear Plastic
$- </ Desrgn B1nder te Sat1n Finish
clJ ~ Annotations te EDM
e ~ Solid Bodies(!) -te Patterned
jQJ Sulface Bodies te Composite
~= Material <not specified> ~ Mesh
~ Front ~ Wax
~ Top
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 43

Turn on ReaiView.
c;Jpearance into -_-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.
"'or the Plast ic

::: part.

Add appearance. Drag ont o this part

:=. ~and the appearance folder Plastic and then select the
:::..::O.ium. Gloss folder.
- :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

44 Chapter 4

10 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 Top Face
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. --
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 45

: Examine the part.

look like rubber. We S= ect: the View Appearances tab of the ~
1>-drop method used : s :J,ayManager and select Hierarchy for the sort
: -=:-. T]
s D im!
::::ANDLE_CAP part. - - ;s dis play, we can see the appearances we have : = black medoum gloss plastoc
I .[J Face
3:'":: .ed so far. PW-MT ll 000 has been applied tG [] Face<2>

1ere is no '--= SN_HANDLE_CAP part and black medium

.[) Face<3>
"" ~ Parts/Assemblies
~ -ss plastic has been applied to the three faces. -= PW-M111000
a : is to make t he final . ~ SN_HANDLE_CAP_&
~?.:<:!.lse faces are higher in the hierarchy than = ...) color
~ SN_FOOT_&
;c.--:s, the black medium glos s plastic shows - ...) colo r<2>
'- ~er on t he tree than the PM -MT l lOOO ~ SN_SUPPORT_&

Top Face = -.) color<3>

?:":eara nces attached to the parts. ~ SN_CASLE_ATTACHMENT_&
~ PW-M111000<2>
e ::an a lso see that five part s have t he default . ~ SN_BUTTON_&
fJ ..j color<4>
:::>=earance Color applied to them because all '% SN_CAP_lNSERT_&
8 ..) color<S>
=-:es must have some appearance applied. ~ SN_LOWER_.HOUS!NG_&
F black medium g lo"' plartic<l>
3 Apply appearances to t he '% SN_UPPER_HOUS!NG_&
S!i_LOWER_HOUSING part.
: -::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 Sort order: IHiorarchy ~j

list above Faces. 1;:1- ~ Components

. B (I PW-MTllOOO
- ~ SN_FOOT_&-l@SpacoNavigator As<embly_&

-e.
S (I black medoum glo plastic
~ SN_SUPPORT_&-l@SpacoNavigator As<embly,
~ ~ Face
black m edium gloss pla<tic<2>
-!;;ii Face
, [ ] Face<Z>
' -I:J Face<3>
8 ~ Part</Asemblies
ciJ (I PW-MTUOOO<Z>
$.,.) color
(!l j color<Z>
$~ color<3>
$ (I PW-MTI1000<3>
~-..) color<4>
ttl J <atin finO<h stainless steel
~ 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 47

::.Xamine the assembly.

~r design tree, select 1= = : hough both appearances are
:::-:: : ::l, the yellow high gloss
; -=.-:..:.c attached to the face is hidden ~J
:b of the Task Pane S- ~ Components
_ :-: PW-MTllOOO attached to
S a PW-Ml11000
-= : ::mponent because components ~ SN_FOOT_&-l@SpaceNavigator Assembly_&
8 black medium gloss plastic
~ - gher in the hierarchy. ' ~ SN_SUPPORT_&-l@SpaceNavigato r
e O Face
s. and Decals tab of ' t=;J J yellow medium gloss plastic
. .[] Face
El-a black medium gloss plastic<2>
fJI Face<2>
[) Face<3>
li:J Face<4>
~ S ~ Parts/Assemblies
.. - ------- ? liJ a PW-MT11000<2>
,...,.XPS ~ . .,_) color
.,_) color<2>
\ ) color<3>
1$1-. PW-Ml11000<3>
~avigator Assembly_& I $ .,_) color<4>
1iJ ..J satin finish stainless steel
~plasbc I a black medium gloss plastic<3>
!a -:@SpaceNavigator Assembly~

piasbc<2>
: Open the part.
:c:.:il the SN_FOOT in its own window.
'~l .. I I:J:IJ:ltit::..:

:-lin t he part itself, we can see the ye llow

]
:::::earance because within a part. a face is at E;!QFace
:--e top of the appearance hierarchy. 1 8 v
yellow medium gloss plastic
{]Face
j
8 ~ Parts/As.embfies
_ Remove an appearance. s y color
sled
-piasbc<3> ~-=-:ause we do not need the yellow ~ SN_FOOT_&

:::::earance, we should delete it t o avoid

::-.fusion. In the DisplayManager, right-click the yellow high gloss plastic appearance and click
; "older onto the ~: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.
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. - ~ =

-::e
21 Add the decal.
Change the display to OpenGL.
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
Click Browse and locate the file 3D Connexion Logo.tif in the
Case Study\SpaceNavigator folder of this chapter.
!mage file path:
22 Attach the decal. (;i;l C:\So!idWorks Step-by-Step <

The Mapping controls are used to size and position the decal on the part. f ~owse... I
Select the Mapping tab. ~J
; [Mask lmage
Select the face shown. @ No mask
U !mage mask file
(") Selective color mask
Note The model is shown in the Isometric view.
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 49

Size and position the decal.

, the assembly, you --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.
t1apping

[ Cytndrical
Axis direction:
0 Rt width 1l> ~tion
D Rt height to selection
ISelected Rererence J ...., -
lfare<l > I D . u.OOOrrrn ~
itg~ I I I I !11 j II I l_j _~ i-'1"!''.4
~ -
,... 106.oodog
- -
~ ro ; z.500mm --r:~
t 0:: T:) )': t .J -~ ' 4 fyn l I I 1 I ! I I I I II 1 11 ljd~fi~
Aspect rabo: 4.80: 1

0; Joconnexron t ~~~~-!-;~'!!I 1:1~. II ~ . 180.00deg - - -

t. - . }
-
__:_T_ '
t-:~

0 Mirror horlzontaly

::::a.,. lie path; 0 Mirror ver&DIIy

1a C:'SoidWorks Step-by-Step C Reset to Image

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

so Chapter 4

24 Remove the decal background. 5c aes

As applied, the decal image is a rectangle. We
only want to see the letters and not show the
I ~{~A~~i$t.:~~r.~,
?( ' ~:;. " ' ,
blue background. To do this we will mask out all
of the blue in the image.
Select the Image tab. I Q] ~n:::emnlogo.bf
I Brow.., ...
Under Mask Image. select Selective color
mask. --:: 5

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.
 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
LT~. .~~t;r:~
~ ~,
::-=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.

I ~~ path: -- X=ne Library Appearnn<:es. Scenes, and Decals

~ Cle.1\30 CoM e><ion l 0110. tif --~Scene Library lists all the predefined scenes that are Lt ~ '
I Browse... ] _-= ~~le to be applied to t he model. 1B e Appeara nces(cofo r)

Isa..., DeG>I ] $-e; Scenes

t-- --=::!;:> sect ion of the Task Pane contains the Scene Library Scene ~ Basic Scenes
~ Studio Scenes
;.. ~ ~
-e-e scenes are listed in Scene Folders. The scene library Library -t,e Presentation Scmes
'*>mask
~ Docals
:.,age mask ~ ~ all the scene folders currently loaded. Each folder can be
s.!ective CDior mask
. . doCill inage ~ <i>annel
~ -::eiced by clicking the plus sign next to it to show the sub-
- :.:-s. The bottom panel is the Scene Selection Area.
-=~:::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 Reffectiv Floor Black

Select ion
Area
52 Chapter 4

26 Select a scene. Appear.mces. Scenes, and 0_ tf}

Expand the Scenes folder and then se lect Basic Scenes.
'+ f} Appe~ rances(color}
Drag t he scene Soft Tent into the graphics area. =.te., Scenes
~ Basic Scenes
Change t he view orient ation t o Trimetric. and change the display to Q Stud1o Scenes
ti Pr6e:ntat10n Scene5
Shaded. [ Decal<

Turn on ReaiView.

Soft Sp otlight

Soft Tent
 Basic Visualization Workflow 53

Appe>Rnces. Scenes. and D- 1t - :=dit t he scene. ~ ~ ~ 1i @ l

I

~ '
Appearances(color)
- =J isplayManager. click View Scene, Lights, and Cameras ~ .
~ '~. - '
~
q
Sanes _-.=..= Scene are listed both the background that we see behind the model t=; ~ tii~Uit~ilm!
'<& Basoc Scenes
-~ -::-e environ ment. These can be edited to adjust their positions and Q Background (Envoronment)
-.e Studio Scenes @ Envoronment (soft tent)
""C. Presentation Scenes
:::::=~ies. ' ~ Loghts
Decals
~ Camera
:::-:~~ ~-c:i ck Background and click Edit Scene. J.
Walk-through

_-::c: Floor, select Floor reflections.

... ,,,-~ ......,... . -- ~
.; X 11)

==-OK. Basic l AdvancEd. Ihma6on l

r llackground
~ Envi'orment
*
Soft Spothght
;
-
I
Envif'Oflment ~

i"'-a... ~ C:'frogram Fiesi,Soitf;'IO<t. s 201

l L Browse...
I- j
I Floot ~]
' [ :":Roor reflections
./ Roor shadows )
Aigl floor ,.., th:
Soft Tent
l"'.-) (xz 3
Roor offset:
12J1!1Oi(n iU:'If 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 !:il ~ Scono (Backdrop - St udio Roo m")
$ ~ light
icons.
To turn lights on or off in either SolidWorks or
'*<j/
~ SpoU
Ambient
D~rection a n
~ Scene Illumination
9 Ambrent
~ ~ Oire:ctionall
~ !>oinU ~~SpoU
PhotoView 360, right-click it s icon and select ~Camera Qi ~ PoinU
eit her: j,_ Walk-through -~Camera
' j,_ Walk-through

!IOn in SolidWorks Phot oView 360 -Off PhotoView 360 - On

u Off in SolidWorks
On in PhotoView
Off in Photo View

Light Type On in Off in SolidWorks On in Off in

SolidWorks PhotoView 360 Photo View 360
Directional
.,...;.~
'~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 -:: - ::<e it easier t o se lect the surfaces of the SN_LOWER_HOUSING, hide the
:~zNiew 360, primary :=::::_:JPPER_HOUSING, SN_HANDLE_CAP, and SN_CAP_INSERT parts.
!::ows, focus attention.
: Add an appearance.
~.: =-~ the two s urfaces s how on t he SN_LOWER _HOUSING.

'* ~ "ile.___
(j ~ I@
- -=Appearances, Scenes, and Decals tab. locate the Blue
~ a? pearance unde r Appearances, Lights. LED.
"-
~ Sccn<o (Backdrop- Studio Room*) ::-:__::.e-click the Blu e LED appearance to attach it t o the
"- ughts
;oo..: Sc~ne Illumination : : ::..Jrfaces.
') Amb1ent
~ ~ Directionat1 : Snow components.
~~ Spotl
0 -& Po1ntl =:::-.. the components that were hidden in step 28.
Umera
1t ' !k-through -:-sxler the Model
~otoVi ew 360- On C" 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.
Turn on PhotoView 360. Add-Iru ~
I'>
- =~ Too l s, Add-ins and select PhotoView 360.
Off in
Active Add-tns IStart Up A

8 SolidWorks Premium Add-ins

PhotoView 360 ='-c:-:JView 360 can also be turned on by selecting it on the Office 0~ D Instant WebsiU, 0
~::ducts tab of t he CommandManager. q2
In
:zrutl'lorks
,
0
.-4~. 0 > Photx>V"~ew 360 "'0 1
~~
~":~:..
.

q ~
f!~ (} ~ (j '1f ~ l ~t_:::;>conToJU
0 '"' SOOdWorks Design Checker
'=!
0
~ Photo'iiew S.c.nToD Soldl'iorks . . So!id\'i orks So~dworks .ToiAnalyst
. . .5o!id''.iorks 0 & SolidWorks t.fution 0
~ Motion Roulin9 Sinulation Toolbox
0 ~ SolidWorks Routing D ~~
~
~~
.. l LaiCUt 'I' sliefet\ I EVa!uat~ t R!lndl;.r Tool$ I Office Products r- O (jl SolidWorks Simulation
0 SolidWorks Toolbox
0
0 I
'tl'
0 SolidWorks Toolbox 6rO\NSer 0 I
0~"! SofidWorks Utilities 0
0 SoiidWorks Workgroup POM 0

~
.
O~To!Analyst 0
. 8 SolidWor ks Add-ins
'c
0 Autotrce 0
0 So!idWorks Row Simulation 0
0 SoltdWorks XPS Driver 0
P~-
~

Because
tows_ We will use one I OK l
-----~ ~~~~~- ..
I Cancel l
~--------------"4
A
~e model.

-+oe
E;-e a re several
c;=~pearances t o create
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.~ leJ % e % ~ t Render Tocls ~ I

Il ., ~ ~~e%~1 I == ==
Edit Copy Paste
Edit Edit Integrated Preview Final Options Sche dule Recal
Appearance Appearance Appearance St=e Decal Preview Windo"fl Render Render l as t

i /IS~ernbly f Layout l Skel.Cll r Evaluate I Render Tools I Olf~ Pradoos I .

Render

a PhotoView 360 Menu

The menu provides t he same tools as the toolbars. Edit Appearance. .
"' Copy Appearan ce
PhotoView 360 Options Parte Appearance

The PhotoView 360 Options are accessed by clicking ~ in the ~ Ecfr t Scene..
Display Manager. t\ij , Edrt DeU>L.

Preview
I~~;_, ilntegr~ted
1
Previe~.v
PreVleN
Wind_ow
There are two choices to preview the rendered output , by a separate ei
preview window or right in the SolidWorks graphics window. If{E i Final Render
Opt1ons ...
E0 ! Schedul e Rend"...

F 10
ina utput
~ Recall last Rendered Image
1
I; i
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 57

~view Window
;er interface: --e ::review window shows a
=-=5essive (real-t ime) render of
-nodel. It can be used --:-: -;-;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 81 -~ "?:::i or resized in the same way
a!:: :.-y other window. Smaller
_:;w sizes produce faster
= 2:w results.
II
peoanc~
2-e to Find It
-.nee
IJQII!..r.tnce
=:nder Tools Toolbar: Preview
.'tmdow !i1
'""'-
.'::;nu: PhotoView 360,
-I!
""-
:lreview Window

-
~~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.
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
~
Pr"'"'"
e
Final
~ ~
Options ~
r
Re<al
Appear"""' Sa!ne Decal Preview l'!ndow l!nder Render Lost
Render

- :}X

E;J ~ Scene (Soft Tent)

i I@
Q Background (Environm<
Environment (soft tent)
El GJ Lights
' ~Camera
J. Walkthrough

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 59

-=-::;-eating models in SolidWorks, we genera lly work without perspective so that parallel edges look
; c:rea. Every time the ::. ;:;, 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.

X =>erspective is less obvious in this model because there are no straight edges. If the model had
r
I ...
-= .....
-=~t edges, such as a cube, the perspective effect would be more obvious and important to the final
~=-:ng.

~
=xamine the preview. ~ Space Navigator_&.SLDASM Photoview 360 201... l =-HID ~
-~ X
-: -~ve all the key elements. but we can make t his
':.::-::=:-with a shadow to help set the model apart from
Pause IJ!--

~
-~ ::cckground.

_ - 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
1:;1~ Scene (Soft Tent)
~
!
- SolidWorks 9' , but they are turned off in Photo View 360 r$J . To create a '
1
~ Background (Enwonm!
Q Environment (soft tent) '
:;;.-<::ow. we will turn on one of these lights, and its shadow. for the rendering. e-GJ lights
)"X Seen~ lllumination
<;V Ambient
9' r$J Directional!
9' <$/) Directional2
~ Ca m~a
Ji. Walkth rough
::"Spective view or
:ew > Display >
- Go Chapter 4

37 Turn on a directional light. e:!~-~~-~::=33~Prthiii&~.1

Double-click Directional2 to open its PropertyManager. ""' x If) x If) p
Select the PhotoView tab and select On in Photo View and
Shadows. 1 1-Ba
-""'
--~-~------'--'-l ifWili~~~~~
[1] On in Solidworks
Click OK. I0 Keep li9ht when scene
changes

D IEditColor... j
Arrilient:

I: J
o

Brightness:

1.
!0.45
' 'j
Specularoty: -
,,.. . ShadoY1 quaity:

L ~-
!flO f t 1
_,:.
I ! Ill ) !J I I Wj lt1i
0.4

r~~
I u Lock to model
-21.
I

I Longi~:
' 7.62deg

I0 Latitude:

28.7Sdeo

38 Examine the preview. te SpaceNovigtor Assembly_&.SLDASM - Pholovi~ ...c.;==...-"'@J'---""=:::11'

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.
 Basic Visualization Workflow 61

~--.._ OJ _ Adjust the light.

:f) _:::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 >:- - -- e graphics area, the light position is IL19htPosroon - R,

~
s .::.e and can be moved by dragging. ;:]Lock to model
,__
i G) Longi tude:
~ 'CJTJIWjiS
.: -:; the light to t he position shown or [68deg
---'
..s2 c.:'te PropertyManager to type in the
.. - ~ -~~-;-- ~~ - ' t: .

0 Latitude:
:o=s .::ion.
, l7deg
- T ~--~ T ) - T _3. 1
l:
J: : < OK.

_ Adjust the viewpoint. ~ SpaceNavigator Assembly_&.SlDASM - Photoview _l =r = ~

-'='=the preview window t o zoom in and center the
P1!Use El!~lll
-.:::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.

~
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
- 5;
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.
 Basic Visualization Workflow 63

Save t he image.
.rradiance passes -c- the rendering process is complete, the Final Render window will show the complet ed render. To
jSe, the fina l ::e _seful, this image needs to be saved to a separate file.
l'till see depends
1as eight cores,
::::= 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
1 Open the assembly.
Open the assembly Solenoid Valve-l.sldasm found in
the Chapter 4 \ Case Stu d.y\ Solinoid-1 folder.
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
~ Solinoid Valve-1 (Default<DefatJ
and the appearance display ~ Sensors
pane. All part s have a gray $ 0 Design Binder
tfJ (A] Annotations
appearance assigned to them ~ Front
as indicated by the gray ~ Top
~ Right
t riangles in the appearances I. Origin
$ ~ (f) 102826.1-1<1>
column. The lower right triangle $ ~ 102826.2-1<1>>?
indicates that the appearance is [!) ~ 102826.3-1<1>->?
$ ~ 102826A-1<1>
applied to the part. Iii ~ 102826.5-1<1>
til ~ 102826.6-1<1>
If we hover over the triangle the ttl ~ 102826.7-1<1>
$ ~ 102826.8-1<1>
popup shows us that the $ iii MateGroup1
applied appearance is color. ~ PlANEl ~
f!l .g g locaiCirPatternl
Because we have not assigned
any appearances to t he parts,
So lidWorks assigns the default
color appearance . '
automatically.
 Basic Visualization Workflow 65
-- -- -- --- ---- -------- --- -------- ------- -- ---- --- -- ----
Add appearance. ~~~&'b&f !~ ~~ ~ 1
::~ence between - 2 =eatureManager design tree, select the part l 0 2826. 1. ~!!J
!l
=~ :::~ Appearances ~ - ~ 102826..1-1-1@...

~
- -::, :he gray square indicated. This is the appearance of t he part.

5:-~-e= Apply at component leveL ,_.

Dr.?.fF.i':l<: ~,~ .. ------- 11'ljl~~~ ~ ~ cUP
..... )( ~ ( 'if_ :_ - - - ')
=--===<the yellow color (third column, third row).
. tsB
~~,;_:::::::::~~--=-==~'__ l (~ !lJ
~ Solinoid Valve1 (Otfau ~
Sensors

= OK. Annotations
~ Front

--E Jfsplay Pane shows the yellow color <$>- Top

<Stl
<$>-

~~13
<$>- Right
-=-=~t:rance attached to the component (part at l. Orig~n

-= cssembly level). The upper left t riangle shows 1:'. ~ (f) l 02826l-1<1>
(, ~ 102826.21 <1>>? ~ ~ .Ll
-:= :::Jpearance attached at the assembly level. l+' ~ 10282631<1> ->? ~ ~ LI
[tl ~ 102826.4-1 <1> ~ ~ LI
---e :Jwer right t riangle shows the appearance ttl ~ 1028265 -1 <1> ~ g LI
-=:3-led at the part level. ~ 102826.61 <1>
rkr ~ g LI
00 ~ 102826.7-1<1> ~ g LI
~' ~ 102826.81 <1> ~ ~ LI
~ 81&\ MteGroupl
_ <$>- PLANEl. <$>-
I Remove Appeara-1ce _! ; ;.: ~~ LoaiCirPatteml
1

2.55 ~;...

.0 ~GS HSV
....-'

--------'
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 67

Add appearance. B" ~ ~ dtt L~ ~~~

- ::.e graphics area, select the part 102826.2. ~ ~ r-
-L__----,~--,
~~ e
: . ::< Appearances ~ - ~102ll:l6.2-ll@..
[] Face<l>c;lla...
@, Base-&trude
:: . =<the gray square for the part. Notice that by selecting the face of a l[jBody
::c:.-:, we now have additional choices for the face, feature, and body. 1X
X Remove AI <::onpJnent A. .
~
3= &t Apply at part document level. ~J~ ! ~ l ~ l ~ T~ l ~ l ~l ~ ~e g
P!C FeatureManager design tree iJ 'i!f ~

3= ect the appearance polished copper from the ~ Solinoid Valve-1 (Default
-.? X -V3 1
.@) Sensors
:.J?earances, Scenes, and Decals tab on the Task ${AI
I Bllsic I Mvana:a l Annotation.< I

~~
-~e . ~ Front

: :i< OK.
- ~~~lion
~~~-
~ Color/Image Y~ ~
l
- 1 i~--~
l, -
.~ Top

Origin
$-'% (f) 102826.1-1<1>
~

~~ .
- -2 Display Pane shows the color attached to the :h '% 1028262 -1<1> ->? '% ~
~elected Geometry 1l
~ '% 1028263 -1<1>->? '% ~ Ll
-=- .l.. 0 Apply at component level ~ '% 102826.4 -1<1> '% ~ Ll
@ Apply at part document level $-'% 1028265 -1<1> '% ~ .Ll
.:: ;e open the part in its own window, it has the $-'% 102826.6-1<1> '%~ .Ll

I
102826.2-l.SI.DPRT
=::::earance applied. $ '% 102826.7-1<1> '% ~ .Ll
ffi '% 102826.8-1<1> '% ~ Ld
$- fil~ MateGroup1
i- -~ PLANEl ~
4J. gg LocaiCirPatternl

{ Remove Appearance
I I

Appeal:'aR9e ~
Appearance file path:
(;:] C:\program Fi!es\.')o!idWor

I Browse ...
I
!save appearance .. )

Save and close the assembly.

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
1 Open the assembly.
Open the assembly Solenoid Valve-2.sldasm found in the
Chapter 4 \Case Study\Solinoid-2 folder.
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 :":a'
need steel for the material to have all the weight and FEA -.E
calculation correct, but you want to paint it blue, you can change t he
appearance.
 Basic Visualization Workflow 69

Edit the part.

~to parts. Then we :: ::~ or right-click the part 102826.1 and select Edit Component ~ -
Jearance hierarchy.
- -!:"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<sMa~ ~' ~ I
Appel>--.. [ OossHatdt COslx>m Appication Data I IFavori~s l

l
Ej St2Ei 1
(i] Apply appear-.. of: Tn Seamg Bronze
- ~ Iron
~
Appe~J.- :l ;.!':~ ;--;_1('-'V-~ ~t~.t"' ~....,
.@ AUnriJn Aloys
til Copper Aloys :::Yd v;;'h t~.-..:; f.-'~,-;-'!n.al r.: ~'r:!l.

~= AUrrunBronze ------- ------- -

s
~--

1: l!en'fUn Copper, Ll'lS Ci/000 ~1etal

1: Ber}lo..m Copper, iA'IS C 17200 t+j 4' Steel
shiny
1=6eryli<.m Copper, Ll'lS ClT.m lJ -Jfo Chcome
1: Berylium s-200F, VaaxJm HotPtessed , tt. # A!uToinum

~: Ber)'iom s~sc. vaonn Hot Pressed

1: er....
I e .ftt Bronz~
' ~ '!@@il.h.h@J
1: Clvomium Copper,lXIJS C18.200 ;;- )
~ brushed bronze
1: Comnerdai Bronze, Ll'lS C22000 (9010 Ei (t sabn fino~ bronze
~ = Copper
i~ Copper .Cobalt~ aloy, Ll'lS C175(
1: Free-<:utmg&...., lXIJSC36000
!: Hg.-leaded 1>-oss, Ll'lS CJ4200
~:; Leaded Commerdal Bronze
_ cast bronze
("~bronze
~..~ .(j Br~ss
Ul :Use
t ' =.tom material optic31
properties

1:; Mano<n= Bronze

1: ~ l!iv... 65-12, lXIlS C75700 tt, #Capper
1: Pho!sphor bronze l0%0, iA'IS CS2'100 $ fttr.\d<ei
{f~lnc
1: Tm Beanng Bronz~
{:>fttl~
1:: Wr00!11tCopper
- El 11t.ri.rn Aloys 1:. -Jfolron
. fil zrc Aloys (<;; ._,; 11t.>nun

o _ Other Aloys t>; -# Tt.rlelsten

r.o.. .. r~
- El Plastics
- ..! Other Metals
~ .:.=...:.:..
I Apply I ~ , s.,.., . jconfisl ... j ~

: =: :< Close.
=::_rn to Edit Assembly.
Open the part.
:-:~n the part 102826.4 in its own window.
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 71

?review the render.

_c;;c ;:;;ther the Integrated Preview or Preview Pause
...::iow t o check the settings.

1mePlastic, High

:! gloss plastic. Render the model.

:::..- Final Render @ on the Photo View 360 toolbar.
Ot:Jearance 1:1lack
: 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. -a::s-
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.
 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

' ::!iting Scenes

E
:..:::=:-:=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 OC.select Scenes
-=ads-up View Toolbar: Apply Scene ~

~e chro m tum plate

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
Rendering brightness:
Environment 1': 6 ~.331 ~
n'' ''''',II'J ,II 'C :
~ C:'frogram Fles\Sold\'lorks 201
Depth Scene reflectivity:
I Browse .. l [0 179.331
iji IIIj IJ Jll 1 ,J1 I I II
;J
H@Miz
~.000 w/srmA2
-~~rll 11 11 ,,, 1 1 " , , ,,, 1
~j
'Jdrliwlk
Floo -"--

[] Floor reflections * 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-..
 Basic Visualization Workflow 75

~er and Preview Quality Rend..r Quafity - ~

.: :-_clity of both previews and fina l renderings is controlled by two lists in Pr.,.;e.fl render quality:

== :lhotoView 360 Options. There are four choices: Good, Better, Best, and
jGood I
1 e scene floor can Frlal ren;jer quality:
tum. For each choice, PhotoView 360 adjusts a dozen different l~laxi!un I
Gomrr.aGood
a-eters, but at this point we will only look at four. The table below Ber.er
Best

:rolled on this tab.

--;:rizes these different sett ings. '\F!! 5 J
Good Better Best Maximum
.._-:]-aliasing 8 samples 16 samples 32 samples 128 samples
stab allows the :":.Ciity
.. ber of 4 8 10
-=~ections

:;oilier of 5 9 9 11
-=.:;1actions
-:rrect 128 512 1024 2048
.: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 Rende r Quality

When selected, the number of reflect ions and refractions can be changed Preview render quaity;

[Good
independently from the quality settings. Each can be increased to a FNI r~ QUality;
maximum of 32. The use of these settings will be discussed in Chapter 12. ~ ~I
Gil CU.tnrn render ..,t1ings
:'::Er:
Number of reflections;
4
111' I' !(jiljj ]l i 1 ' HhffS111~

Number of retractions;
,a ~:~
fiku ,, .,, , 1,,,,, , ,1, 1'fi-
,.,..,
11!1 j I I I j I I I JI Jt 1! ll t l<tdi,. ~

-cc: 5I
 Basic Visualization Workflow n

...av :.=se Study: Quality Settings

odor "'""tv: ~ - s :::ase study we will examine the effects of the Phot oView 360 quality settings.
or! -]
r :paitr.
-., c2dure
-]
....n.- setmgs Jpen the assembly.
:>freftections: :e- me assembly Studio.sldasm ~
~~
I iii 'U ' '.'D JNi!~!a'!'j : : u1 the Chapter 4\ Case Study\
.r~ : '=-~ Settings folder. This assembly
------- ~.

' ' ! nx 1utJaa~t1 -: :-1wu glass goblets containing a liquid

--= 2 :J'lrome coffee pot.
t f{IIf~'il:l:;-.
I I I I II 1
-::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. Appearances. Scenes. and Decals

- ? Task Pane, examine the different scenery choices. The Kitchen ~ 1
-=-=~"".s"ground should provide a good backdrop fo r the coffee pot and (-G e Appearanc:e:s(c.olor)
_,_ C\..
$J ~Scenes
~ Basic Scenes
Q Studio Scenes
:"?5 the Kitchen Background scene into the graphics area. ~ 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 79

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
"'"E
-=-would adjust t he relationship of the
~ce:s to the f loor of the scene.

: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.
So Chapter 4

8 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 81

Adjust and render.

a<: Good. - _s ~he qua lity to Better for both preview and final render. and render again.

-""E ~:ti ngs are now:

-=::i-aliasing: 16 _2amples
..ber of Reflections: .4
l-;;s tab will provide
.tber of Refractions: 9

"Ehave 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.
~ere -are not enough
82 Chapter 4

10 Adjust and render. --:.3"

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.
 Basic Visualization Workflow 83

Adjust and render.

c _s:the quality to Maximum for both preview and fina l render, and render again.

-<= settings are now:

-.:rti-aliasing: 128_29m~
.Jrnber of Reflections: lQ
....rrnber of Refractions: 11
,;;.direct Rays: 2Q48

of glass and the - :e the change near the base of t he glass because shadows are now t ransparent. letting light through
:2nt on the outside :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
I ;-c-.:earances.

..
I
-i
'>.
...~ -. /
, .,

"<-.7~i
"'5 . ..-.otrr ~
_
; ; . p-.
. ~
$. :;,-

.... ~""~;:

'-..... ~- .~ ~
.-'
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
a
l.<kl
..~Mil
3. ~
!'R<I!ll
~.'IJ>XB

-
...,~ -4,
~ ::::5::
.~ ~9
~
.\'<i~
Pol~ i!lz
.
~
J#it~
...
~~
El><>f!l<10
"'a4
~~~u ~
fl!~~
C2in&ab~ -.,;fM
~lim j;jjll
<4il"
s-
L~~f'l
r,M<
fu
:J:}j,
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 87

more likely just ...2. :ompare the images.

~t to either Best -~ ,ou place your cursor over the rendered images, the wipe bar will appear. This bar ca n be dragged
1erally twice that -=:al more or less of the underlying image (image B).
decide which is

several different

second selected

,reals the second

ouse button and

~e 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 93
-- - - - - - - - --

ng Appearances
! are many -~er~ are many methods to apply an appearance t o a model. To apply an appearance:
-:at can be used to
:~g the appearance from the Task Pane into the graphics area to apply the appearance to t he entire
::appearances, how
: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.
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 .
l the model.
~ 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 will be attached. When you drag and "' Pin
. =-= an appearance on a component, the Filter
' - - - - - - Component
-:::~::ranee target will appear. If you mouse over ' - - - - - - - Part
:.= :::;;terent targets, the appearance will preview ~----- Body

--at entity. Select the appropriate icon to attach - - - - - - - - Feature

' - - - - - - - - Face
"'E qpearance.
:>lies, components,
and textures. 2 The choices available in the Appearance Target will depend on the geometry available and whet her
reen because they ::re in a part or assembly.
eilcy, mapping. and

!d that are
-el. The material
stress calculated
v how t he part will
ent. For example, a
94 Chapter 5

Task Pane Appearances. Scenes. and Decals

..,
The Appearances, Scenes, and Decals t ab on the Task Pane contains all
e.e
t he appearances, scenes. and decal setups available. You can also put
your own custom folders in this area. . Appearances(color)
U lesacy
le Plastic
f -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
~Trtn Rilg-1-l@
e
Appearance callouts show the appearances applied to the select ed entity in I;:J Faae<l>~ ..
hierarchal order. This can be very useful when t rying to determine which ~Revolve l

appearance is be ing shown. jnllody

~Trtn Ri1gl X
X Renove AI CMt>one1t ~
Where to Find It tjtest Ill X
Shortcut Menu: Click or right-click or click a body, feature, or face,
select Appearances ~

Display Pane ~t"fi!i r~rr~l ~ el fl~~ << m,QJ . ~

The Display Pane is used to display and ('I ) ('f )
access visual properties of features in a ~ Center Control-1 (Defaultlnf~ liJl ~ Space Navigator-1 (Defaull
~ ~ Sensor> @] Sensor>
part. and parts or components in an taJ Annotations ~ (hl Annotations
I :;: Material <not specified> <& Front <$>-
assembly. <s>-IB I ~ Top ~
. ~ Top <$>- ~ Right ~
~ Right <$>- k. Origin L
k. t. : ~(f) Base-1<1 > ~ ~ Ll

l
Origin
ff.1 -~ Revolvel ~ TrimRing-1<1> ~~ ....
: ~ Filletl [] ~ Button-1<1 > ~u ...
1. <$>-
$- ~
Planel <$>-
rll
~ Button-1<2>
.., ~Center Control-1<1>
~ " ...
~ :3 ....

Extrudel
eJ FilletS (6 ~ (-) RubberBase-1 <1> ~~~
eJ 0 rn-!ilijl

Filld:2 Mates
eJ Fillet4
, Axisl ,.
_ _n_
1
CirPtternl

Part Assembly
 Applying Appearances 95

oa:o. Scenes, a...d~ --:IpertyManager for Appearances

....___~ f -: -==-opertyManager of an appearance allows you to control the appearance properties that are
Da!S{color)
- --: ed to the model. feature. or face. The PropertyManager is organized by two types of properties
"l
J[
- 5everal tabs that represent major functions.
~ Properties
}
...b:J
I

::~ ::xoperties include the ability to change the color

; , weathere'!_~

~ - -il;i!
.:_,.weathered bri~}
" l( -{1;
~ ~ ~a texture appearance. t he basic mapping of the Basic ( Basic
-......,.,.
I
~
I Advanced Advanced
I
_-e to the surface. The tabs are: f~ Color y~ 1!\appilgl
{Image (GJ eo~or~f ~ ~ L
' 1::t!or/Image ,Selected Geometry :::t i IMessage- '~ J
I_ ::;~y appearances can have their colors modified. @Apply at component level
Scenes Select<><! Geomdry 1\
"Scenes 0 Apply at part doOJment level
@ Apply at component level
J:Dbon Scnes .epping Canisl:erl@Canis!Er Asse
O Apply at part docunent
::;Jping controls how appearance patterns and level

~cedures are positioned and scaled onto the model's ~ carister-lCConister Assla
:.J surfaces.
~
~ TriTt Ri"lg-1-1@...
IFaa.<l>Clfte. -- rdnced Properties [ Remov Appearance
~ Raoolve1
{JBody = -~iced properties include additional color/image and
~ TriTtRi1g-1. X ~c::::ing controls plus the ability to change the ..
,0-color ::::
[ Remove~ I
X Renove AI Cool>onmtA. ,
J- Jlation {the way the surface reacts to light) and the ~lapj>ing-Eontrols 1\
S t:est lll X Mapping styl:
__ -::::e finish. The tabs are:

:::alor/lmage - ~~
~ Cjl ~
-::ditional options are available to select different
~ages and to save a custom appearance.
~J[IJ

i
Mapping siz:
p:ot"1 (Default
~apping
!""" --ere is greater control provided to map the

.~
~
~ :::pearance to specific sizes and to flip the Mapping
~
t. :.Jpearance map to different orientations. ,255 ~
1<1> ~ g .Ll
!!J"l <l > ~~~ umination . 1255 t;
l<l> ~~ ~ --e Illumination tab controls the way light is reflected @RGB O HSV
1<2> ~~ ~
:a.troi-1 <1 > '% :3 ~ =--d refracted from the model. Color
.. 3ase-l<l> '% ~ !!1:'1
Surface Finish
1 e surface finish will give the appearance of roughness or a pattern, such as a knurl.
,!.ssembly
96 Chapter 5

Advanced Properties Tabs

Examples of the various properties accessible through t he Advanced tabs are shown below.

Basic Advanced Basic Advanced ] Basic Advanced=

fG;J Cr/TJM9e r!. Mappilg.

~ lbni1atioo ~
i~ s.rlace Frlsh

ll'lessage :Surface Finish ====_,.:A

;o
~Selected
- -
Geometry
weathered brid<

'~ Apply at component level ~Dynomichelp ---

, Apply at partdoo.Mncnt Diffuse amount:
level fijO"toView Surface Finish
1.00
G'J
!G!J cansrer-t(I:CaniSW......,. .,. - ~ ""!" Bur!> mappWlg
&nip strength

LJ~-~ j
>:
.. l.OOmm
lil;ffJmo;;r;rcr.:uw;e-,....
"..] o.sp~ac~t""''''*l<J

Displacement dislarlce
l.OOmm
* Iff II I ! I I J I 1 1 I I I ! I I 1'"4ifuwl

;:::~~~~: /:~
Appea rance
Appearance fie palh:
I
(;;;J C:\"rQ9"om Fi<!s\SoidW;; j Surface Finish

I Br~ I
!Save ~ SiZe/Orlentatlon
Jl l'\
Reflection amount (Re.o!V"~ew
0.000
:J . ; ' T_T .1
,~ T
...:

[lJ Fixed aspect ratio 0 Bklrry reflections

"'!) c;olor
0 Fit widtl1 to selection Transparent amount:
/~ Llnt height to selection 0 .00 ~-
~~standard Tl a ~5.033l3333mm
, 11
'" 1 1 1
~:-
1Hiiin)
1' t J11 1
'j_ T T T-~~-~-"! _i

l ll11ioous intensity:
T_

~~
[0 . 55.03l33333mm .: .
' '11 II !Jl II 'II il I li Ng~
Aspect ratio: 1.00 : 1

[] ~"OTor hori:ron12111y
o ~or verlic:aly

Reset to Image

1"'"5~,5.;. .-
Mapping
Illumination
- -'
255 t:~
j
,.------,~,

- :j
@RGS () HSV

Color/I mage
 Applying Appearances 97

- :a::.-chy of Appearances
1below. - .r:: c:::e where appearances
-~:::lied affects the final
~ - he hierarchy in an
~ --=-~ly works opposite the
1 Advanced
e..c
:.: ::oes inside a part. Assembly Color
I
C<h~ 1~ Mapjlilg:
......lion __ c;>ply an appearance at
~fftsh '
35embly level. it overrides
Component Color
iooce Ftnish :::-: r appearances. If you
ez!hored brick "
en appearance to a part,
O)notric help
_ ::werridden by appearances
~ Sumce Finish
~mappOlg
:tt
: == to element s of t he part
""~~ --:: :s features, bodies, and
oo:m F-""
P 1!f'0U!1U41:tP -~
lloplacement mappi1g

~t distance ~ ;- erarchy is:

OCI:rn ~
J I !I I It /1 I l)Jtfijnl
-ssembly
Surface Finish ::::::mponent
-c:ce
=eature
3Ddy
::art
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.
l [ Basic
I Adv~
: -~-
Texture appearances are based on an image while 1 ll?'J!bonation
procedural and hybrid appearances are not. Hybrid J ~~l't1iltt
f ~ t~
I A;i;}01c>rj!mage
images may have mapping controls or controls to
Selected Geometry ~ [ ~ressage
change the colors of the appearance. 0 Apply atc~t!evel
ISelected Geomeby ~-
@ ::::::at part docunent
Procedural Texture Hybrid ' 11apping
ISpherical :
;;..
,. ~.9
,.,..., I I I I,. I

t ~~( , I I I
t~

I SizejOrientation
0 Rxed aspect ratio
EJ Rt width tD selection
-l
_..---' "" ['] Rt height tD selection

When a texture or hybrid appearance is selected, the

Texture or Hybrid a rt=3in
'1 1 111
1 1
'J!
1 i'hbli
1I 11 11 1

Mapping tab will have additional controls to position, !

[0 1.33333333in l::
"d J'''' '' '' 1watu
size, and orient the appearance on t he selected Aspect ratio: 1.00 : 1

geometry. Q ~~~g I 'T T'T-R

~ tti I I I I
~I

Qj [-;OOdeg
r 1 r r
:::r:::T&
0 fo'irror horizontaly
0 Mirror vertlcaly
i
I
I
I
I
I Reset
-
to !mage I

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 - -:-:=Cural appearances define the applied colors based on the X, Y. and Z coordinates of each point on
'*I english brick ,_ -e s.. -face of the model. Notice that the top face of the model changes each time the extrusion depth
)C ,S :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
,..~
~ J~Mappilg
:
i!asoc I Advan<ed
-
. -
--
-
-.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
~= Youcan 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.
Geometry - ~

~ ~
:~ Tl
~ ' 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 L33333333in f.;
fi;J.! I I I I I I II l i i!ijjiio1

C L33333333in f.".
M1 .f l i i I I !I!!J ! id.QJ'pt'
Aspect ratio: 1.00 : I

~ O.OOdeg
J I I I I I
A
(J O.OOdeg
')O::::L:I_i_ i_l_i
.! -:xture Appearances
1
-:: -:. . -e appearances are app lied like wallpaper. During application, they can be stretched, shrunk,
D) jQ,OQd~g ~
'!"i
1 I I l I
-:=.:ed, and reoriented t o make them fit the surface. The pattern will be duplicated as many times as
._;-or horizontally . . =-ssary to cover the entire surface .
::::;~or verkaly

ReS<!! to Image --e :.::>pearance used in t his example is an 8X 8 square grid. There
_ : ' 'lite circle to indicate the pattern center.
Pattern
-"E :.::>pearance was mapped differently to each of the three
;added to the same ce nter
-.:: .e faces. The texture appearance is a square, so it maps
~o different depths.
~~-" 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 cente-
moves down the face and part of the pattern is not used.
 Applying Appearances 101

ntered on t he face _ - ::.ences

~mple. the patterr :: ::;JJpare what happens when we add an additional feature to the model. in this case a revolved cut.
~ the face. The ;:-::::edural appearance maps to the surface to give the impression that the ap pearance goes all the
1eeded. The cente- -::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 ~ -::-,ally do not create solid models in perspective views because it is generally easier to view
:es to the ~ = edges as parallel. When rendering, however, we are trying to make the final output appear as it
j final rendering :: :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. Onentation
~
5 2 to the named view Render View. Press the space bar and double-click ~~~ 4:1
~ ..:,r View in the list. i;t#t5\!J.
"Normo! To
"'Front
Set the perspective. "Bad<
"left
- :- perspective, click Perspective ~. "Right
"Top
'Bottom
"'sometric
1ew, Modify, Perspective and change the value t o 1.5. "Trinetric
"Dimetric

Save the view.

: :,; is as a new Named View called Render View l.
 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
c --
attached yet, everything in the assembly will
be rendered in the default appearance.
When initially inst alled, the default
appearance will be color.
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. jHistory y:
Right-click the appearance and select Add Appearance to part. g ~ PW-M111010
~ LCD monitor 15
The DisplayManager shows that the appearance has been added to the part.
 Applying Appearances 105

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 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
at the assembl = 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 ~
UA~
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 -oa--
@B.GB 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 Color

_ ,:-55.ng the cross hair and the vertical slider. Basic cokxs
-'E s:::uare graphic window represents hue and r t.. . o r c
r coc
-...-ction. The lower left corner represents
-~=s of zero for both. Saturation increases oo li!l
o
~ : ally and hue increases to the right. The
:al gray scale is luminance.

r.r
Custom col001:
~ Terminology
- :: s the color reflected from or transmitted
orr r r r r r r-- IU ~so Red 255
rrrrrrrr 1 s..o G-een 255
~gh an object. In common use, hue is Ekitne Cu:tom Cclors Color L.um. 240 Blue 255
plastic, founc
.:::.i=:.""ied by the name of t he color such as red, I II I
OK Cancel hid to Custom Com
l.
- :;e. or green.
is appearance
_-: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. Color ~

:::-=: e-click the color preview box next to the eye dropper [21. Basic coloo
I:J I I:::D I. . CJ D
--; Color dialog box appears. None of the colors on the palette are the
r oo o
;:.- ::e are looking for.
or w
o

Ml
Ci r
Custom coicn
rrrrrrrr
~ rrrrrrrr
!!,G8 O !::!SV I Defne Custom Com I
I OK ll c....ce! I
1r needs. It is c:
ing the 256
108 Chapter 5

14 Define a custom color.

Click Define Custom Colors.
Color --
Click in the upper left box under Custom colors.
o r wo r a wCJ
a r ooc; a m
This sets the target location for our new color. a uc
o

rr
~rrrr
rrrrrrrr r Hue: ~60
Sat: 0
Red. 255
Green 255
Delone Cuotom Celom Color I.J..m: 240 Blue: 255
OK Jj Cancel J Jldd to Custom Celom

15 Select the color. Color

Type in values of 210 fo r each co lor: Red, Green, I Basic col~:
and Blue. The equivalent values for Hue, !o r oo r a ou
Saturation, and Luminance (160, 0, 198) will 1a r o o 11
o
appear automatica lly.
The Color box shows a preview of the color.
o

rr
Click Add to Custom Colors. The custom color Custom colors:

appears in the target box we selected. orrrrrrr r---- Hue: ,60 Red. 210
rrrrrrrr ! Set: 0 Green 210
Click OK to close t he Color dialog box. Def,ne Cuctom Co:o., Color Lum: 198 Blue 210
OK II Cancel ( :: Jldd to Custom Colo_rn :: J
 Applying Appearances 109

~ ~ Apply the color.

- t 2? pearance color is now the lighter gray we just created.

I - -:..-: :he Advanced button. i jjstllndord I

- -2 may want to use this appearance for other elements of our rendering, we
save t his appearance that uses the lighter gray color. ~~
=.: Save Appearance.
"" ~60 Red 255
"" 0 <non. 255
"" 240 BkJe. 255
ID eu.tom Colors

~ j ~:
~ l>;B,GB "') I:ISV

I
- 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~ Chapter 5 Case Study Monitor @ I s~ar&. Monttar

.. 160 Red 210 ~e N"" folder ~
ill 0 ~. 2 10 Monitor
No rtems match your se,rch.
198 BkJe 210 Practice Exercis~
Chapter&
!;;;m Colors : :: : ]
Chopter7
_ ChapterS
Chapter9
ChapterlO
- Cha pter 11
- Chopter12
@
..11 Chpter13
~ Motion Project
Rendered !mages

Filename: f!Olf.Mff5SS
_ .._
IJJI!!ffiii+.M!effiff5l!Cir.:t I

Save as type: [Appearance Files (".p2m} J

Descnpt1on: Add a descnpt1on

0 Remove bend Lines

- "*"' Folders ~ [ 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. Appeara nces. Scenes, a.nd D- ,._

Click Yes. .... t..: ~ t

The monitor folder will now be listed in the Appearances section with a
!TJ e Appearan ces(color)
$-te Plastic
&..-..(:@ Metal
blue folder icon to indicate that it is a custom fo lder.
f.:J ~ Painted
S ~ Rubber
SohdWori<:; 11J.te Glass
00-~ Lig hts
1 Thefolder 1; teFabric
LU 1 rtl ~ Organic
[c\$Oitdworks stepwby-!.Otep guid~\product
visualiution\ c hapter 5\case study\monrtor) ( Ge Stone
S ~ Mise neous
where you have chosen to save this. app ea~nce is not : ~monitor
currently visible m the Appeari!nces folder of the Task
Pane. 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 :c--ode!, screen, and first function
folders from :=..., a re now rendered in the desired

t visible in the

rces. Scenes. and D- {:;'

~ ?

.._
,...nces(color)

leta!

._i.
.ned
abber

gilts
lbnc
<gonic
=.xamine the DisplayManager.
~ neous
IDnltor ::view the appearances as History, we can see the
"II; _-the three appearances were added. When viewing . .. "'' i T:.1:11f:'"'...--:-..:

.:::erarchy, we can see that the appearance applied to Sort order. IHierorchy ~I Sort order. i_H_i!;tO.'Y ~I
~TJ""lJ im 'Tl . 1\lnil!oF!o!
-=overrides t he appearance applied to a feature,
- ~ overrides the appearance applied t o the part.
$-...;) monitor light grey satin
e. - bJ Face 0.. I ~ LCD monitor 15
black low gloss plastic

-t: :hree faces of the first function button are attached I

bl_ack low gloss plastic
l ..li] Face<2>
Ej' @, Features
I j B
LfJI Face
.\ ) monitor light grey satin fini
1

=::-: custom appeara nce. s..V monitor light grey satin

Dome2
. @, Extrudel
j
;

II
It gtey satin finiSh
I @, Extrudel -li:J Face<2> '
i!&astic l-.f!:J Dome2
8 ~ 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.
112 Chapter 5

In the Disp layManager. right-click the appearance monitor light gray

satin finish plastic and click Attach to Selection. The custom sort order. IHistoty ...-1
appearance is now added to all the faces of the buttons. 8 ft lfi,Wiil,lll
. ' ~ LCD monitor 15

Note We could not apply the appearance t o the feature LPattern2 e ~ black low gloss plastic
; !;;il Face
because it also contained the geometry for the dimple face around the S monitor light grey satin finish plasbc
1
il Face<2>
button. e Oome2
~ Extrudel
CJ Face<3>
f !l;i Face<4>
t IWI Face<S>
-1!;1 Face<6>
G;l Face<7>
!;I Face<8>
1 .ij;l Face<9>
!;l Face<lO>
fJI Face<ll>
I;J Face<l2>
.IJ Face<l3>

22 Add appearance to the trim.

Select the eight faces that make the t rim strip around the monitor.

In the Task Pane, right-click the cust om appearance monitor light

gray satin finish plastic and click Add Appearance to setection(s).
 Applying Appearances 113

=.xamine the DisplayManager. 'miT"':.r.

~ 2-se we added the appearance from the Task Pane, it became a Sort order. jH1story -I
.:c..::~e instance of the appearance. If we had attached it to the first f;1 (t PW-M111010
15 . ~ LCO m onrt:orl5
Jlastic .::::-::e in the DisplayManager, the eight faces of the trim strip would d (t black low glo" pfil5tic
~ .:een attached to the first instance of the appearance. iJ Face
!)' satin finish plasbc S .j monitor hght grey satin finish plastiC
l:iJ Face<2 >
.(]1 Face<3>
1W Face<4>
~ Face<5>
J:jl Face<6>
li;jJ Face<7>
IQ Face<8>
Li Face<9>
liJ Face<IO>
j;l Face<ll>
C Face<l2>
liJ Face<l3>
el Dome2
~Extrude!
8 ~ monito r hght grey satin finish plastic<2>
iJ Face<l4>
li] Face<l5>
IJ Face<l6>
iJ Face<l7>
.iJ Face<l8>
C1 Face<l9>
.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. I
~ ed t he light gray color (eighth column, second row).

1J..~: ~~-odil.:
=:< OK.
1 - ._ ,,

I
@B.GB . J tiSV~ 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. Sort order. IHistory
B- lf.TJiiilllli
Select two of the indicator lights. In t he DisplayManager, right-click the j L ~ LCDmonitorl5
Green LED appearance and click Attach to Selection. These two new $-. blade low gloss plastic

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 B.
~"'\) monitor light grey satin finist
$ ~ light grey satin finish plastic
Green LED
i- ~ Extrude25
l.-[g
indicator lights and the power button. Face<22>
l.fi31 Face<23>
 Applying Appearances 115

S<amine the preview.

'= - -J ;v have all the appearances we want to
~ :J this part.

re will go back to the assembly and

-= cj)pearances t o the remaining parts.

: Open the assembly.

=-~-rn
to the monit or assembly.
- - Add appearance to components. Uhf::F.!J:I lil:l:

- =monitor base and arm will use the same appearance as the Sort order. IHierarchy I
:;:.::ons. Efl" ~ Components
8 -'\) monitor hght grey satin finish plastic
~ LCD monitor Arm-l@monitor
: :-;e FeatureManager design t ree. select both the i ~ LCD monitor Base-l @monitor
l......-:J monitor Base and LCD monitor Arm parts. ~ @Face
$-. Green lED

- :::e Task Pane. right-click the monitor light gray satin finish i @-0 monitor light grey satin finish plastic<2>
~ light grey satin finish plastic
:-?.stic appearance and click Add Appearance to selection(s). 1 ID . black low gloss plastic
~==:J $ ~Features
$-V monitor light g rey satin finish plastic<3>
m
onrtorl5
=...::mine the DisplayManager. Notice that the appearance is
=::2ched to the components in the assembly. This appearance will
1 f i.
Green LED <2>
e ~ Parts/Assemblies
Jlo<s plastic

!h.
Efk.J color
,tu: grey satin finish f ::-.-=rride any appearance t hat might be added at the part level. $_...)
color<2>
..On finish plastic
PW-MT11010
!25
2>
3> ::: Open the base. -~--A~_:_. ---?
==en the part LCD monitor Base in its own window. Sort order. jHistol)l I
Eh,) color
--e DisplayManager shows the default color appearance attached to this part l ~ LCD monitor Base

:;: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.
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:
-.ssembly
:::;nponent
)Vere::
-::::e
l5
=::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

-.=embly
-~ponent monitor light gray satin finish LCD monitor Base
plastic
LCD monitor Arm
~ black low gloss plastic Face of the monitor
Green LED Indicator lights
monitor light gray satin finish Numerous faces of the buttons
plastic
:;...=-ture Green LED Extrude 25
I~

~ PW-MTllO l O LCD monitor 15

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.

2 Examine the model.

Everything is yellow high gloss plastic because
appearances attached to the assembly override all Sort order. IHierarchy J
other appearances. e ~Assembly
1 m yellow high gloss plastic
~ ~ Components
3 Remove the appearance. ' '\.) monitor llght grey satin finish plastic
e (JJ Face
In the DisplayManager, right-click the yellow high
gloss plastic appearance and click Remove
$ ~ Green LED
t$-V monitor light grey satin f1nish plastic<2>
I
Appearance.
!f-0 m onitor light grey satin finish plastic<3>
(!) 'I block low gloss plastic
e~$ ..)
Features
monitor light grey satin finish plastic<4>
I

~ ~ G reen LED<2>
a ~Part
$- color
$~ color<2>
liJ
PW-Ml11010
 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. j Hierarchy y J

I
~ Component.s
~ \.) monitor light grey satin finish plastic

ltl .
11} ~ blue high gloss pla<tic
8 !;;il Face
Green LED
riJ_,_) monitor light grey satin finish plastic <2 >
1> V
ltJ monitor light grey satin finish plastic<3>
.3> t i 00 ~ black low gloss plastic
~ ~ Features
$....,) monitor light grey satin finish plastic<4>
:4> lit. . Green LED <2>
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.

Sort order. jHierar<hy T j

C? g m
, $ (f Green LED
S...) monitor light grey satin finish plstic
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 red high gloss plastic

g Close all the files without saving.

 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 :.Z.:

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)
AdobePhotoshop(*.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-
 Appearance Mapping 123

=.:se Study: Texture Mapping

ances. l- - F :Jarts have many different surfaces of different shapes, mapping
~thods t:: =:-:-..;re can be time-consuming and require a lot of effort to get all

three of
s.
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.
/tl..,.
.....
) l4
~'"'""" .

~~-----~_r---:::::#;/
.. .

>.
r~~----.-. ;
-
~..... ...._..-''

'

!f.
--::c :}roject will use a simple model to map a texture appearance to the various surfaces. Our goal in
:5 ::ase study is to learn about mapping methods and adjustments rather than producing a realistic
1ing and ~ c:oring.

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
~tt~~
..
~
..
. .o..,

-::pal axes. For arbitrarily aligned planar geometry,

=-= :Jrojection texture space may be more appropriate.

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. Ri!Wlf!Hi tmm

;. ;m ~ ..
Select the Mapping tab.

-
~ )( ~ .,:t )( ~

Click the Advanced button. The Basic button has a

subset of the controls available with t he Advanced
~~~~ Color~:'~
~ ~~~ Mappilg:-
I Basic

~ lhnnation
II Advanced

~~Fnstl
option. lected Geo~by
rs;-
@ car/lrMge 'I~ Ma!>Pi"19
Texture Part.SI.DPRT
""'

I
For Mapping, select Projection and XY for projection Selected Geometry jl

r
~
direction. This maps the texture to the XY (Front} Texture PartSLDPRT

plane of the model.

I Removo ~"'~ J
Mapping ontrols
Mappilg style: ""'
i I Remove Appearance I ~

- ~~
r1apping If
IProjection
:
.
~[I] ci
-
IXY

Mapping size :
O.OOOin .
- -:
-~[1]-
I O. OOOin

It
'--
nun ! I I I ! Jill I ll fdtttr

8 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.
llt.an<:l!d

-=(

~~
----
~
"

~
XY YZ zx
-----,
-----:1
..

~
~
....:-
"'"".. ,.1,.
r
- T-.&p
~-.:t ~ ~ q a;J . t)&:r ~- W

;tretche5

d by
Current View ,J
(Isometric)

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 Results

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.
 Appearance Mapping 129

;epping Type Description Results

:- _-tomatic The t exture maps to one of t he

X, Y, or Z axes.
The Automatic texture space is
appropriate for most planar
irection is geometry.

j normal tc

S:herical The t exture maps all points on

e computer the surface of a sphere.
Spherical mapping is like a
:hanged Mercator projection.

!is orientec
e surfaces.
: ylindrical The text ure maps all po ints
onto a cylinder.

13'
~

,
130 Chapter 6

Mapping Type Description Results

Projection The texture space projects

onto all points.

~~~~
.

:: :! :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. ~ 15 m ~
=:rst remove the appearance we have on this model and then reapply the --- 0
..
e.=.-=1ce one surface at a time. Sort order. IHistmy I
No appearances asSigned. Go to
e J ;splayManager. right-click the appearance checker pattern and click the Appearance tab of the task
pane and drag an appearance
re 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 I Open Appearance Library I
-=-:.y no appearance because we just removed it.
p en Appearance Library.

..!..dd an appearance to the part.

~.-.s andhold Alt and double-click the appearance color located in the
-===-ance Selection area of the Task Pane.
ly and the-
~ ;)ropertyManager, select the Color/Image tab and then select the color
::-:(t hird row. third column) .
.:. ==~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.
ting it ontc
lues may a:

1that t he ~
ole numbe;- !.,--
~@RGB- f"\ HSV
tole number
Add an appearance to a surface.
S= ::d t he indicated face, then double-click the
:::::earance checker pattern in the Appearance
:d to the
==-= ::dion area of the Task Pane.
1e cases. a
ulty in the _ 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.
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
1"""'1 ------
Note Because we have Fixed aspect [J "'I.OOOmm :
ijd J1 I I I I! i jj 11 H_1ijnw
ratio selected, we only need to adjust .
either the width or the height. The iii;(! I I t I I I I l I l ! I '1$ji11W
Aspe<:t rtio: 1.00: 1
other will adjust automatically to
maintain the aspect ratio.
[J Mirror horimntaly
~ ] M<ror ver~y
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.
 Appearance Mapping 133

Edit the appearance .

..- h - : DisplayManager, right-click the second instance of the
:.- =..~~er pattern appearance and select Edit Appearance.
Dnm :

~ -= -:ed to adjust the appearance so that we have four squares

DnmI I !' U , ~ \j ,,_ =
.,i :::e-: : ally, with a black square in the upper right corner so that it
Jlltation
-c:: 1es the appearance on the right side face.
I a:;pect ratio J
dlh to selection
...:: :e the cyan and magenta square on the face. We cou ld just
,q,t to selection ~~he handles on the square size and position the pattern.
lOOnvn : I
Y"'"1Trtmn~n

lOOnvn .:
IiI I 11 l I ! Jjijpnlt
d ratio: 1.00 :1

lcl.g
:-c.. . ge the orientation to the Front view.
T C

lmlr horiz<>ntl!ly
.:C =:t the Mapping tab.
lmlr verticaly
- -:: 40 mm for the height. This is the same value we used on the
Reset to Image
-.=::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 the model to the Isometric view. 6 49.000mm f:
UH!l '.P'' U"'P rBzt:JP-
0 '10-:iiComn ~ :-
: :k OK. litH.~

ASj)Oct ratiO: 1. 22 : 1

~ O.OOdeg - , > 1
j.
'" JMO-ror horiz<>ntaliy
0 ""'or vertiaoly I I
. I R~tto~ =.!_j
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. Axis a.-ection;

Drag the pattern handles until the width of each black and white area is G '------~
Projection reference:
essentially square.
Adjust t he value for About Axis until the squares line up with the adjacent faces. I Update ID ~ l
,. [6Q.3053~ r.
,_'CT_..LI_ L.:.._1__C__.

t ["ti".l7i35s&;;;,; .....
Jij(l l I ljfi!_l !) I !JlfsftfUw
I5"1Ze/Orientation
[ ] Fixed aspect ratio
I::] Fit width ID selection
I EJ Fit height ID selection

;I ~
1
I13[ Li tflJJ lf
[J 14. ZOOmm
t
.
.-;..
1I I !.jd'#fi.W

[J Mirror ho<izontaly
0 Mirror verticaly

I ResetiDimage

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. 5
Select t he spherical face and apply the checker pattern
ap pearance.
 Appearance Mapping 137

.; Adjust the pattern mapping.

~ :-;e DisplayManager, right-click the last instance of the
a.on:
l ?:::earance and click Edit Appearance .
L
'
., reference:

ldatetl;~ I
:K.F=: t: J:.....:L.t: f.
5S6nm :-
1 fi I ! l lj f j{td1if11W

IPO(tratio

tD selection

"' tD selection
mn r:,
I I I I''' lti}rljllMi ::1 spherical mapping we have additional adjustments to orient the pattern. -~ .... ~
~'''"I III 'd3.J.:..
-abo: 0.35: 1
:= -st 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
'~"""
~ lBO.O<ld<!:g
. j:.. T .
l I
-
ldog ~:,
)-T_T_' - e-:essary to fine-tune t he patt ern. ~ 45.00deg
ar horizontaly
:e Whether the alignment is correct is a subjective judgment. If the squares
l _ l J
ar verticaly
Size/Orientation ~
lleset tD Image := 1ot line up to your satisfaction. continue to adjust t he mapping values unt il [ JFixed "'1)eCt ratio
::.J are satisfied. [J Fit width tD selection
tJ Fit ~t tx> selection

ng can be morE
- -ay take a great deal of trial and error to determine the values that make a iiiTII"
<;O.OOOrrrn .:
1 11!! 1 1 ii'lill 1"lll'i
!
I
-.,model render t he way you would like it to look. It will be rare when you hit
[[J 37.300mm ,: \
- :c: correct values on the first try. Also, there are several combinations of 'R?!-H I I I I I I I I j il I !! Jl'i1ll''!i''
Aspect ratio: 1.07: 1
-.=;:>ping size and offset values t hat will give a satisfactory result. ~ O.OOdeg .-
1 - .
2- Save and close the part. fj lBO.OOdeg ~=
1
d} 3.00deg !
I
1 .
CJ Mirror horizontaly I
n MiTOI"verticaly J
I Reset tD Image~
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. Appea rances. Scenes. an d Dec;als -{!:a

not important ::::.= =:t the front face of the model and then select the Appearances, e ~ [il ...
g the surfaces ::C::Oes, and Decals t ab on the Task Pane. S e Appeara nces(color)

1at we just use e & Scenes

=--::--ss and hold the Alt key and double-click the appearance texture from ffi- Decals

-= ;ppearance Selection area. Hold ing the Alt key when applying an
orm map if we .::::-::: arance causes t he PropertyManager t o open.
the model.
:::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
--=Horizontal location direction is shown with a red arrow and the
stical location direction is shown with a green arrow. These correspond
ch the patt ern
-:: :~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.

- [o.DOOnm ~
.....~ - - - - - - - - -....- 1 IPrJt lli 1 I I fj lljjl (i~Qtui
!o.OOOmm f.-1
t iiiiJ:iJ. J JJ I'( tlj!t t!d@llii~

ate/Orientation

I ~I 6 f2L 42857228mm f."'

fsg, fJ! tJ I I II tti i 'j!jpiwi
I

I 1m ~;~~~ ~~:::;j
Asped ratio: l.OO : 1
~ 'o.OOdeg ---~.
'1-I- r .!._.....} J..::a
LJ Mtror hornon1211y
0 Mirror verti<:aly
I Reset to Image
140 Chapter 6

4 Adjust the texture map size. S'ae/Orientation jt

If our intent is to get two instances of the pattern in the vertical direction and 0 Fixed aspect ratio
0 Fit width tn selection
three in the horizontal direction, we can do this without trial and error. 0 Fit helglt tn selection
,....,
0 25.000rrrn
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 0 25.000mm
- ..
''

t o get three instances. Aspect ratio; 1.00 : 1

Q ;o.OOdeg
- .:
Type 25 mm for the width and press Enter. j_T T T
' -- - -
[J Mirror horizontally
Because Fixed aspect ratio is selected, t he width and height will maintain their 0 Mirror veri!Goly
original relationship, and the height will also be 25 mm. I R5et1xllirlll!J<' I
5 Examine the preview.
The preview window shows t hat we have the desired number of
instances of the pattern.

==
 Appearance Mapping 141

Mation ~ Change the pattern size.

<:Spect ratlo
:-e only wanted two instances of the pattern in each direction,
!'.h to seledion
!tit to selection E vould have to adjust the map width to 37.5 mm.
rorm
t iii lJ{f!j l t_lpaQ
f!; = ~~- Fixed aspect ratio. We need to do this to allow the width and
---~
rorm "E 51t to be different
2 ratlo ; 1.iiO:"l
jog ~
- -::2 37.5 mm for the width and press Enter.
~ ~ -i_

.... horizontal y
:ror vertiealy

Reset to IrQage

Change pattern offset.

- =:::1 reviewing the preview we want the lower right square to be white instead
1 14ap~ing
IProjection
-- n 1

- =.ack. G T

IFace <l > I

='"!eed to move the pattern either half the height or width to shift the pattern. -~~ I
I
- :o.ooo;,;;;
: uill move the pattern half t he pattern height IHrN 1} IJ J\ 1J !J 1Lf"H j :t_..

- -::2 12.5 mm for Vertical Offset and press Enter. lt ,,!;;~li i !!H~ij
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.

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. 50
Select the cylindrical surface and apply the same checker pattern I
appearance (default texture).

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.

? same directior =.ould like to get four patterns along the axis 0 Fixed aspect ratio
- e cylinder. The preview window shows that D At y.idth to selection
-.: -:~agenta side of the rectangle is in the same 0 At hei!,nt to selection
:.s :tion as the axis of the cylinder. 8
~~~l jjll!! j i ....

l::~~!ill~
[0
: :.< the Mapping tab in the PropertyManager.
1.00 : 1
Aspoct rabo:
- ~5enta represents the height of the pattern.
Q (lSO.OOdeg Ml
~:cuse the height of the cylinder is 50 mm and I ~ ::I::J,)J -c_-;_:::j

=- 'o'a nt four instances of t he pattern. the 0 Mrror horizuntaly

0 Mirror vertia>ly
-.:::ern height must be 12.5 mm.
Reset to Image
s,o - -:e 12.5 mm for the height and press Enter.
-~-e are now four patterns on the cylinder.
j> ~.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 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.
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.
s-ae/Orientatlon *
The Rotation changes the angle between the 0 Fixed aspect ratio

axis of the cylinder and the axis of the applied ::::1 Fit width to selection
EJ Fit hoigh t to selection
pattern. The result is a pattern that spirals
around the cylinder.
a 1s.2so;;;;;;--
UIQlftf
t I l_Jtlj
~:,
j il 'Q!J.!III.
[0 ~SOOmm-- r-:
When you change the Rotation. the other ifj ! I !111 I !Ill I 1ffJi:tai4
Aspect ratio: 0. SO : 1
mapping values may have to be adjusted to get Q 7.00d- ; - - ~-
~ 1 T ~_:_1.._1__ T ; j
t he pattern to come out evenly.
D Mirror horizontaly
Type 7.0 degrees fo r Rotation and press Enter. 0 Mirror verticaly

Adjust the Map Width to 9.035 mm and press

Enter.

Click OK.
Note The numerica l values used in this step are "close" but not exactly right. If you would like to be me-
precise 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:: Apply appearance.

arou nd the :.e :ct the spherical surface and apply the same
around thE :E'a ult t exture appearance.
Jf the mat:
-.= 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 ::-e looking at the preview in the Isometric view, we need to
::-::e the pattern go degrees along a latitude line in the pattern.
..: ~"i: the Mapping tab. Type go degrees for Axis Direction 1.
- s , aves the pole from the positive Y direction to the positive
:::: -ection.

- '::E go degrees for Axis Direction 2. This Si%<!'/O<i'ebtiltion .fl

--::- 2s the pole from the positive Z direction ~Fixed aspect ratio
0 Ft width to selection
---= positive X direction. OR heioht to selection
a ~.6666666611
:.-:ant! If you had trouble with this step,
: sure that you were entering the angles [D ~.66666666on
-~
;j

-e Size/Orientation boxes and NOT the Asped ratio: 1.00 : 1

C::[Jing boxes. 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. S"IZe/Orientatlon

Mapping width and height in spherical ct] Fixed a.pect ratio
j Fit width tn selection
mapping works similar to t he way it does
r-' Fit h.i!!ht tn selection
in cylindrical mapping. In this case. we will 6 12.100mm
just t ry to get an even number of patterns
t o join correctly. ro u.100nvn
I!L
A=ctratio: 1.00 : 1

Select Fixed aspect ratio. This will keep ~ O.O<Jde9

j
the same ratio between the width and
fJ 90.00deg
. j .. __ _:___] __ ,_
~'
height. which is currently one to one.
0) ' 90.oodOQ
Type 12.1 mm for the width and press j."
~J Mirror horizontaly
Enter. Height will automatically change to I ] Mirror verticaly
12.1 mm.
I Reset tn Image

5 Set the rotation angle. Size/Orientation *

Rotation angle will cause the pattern to , ) Foced a.pectratio

, ~ Fit width tn seJec:OOn

twist such that the longitude and latitude
lines will no longer be straight. 6 12.2SOmm ,; .
iiiTJTITrm--rr.-.---rr;;o;; .~
Type 20 degrees for Rotation Angle and ro 12.soo.,;,- ----- ,:~

press Enter. Notice that the pattern does ....-

A5P'ictratio: 0.98: i
not join smoothly. Using trial and error. we ~ 20.00deg
':l--- -- c ' - r P
can adjust the width to get a smooth
-A' '90.00deg
u }- ~ . _._ L1___L_j =-
pattern joint.
Clear Fixed aspect ratio. This is necessary cJ) 90 ~ '- _ ,_

MiTor 1-Mlrizontaly
to keep the height constant while we MiTor vertic211y
change the width. 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.
 su]of uJa~
5"' +I "JOJJa pue IE"
soJ!J uado 11e oSO])
suJan ed a4+ uaaM+aq +UJOf LJ+Oows e aAelj Me_=
1apow o4l au!wex:r
 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

~ study, we will add a decal to the face of the LCD monitor from Chapter s. We will use a decal,
=-c_- an appearance, because we need just one instance of the image.
154 Chapter 7

Procedure
1 Create an image for the decal.
We will use a screenshot of the monitor model we created in Chapter 4.
Open the file Monitor.sldasm in the Chapter 7\Case Study folder. This is the completed projec-
from the previous Chapter s.
Turn on ReaiView.

On the keyboard press Print Screen.

This copies an image of the screen to the Windows clipboard.

2 Open an image editor.

For simplicity, we will use the Microsoft Paint
application that is included as part of Windows.
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 : Pamt ~
-'= .ndicating that the image on the clipboard is larger than
- ::J. If you do, click Yes. 01 The imaQe in the clipboard is larger than the bitmap.
Would you like the bitmap enlaroed?

lr -- ~~ -- - 4 t:1.0 C""'el

" t
e~-ut~

.....
-c- 4- ' ltllol

........
-
~

o- .#a...
~u,M
t .flFJIMI:
..;e o.,..w
.......
.]_ ~St-

ll ~
~
......- t i
. ~ s.:-
"'"""'
"' ....
~ 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 0 .. .:- \if r(j - J :
application that is included as part of Windows. Cl1p-.f lr.uo)"

lOOM

!f"""U

s;n..,r~

$.:.1

(OIIU
I
C.-
l

Click Start, All Programs, Accessories, Paint. -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 :Paint 29
~=-= 1dicating t hat the image on the clipboard is larger than
-q. If you do, click Yes.
(?;) The ifna9e in the cipboard is l<orger than the bitmap.
Would you like the bitmap enlarged?

If____:tes - :1 No Cancel

e--
... .14
~- Mett
~ ~ OIIIllrill
.., ..,a -.....
~ <iJ CIMt
;j

. ~, ......
..
-
~ ~-

... -4 -
~
ct- ....--..
-~
V ~-
..,_
o.
~ C-Ot<ok

Save the file.

-.=52 files used to create decals are normally kept together in a custom folder.

: ~he Paint icon 11::. and select Save As ...

~ :the 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.

: : <the Paint icon . : . and select Exit.
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
~Imago! l
::o:: :~e Screen Shot image and click Open.
~
. -.'

Image fie path:

~ D:l,<;old\Vorks Corrmon\0

\1ap ping, a-'" J Broflse... I

JSave Deooi... J

;o select thE
.' Selective color mask
Use daa image alpha
-'dwlnel

the ability t:
'.1ap the decal.
:-:: the Mapping tab.

cals is t o Us: :e =2cal will preview directly on t he face we have

2rties of the -2~ed.

ab
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. l S..lectedGeomeby

11 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
:ICJ
--- -
I ~lapping

!Projection ~:

edges of t he viewing area. b\1' ISelected Referen<:e ::;:

To size the image, we need to know the size of the face where the decal is being - @:._oo;;., - :
"Ufi.''' 1t 1 111Hdjta
applied. Rather than measure the size of the face, we can start by letting the 1
I t fO:ixmn - ~
decal fill the entire face. then reducing the decal size slightly. j lit1I .i t j1
i_ _ _ _ _ _ _
!p
ij N nw tJ

~iortentat;on ;::
In the Size/Orientation sect ion, clear Fixed aspect ratio and select both Fit
l Ftxeda~drabo
width to selection and Fit height to selection. G!J Fit width to selection J
\ 0 Fit hew# to selection

6 r433.a9999866mm
IJnJ flll_li(li_j! Jrll"'w

[[J 269.81.;;)144lmn -
~~,,I 11! U f)fiif-
Aopectratio : 1.61: 1
1
Q Jo.OO<le9
~_T_"_,....,.._,.........,
-

0 Mi"ror horizoot:lily
0 r-wror verticaly
r
, R~..<!t !Oirr.3!ie
'-------
12 Reduce the mapping size. Sl:te/Orientation

Notice that the decal size is 433.89 mm x 269.81 mm. D Fixed aspect ratio
I'J Fit width to selection
Clear both Fit width to selection and Fit height to selection.
Type 420 mm for width and 260 mm for height.
0 Fit height to selection
~ r=
D ~l!tlllJ~
-
This gives us just a small gap around the decal.
[CJ l:;olf.7=~=-
Aspect ratio: 1.62: 1

Q. 1o.!Xlde!i
'1-:r-....::r_r_~

0 Mirror horizontaly
0 M<ror verticaly

1 Re-..etto Image
 Decals 159

5t:t decal illumination. tr.:oecals - -2..

o?:: ~e Illumination tab.

~.._
- "' can take the illumination properties of the appearance to which they are
- eel. or they can be adjusted separately.
-my fIllu mination ~

- s decal represents t he picture on the monitor. it should have its own CJ D)malllie help
from within t he monitor. We can create this effect by using the Luminous l 0 Use underlying appearance
- 5
-::3:5ity pro perty to make the decal emit light. Increase t he Luminous intensity
I
DiffUse Amount:

::..25 w/srm/1.2. ~Ll.J.J. 1.1. Ll~

SpeOJiar amount;
iT
OK. , 1.00
1 I I
I ,~
-{]

SpeOJ!arcolor:
~"""'
~

SpeaJiar spread:
!o.o1
Q I I I I I
tB
1= r r = f 4

~ ReflectiOn amount :
'' 1 ~''drliiIW
10 .00 ~
!:i ,,,.... ,....-,, t4
iDn
r:trabo
D Blurry refledions
~ Transparent amount;

~ ~.oo
r ,---,.... tB
,.---, ., T t4
~ ~
luminous n tensity:
; " m~wu

:4131ml ---
!0.25 w/srm" 2 llH
1-~ I I !lfi t1f.ai
o: 1.61 : 1

----: r
--
~ Examine the model.
crizontaMy - t= decal is bright er t han the rest of the
.r.icaly -.::::el and can be clearly seen in the floor
to ~'llal;e s ection.

iDn
ct r<ltio

' sekction
D selection

I
~9!jJ
r.-
Tt!!Tf1jijjiiii
fT
o: L62: 1

[;
_ :::r__-:r_::c9
crizontally
erticaly

t iD !mage
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
8~ D..:als (LCD monitor15__
the decal Screen Shot and select Edit Decal. 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. ~ Save As
Right-click the Screen Shot ftQ JJ.
deca l in the DisplayManager ~
Organize
-- --
SolidWorlcsCom... CustomOO<:als

Neo.v folder
~ [ <-,. j j ~arch Custom D~cots P

and click Edit Decal.

Select the Image tab.
Click Save Decal.
Save the decal file to the
same folder as t he decal
image
... \SolidWorks Common\
Custom Decals.
Click Save.
~ J. Solicl\l'lorks Common
_____! Custom Appear.mces
_ _ _"I.....,_c.:..:ustom Decals
~ Custom Scenes
.,!. 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<on
D Remove bend hnes

\#, Hide Foldoss Save ) I Cancel

-_.,;:; ...
-::;- .
_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 - -...'""::r
-
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
 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!': 3pen the part Decal Mapping.
t ::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
- .=.-

Add a decal. Appearances, Scenes. and Oec.als ~131

_e-==.s can be applied by simply dragging 1- w ~ t

3bel to a
-=-from the Appearance Selection area of t<, e Appearancos(color)

-.:: - ask Pane onto t he desired face. $ ~ Scenes

:alto multip.:: 8 Decals
. ~logos
:~~the decal improved logo from the L~ Custom Decals

=ecals, logos folder onto the face shown.

1ces.

~ro~~~
imp roved logo

ask Pane. ThE

labels logo

Adjust the decal s ize.

ertyManager
.: :k the Mapping tab in the Decals PropertyManager.

'2ke sure the mapping type is Label.

=~ange the size of the decal so that it is 75 mm x 18 mm.
e or faces.
:::::Jtate t he decal180 degrees.
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 Top View
model.
 Decals 165

Change the mapping to Projection.

SeleG :-.1Projection mapping, the decal is reada ble in the Top view, but t he lett ers are st ret ched around t he
~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
Decal does
--',nkle (not lie flat), it will not attach in SolidWorks.

Cancel.
: .ck Cancel and close the part without saving.
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
1 Open the assembly.
Open the Battery Assembly from the Chapter 7 \ Case Study\Battery folder.

2 Open the part.

Open one of the batteries in its own window.
 Decals 167

~ply appearance .
(ewill explo::: .;: .:: start by applying an appearance to the entire model. This will control the areas that are not
which decal.s =-ed by t he decal.

- the appearance satin finish stainless steel to the entire model.

:...dd a second appearance.
~.s can 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.
Fillets
-,;_--:= the appearance machined steel to the two fillets
'I
~ ::ile face shown.

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. : - --::2

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.
 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.
.........<ing Techniques
? : are two ways to select the area of the image that will be masked out. Additionally, you may choose
_s:: the entire rectangular image as the decal by not masking out anything.

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 msk 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
E:rf lbnila~
..
c~
=-r pixels in the decal which have the selected color as transparent.
--e Pick Color eyedropper (2] is used to select colors from the decal
0EEffiE
I
~

!Re1110ve Color
~~ ::~evi ew.

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

--E 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.
~ 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

10 Copy images.
Copy the following images from the Chapter 7 \ Case Study\ Battery folder t o
SolidWorks Common\ Custom Decals:
Battery Label l.jpg
Battery Label 1 Mask.jpg
Battery Label 2.tif
Battery Label 2 Mask. tif
11 Add another decal.
Return to the window with just the battery part.
Select the face of the battery and click Edit Decal ~.
Click Browse and select the Battery Label l.jpg from the Custom
Decals folder.

12 Map the decal.

Select the Mapping tab.
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 171

-,;>ply a mask. ar.. ~,

:.:: ""'Ot want everything in the decal image to show on the model, only the ~)(-{'sl

=.-d the center gray box. To remove the remaining parts of the image, we f~~ H1lbiW1aticrf l
:: :>lack and white image mask. 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.
!mage file path: I
I;;;) C:'$oidWorks S~y.Step Gt.i ~

E:ecal and mask images are shown below. You can think of the mask as a
I Bro"~=J --~- I
: .:. The black areas are the solid part of the stencil and the white area is L !saveD~~
e-e the image ca n go t hrough. ~

. (! Eineskfile)
u e COIOi iMsk
0 Use decal image atlha chamel
Decal I
f"tlil<il'il\\l!ilii .
. ~
lii(.,,~~

Mask 0 Invertnesk
f-lask file path:
I6:J C:l,'ioidWorks Stop-by-Step GtJi

j Browse... I
Save the decal.
: :< Save Decal and save it to the Custom Decals folder.

: :< OK.
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.
0
Click the Pick Color eye drop per (2). In the preview area, click on the white area. 1111 111
This will mask out everything in the decal image that is white.

-.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 Battery Label 2 Mask.tif fi le in the Custom Decals folder and click Open.
lr
r-
-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.

-<52the drag handles to rotate, size, and position t he decal over the gray box in t he
=:ious deca l.

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:::~ --? --- - oec:als~

Decals (Battery_&) B ~ Decals [Battery_&)
- {S battery label 2 ~ ~ battery label 2
- i! Battery Label 1 00 ~ Battery La bell
=- battery cover liJ fj battery cover
Decals showing Decals hidden

n Save the files.

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 cove-
turns to orange as we approach the edge and the body turns orange near t he botto m.

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

~ =t:Jly appearance. I _ ~~
s:: ' --e porcelain appearance found in the Stone, Stoneware folder to the /J
- ; ::ouble-clicking the appearance while holding the Alt key. - .z_- 3
~E 3. I >
c:,or section. select t he color red.

:K
=--eview the render.
=:-er render preview t o examine the part The
5 _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
-:

.-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 ca-
use 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<s ~~ I
j Browse. .. I 0Invert mask
jSave Decal.. . I Maskftiepoth:
~ [ C:\SdidWorl<s COITV!lCr

1Browse ... 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~ I Mask Image

QNom<~sk
--
Select Image mask file, then click Browse. ,
0 Imoge mosk fie

Select the Linear Gradient Mask from Custom

II 0 Se:ective color m<ISk

Decals and click Open.

I
1

J , _ :_]
Image fle path:
QJ [c~orksc;;;..,.~

l 1 erowse... I
l ~veDec~ ... J

I
0Invertm<~sk

Mask fie path:

. !;!! IC:I,So:idWor~C~

l . t>rowse ... I
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 181

~en der 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 scree-
however, 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

dle Mouse Button Functions

f.i"""""' --:: -;,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:

Wheel
'~tl -= Function Button

-:sc ~otate Press and hold the middle mouse Press and hold the wheel mouse
s::-::s button. As you move the mouse, the button. As you move the mouse. the
S<J.::::: view rotates freely. view rotates freely.
~otate about Click the middle mouse button on the Click the wheel mouse button on the
:=eometry geometry. As you move t he mouse, t he geometry. As you move the mouse, the
- NE 3
view rotates about that selected view rotates about that geometry.
-=~ geometry.
. .5-
The geometry can be a vertex, edge,
axis, or temporary axis.
Pan or Scroll Press and hold the Ctrl key t ogether Press and hold the Ctrl key together
with the middle mouse button. The with the wheel mouse button. The view
view wi ll scroll as you drag the mouse. will scroll as you drag the mouse.
Zoom Press and hold t he Shift key together Spin the wheel mouse butt on. The
ox_ 1~ =
with the middle mouse button. The view will zoom larger as you spin t he
view will zoom larger as you drag the wheel downward; smaller as you spin
mouse upward, smaller as you drag the the wheel upward.
l.Zcn~
mouse downward.
Zoom to Fit Double-click the middle mouse button. Double-click the wheel butt on.

lOUSE

~mm:sc
186 Chapter 8

Arrow Keys
Arrow keys can be used to rotate the
viewpoint about the three axes of the Left/ right arrow keys Up/down arrow keys
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.
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
--: e we establish a viewpoint, we need to save it so that we can easily return Onentation lil
v keys ': :::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 @ J.
: r"..entat ion dialog. Click New View ~ and type the name of the view. IG saved v.ews

EJElEDEEl ?1
-=::1ange the viewpoint t o a named view, double-click the named view. 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 to Find It
l he defc:.... !lenu: View, Display, Perspective
(ing to /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 bl4!411Mil'Ji5 -~J
-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 Observer Position !!;

:lerspective View dialog box. 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 Target point
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: 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
1 Open the assembly.
Open the assembly Blue Toy Car found in the Chapter 8 \
Case Study\ Camera folder.
 Viewpoint 191

~d a camera. ~StliiWorb ]

I r~ ~~ ~- rt!t r~ ~~ :~ ,~
~> - 'L--t r- ......""' - _ .... c..~.._.,. .
! "- '-~--- ,). - ,
7 ".- 0 A 1

--:,ick the Lights !

~..... ~ 'f'lll ,.,,.. ............ I'~,;::...

., t he ~~r'+'li

lll*u#it~-l apgr-~ ... ,""1, ..~....,\).~~~- J eJ-v--~- 6-

:: 2: 'J!anager and select

~ 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
9 --
t ..""M
,
IU:SM

'
. ' ::wrn.-...
- ~,
~I
I:At ~
" ::,~ --"'""~w -w~
~~f...-r,.t"""''!!"....,.n .2'!1i><~ --~~-'"'"5""~-~

Aim the camera. Camera Type *

=:: Aimed at target. 0 Aimed at toroet 1
0Fioating j/J
--,:d by selection is active, so all we 0 Show numerit controls
l 0 l ockcamera JX)'tiorl except
-:= :o do is pick a point on the model when edithg _j
~:: e we want to aim the camera. ~Target Point . II:~
-?_
Target by se!ection:

L -2:~e 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.

-<='~ 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 (gree-
and longitude (red). -
- ~

- :2

@amera Position C~er-a Posjtion *

-~-~
:
Position by selection:

0spherical Qspherical
Ocartesian @ cartes:1an
'\. [28,589in

For additional control, select Show numeric controls under Camera Type. <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 Po~Mn by selectiin

Longitude: 45 deg I
Latitude: 15 deg

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
 Viewpoint 193

-.djust camera rotation. ~

2 "ault Camera Rotation will roll t he camera around the axis between the Sot rol by selection: ~ I
e--a and the target. For this image, set Roll to D deg. I
~ '~ 1
1: _j
Fa roll can also be adjusted selecting a line. edge. face, or plane.
!GE l?.'i
,!,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
["] ' ("'frl

-= ~amera t o the posit ion shown. The r~-;;;.,..a Poslliq-n - - - - ~

1.1111!!

-set point is the front vert ex on the Position by selection:

;:::- spoiler. I L
Spheric;!~
.se a so mm Standard lens. I 0 cartesian
P.>x'IOOnvn
'dti }q p rrn 11 " II ' q wtrt''4
:.: 2ct 11:8.5 for the Aspect Ratio. We will
~Y . 180mm ~,,
e. ::mine aspect rat io a little later in the ii;:,; T l i I II I!'! I I I '111);tM
::-apter. ~z -6l5nvn 1:
ta '}f I I 'lk' tllJJ I a tfsRij
194 Chapter 8

10 Change camera view. Ori!ntation

Press the space bar to open the View ~~~~
Orientation window. Both camera views i @
have been added as named views. @(j)@@
@
Double-dick Camera2. 'G, !Saved Vrews
jstart
The image should be cent ered on the screen fJ1 I Camera 1
but re latively small. .~ 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 zoe-
With 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 . r-=:e-'~,.
ew rectangle e
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 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.
5..: -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.
e;;
Camera Lens Isometric View of Model Camera View

Perspective Off
~~""-"
Perspective Rl

~]]
h. 350mm - >
lltl!11' II p I 11.1 i ,.,d?!M

~ rlllio_iwidth : .hei<11_9:
11: 8 .5

Drag Aspect Ratio

196 Chapter 8

Camera Lens Isometric View of Model Camera View

24mm 3

e 3SOmm
tf! tf I II I iJ I I! p H :tSD;swf
It 3SOmm

~ratio (w:dth : heirjrt):

11: s.s

e 37.ssdeg

y
e ' 350mm
ii-11 ,, 1 r 1IIJ t [! _
:
'\a.fl"''''
It 2'10nrn ~:
I p i ' I I I I 'I I I I ! irirtllwf
Aspect ratio (><idth : heirjlt):

11:8.5 y J
cL , Dr"~~ Asi>ect~~~---
 Viewpoint 197

Camera Lens Isometric View of Model Camera View

=::mm

~ /.

~+--- e->~

~__._it
""T

Sllmm Standard ~]
- 2:6.99deg
1
350nvn ,
7
11 Jl [J if il !1 [4 ju'''''

~ ,.t>o (width : height):

ll: 8.5

.::.:agAspect Ratio
_j

.:; mm

~~
of VIeW

~ it
e->~,
__._
a;;;;relephoto 3
~
::; l6.07deg
1
l 350nvn
"JfJJ f f.\! I I! j [ t}fJ<i"
98.82'flvn
ttu i I Pp ti ( I J !d hHJWII

. - . : ratio (Width : heght):

H:S.S

Jra<J Aspect Ratio

 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 Isometric View of Model Camera View

Rectangle

F"teld ofVIe'/1 - ~"1

"71 Perspective

~......it
e-'~,

~Ar9e __ _.1,
9 21. 7'1deg r:- l
~ ' .T 1
e ~
~ii'"!J I I I ! I 1t' I '
,:-
o;g.;;
it 96rm1 <-
iiin fWl!tlJ1!!IJlli'1!fi-c
L = 250 mm
Aspect ratio (width : heiglt):
11 :8.5

Drag Aspect Ratio - J

- --
Foeld ofView
---
-- ~
.,
J?~~ I

~'-- e-'~

~ ......it
[ SOrrvn Standard
"T

::J i
./
9

e
26.!J9deo
J"
750mm
!lj 11 UH I lj: .. iftN 1ffi '
~> I ~
.--

it ~~ I !! I II I l!'!ffl~:;, I L = 750 mm
Aspectr~(width: heqlt):
11 : 8.5 ~I
Drag Aspect Ratio '
__j
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, a- -=- ::;eg ~
plane. 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.

Camera Rotation Isometric View of Model Camera View

0 degrees
~-lion

c =;
_ _ _ ___.l i
._jTop
~ .Odeg j :: I

+45 degrees
rc;;;;...._
r:;=;
jTop

-45 degrees

r.:=;
[ amera
'--R
.:_
<It2
_ tiot>
__ -~.~
~
~ -45cleg .
. 1
 Viewpoint 201
- - - -- --

Camera Rotation Isometric View of Model Camera View

degrees-
~e. face. Y +90 degrees
up direG:::::
!~ing the
~~
1:.1~:;:~
.- =-1
I T~ ij

'
~~ - : I

1:8.S.

~w

-go degrees

/~
~~~ -----~1

t
~ -Setrolby
selection:
I T~ -
IS
~-
-90deg
~
T .:
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.

Aspect Ratio Isometric View of Model Camera View

1:1 Square format

R~ofV~
---- - ~
2) Porspect;v

e
~:+] I
:I
26.99deg
) 1 ,

e 'IOOrrrn
IH~rij j
'
i1 {I! l jjf!Jji$jp
.h i 192mm- - f: 4:3
l l i l jl ) I H.! ~

~J.idth : height): -
. Standard video and print format
Aspect Ratio
 Viewpoint 203

Aspect Ratio Isometric View of Model Camera View

- c

i:: Y.CEC
.JJ Perspective
fCZ\:~ c.~

~ h.
e-~.
....... ~
[50iM, Standord ]
9 26.99deg
J
. :l-
toe

- -- -
-
e j!!ifDJJJliJTil'T"JJP'ij
400mm

h. , l92mm - .: .
iiiVJlllm;r:xrrm-w-...4 16:9
Aspect rotio (\\idltl : heiglt):
16:9
HDTV format
Drag Aspect Ratio

Foe~of V"teW

.JPe~ve

~<- e-1

....
~ .......h.
lsomm Standord :J
9 26.99deg t:
1'
e l'100mm . ,:
ti;l j j 1 4_1 f! I J I I jf I 11rJ' "'j

h. ~.;u I!f)! ilqtjljs~~~ 8:5

k;pect ratio (t.idltl : heiQht):
8:5
Widescreen monitor format
D<ag Aspect Ratio

Field of V"oew ~
1 Porspedive

~<- e-1
....
~.......h
[ 50mm Standard )
e 26. 99deg
J -
t:
' __::.
e "i'i
.m;;;;; - -r-:~ I
L' '' 9
I ( l j! I '~t'$'1Wfj

h l92mm t> 1.67:1

oonqqpj! li'l"i:J
:.spect rotio (v.i<lltl: heiglt):
~-67: 1
Cinematic 35 mm format - Europe
... Dfag Aspect Ratio
204 Chapter 8

Aspect Ratio Isometric View of Model Camera View

~~1 j
~~S~d -*-31
9 26.~eg ~~ . :-I .::

e <ronm .:~
hi !lJllli::rr;rm roiH!Iu I
ft. 19;m.;. .:-
1.85:1 l
i'fj1 11 jj f J I I j II 1_ 11 h!J!il

Aspect rl~: ~'1th : height): v I Cinematic 35 mm format - US/UK

I~ Drag Aspect Ratio

I

2.39:1
Aspect ratio (width : height):
2.39: 1
Cinematic 35 mm anamorphic format
VI

field of View
[J]Perspective
I"
~]
!~standard 3!
9 ~ ~ : I
26.99de9
) . -

f. <ronm
I!J;j
r:
! l ~i. I I u! !I I 11 \tlflif!IN

ft. 1921Ml ~
3:2
n!! IIJ!J HJ IHtB-.'j!utjf '
Aspect rauo ("idth: height):
3:2 v I 4x6 print format. landscape
l
:JDrag Aspect Ratio I
 Viewpoint 205
-- ---- -- -
rn View Aspect Ratio Isometric View of Model Camera View

jl;

"J Perspective

~_._h
e-l,
Ill
~ll!ndard T I ;I

e :~.i.~g
f- 1 " c ----~-
,:-

e 'llOmm
i;tt fTI
:
!f ''' I I Ut '1''11Jmrf
h 192mm '~-
Ui;rt i f j I I I! l , , , I tfNUJif 2:3
A!:;lfft ratio (w!dth : hoight):
4x6 print format. portrait
ll: 3
_:: Drag A!:;lfft Ratio

i Foeld:ofView ;;- -:;: l

:lJ Per'll"CliVe

~
e-l. I
e
IS<ml>Stnard
i26.99deg - - - : -
. )-
e "iiomm
hlj i l ! I ' I i
h
_._
I
-:::-=-:.-=.
J I 'J f U~t-
-~

h
tmn 1' 'V' ',, ' 1111111~
.l92mm
,.-~
I 7:5
Aspect ratio (width : heiglt):
Sx7 print format, landscape
7:5 iI
o Drag P.!;pfft Ratio 1

l
206 Chapter 8

Aspect Ratio Isometric View of Model Camera View

Field of Voew i\
~J JPerspecti\.'e

~1
[50iMi"St21ndord ~I
8 i26.99deg ,.
_:_Ii
~ 1 .
I
e fiilt 1'100rml
(fl Jl 1_q!
-~ . '~
If I l J,f;,~j!PJi
'
. ~::;;,,,,,_;;;I
Aspoct ratio (width : height):
5:7
Sx7 print format port rait
5:7 ~

[] Drag Aspoct Ratio

r~PerspectiVe
ofVoew ~~
i

~1
~Stonc!Md ~
9 26.99deg >:
1 I I

e ~ ~- I
ldHJJ II! j!J i )J lll fli#U*If 1

J. :.:;;,., " I ;: I ,,;,;:;.~ I

j Aspect ratio (wtdth : heiglt).:_ _
5:4

i s :4 ....
8x10 print format, landscape
lr 1 Drag Aspoct Ratio
 Viewpoint 207

ew Aspect Ratio Isometric View of Model Camera View

15011m Standard
e 26.99deg
.).'. --'- .
, :J

'
. ;.o~
L1 '100mm
fi11 I trnTITlinTif''"''
1r. 19~ r:
,,, t l l fi ! i J i 1 I I l ttU'"' 4:5
~ raijo (>">idtn : height):
8x10 print format, portrait
1;:5

Orng Aspect Rlltio

T I
_ _J

Field of View .~~

J Perspective

~h
e----'~.

e
15011m Standard

e ,40en.n
lr. 19~
26.99de<]
.) . .r -

,, -11~" 1
.
J.

ji I I I I I I ( I ,.,,,,.,

-
:J
,. 1
~-
~- I 11:8.5

r:uq!! U( ii II 1.' j1uitatH
I
Aspect rotio {Y.idth : he9'>1):

11:8.5
Drag Aspect Rlltio
__j US letter size, landscape

------

Field of VIew ~

7 Perspective

~'--e---'~

~ lr.
"T

J.

!SOrmt Standard T l
e ~26.99deg .: . I
J-: ' -- .
e l-iO~ - - :
nqt I i J ! I I I I i j li l -.h'1'wf

h 19~ - ,
8-5:11
11? rtl l j j ti t !fi l )fi!1:tiflt
Aspect ratio (~tn: heslhl):
US letter size, portrait
8.5: 11

..J Drag Aspect Rlltio

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
In the above tables, the I ~... !: ! ..2~ ..!.. ,s a!. ~ .!.
....... ...-
~ ...,.s.o.. t.;;.~~- --~

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
 Viewpoint 209

~--
~arent Depth
=s-- ~ 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
- :::>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
i""2 ;_ _::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$4Hfii\+Jffiij
[~ ~ light.
--ere are six cameras already set up. Each camera is aimed at the same point 1$ ~ Camera
~24mmlens.
::-the red and blue box. ~3Sm m lens
~SOmm lens
~ 85mmLens
~135mmlms
ffl 200mm lms
f. Walk-through

-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.
210 Chapter 8

3 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 ----...&..I.CI of I

Camera-to-Subject Distance = 381 mm Camera-to-Subject Distance = 635 mm

-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,
~:nang 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.

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 i-
a 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.

~1isis 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, right- Focus plane
dick Render Camera and
select Properties.
Select Depth of Field.

5 Select the focus point.

The focus point is the point in the scene you want Focus point
to be in exact focus. This may be different from the
point where the camera is aimed.
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 t-d-'(f-
behind, the focus point that will be in focus. <1J !
[lJ Focus by selection:
Click OK.
f ,....50nvn
hi!t:!!. tii iflj!l * .-
 Viewpoint 215

?review the rendered model.

2~ see that the red car is in focus. As Out of focu s
::-: 1e to either the foreground or
5 ound, the other two cars lose focus .
c -elps to guide our eye toward the red

Loss of focus

Change the focus point. 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.
216 Chapter 8

10 Change the focus point. -...ase c_

Right-click the Render Camera and se lect Properties.
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 .

12 Render the model.

Now that the adjustments have been made
and previewed, create a final render.

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.

2 Hide the ceiling.

Hide t he part named ceiling.
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
--:Jm
ion the camera.
~ 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

) 45deg~ ....:-
"'5 :1ethe room. ' 1 .
0 9deg
-J
25':.

Je7
220 Chapter 8

9 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 221

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.
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

None
.:--.,.. 'Nhen the model will be used in a composited scene.
c, - 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<enes and Environment

5:enes create the setting around our model. Without a scene, t he model would always be rendered wit h
-.:::hing around it. It could not cast shadows as there would be nothing for the shadow to fall upon.
=.-tironments provide a 3D world around our model to provide something to be seen in the reflections
-- the mode l and to provide more realistic lighting.
-3Ck to Model or View
-en using scenery elements or lights, the relationship between the model and scenery or lighting can
::;e either
of two types, Lock to Model or Lock to View.
: ...-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.
.-:<k to Model keeps the scenery or light s attached to the model. Imagine a photography studio with the
~1ts on tripods resting on the floor. The camera (our viewpoint) is held in our hands. To rot at e, pan. or
.:::om, we move our viewpoint. That is, we move the camera to a new location. When scenes or lights are
.:c-<ed to the model, they maintain their position with respect t o the model regardless of viewpoint
xsition. When you change your viewpoint. only the camera changes position.
-.:xk t o View keeps t he scenery or lights attached t o the camera. As you move the camera, the light
.=-:ps its position relative t o t he camera and moves with the camera. For scenery t his would be
?:'Jivalent to t he camera and scenery being attached to the floor. and then moving the model.
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 o-
locked 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..~<ilo..J~\S.t.<~..~(Q,..<L<:\:-..~<:i~,~
~:::grapher's studio.
3a:
X::enery Examples
0"
~- :.: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
;:,;-;::.::--
::. 1odel is rendered without scenery, there is
- ng to put the model in context or to have
~so:
-e::ows other than the shadows t hat fa ll on the
lg; J...,..
-::::el itself.
:::

-.e =--
:-._ -
Self-shadows

::sa-
!21
:;-_:-~=:;:

~ r:.cr=

55
3~
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 With floor appearance

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 Background
screen and are locked t o our viewpoint so they do
not move as we change our viewpoint.
In the images below, the viewpoint is moved, but
you can see that the background is exactly the
same.

/
Viewpoint
and
direction
 lU!OdMa]A pue 1apow Jno spun:_
~E'4l aJa4dS E' 5! lU<lWUOJ]AUCl ]E'J!J<l4dS 3.._
::.
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 Appearances. S<:ene:s. and Decals ?J

- Jdels have a scene assigned to)hem. Initially, the
~ '
=2 is assigned from the part or assembly template. + 0 Appearancos(color)

--==-ent scenes can be selected from t he Scenes folder "' It, Scenes
~ Basic Scenes
:.- e Appearances, Scenes, and Decals tab of the Task ..;. 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,
Kitchen Background
Scenes fo lder. double-click a scene
-:-ask Pane: Appearances, Scenes, and Decals tab.
Scenes folder, drag a scene to the graphics area

Factory Background Office Space Background

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.

::..eS!: E~tn~tmM Jll ~t'lllm ~ I . moolB.!il ~

t: 3asic tab controls the choice of ...? x ~ ..? X It) ~ X !f)
- t;round and environment
~ (BaSi?( Adv<m<dl ~) ?(Ac!v~J dtrilalim L
:-.=ges. From this tab, the proximity
lladcgro<llld :::. floor Size/Rotation 1::~ j J?hotoV'IO.W IllumiDaticm :::.
: - e floor to the model and its [Image ~! LJ Fixed aspect ratio Ba~ound brightness:

: : tation can be controlled as h .ooo wfsrrn.-..2 ~

0 Autosize floor bun, I) 1jJ q 11 ! t, 1! fi''#~,~,.-4
~ 1

E as turning on shadows and .--- Bro-.-,..,

- .-..- -,] ,..., 1fldth Rendering brightness:
:. 0 Z647.91mm -~:
~"" ::rtions. L
wq ; j '1 111!!!) ~~~~~~~j
12.000 w/srmh2
iiiiiJ [!_ 111' 'l! it' 1 l}lhhnu;j
0~~0(~~~ Depth Scene r~flectivity:
-.=tanced 0 Keepbackr;l-ol.<ld [0 2647.9Imm 12000 wfsrm.-..2 >-$--
---= Advanced section controls the UJ.l 1J I I lJ I ! I 1 I I i H'iii''"' if;t~ l I !J P j I j !i 1I I ij J !jd.ijdfiiM
Environme.nt :::. Aspect ratio: LOO: 1
::=of the floor and the rotat ion of ~ C:lprogram Files\SolidWor Rota~on

-: environment and can be used to 8r0'.,\'Se . . Q odeg .

)-.,_}.:__~_-L_r---,.-- : .-.:::__!'.:._.
L__
=the scene file for reuse. .J

~- - ~
:=:nination 0 Floor reflec~ons
--::Illumination section controls I
[JJ Floor shadows
Align floor wi~1:
""E overall brightness of the (?J!xz ~!
I ~ C:lprogram Fies\Solidl'lor
=-~ered output from the offset

E
I Browse.... j
~''j':::~= l
~ 'omm- - ~:~
-onment. In addition, t he
s:'ltness of the background can I Save Scene... j _ J
:e :ontrolled to better match the -~

_s:-.tness of the model. The remaining control, Scene reflectivity, controls the reflection from the
- =::~1 environment.
--=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.

2 Access scene PropertyManager.

In the DisplayManager, select View Scene, Lights, and Cameras, then
right-click Scene (Grill Lighting) and click Edit Scene.
t:;; ~ Scene (Gnll lighttng)
The PropertyManager will open and show the three tabs. ~ 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

Select the Basic tab.

- ""E Basic tab has settings for the type of background, the file to be used as the ~ )( l<J
~ :m
-onment. and options to align and position the floor. Floor reflections and ~
2:ows can be turned on and off. With the Grill Lighting scene. we get a
~Background ~1
--~.ent background which goes from black on top to tan at the bottom.
Eiradient - 3
I Top gradient color:
--i: ::>ackground options will depend on the choice of background selected.
/ r r w
~ -. ~~ j ' Background
IBottom gradient color:

3]. pP j
;~

-
!Gra<ient _ __
, - T Top <}'c lient C<llor:
~
I :JJ Keep bad<ground
r-- - .
pP Browse... J ~
E.nvironme.nt _
~
1-::]
Bottom C}'alient C<llor: L.: Keep bad<grcx.nd ,9 C:lprog-am Files\Solidl'lork: 1

pP . i ~wse=-:J

~..:.... ____ U~P backgrcx.nd

- - -- - --J o~nd--3
-~~~ fFloor ___i1
[./JFloor reflections j

e widen the PropertyManager. we can see what the file used for the
[~ Floor shadows
A1<Jn floor ;,i1h:
I
~ ~]

-'f'r-;;;;; - - --- - - - .21

-onment is and where it is stored.
IFloor offset:_

C:
~t

Files\Solidl'/orl<s 2!) 13\SoidWO<l<s',:!ata~\textJxes'j)ackgcx.nd~onge_~ds.hdr

I Btowse... j
~

j
..
(,(! I)Jvn

,~ ,~~~::~=~~ij' I
~=

_)

~-
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 IF.loor S"tt.e/.Rotation
D fixed aspect ratio
image can be rotated through 360 degrees to properly position the light.
0 Au tosize floor
The scene file can be changed to something other than the current scene file and vv>dth

after making cha nges. the new scene can be saved as a custom scene.
a 2647.9!mm- - -

~~;-~~~~~~ j !HI"!W
Scene File
I[0 2647.9lmm

~ c:'program files\<olic:tllorks 2013\<olidworks\data'gaphics\<cenes\02 studio scenes\n gr~ lighting.p2s I fiiq;U{l': 'U I' t!U1']W'
Aspect ratio: 1.00 : 1
Browse... Rotation
~ ; Odeg
Sav~scene. j '-'-- -
_T_i_

Scene-Fde
-'?"' =:
[;l;) C:\program Files\Soli<t.'o<r

Browse...

Save Scene. . .

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 IPbo toVJew Dlumination

only see the result in the previews or fi nal render. I aackground brightn~
0.900w/= A2
Rendering brightness: controls the amount of light coming fro m the HD RI iifHHPH!PCJU.J J! i **
I Render~ ~tness~
environment onto the model. It is like making the lights brighter. 1.500 w{srmA2

..
(jifi ff]JJ [UJJi {II I II fw
Scene reflectivity: controls the reflectivity of the HDRI environment. Its
11 .~e r~flectivity:
effect can be seen in the reflections on the model from the environment. ., 0 .500 w/S<mA2
OftuP ~.' 11 ft 1 1
_! bt'J ':
 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 ::~

t he render preview. == 0
=~
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 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. right-
click the Scene icon and click
Edit Scene.

11 Change the background.

Select the Basic tab.
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.

12 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.
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
~
~:!idWorks.ln 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.
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 to-
background 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 t - I
.'!U.
Lights have controls in both SolidWorks and -' X Ii)
PhotoView 360.
~ PhotoView l' -------1
The Basic tab controls the brightness, color, specularity, Photoview Controls ~ lf-:l!asic
;,:=- -- - --
[,!j On in PhotoView Ill an in Solidworks
and position of the light and whether the light is on or off
Brightness LJ Keep light when scene
in OpenGL and RealView. 1 wfsrm A2 .: d'1anges

The PhotoView t ab controls t he brightness, shadow

1 111 1111
"' ' '' ' ! tU1z!!trii D iteoklr..
'-6 Shadows ~ ,. Ambien t:
properties of the light, and whether the light is on or off Shadow softness: 0
j '
in Photo View 360.
0 0

O.OOdeg
j Brig1tness:
Slvldo-.v quz.ity:
After a light is added in SolidWorks, it can be set so that 0.6

it is on in either SolidWorks, Photo View 360, both. or L__

'" '
16
f [j l l f ! Ill If! I f'i$11"'
.
I SpeCU..nty:
- - '1-

neither.
As noted, the brightness of the light in SolidWorks
PhotoView 360
Properties l 1

~ Position -
0.4
0 :~ :r. '

(OpenGL and RealView) is set on t he Basic tab while the [,!) ock to model

brightness of the light in PhotoView 360 is set on the . (iJ) longolude:

Photo View tab. These brightness values are independent I ' lBOdeg
j
of each other. I0 latitude:
6 5cleg - - --..
Where to Find It
DisplayManager: Right-click the light, select Edit [light
typej Light SolidWorks
Properties
DisplayManager: Double-click the light
 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. r~off in SolidWorks

:c J isp layManager. right-click the light Directionall and select On in I On in PhotoView -
__.View.
1
Edit Directional Light ...

IX I Edit All Lights...

Delete
- :rrn on the shadow. I df IShow Lights
--= J isplayManager, right-click the light Directionall and click Edit i \?' Add Directional Light

L ional Light. ~ Add Spotlight

'()' Add Point Light

2=: the PhotoView tab and select Shadows. Leave the Shadow softness at Collapse All
Expand All
~-"eg and Shadow quality at 16.
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.
E 2;1 now see the physical position of each of the two
? _.ionallights.
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. Li!Jhtl'osition ~

e-= on the position of the shadow under the keyboard, the light needs to be [J, Lock tn model

~ longtlude:
-::arly overhead. ln t he DisplayManager, double-click DirectionalL This
-unleg
:sen the PropertyManager for t he light. 1- -
E. _s:-tt manipulator shows that the light is behind the monitor because its
e Latib..de=
- Jn is locked to the model and it is at -180 deg. With a Lat itude of 65 deg,
65deg
r -
1
_5"lt is 25 deg from being directly overhead.
::-.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--
-:.cr-
E 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;o-
if 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.

A :;-;: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.

Reduce the light brightness.

--: :xightness 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.
-=.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
""E
..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.
~ 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 a-
shadow.

36 Create a final render.

With all the elements now in place, create a final rendering.
 Scenes and Lighting 253

Review the image.

E made a decision early in the process to set the render size to that of the SolidWorks screen in orde r
K-:1--c _ 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.

=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 desig-
intent 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 rende-
through 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 L-
ready 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

2 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.
To improve the rendering quality, the image quality settings must be adjusted in SolidWorks.
 Output 261

..:.njust image quality. ~and aaft quaity ft.R,H.v resokltion

low 1-i!tJ (slower)
~:lOis, Options.
__~he Document Properties tab.
:o:::s
Image Quality.
_ = the slider for Shaded and draft quality HLR/HLV
~ution

D
to the right just before the red section.
Shad.d and aatt~llity H.RJH.V r~tion
low
~ OK.

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.
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. {) Contour Rendering

6~
For some illustrat ions. only contours are required.

Click Photo View 360 Options ~

lne tt.daless:
Select the Contour Rendering. =2 !p t t1fl~ ;,.e.

Select Render Only With Contours. 1eat t.r>e Cola

 Output 263

Change line color. Color

_ ant the contours to render white, on the same Basic cokn
-- ::>ackground as the previous rendering. r o
Edit Line Color. ---1
d}..contour Rendering
Final render only
~

c

=::::the white color: eighth column, sixth row.
. [] lal
c

:.'" OK.
line ttKkne-..s:
1
. r.ro
::..- OK to close the options. ~r rrrrrr
rrrrr rrr
[~ Custom Col~ ]

I OK ll Conce! l

Render the model.

:::-:~ours
are only rendered in the final rendering, so they will not be visible in the preview.
::now have only contours.

~
264 Chapter 10

9 Render both contours and the model. .il Contou ,:Rendering

FNl r<nder only
For some illustrations, the model is rendered with the contours overlaying the
geometry for effect.
Click PhotoView 360 Options ~-
~~
Line thickness:

- 2 :
USil [i_jfif i ( i1 it1. .
Select Render Contours and the Solid ModeL 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. '-d Contour Renderi:n; - ~

:lhotoView 360 Options ~ Final render only

- = the contour line thickness to 1 pixel. []~

Line tli3CneSs: l
J K. 1 >.

1Editlile Color . 1

::!lender the model.

~ ==tours are not as dominant in t he rende ring. They now highlight t he edges wit hout overpowering
- ,ness
- 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 <ltrtd 1t600dpj.
3..5 i=C,g Cy 2.5 i::1.~
I.az:.e. file ~:in -12 liB

Toy Tractor
Radn'M st ."HIO <fl!-i
5 .5 bd:.~ by25 i::.d:.e:o
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
:.0::
==-=! set. We wi ll render each t oy at a different resolution and compare the results.

Toy tractor model courtesy of Marko M. Markovic

Start Microsoft Word.
:: Start, All Programs, Microsoft Office, Microsoft Word.

Open the brochure template.

~ The To! Barn I

D
-E"' 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
Toy('ar
1 ages of each toy. =~~~
e ,ill render one image of each toy.
L~L--'-->-----~--~-- '.)

To~.._.Tractor

DD
-""E ,'.Jord document has been created with text box placeholders ...,,.. .....
~::.~/=---
~ :-:e graphics. Each text box is 3.5 inches x 2.5 inches.
: If you are using Microsoft Word 2003 or 97. use the file - ---- -- ---- ----~-

-:::.: Toy Barn.doc. 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 if-
printer 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

When you render to a file, you select the number of pixels for the height and [ ~ DynMlic he~

width of the image. Photo View 360 has several predefined image size and
!
OoJtput im4Qe size:
!:
L800X600 (4:3)
aspect ratios for easy selection, but you can also choose to use the SolidWorks I 6 :soo
view from the graphics area or define your own size. iil:tJ:lljli!i f!!;J:: l =zJni-i.
_IIC!:II:li J : :

[0 600
~:o:p:m~
1.33: I
c " FIXod aspect rabo

llMge fcnnat

(I; ]
jl'fndowsBII'P
. DefaUti!Mge P<lth:
C:'j.Jsors\Ml'Pictu'e<
~... '
 Output 269

:=e::: Ratio
~ : . onto setting the number of pixels. Photo View 360 has predefined size and 6'!0X360 (16:9)
6'10X'l80 (4:3)
~ -atios for the most common image and video formats. There are three 720X5'10 (4:3)
800)(600 (4:3)
__..e- -:ed aspect ratios that correspond t o standard monitors {4:3). wide screen
1024X763 (4:3)
1280X720 (16:9)
1280X1024 (5:4)
-:-s (16:9). and paper photography (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.

~_s the space bar and double-click the view Camera l.

Jetermine the number of pixels to render.

t: :::!aceholder boxin the brochure is 3.50 inches x 2.50 inches. We are going to render the images for
--r :1ochure at 300 ppi.
_ ::plying the size of the box by the desired dpi of 300 ppi gives 1050 x 750 pixels.

Set the output size. Outputlmage Settings ::::

: <Options on the Render Tools toolbar. D Dynamic help
J Output io'Mge size:

: ..,oa;- Fixed aspect

ratio and Use Background Aspect Ratio, t hen type 1050 for '1 ~- 3
--=Image width and 750 for the Image height. a .~~~I!~I !J i i!pl>l1f;j
[[J 750 -
-E ::ct Windows BMP for t he Image format. Hilt ! I tJfi)i i t])11;1rit
1.'10: 1
=-:- Final Render Quality, select Best . ~ Axed as:~ct ratio

, u.. ~cx.nd Aspect

! J Ratio
.e Setting the Image format to Windows BMP does not actually save the
Image format:
: -:de red image to that fo rmat. it only makes it t he defau lt setting whe n we save [wroowsBI.P =::J
-e image from the Final Render window. 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.

For good print copy, this image will be - := e.:: z--.e -=-c:
saved as a BMP fi le. This will result in a : =..x 5-:----:;--
la rge file but with excellent definition.

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 ~ ~!f.ng Up

@ Q 9jJ,. Chapter 9 ' Case Study T~~! Sear<h CoseStud\' .P I
Org >niZe T New f older j;: T (@
... - --- -------- .. ~ -- -----
..,.. Product V1 sualtzation_o ld ~
Nam e
.,~r ProductVisualization Ciean
..). Complete
Open the
.,;~~ Chapter 2
., Micrometer :::- ::o ~-e ~
_ Chapter4
Ji, Render Scheduler -""'be 3::-..:dy -
-' Chapter 5
_ Chapter6 J -A Toy Car
.....,:~ Toy Fnetruck
---
--= -Cr
j,: Chapter 7
~ Toy Tractor
- ChapterS .Jeten nim
- Chapter9
Case Study
..., Complete T
~ =--==-~=-.,_j '
Fifenam~ Toy Tractor T
Sove as type: ~s BMP (".BMP) Tl Set the oo
. Hid e Fofders: I Sa\ll!
lI Cancel
I
_ Options :::

--2!" fixed asp

~ OK
 Output 271

Insert the image into the brochure.

::h to the Word document.
-. the middle text box. I ~ The Toy Barn I
_,the Insert menu, click Picture. 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 Toy Tractor
a....,.. .,)ot t,~
~~:nent

IlL
may beslightly different depending on the JUack'f1H~
Nt llltl~tl

:: :::m of Microsoft Word that you are using.

'

Toy Fire En~ ne

- - ~-.r
..........
~)( f ......-
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. :.:a: :1g Do,.T.

Click Final Render. :..::. 5 co..~:::
'P.?:s -e :::-::
We can see in the Final Render window that this
~:::ge- =s
is a very small file. :----;;:.-c ,...._,:or -
- -.s~ . . . _c...
14 Save the image.
- 5...-itch b.:
Click Save Image in the Final Render window.
Set the Save in directory to the ---= s ":; / -:::
Chapt e r 10\Case Study folder.
Select Windows BMP (*.BMP) for the Format.
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
In the text box to the right of the caption Toy Fire Engine, insert the image Toy Fire Engine.bmp.
: = Options :::
-s -zge ,,
16 Scale the image.
- aspect
Scale the image to fit the image box.
Egewidth c-
Depending on the version of Microsoft you are using. the scaling procedure may be slightly differen:.
: .: OK.
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. ~ender
th
:-- Final Ren
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. Save the i
: ::: Save I~
5= -~e Save in
Toy Fire Engine
Loss of ruolurion 3e=:: Windo .
R<ndered as
100 pixels by 75 pixels
File siz.e - 29KB

- ' 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.
--3 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
- --
I - --=.~

~< OK.
x::::? a:-=

Render the assembly.

: :.< Final Render.
r::c=
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. Screen Pre~

Click File, Print. ::e frequently
:~ a projectio
Select the local color printer and click OK.

24 Examine the printout. .eb pages a-e

~ ppi but COL
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 .~onitorand
are usually not wort h the effort. The quality of image of the Toy Fire Engine model is unacceptable. Tr s = ou are gal..-
would have to be rendered again at t he correct resolution. =: owing are ~
.'GA - Vide:J
SVGA - S~.;p;

~ The Toy Barn

I(GA - Exte...,
5XGA - Su::>:
..)XGA - Ultr<
~XGA- Quae
Toy C ar :lSXGA - Q~
Ral.tdt600 4f;li
3 5i:c_'loa~~5 i:~
Ur:tfiluizt - U liB :s: of these :
--.e ,.idescree..,
- :-e- projectc-
.es:: XGA resn
TO)' TIacto1
Ra.c!t:red. t JCO lpi
35 !~.- ~~ ~y2 s i:.C'l.to
filr,.sizt - llm
- :::er. they a

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.
 Output 275

Screen Presentations
2 frequently need to incorporate rendered output into web pages or presentat ions given with the aid
-~a projection syst em.

:~ pages are norma lly format ted for 72 or 96 pixels per inch. PowerPoint presentations are normally
!?3': -~
=c ppi but could also be 72. If you are not sure about the projection system, use 96 ppi.
&=n-:g "onitor and Projector Resolution
a:.~~
J .. ::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 PowerPointpresent 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.
-~ 1!!/J~ ~~~
~
. ll'l!'

Exit the slide show.

=""...S Esc
........ on t he keyboard to end the slide show.
~2 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 "" - - ....
_, I; _ ..

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 F-
Render window.
 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. rmuwwu ~
-=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.
~!
l!!ptoview Controls
.:Z On in PhotoV"oew
~:t t hePhoto View tab and then select Shadows. This will turn on the shadow I
i ang,~n=
" ..:st this one light. 1wfsrmA2 1:-
I
i
~ '!!11
1
uII 1[11 II I"'''"'" j
- . OK.
(21 Shadows ) ~
Shadow softne:!:s:
' O.OOdeg
~
Shadow QUOioty:

Examine the preview. ~ Red_Toy Car.SLDASM- Photoview 360 2011 spl.O

"F e is now a well-defined shadow from light PCI.:S:e
::....~tionall .
Render.
e- .::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.
280 Chapter 10

5 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 Layered Open EXR Half 16-bit [* .exrl
__:~-fi le PN G 16-bit Layers [* .pngl 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 lege
Carlayered.Aiph Cor I~
Lego Car-layered.Final Color Output.png a Output.png Colr:r
Lego Car-layered.Alpha Out put.png 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 0 and leave the
.::L... I Extent at 40.

-: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 Add-
State.

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 Display States

>:::Jress/ Resolve components Hide/Show components
~-:rj)on ent positioning No equivalent
~ e::t part material properties Assembly-based appearances
.; :::t part configurations 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 ~ 10':~: ~ 1 MJ (j ~
.,...<f Pane of the FeatureManager design tree. Clicking ('if~ -- -- ")
~ Suppo<t_Frame (Pianks-~<D:splay state2 ~)
~E ::on in t he row with the component name brings up a
@] Sensors
-:::::change it. lt can change a component at any level of it) rn Annotations
::55embly. ~ Frcr1t Piane ~
~ TopP\aM <&
<& RiQht Plane <&
t Origin t
ll ~ (f) Support_Leg <1> (Lon~ ArmLOOQ Arm: ~ G) .LJ
.LJ
IB ~ 8race_Cross_8ar <1 > (Pia!nPia!n>_Displa ~ (;J
w '% Brcce_Corner <1> (DefaLk<<Defaub_Di>P' ~ ~ .LI
1, ~ Slwort_Leg <2> (Long fll mLoog Arm>-~ ~ ~ .LJ
00 ~ Brace_Corner <2> (Defa.l<<DefaUI:>_Dill! ~ GJ .LJ
1iJ ~ P~k <I> (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:
Wireframe ~
a Hidden Lines Visible [ID
Hidden Lines Removed ~
Shaded With Edges ~
Shaded ~
i;j Default Display ~ (of the assembly)

Appearances 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 r Compo-g-
current state and as a method of changing the setting. Most are recognizable ~ appea;.,. ...
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
\_Part
e, appea=--
owned by subassembly models.
. ~ Appec?
Tip If there is only a single (lower) triangle, the Part appearance is used as the ownec. _
subassa-
assembly appearance.
 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.
~:e 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 .
....,;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 the-
assembly to show off a product line.

Model ~ourtesy of Fixtureworks Workholding Technologies

Procedure
1 Open the assembly.
Open the assembly Multiple Locking P ins from the Chapter ll \Case Study\ Locking ?
folder.
 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 l :J
c.-.e this display state to Black. @5 <Default>_Display State l

[ J lhk Display States to Configurations

.-.dd appearance to the part. r Display States

o J:hisdisplaystate ......._ _
- ~
s and hold the Alt key and double-click the appearance PW-MTll 0 l 0 AI display states
~ ::,e Plastic, Textured folder. ~fy &spay state

g ... -~ =>ropertyManager under Display States, make sure that This display
~O- -J
l- .~
_z..: .s se lected because only this display state will be black.
Ill -=- ,
OK.
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 Display st>Jtes

to have the chrome appearance regardless of the color of the plastic. <,!
Ills display staU,
~display states .............._ _
~display staU,
Click OK.
l[i-11 ~
8 Examine the DisplayManager. ~ ... - : --
The PW-MTllOlO plastic is attached to the part and the chromium Sort order. !LHi_tsto....!
ry_ _

plate is attached to the three faces. -' ~ 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. Color

_-c_-:ge the color to orange. Double-click the Basiccoloor
..;2nt color in the PropertyManager. o r 1:1 o r ro
r oou
: -< Define Custom Colors.
o
a
1
: -c-:ge the color t o Red: 232, Green: 113, Blue: 8 .
::-< OK to close the Color Editor and OK again c r r
' Cuslom colors
::::.ply the appearance.
orrrr r rr
rrrrrrrr

I
~.noow<tom(;ol.:.rs

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}' ~ [Htstol}' ~]

_r.'t~pt~, St.stt' 1

::e::
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. Make the appropriate display state active.
2. Press and hold the Alt key while double-clicking the appearance.
3. Select This display state.
4. 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 eithe-
RealView 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. Co mpon<nt Properties
'2.e the Orange Handle - Green Generol properties
_=:.on display state act ive. Component Name: :li-18-()SO_BUTA-18_& tnstance ld: 1 FtJ1 Name : TACH-18-()SO_BUTI

-;: Feature Manager design tree, click
- ght-click the button part (TACH-
::-050_BUTA-l8) and click
- - ponent Properties ~
E E:t Green for the Referenced
component Rererence:
Co<rc>onent Desa1>tion: TACH-18-()SO_BUTA-18_&
Model Doa.ment Path: C:\SoidWorks Step-by-Step Gtides'frociJct VtSUalzation<lean~ter
(~>lease use Fie/Replace amnand to replace model of lh< compon<nt(s))
Display State specific properties
[ ]tid< Component
Rt~enced Display State

~
-.o:tlay State.
Red" - - - - --
:. OK.
Chanoe dsplay properties n : IThis display state-=::J
rtepeat. Configu-ation specific properties
Referenced configuration SUppressk>n state
2:2at this procedure to make the SUppressed
Default

_I
::-.::W.ge display state active for the ~ Rosolved
li!,tltwe;gl1t
::-::.e part (TACH - l 8 -050_HATA-
- --~ach). !:ave as
->R9<1
F:e~
Repeat.
: ] ExWde from bil
.:::at t he above procedure for the Chanoe properties in: of11111terials

- ::--:".{ Handle - Blue Button and the

~ Ccancd] ~
-.:Jw Handle - Red Button display
~= 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 diffr-
purposes 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. *

~
Camera Type '- Camera Position ~

::;;;: a camera and rename it Product Shot. G. Ained at target ! [_] Position by ~oction;
Aoaling l IArc l@Sketrn 2
::. _st the camera location and settings as shown. ./] Show nuneric controls ! Spherical
./ Led< comero position except Cartesian
J v.ren eating

~Target Point ~

l JTorget by selection:
<;Ode<;j
J.
-
IPolnttC>Qrigi'o
Q sodeg
~ -25nvn
. : l__
,-
Cameret Rotation
)--

~
~l -7()lvn ---~:..
tjN !l!Jf! jj! I I lt d1:til'' S<!t rol by selection:

~ 22mm t: .
l
I J , , , I II ' I I !! I I! ' 1 J;:ttl.ai i ~ ll~g

~
Foeld of View ~

[./j Perspecti: I~ Depth of field ~

f
~
r-: e---~. r--d-rf1
. a lr. ~ ill
I ...

ln Angl~ l !'l] FoaJs by selection:

9 30.5'1deg . j Edge < l >@Watrn Body~
2 As camera positions are very subjective. you can 1 ~so
1
=-the settings as desired. e r l'l!Tvn .
, 3i I! I !J l [ _l!_! i , i?'cuut
/r. SOSmm
I!Jt t i!I J( li J !tJf,T:f1ijnf

Aspect ra bo (v.'!dth : heqlt):

4: 3

1
~ Drag Aspect Ratio
304 Chapter 11

4 Add a second camera.

Add another camera and name it Catalog Shot.
Use the settings shown at right.

@ 7deg
Target b y election:
J --
Q ' 6 2deg

Camera RotatiQn
1
wt-r ~uu80nvn
il 11 II J II 11 II I
~:-
ifMfisaC Set rol by selection:

\i;) z 56mm
~ L........ _ _ _ _ _, .

~
I .I
rn1tDJTIJT( I I II iJaf n wf ~ -l6deg
1
. = 1'
~~========-
T

ReldofV'oew
.Perspective rc Depth of F>eld

~1
8 16.tdeg I I
We now have two display states and two cameras. J......c-- d 328.'l8nvn

h n;;;;;- --- >:

CJ! tf!! 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.
 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 Define Cu:ltom Colors. j
I OK II ~ I

51!: ,::
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 see-
and lighting for bett er results. Before applying adjustments, we need to evaluate each image.
 Display States and Configurations 307

~.age Evaluation
:!'5....- ~: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.
~<e 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.

F-
Y.i :: 15
. ;-:-..:X:_ 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
['J] Floor shadows
R

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
~:om etry, PLANE4 was created tangent to edges that the watch wou ld rest on
IPlM4 I
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<lil'ttPiJ
-:or.
308 Chapter 11

Select the Advanced tab. The floor is aut osized so the width and depth cannot be f Floor Sizec/Rotal:ioo
changed. Rotat e the environment to 72 deg. This will move the environment al i [j Axed aspect"*
!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<l"9
--
1~

Environment Rota De.

72deg
. j . '

Select the Illumination tab. Set the Background brightness to 0.9 w/srmA2, PhotoView Illumina~

Rendering brightness to 0.8 w/srmA2, and t he Scene reflectivity t o 1.0 w/srmA2_ Bod<grO!Nld brightness:
ro:-90ow/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

Click OK.

11 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.

Right-dick Dir ect ionall and click Edit Directional Light. Select t he Photo View bPhotoview Controls
tab. ~ ~ On i1 PholoVI<!W
Brightness

Select On In PhotoView so this light is used in the rendering and adjust the
L j:-~'~7~~ II'' '
Brightness to 1 wfsrmA2_
jk\ shad.ows
IShadow softness:
Select Shadows to allow this direct ional light to cast shadows in the rendering. 0
2.00deg
Adjust the Shadow softness to 2.0deg and Shadow quality to 16. . - j..'
IShadow quality:
'i6 .
Click OK.

12 Check your work.

Examine a preview render to make sure the model looks the way you like. If not, continue to adjt:~
you see fit

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
Aoorr~~
-.=:ows. the model will appear to float in space.
~ Floor shadcw.'S
Aig1 floor "fth:
-::- Align floor with, select XY.
(?JE - :J
Floor offset:
~ lmn ;
I ,, " I I I II I II 1 I ' I I t1 ,,,,..

:t the Advanced tab. Floor SiZe/Rotation A

r:J Fixed aspect ratio
- -e =toor is autosized so the width and de pth cannot be changed. [{] Autosize floor

IYtdth
-:::::e the environment to 183deg. a 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
I l83deg
. Ai
I
.1- -

-.c : :t the Illumination tab. RhotoVteW Jllumina tion *

BadqO<Xld brigltnoss:
::!'t :he Background brightness to 1.0 wfsrm"'2. Rendering brightness to ; 1.000 wfs'm"l ~;
19::f t (l l I! JjJ i! J I I I! lj :t-'.'!IJiN
.::. H/ srm"'2, and the Scene reflectivity to 1.7 w/srm"'2. These settings are very rRondemg brig1tneso:
........... ... .....
..:::. ective, and you should experiment with each one in turn to see the effect on LOOO wfsrm"2 t:
ilUJ ' I i_j! ! I ! I l ' j J 1tI l_!rlpIMI.
-e -endered output. Scene reflectivity:
!. 700 w/s'm " 2 ,.;
- ::.- OK. unJ 11.0 11r 1J1 111 1 11 1tiiJi1"

: -:s:

3::
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.
!
Photoview Conbols
[./]On in Pho!DI'lew
l!<igltness
Select On In PhotoView so this light is used in t he rendering and adjust the
Brightness to 1 w/srm/\2.
GtJ. Shadowl;
Select Shadows to allow this directional light to cast shadows in t he rendering. Shadow softness:
Adjust the Shadow softness to 2.0deg and Shadow quality to 16. 2.00deg
I J
Shadow quality:
Click OK.
16
L_ _ _

16 Change PhotoView 360 Options. Cd Bioom

AMI render orly
Photo View 360 Options are global. which means that they are not file-or
Bloom setpoot:
configuration-specific.

Select Bloom and set the Bloom setpoint to 80 and the Bloom extent to 4-
 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. Environment ~

:=::t the scene and select the Basic tab. ~ C: 'Pr09"am Files\SolidWO<ks 2011\SoidWorks\Pata\jmages\textures\background\'<itdlen.hdr

_-:der Environment we can see the image Browse~

..sed, which is Kitchen.hdr. We will change

- s to a different image.
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. Appe<!ran<:es, Scenes, and Deal< .1

Each predefined scene has an environment in its definition.

[, .., Apparncos(color}
ln the Task Pane, select the Appearances, Scenes, and Decals t ab and then <:: ~Scenes
expand the Scenes folder. Q Basic Scnes
~ Stud io Scenes
q
Presentation Scenes
Select Basic Scenes and then press and hold Alt while dragging ~ Custo m Scenes
Courtyard into the graphics area. ['!' ~ Decal5

Courtyard
 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
Front View
= E-tyManager we would see the fo llowing:

Courtyard Daytime

[hange the scenery.

-.;; Task Pane, select the Appearances, Scenes, and Decals tab and then expand the Scenes folder.
.:-:: Presentation Scenes and hold f!Sa;ckg.round
... 1ile dragging Courtyard
::::-.ground into the graphics area. fnv'ironment ~

~ C:'frog<omFi!es\Solid\'lorks 2011\Solid"Works\datajmages\text.Jres\jJad<ground\daytime.hdr
a-me the Basic t ab. With presentation ror.:se..
.::es, the Background is set to use the
: -:::ilment image.
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

- 5case study we will examine reflections and refraction from both the environment and other
e:ts within the scene.
;-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
1 Open the assembly.
Open the Kitchen assembly found in the
Chapter 1 2\Case Stu dy\Kit chen folder.

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.

2 Change the viewpoint.

Press the spacebar and double-click Cameral. This will be the view we will use for our fi nal renc=r

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 sE-
As the quality settings are increased, the number of reflections and refractions increases. ThesE
are set internally in Photo View 360.

Good Better Best Maximum

Number of
4 8 10
Reflections
Number of 11
Refractions 5 9 9
 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 1 2 3
see several rays from the camera going through
the scene. 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
b
be refracted 12 times.
Ray 3 goes through two of the glasses {Band C)
so it must refract eight t imes.
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.
~ease 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

~ ections are now set to fou r and the

::=- ect ions in the toaster now show the other
~c - ?-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 Final render quality:
glass surfaces. !Good
RJ custx>m render sel:fn,;5
Change the number of reflections to 4. This is the same number as we had with Numbero fre~

4
a render quality of Better, which we saw was enough for this scene. 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.e-
to 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
~:Tleconsiderations:
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 twice-
number 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.
':E:1 t he file Ca ustics assembly.sldasm found in the Chapter 12\ Case Study\ Caustics folder.

-~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
~c Quality at 32. This is the maximum value
::.austic Amount.

~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 derthe model.

!E: 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 nsuccessful 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 differe-
mapping 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

-=<eep everything together. the image files can also be embedded with the rest of the appearance,
:--=:al or scene dat a by selecting the option to Store appearance, decal, and scene data in model file
- ::-te SolidWorks Options.

2 t o Find It
:-::ions: Document Syst= Options J Doa.ment Properties L

1perties, Model D...fttng Standard Model/ reab.J'e oolors

ttl Annotations
:..splay ~ Dimemion!f Shacing
Virtual Sharps Hidden
Bend
00 Tables Boss
Dl!tiling Ca\oity
Grid/ Snap Chamfer
cut Ad:.3!1~erl ...
Units CuHoft
t::::eum
Mate:rial Properties
CUtStrl>ce
lcutS\o\'eeQ ----l ICUrvab.J'e... j
Image Quality [ Reset Colors To DefaUts ::-J
Shel!t Ml!tal n Apply same color to ..-reframe, ~and sNded
Plane Display C IIIOOfe feature colors
DimXpert
Size: Dimension Go To System Colors
l ocation Dimension
Ch;,in Dimension [;l]Store appearance, decal, and scene cklto in model file (Note: w~ inaease file size
Geometric To[erance ltJAutomoticaly scn1e appearance Wxt>..res, surf= Mishes, and decals to the model size
Chamfer Controls
Display Options
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 ou-
SolidWorks. 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 appearc-
not 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 of these f iles is usually small, generally 100 to 200 pixels on a s ide, but may be as large as 4096
e :: 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 Modomaterials from t he SolidWorks Asset Sharing site

2 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.

: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 View Tools Help

Orgamze ...,. Jd Preview "' Share with Shdeshow Prmt Email Burn New fold er :s
~ Photoreari~ic Rendering
... Chapter2
Chapt<r 4
_.. ChapterS
_. Chapter6
-' Chapter7
ChapterS

I~
,.o Chapter9
ChapterlO
Chapterll
- Chapt.r12
.,. Chapt<r13
Case Study
Chess Set
_. Completed
Downloaded Image Files
marblOl.bmp Marble metaKJOl.bmp
...., Chapter14 lmage.bmp

Marble Jmage.bmp State: ~ Sha red Dunen!i10ns: 160 x 120

B1tmap 1mage Date mo d1f1ed: 3/ 10/200811:07 AM S1ze: 563 KB

4 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
 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 Syst= Options [ Docunent Properties!

-=have the custom appearances available, the path General Show folders fur:
Draw ings ...............
-::the location of your files should be specified in Display Style
[Document. Tetl1)1ares ~

-e SolidWorks Options. Area Hatch/Ftll

Colors
Sketch
::reate Appearance R<!lations/ Snaps
-::;use an image fi le as an appearance, we will st art Display/S~Iection
Perform ance
.th an existing ap pearance and modify it. We can Assemblies
:=this by applying an appearance to a model External Referenc es
Default Tem plates
: ement and t hen editing and saving t he File locat,ons:
FeatureManager
==?earance to a new name. Spi n Box Incremen ts
View
.e can also copy and paste an existing appearance, Backup/ Recover
::.,.. Touch
- en edit the copy. H.ole Wizard/Toolbo.x
Fire Explorer
Jeleting Appearances or Folders Search
Collaboration
-::;Jearances or folders can be re moved from the Messages/ Errorsf\!Varning s:
.::1ary by selecting the appearance or folder and:
<eyboard: Press Delete
Shortcut menu: Right-click, Delete
color swotches
Costing Repo<tTetr4lfate Folder
l.:.
Costing templates
Custom - Appearances
CUstom - Decals
Custom - Sce11es "
Custom Property Files
Design Checker Files
Desig1 Jotrnal Template I
Design Library
I
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 Feture Files
~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. SolldWorks ( om;:;w'<

Using Windows Explorer. create a directory named SolidWorks Common . Custom AFr:c=a==
Custom Decals
Create subdirectories: 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 of ~
folders to the appropriate folder type.

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. Appearances. Scenes. and Decals

cw --e:: ew custom folders are now listed on the Appearances, Scenes, and ffJ ~
o=:: :e:a1s tab. The folders are blue because they are custom folders. <::! e Appeanoncos(color)
+ ~ Plastic

'" We did not specify the path to the Custom Appearances folder ...e Metal
+" vj Pamted
::::!.Jse we will do that by anot her method, just for demonstration. If ff' ...e Rubber
I+ ~ Glass
31: ::..... check the File Locations option, there should be no path listed for ~ Sohd
:.:stem Appearances. +; ~ L<ghts
+, ~ Fabri c
~ 1-e
Organoc
Copy images. +, ~Stone

::-:;y all the images from the Downloaded Image Files folder to the +' 4f. Mts/ ilaneous
~ Custom App~rance:s
::.:stom Appearances fo lder. r=1 .!Scenes
~ BasicSc es
~Studio cen
l.; Pr tio~Scenes
Ee Custom cfenes
2 Decals
~ l og
b= ~ CuStom De:cals

&::le::a
~?lit the Face
Sce:oes
.: 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.
-::: apply different appearances to a face, the face must be split into smaller faces.
:;; ::-; WE :'E : Split the upper face.
:::-eate a sketch on the upper fa ce.
::-aw a rectangle 400 mm x 400 mm
C.:: L i::-:1: :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 PropertyManage-
Navigate 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
@0 Photoreali~tic: Render1 ng Sol1dWorks. Common Custom Appearances

Organiu ~ Newfoldor

..,. Solid\tVorks Common

~
Custom Appea rances
_, Custom Decals
_ Custom Scenes
~ Setting probl<m.zip ~ ~-:-
_. V1de:os-source and removed marb002.bmp marb015.bmp marb028.bmp marb055.bmp marb077.bmp
_. SolidWcrks Training Foi<S
9111JXJ8 Whot< New Oeme<
- <Wdtst
~ temp
.,., tmp
marb093.bmp marb101.bmp Marble metal001.bmp
~ T~n~er Image.bmp

Marble Image.bmp State: ~ Shared Otmen:ton<: 160 x 120

81tmap 1mage Date modlfted: 3/10/ 2008 11:07 AM Stze: 56.3 KB

Mode: Conf1gurat1Cn ~: OtSplay St ate;:

File name: Marble lmage.bmp ~Image File< ~dr,.JF

~en j...J [ Canre

 Advanced Appearances 355

_ Save the appearance. ' !it~ Save As I~

S=.-e the new appearance to 00 /..,. SoltdWorks ... > Custom Appeara nces ...:J +t II Search Custcm Appear~nces pi
--= Cust om Appearances
Organize ...,. New folder ~ ,..
G
': ::er as Custom Ma r ble. -- -
I _ SolidWorks Common ~

. Cus tom Appearances

Nc items match your search.

.w Custom Decals
.... Custom Scenes
c;1l Setting problem.zip
~ Videos-so urce and removed
..,... SolidWorks Training Files
u
J. SW2008 Whats New Demos
J."' swd1st
T
+ .........

Fi le name: M:!i;jluft.fiill) ~

I
Save"' type: Appearance Files (.p2m) ~I
Descnptl on: Ad d a de:scnpt1 0n

0 Rem ove bend hnes 0 Export only model

geo metry

. .... Hide Folders. I Save

II Cancel
I
- e Appearance File
--t:re are now two files for t he appearance Marble J polished beech 2d. p2m Notepad L d @l ~
- ag e: the image file Marble Image.bmp and the File Ed~ Format View Help
color "texture "col or _t:exname" "ImageS_ _ _ ,
:=Jearance file Custom Marble.p2m. \ t:ext:ures\ organi c\ l'mod\ beech\ po1 i shed
beech. jpg"
-=see what is in an appearance file, you can open it in a "swP 2M.. on ,
"nUllLCOls" 0
=r.: editor such as Notepad. "col1" 1 1 1 ,
"di f fuse_fact:or" 1 ,
"specular_fact:or " 1 ,
"specular_color " 1 1 1
-_- any stock texture file, t he contents of the file will be "roughness " 0. 5 ,
"reflect:ivit:y" 0 . 05 ,
s.1ilar t o that shown in the image. The path t o the image ..mt.l_ior" 1 ,
"Transparency" 0 ,
:: used as t he texture is shown along with a list of the "blurryRef lect:ions" off
"doubl es ided" on ,
::::::>earance sett ings. "refract:ionRoughness" 0
"l uminousint:ensit:y" 0 ,
"bumpText:ure " "" ,
"bumpSt:rengt:h" 0.001 ,
"di s pl acement:oist:ance" 0. 001 ,
"surf aceFinishshadenype" 0 ,
"bumpiSNormalMap" on ,
"ini t:Text:ure~Ji dt:h" 0.1524 ,
"init:Text:ureHeight:" 0. 1524 ,
"s\/_s hader " poli shedbeech
356 Chapter 13

When we create a custom appearance, there will be additional "'I m.uble unage_l.p2m Notepad

information in the to p of the file, but what is import ant to us 1

Filr: Edit Format o-=v;':''""','='H-':-ei:O,p=~,=~=~:-:c-
color text:ure "color_texname" "c: \s ol~
is t hat the path to the image and the sett ings are listed at the ,;~~i~~~~:p c~~~\~e~~~~r:~~!~!~,~~
i~e . bmp"
end of the file. "sWP2M" on ,
"nura..._cols" 0 ,
"call" 1 1 l ,
"diffuse_fac~or" l ,
"specular _fac t.or" o. 5 ,
"specul a r _color" 1 1 1 ,
::~~f~~~~~~~ ty~ 0
"mt l _ior" 1 r
"transparency" o ,
"blur ryReflections" off ,
"doublesided" on ,
"refractionRoughness" o ,
::~~:~~~~~~~~~ns~.~y: o,
"bumpstrength" 0 . 001 ,
::~~;~!~~~~~~~~~~~~~~~pe~ ogl
"bumpisNormalMap" on ,
"i nitTe><turewidth" 0 . 153333 ,
"i ni t.Te x t ureHei ght" 0 .115 ,
"sw_shader" texture

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. Resize and Skew ~
:- the Home tab, click Resize.
Resize
By. Percont..g e PIXels
e will make the image square. Any size will do as long as it is square. +-+
Q)

--e actual dimensions are just fo r convenience. D Hc nzo ntal: 4ooj

5:: Resize to Pixels and the width and height to 400. Dr Vertica~ 400

[J] Mt!rntain aspect ratio

: : k OK.
Skew (Degrees)
t -t

J Horizontal:

~! Vort[ca~ 0

OK ][ Cancel

Divide the image into four squares. ..- Untitled Pamt

_se the Line tool I' with the thinnest line weight to draw View

:. <orizontal and vertical line to divide the image into four

=-=ual squares.
0 --
Cli pboard !mage
,._-A

Tools
~
Brusht s
r&
Shap -
Sil t Co lors

0 .zoq ,600
--.
of .; ~

.1
Line weight I
1
J

~
<
J

-
0
0
::"! ..

-:-s.._- II 50% r..,;) Q (+)

358 Chapter 13

22 Create two black squares. .. Unbtfed - Patnt

Use the Fill with color ,.,: tool and a foreground color of View
black to make the upper-right and lower-left squares
black.
To set Color 1 {foreground color), select Color 1 and t hen
0
Clipb oard
r=
Image Tools
r:f'l
~
Brushes
~
Shapts --
S..t

click the color square in the color palette.

50%(-) 0

23 Create two red squares. .. Untitled- Paont

Set the foreground color to red. Use t he Fill with color ,.:_ View
tool to make the remaining squares red.

24 Save the image.

Click t he Paint icon IIlii and select Save as.
0
.
--
Clipboard lma.ge
,:_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. I Basic I Advoncrd I
: :< the to p level Appearances folder in the Task Pane. Press and hold AIt and ~~ lh1Wmticn l
-...;)le-click t he appearance t exture. This is the default appearance fo r t exture ~~- l
t:;;;J Cokx-{Jmat;e l~~
-c:erials. The PropertyManager opens, showing the pro perties of the default
~Geometry ___!j
.=::earance.
I Appea rance ~
--~er Image, Image file path, click Browse and navigat e t o the SolidWorks . " -"'ona! fie path: .

:.::nmon \ Custom Appearances folder. Select the B-R Checker ; [;;J C:'j>rog...nfies~'lor

?-,c-..ern.bmp file and click Open. G ""-;e=:J

_-::ier Appearance, click Save appearance. Save the appearance file
I ~arona!.. ] '
'---

::=:- 3 Checker Pattern.p2m to the same Custom Appea r ances folder. [8sok>r ~
I mage ;~~J
-~
Je Sa-.e As II
c0 I .J~oo (( SolidWorks ... . Cust om Appearances ::r:,. JI s~orch C,;stomAppe:uonus pI I&:J
lma9e file path:
0:\SoiidWorks Common\C J
Orga nzze New fold er ~ ~ ~ 1 ~"""".. :_1__1
SolidWorks Common
- --- ---
Custom Appearances
.. Custom Decals
.,. Custom Scenes
:}
:::;!! Settin g problem.zip
Videos so urce and removed Custom
Marble.p2m
Sol idWorks Training Flies
SW2008 Whats New Demos
a.vtfct

File name: 8- R Checker Pattern

Save as type: ~ Files r .p2m) .J

Descnpt1 on : A dd z des.cnptron

LJ Rem ove ben d lines 0 Export only m odel

geo metry

~ Hide Folders ~ j Cancel

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 s -.ze/Orientation
[./]Axed aspect ~
Offset Horizontal: so mm
[J At width to selodor
Offs et Vertical: 0 mm L] At heiglt to ..rc-

Note Why the width and height of 100 mm? The area we are applying t he pattern
a 100.000mm

to is 400 x 400 mm. Each instance of the pattern gives us two squares wide and [0 lDO.OOOmm

high. Therefore. to get an 8 x 8 pattern we need four instances of the pattern, so I Aspect rabo: U::

each pattern instance must be 100 mm wide. ~ O.OOdeg

Why the 50 mm horizontal offset? So t hat the pattern starts with the correct I \i-r~
] Mirr Vl!ftcal-
colored square in the correct corner. This is required because the chess pieces
are already set up in the assembly.
 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.

a
liil
.
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::;: g ======fi
in:=, ~ $'1Ze/Orientat:ion
IProjection :J [l
J Fixed aspect ratio

Qf ~~======~ ., fl Fit ...idtll to seledxr

['J Fit hodlt to seleaxr
- O.OOOnm
6 7S.OOOnm

[0 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 ~ Chess Set (Ddault)
@] Sensors
White and the other half are named Black. [;; UJ Ann otations
<S>.: Front Plane
We could apply the appearance at either the part or assembly level. Because <$( Tof> Plane
<$( Right Plane
the assembly is already put together, it may be easier to apply the 1. Origin
appearance at the assembly level. One consideration we must make is how [jl ~ Chess Set Board&<!
EfJ ~(-) King White<l>
the appearance will be mapped, and this is determined by the type of l:ti ~ (-) Queen Whl!e<l>
~ ~ (-) Bishof> White<l ~
appearance we choose. If we use a procedural appearance, where no . ~o ~ (-) Bisho~ Whote<l>
mapping is required, then applying the appearance in the assembly would be 1J ~ (-) Kni.g ht White<l >
[jl ~ (-) Knight White<l>
easy as we could select all the black pieces and apply t he appearance to all (<' ~ (-)RockWhite<l>
of them at once. If we have to use a texture-based appearance, then we have S ~ (-) RookWhite< l>
r.fl ~ (-) PawnWhite<1>
to adjust t he mapping, and this would be easier at the part level as applying $ ~ (-)Pawn White<l>
(<'; ~ (-) PawnWhite<3>
the appearance to one part, like a pawn, applies it to all instances. S ~ (-) Pawn White<4>
S ~ (-)Pawn White<5>
In this particular case, we are going to apply a marble appearance. As there f.il ~ (-)PawnWhite<6>
[+l ~ (-) PawnWhite<7>
are currently no procedural marb le appearances, it will be easier to apply t he ~. ~ (-) PawnWhite<8>
appearance in the part where we can see and adjust the pattern more easily. r} ~ (-)King Black<l>
ti:l ~ (-)Queen Blade<! >
f!-: ~ (-)Bishop Blade<:>
!, ~ (-) Bishop Blade<l>
$ ~ (-) Knight Blade<!>
ffi ~ (-)Knight Black<l>
il ~ (-)Rock Blac1<<2>
ffi ~ (-)Rook Black<3>
l'f1 ~ (-)Pawn Black<!>
1'6 ~ (-) PawnBiack<l>
lP ~ (-) Pawn Black<3>
tt: ~ (-)Pawn Black<4>
[+' ~ (-J PwnBiack<S>
&' ~ (-) Pawn Biack<6>
~~ ~ (-}PawnBiack<7>
[<' ~(-) Pawn Black<!>
&:. @@Mates
 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 .~vv

- :;-id appearances have two color selection boxes listed as Dominant Color I,;;P;;;Iiliiiiijiiiiii
~ Secondary Color. The Secondary Color does not perform any action and is a ;:P ~~~~
~ :;over from previous versions. It will be removed at some point so depending
~ ..our version of SolidWorks, it may not be visible.
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 =--:J
~~ ~
 Advanced Appearances 367

Change the color. ~ Eo"lo - .- - ~

.::'ge the dominant color to light gray by clicking ' / 1

-e Dominant Color box and then selecting the 1
...P : T -ttz,
:: color square shown. liiiJ~~-d - ::::J ~
--e rendered appearance will now look like this: ~~~
LJih~
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 Sort order: li"ierarchy J
: ~(k parts. For the pawns it is attached to the part file and for the other t= ~ Components
13 ....) custom black marble pofished
-.c;ts it is attached to the components of the assemb ly file. . ~ Rook Black_&-2@Chm Set_&
'% Knight Slack_&-2@Chess Set_&
- ~, change we make to the custom black marble polished '% Bisho~ Black_&-2@Chess Set_&
'% Bishop Black_&-l@Chess Set_&
::::::::eara nce embedded into the black pawns will not be applied to t he '% King Black_&-l @Chess Setc&
- er black parts. '% Knight Black_&-l @Chess Set_&
'% Queen Black_&-l @Chess Set_&
'%Rook Black_&-3@Chess Set_&
t;' I:JI Face
(+1- , } custom blatk marble polished<2>
I 1' b-r checker pattern
j ci-HJ polished teak
1 [+' ~ polishedteak<2>
'e '%~art
I .F...) custom b!ack ma rble ~lished<3>
s -0 color
.,; J color<2>
+' ...) cotor<3>
+t ..,J color<4 >
(+' . ) color<5>
+' -....) color<6>
'~ ...,) color<7>
::fl ...j color<8>
~ ....) cotor<9>
& -J co(or<lO>
+ - 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

2
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U :::er Grou;::~!>

Stll1d'.'/orks Expreo-...5 newS:etter

Popular S olutions
> \'lh!:!n p:~nning, ;;:;;omin; and
rctatin; 3 mod!!l1n W1ndows
API exampl~s Sohd\'! ork!; 1.'/orld
Vista or WOncio\ii. 7, wha: can
Er!m.ator R("SOUtct'$ and Curr: LerhfJcat!OO
( - ~~~~ )
J
.C..:.S.
-,is will take you to an intermediate page
.::~inting out that the shared assets are for
:lorrf'Jt-a:: ::.: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.

-:~e
_,der SolidWorks Asset Sharing, click Take
t o the Assets.

5 :J Locate a Modo appearance.

W elcome SolidWo rks PholoViow 360 Use r s

UoxoiOWf V.~::..."tr.r..cn Rso::rce Cl'fttH

SolidWorks Asse t Sharing

Wtlo.~M IO l.w.w.tr ::.oloef:.':XUS~~ ::w.~C.H
tli!:~...:.O Nin!lo'.C::Go~D:Jll~.lllorn~

\<~d ~, ll-\\-.1~-..1 10'!1'>1! "-!:S!~ ::!\lf'r.~ pol".: ::I! Ill I'M!

I~J -'Wlle111U<M-t.M -N~arc:u w
""'""~~v-XQ U~laon tfd: onN~~:"'u
-
~
tm'*""i!laii!QiS-
~~r-anMF

oe...~ '.blttlll.s ~~~~-r.; , I'\JtCI- ~

_sing the procedure described above, visit ..,.-... ....
~ ~.
PhotoYiew3GOG3l:ery

'~~-,........ ~"'"'~"-'"'~ ""~"~'~"""'~- ~.

""""--"'ll<lo"~..ot W ~YOI1o;~ a ln<1~~ -:r-_.:. A .<or:~IO)'V~ [l :.; :;$C:; ~It.l

-e SolidWorks Asset Sharing site. qldl".dlot fll'l mlC:III!CII<Uo~~~.J...,alitl:~~'.xf'I..,...:;-;HoJ;

( 'f~~-J...r.-~- ~'~- ) .......... ~:,.........~.1'1-

372 Chapter 13

51 Locate the material.

On the right side of the Home page, under Assets, Papui3r 1-!~te.r~_s

Me-:t Oo~,-nl~-1:.:.-:=
select Materials. )) High.~' Rab~
)) By <Atago<y
The materials are organized similarly to the way they are Environment!>

in the Task Pane in SolidWorks. Expand the folder Stone, It~ms

then Architectural, and click on Marble.

lhscol!.ln.ous
Select the material CreamMarble. >> Extem;iomo
,. Org ;mic:
Script5.
P.1.ntad
)) Scene~
52 Download the material. \) Sho-." & Te11 Ca.Uery
PI::!:Lc:
._ Rt.lbbor
The page for CreamMarble will provide information on !;o!.d
Stone:
the material and what fi les are included with the
download. 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 t-
do 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. r l1essag.- - -

::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
:::
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.

select the Advanced t ab. there are very few controls available.

=: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
~ro perties, 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.

::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.

.'/here to Find It
DisplayManager: View Appearances, Illumination tab
-C'E
DisplayManager: View Decals, Illumination tab

:numination Controls
B3
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
:::t:5i?
~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
Luminous Intensity
Index of Refraction
Refraction Roughness
Represents the degree that light is allowed to pass through an
appearance. Increasing the transparency allows more light thrm:5-
Controls the brightness em itted from t he surface.
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.
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 curso-
passes over.
 Advanced Appearances 377

58 Edit the illumination. Vj

After reviewing the tast rendered image, we .;" )( ~

.vant to make the entire checker pattern look

c:~
shinier.
! Basic
I Ad<anced

QlCOior/1""'!1"

n the DisplayManager. doubte-click the ~ SoXfoce """'

~ Jbrination
E'~ B-R Checker Pattern appeara nce. -
~1
- he PropertyManager opens.
Diffuse an10101t:

~~
1.00
Setect the Illumination t ab. r

Speojar an10101t:
Select Dynamic help.
I [o.so _
I
'j . J:j
!love the cursor over the Reflection amount I Spea.W m~or:
slider. Dynamic help gives a description of
Reflectivity. Sj:x!aiar spread/Biu-mess: I
} "
0 :-j
'!love the Reflection amount slider to the right R~tion an10101t (l(eaMew

"or a value of 0.20. - f Reflectivity

r -~
10 .200
15
On the Color/Image tab. click Save w
)- I RoflectM!y
Blurry reflections
~'"""~~~~
-\ \ -,.. ~\
;c::
,.~ ""~-~"'
I
TranspMent ~t "ft.
Appearance.
.~ JI
jo.oo Cont rols the reflect!Vrty of a surfa ce. on
') ' I : a s cale of 0 to 1. [!set to 0, no
refle ctoor.s are vosoble. [f set to 1, t he
.ve do this so that whenever we use the Lumous nt.nsity: \. surhce simuletes a perfect mirror.
checker pattern appearance in the future, the 0 .00 w/snn"2 '>j
nj.i 1 !I I !\ fi t I I I p ; [t-:'11' '
1

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.
~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<e the Re d 8e Black Checker dis play state active by double-cl icking it in t he Display States pane.

Edit appearances.
'='' that we have two display states. we must make sure that the appearances already in the part know
~;other they are attached to all display states or just ce rt ain display states.

~e 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 AI dsplay <totes
, Spedfy display stlte
:Splay state.

:=.: : the custom marble appea rance and change the setting to All display
52tes.
I~:
.
-,JII
I . J
Change display state.
c:..<e the Granite Checker 8e In lay display state active.

Detach appearances.
;;:;:~--
._'I thatthe 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.

=~~-click the B-R checker pattern appearance and select Remove Appearance.

::-.=::eat for the two polishe d teak appearances.

fiE.... ~

. , ,::~_.._::
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 Wood Inlay
folder of this chapter to the
SolidWorks Common\ Custom Appearances folder.

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.~
 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.
:::21.5

:;=.--
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
::ce 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. 11appii>!J

c.<e sure: [Projection

0 Fit 1vi<;!th to selection
Iii [ ]Fit ~ight to selection
""apping is Projection to the ZX plane.
-.age is rotated go degrees.
j Face< 1>
6 25.000mm >; .
- 'O.OOOmm - ~:~ ~a,_ , 111, 11 1! 1 1 t utaP.'*"
-;,age is mirrored horizontally. In:,.,
t! {J!' ~! 1\ UJM;t!t1itjl [0 lO.oOomm ':
- -- - -- ---- @n.t J 1I ! j l j! 1 1 Jdlf~fitlf4
-~ --

19.000mm '> t

Aspect ratio : 2.50 : 1

e You may have to make very small adjustments to t ~_:n !' w11 1" Wli4'"" <6 90:oode9.... :-
-.E ?Osition of this and the previous appearance t o get :l
[;ij Mirror horizootaly
-E ;Jatterns to line up just the way you want t hem.
0 Mirror verticaMy

: . ;:,< OK. Re set scale

Examine the DisplayManager. 'TWimitii ;D -~~T~~

:=...=..11ine the DisplayManager for each display stat e. Sort ord er: IHierarchy J Sort order: {Hierarchy .... J

=:.:Zl have the marble image appearance because it was sO Face eO Face

-::1ied to all dis play states. The remaining appearances

~- 0 pollsh~d t~ak . t!J
,.~. wood inlay
1:i:J2 b~ r checker pattern ~ ~
texture
e-e only attached to one of the display states so they . . 9 . polished teak<2> -t #J wood inlay<2>
3 ~ Part ") ~ Part
- ; appear in the appropriate display state. II
""~1 custom marble ,., II
custom marble
1
Red & Black Checker 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. Component Properties ~

- e chess set assembly, right-click General properties

-;E Chess Set Board component and Component Name: Chess Set Board_& Instance id: 1 Ful Name: Chess Set Board_&

.:~ Component Properties. Component R.eferem:e:

Spool R.eferer=:
t? ::ct
Red & Black Checker for the
Componl!r1t Desaiption: Chess Set Board_&
=z.erenced Display State, then click
Model Doa.ment Plh: C :~Jorlcs StJ!IH>y -Step Guides'fhoto<eoislic: R.endering\Chapter !J

(Please use File~eplace command to replace model of the component(s))

Display Slate spedfic properties

[] Hide Component

..
Referenced Display Slate
- ~ "' ~
<Granit Oledo!r a rr>av>_PhotoWorlcs Display state
GrMte Checker & Inlay

Change cisplay properties in: . -

Configuration spedfic properties
Refe-en=l configuration Suppression slate

Default
- ' s,_essed
<> Resolved
Ughtwedlt

Solve as
,) Rl9d
Hexb:e
'- -- - -
:JEnve',ope
Change p<operties in: ~ 0 ExdJde trom bil
of ma terials

~ li:~=:J ~
l
388 Chapter 13

27 Render the model.

We now have two different renderings using the same components. We can quickly change betweer-
two 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:

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)
'5'= 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

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.
5....~-=
~?Ls - 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. ~ Color-

Change the color to Red: 192. Green: 0, Blue: o. This is a dark red color.
Click OK.

o !l_GB t:!5Y

4 Preview the render. ~ Fla<hhghi_wo.k~ng.51.0PRT - Photov~ 360 2011

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
CIT> ~~
--~'---+-l---------
70
 Advanced Appearances 397

6 Split the surface. ~ !l

Click Split Line ~. or click Insert, Curve, Split Line. .pi )(

Type of Split ~
Select the face of the handle as the face to split. Ensure that Single direction is ' Silhouette
cleared. Because the sketch is in the middle of the model, we want the '? ' ~ojectlon

projection t o go in both directions to split the whole surfa ce. !ntersection

5electlOM ~
Click OK. The handle is now two surfaces.

D
~

I
- ~ nO
- [j SingleQ.iredion
&ever!iedir~n

7 Split the remaining surface.

rnc=~~CCD=~~~---~-
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.
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 Sort order. [Hcel"l!cthy

aluminum appearance which we need so that we can have different settings

+ blue anorl1zed ~
for each instance. '" ~Part
+ bl ue anodtzed ~

10 Edit the appearance.

Edit the appearance attached t o the face.
~~"rfass finish
c ~~
r... Dynamic help
:r -
Click the Advanced button and then select the Surface Finish t ab in t he I Kncsl art9e:
90.0000 :
DisplayManager. )
Kncsl heiglt cap;
Select Knurled. 1.0000

Click OK. [ PhotoV.ew Surface Finish

"Ia..np rnappr.g
BlMnp Str""!ltn
l.OOOOOOOSmm
iMu trjpii!l iijiJ! t ttW,

] Displacemelt ""'PPPl!l
Dt-~t cisl2lnce

l l .OOOOOOOSmm
Ull! I 11111' d ! I 11 II
:
,....,..

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. ~ Flashllght_&SLDPRT" Photoview 360 2013

Surface finishes on ly appear in t he rendered image ( -~P~se
and RealView. not in OpenGL. The knurl has been
::pplied, but it is hard t o see because the size and
::-
scale are wrong.

' 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.

*i
On the Mapping tab, change Size/Orientation to:
Height: 3 mm
~Geflnish
Kro.riod
~-I] Dynamic help
0 =!1 [i~;/Orientation
: !jxod aspect rabo

:::Fit wi!lth to selection

--~

I
Width: 3 mm Knurl ongle:
n Fit h!#lt to selection '

90.0000
}
'
r. a 3.000nvn
jilt I!. '' t' H! I II
~-
'13ti1'1
I
On t he Surface Finish tab, change: I

Ktul hel!lht cap: [0 3.000nvn ~

iJiii!I7!lf
~,.j
>:
lI
If! m
0.5000
Knurl height cap: 0.5 Aspect ratio: 1.00 : 1
:r
Bump strength: 2.0 mm.
rPhotoVite\~ce~ J~
~ O.OOdeQ
) . . :- I
:.:..;..~

Click OK. \....{l~rnappDJ LJ Mirror honzontaly

Re build the model.

Bump Slrer19th
2.00000010mm :
Ufj.f I 1 Yin:;rrrr:a;t:J~'IJI#
L r J ~or verticaly
-----
_j
: ()spia"""""t ITla!Jiling I
Displacell1<!n t distanre
l.OOOOOOOSmm ;: Jl
l_ ifii}Ji U} /11 ' !l.nTnj;mJtS-
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 Knurled

a displacement map. 17J D)'lll>llli<: help

Ktu1 ongle:

Edit the appearance and under Surface Finish clear Bump mapping and select 90.0000 ~
J
Displacement mapping. Set the Displacement distance to .75 mm. Ktu1 helght Glj):
0.5000 .: i
I
Click OK. Rebuild the model and render. j: - .
i
Phot oView Surface Fuits~
Note that it takes much longer to render with a displacement map. [ Jllu<!l> mapping
Bump strongth:

' 6 Examine the result. 2.~ :

If we look closely at the edge, it is no longer straight as t he knurl is now r iifll ~

:JJOispiac~trr~
Displacement ast>nre:
modeled into the surface. To see this more clearly, the right image was made 0. 7500000 1nvn :

with the kn url height cap increased to 0.9. In both of t hese cases, the surface L_nn J11fJlJlrDJTPill,?ittnH

changes are only part of the rendering process and are not part of the original
model.
)00075 m- ~-~
b: any w"lc .:;
~ i:--e v.,ridt" s:::
..,
:, c VIe Vllu -.c:

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
1 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.

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 FromRe
Brushed
diameters and the space between the holes equal. As you Pt Sandllasted
Burnished
change the size, the holes should change size dynamically Cast
Ma~
aamond Treadplate
so you can see the effect of this control. Treadplate 1
Treadplate 2
xnur/ed
4 Adjust the mapping. Surface finish :1:: ~ o;mp~ed

Crru!ar ho!e mesh ....- j O..in F.nk

Select the Mapping tab. Wrought
F.tJOynorroc help ! Rough 1
Rough 2
Change t he height and width t o 10.0 mm. None

[ :"".: ' >0- l Diamond hole mesh

Custom ho~e me:sh
5 Examine the results.
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
Basic ! AdvanC!!:
~QJ O>lor/1"""'9" 1~ ~
~. !bi)rlation ~ 1 Surfac., -

IMessage
Surface Finish

From fi~e

RJ Dynamic help

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

U
~ !.ltl!Ji !lill ! " i
[{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.

2 Examine the model.

As the entire model uses the same appearance, there
I I ~~
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 ~

'<otnd sharp edges:

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:

1. The path specified in the appearance, decal, or scene PropertyManager and saved in the mode~
2. 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.

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 -:co-
illumination.

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
<: :-:::t::: - ,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.
Ray Tracing
~3:::. : The rendering engine starts at our point of view (the camera) and divides the field of view into an array
:iG : r-=-=. 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 =>hotoView 360 can calculate the lighting contributions of both direct and indirect illumination.
=' e::c- ~
Lighting Methods
I \:~ 3-r~e=.:
.n OpenGL and ReaiView. lighting is only done by direct lights. When rendering with Photo View 360.
--- --
_ :_ L .,._
.ighting can be done with direct lighting. indirect lighting. or both, but indirect is used by default.
f-;~--.5~
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 models-
This 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.

?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
I:E I=-=w- 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.

Lighting Schemes
:s::=-= ?hotoView 360 stores direct lighting information with the existing scene. If you modify t he direct
,: .:-::..., CE
:ighting used with your model. you must save t he scene as a cust om scene or else the lighting changes
::..3. will be lost if you apply a different scene.

Keep Light
-~= sc
To avoid losing a light when you change scenes, an alternative to saving the scene is to select Keep light
s-::.::.
when scene changes on the Basic tab of the individual light.

-E !_=~liS

L.: :-: "'S?.

:::-.:

t:-:~ w.~-. a::-

=~~ :::x.r."~ t:r::.

-:--:: er~;.

-~~ - ---
--g ~~.5 i ...
414 Chapter 14

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.
 Advanced Lighting 415

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

-= straight down.
cs:-

illS I:.'

t:C:C~

,: ::!f;::

e::

\
416 Chapter 14

The Key Light

The first light we position is the key light. Key lights are normally positioned between 15 degrees c-
45 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 I '
between 15 degrees and 60 degrees i ~.
ii 15 60 "
''~
to the side of the line between the
camera and subject and between
0 degrees and 30 degrees above the
camera-to-subject line.
Top View 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.
418 Chapter 14

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

All Together
re .:op ec,ses = When we put the three lights together, we can see the effects of each light.

\
420 Chapter 14

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

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.

e~-

~.A

Add contrast
When t he subject and background are of similar tone, a shadow can help to separate the two.
422 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 <-
we can create lights that cast no shadows.

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 75 100
Shadow quality

~
424 Chapter t4

Case Study: Lighting Principles

To put lighting principles in perspective, this case study will review the way light is calculated in bot-
SolidWorks 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 Review the lights.

'C: L~ .: :;_:-' 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
426 Chapter 14

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. ' !~ Off in SolidWorks

For the next step, we only want the Left Light on. ( : On in PhotoView J
Edit D~r~ctionallight. ..
Edit All lights...
In the DisplayManager, right-click Left Ligh t and select
X Delet e
On in Photo View. Edit the Left Light and make sure that
Shadows is selected on the Photo View t ab. - - -- . l
f': Shadows
Shadow softness:
- - ~
(/j)
9'
Show Lig hts
I Add D~rectJanallJght
; ~ Add Spot L1g ht
Right-click Right Light and select Off in PhotoView. ; .OOdeg - : II (lf Add Point L1ght
' Collapse All
i Shadow QUality: ' Expa nd All
! 16 >'
L __ ~~:=rru:::~~[ I Cu>tomize Menu

8 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.
428 Chapter 14

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
2
projected back toward each direct light source (red arrows).
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.

"
!j
(j
430 Chapter 14

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 I
t hat would actually reflect off the walls.
To get physically accurate am bient light we must use indirect illumination.

11 Add ambient light.

Right-click each of t he directional lights and select On in SolidWorks. 5

Double-click the Ambient light. Select On in SolidWorks and set the Ambient to 0.7
 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

0
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 OpenGL-Ambient Off OpenGL-Ambient On
reflect off the walls and model.

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.
432 Chapter 14

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 ------~------~--~7
make one wall red and the other cyan.
Note The exact color of each wall is not important, only t hat

0
you have a colored appearance applied to each.

14 Turn on the point light.

Turn on the point light in PhotoView 360.

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.

Good Better
at.B rays-,-5.5 Sfi!%)nds 512 ray?-37 seconds

Best Maximum
i:Q':24 ri3ys..< "1 min .n see ~4g rays- 2 min 11 sec

..,.,---
~~
-
. s.= 6 Close the file .
434 Chapter 14

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

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.
2 Examine the preview.
Background Scene Reflection
There are four areas of control: background,
scene reflection, directional light. and indirect
light.

From our initial settings, we will vary each of the

controls separately.
436 Chapter 14

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.
 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.

c- :-- - 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 .

.:_-::r

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.

438 Chapter 14

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 au-
model.
 Advanced Lighting 439

To create t he above rendering, we could put t ogether all t he elements of a studio each t ime we have a
s 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
_____ Subject

--------------
/
I

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.

t
440 Chapter 14

Create the backdrop. --

~
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.

25:
J
1 ~-----750------~+1~-250~
~ 1

2 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
1600 mm long.
25:
The backdrop needs to be long enough so that it
will always be in the camera view. The actual
J
thickness is not important. ~1---7 50------il~-rl-
... 250--
1

4 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.

 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-<etch three construction lines from the origin .
.'ake the lines about 1200 mm long.
442 Chapter 14

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 \',:: 5
we can see the Front, Top, Right, and Isometr ic views together. The advantage of this is that w'::=- 3
we drag an endpoint in a view, it moves in the plane of the screen.

Drag the lines to t he approximate posit ions shown.

30 Sketc hl of lightmg Stud1o.SLDASM

' "r--- - --:,.: --- - - -..,_/

3
"-," i -.3
'"'-.
.......

Q:> Right
=

10 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.

1 Add appearances .
.\dd the appearance Area Light, found in the Light s, Area Light folder, to the Area Light part.
!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

~
~
444 Chapter 14

Lock Camera View

With Lock Camera View selected, the View commands are disabled and prevent us from accide nt!~
moving the viewpoint.

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 5-
a light source.

18 Turn on one area light.

Locate and unhide the area light that would be over our right shoulder.
 Advanced Lighting 445

~: :.e-- 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
E~~ -
be too bright when the other lights are added.
20 Turn on another area light.
Locate and show the other two area lights.

"12i' 15 cc:
21 Examine the preview.
r-:: a L:[;:::::S 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<ity:

8.00 w/srm A2 -
Select the Illumination tab. The area light brightness is controlled by i i t t !I.( JI!II!It I ~I I UiPfi.mn
- - -- --- - -
uminous intensity, which has a defau lt value of 4.00 wfsrm/\2.

.ncrease this to 8.00 w/srm/\2.

Click OK.
446 Chapter 14
----------- -- ---------- --- ---- ----- -- ------- --- --- -- -- -
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.

: Select a section view. !!]

::lick View, Display, Section View. ../ )(

Select the Front plane.

- he model was created with a parabolic reflector and a lens. We will add s~nl__ ~~

appearances to make the lens glass, and the reflector a shiny reflective surface I 0@]
so that the reflector looks real. ~ ~ IFroot I
~ o~ ~ - -, .
,.. o - ._
~_' _j -

13 ~9 __ ::::-J:
~ ~ 'o~ -~]:
I I Edt Color I
j ~ Show section cop

-
~
Exit the section view.

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. Po in!
Select the Lens in the FeatureManager design tree. close

Apply the clear glass appearance from the Glass, Gloss folder. Poim
to ha
6 Examine the preview. in a l!
We can now see the reflector through the
glass lens. Vl.1e
Dis
~e
8 A
Chan~
Visibll
Right-
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 .;' )( 11')

Visible.
~~----------
Right-click the Lights f older, and select Add Point Light. ~~ ~
7. On n Soi dworks
Set t he light position to coordinates 0, 0, 0. ;_] Keep light when scene changes

D ieotColor... j

~~- l cv l II
Ambient:

j_ 1
0

B<ightness:

) '
Spe<Wnty:
0
1
~tion ~
Co-ordinate SysW11:
Spherical
o- cartesian
.Lock to model I
' ,.<0mm I
x 1:1~ ' ) Tl 11 t 11 , j 1 1U! [-'#:4' a. . Mt

~ 0mm : - I
iifil]rrm-, , 1 11 1 1 1 1t B-Jz:t~"';
1
/z ' ()nm
!G"f 1 t! i l J 1 ! I 1 ! i I I I I
!":
i I tiiJ?IIRi
------
450 Chapter 14
---------- --- --- -- --- ---------- ----- ----------------- --
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

tJ ) OninPhotoView
Select the Photo View tab.
Brightne~
o
Select On in PhotoView and clear Shadows, then click OK. 0.1 ~::
~ 1_1 111
1

11 Change the view. ~ha"-'"

do_w_
s_ _ __
Point !iglt radOJ<:
Change the display to Shaded.
O.OOOnvn

Change to the named view !so 2.

12 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.
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.
 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.

(
r-:

- 15 Change the beam angle.

To change the angle of the light coming from the flashlight, we
have to move the light source relative to the opening.
""-
. . . .__ ""-
~~ _ --._,~~~~--
1
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.
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 lig-
we 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
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.
z-e cen~e- 5
a so ::e.:::. ~ Do not click OK yet.
e;: ..sm..
'
'
~
'.
- --
r.: ;::~~a~c-s

'E:-_ ~--__1 ca:>]

acj~sl :IE

Note The X value for the target could actually be any negative number. We are just indicating that the
target is to t he left of t he light.

20 Adjust the cone angle. ~ Position *

Set t he Cone Angle to 20 degrees. j Co-orOO.te System:
Spl1erical
oc~
Changing the Cone Angle gives us direct control over the light beam rather than G']Lod< to model
forcing us to use t he indirect method t hat was necessary wit h t he spot light. /xx ,,-U.SfTrn :
,, j,,,,rtt ! t im9
Click OK. /
fS'y Qnvn
11 1 !T i j 11, l I 111 j
I,.,,;,.
/,Omm
ii q1J iiill' '''' 1i tft1rtll'

~~]<n>]_ OJ
z

!D::~~-~:Jj
454 Chapter 14
~------------- ---- --------- -- --- - - - -- ---- --------- --- --

PhotoView 360 Light Characteristics J Photovlew Controls ~I

The PhotoView 360 Controls section of the spot light's PropertyManager has ~ On n PhotoY-ew

Brightness
some addit ional lighting controls.
II 1 wfsrmA2
a;i n i ! ! ! l l i l j i i l l mnw
:

Brightness Soft~:
i
This contro ls the intensity of the light in Photo View 360 only. The intensity of the O.OOdeg
ljt , z' rt:n j j~ '1i u~::nw

light in OpenGL and Real View is contro lled by the Brightness contro l on t he Basic
~badows
tab. i Spot ight radius:
1 o.ooomm :
Soft edge I' q I I l! I-~
Iilii j I "1~!!W
, Shadow qu"'ty:
This controls the transition of light outside the beam. The lower t he value, the 16
sharper the edge of the light beam. L ''' -'JJ 11 If t: 1 J 1 f 1 !<t,...
LI F<>g
Spot light radius
This controls the softness of the shadows produced by the light. A smaller radius means a harder
shadow.

Shadow quality
This controls the quality of the rendering in t he shadow zone. The higher the qua lity, the less graininess
in the rendered shadow.
Fog
Fog allows the light beam to be seen more easily, just as if there were smoke in t he air.
Where to Find It
Select Fog on the PhotoView tab of the light's properties.
There are only two controls for fog:

Fog radius controls how far from the light the fog will be visible. For spot lights, Fog radius is define:
as a percentage of the distance from the light to the t arget point. For point lights it is a numerica.
distance.
Fog quality controls the smoothness, or graininess, of the image in the fog area. The larger t he valLE.
the smoother the effect.
 Advanced Lighting 455

21 Examine the preview.

-
or_ ! ' f - . . Adjust the PhotoView Brightness to O.S w/srm" 2.
Set the Soft edge angle t o o.o deg and examine the
render preview.
The beam has a hard edge because the Soft edge
angle is set at zero.
p ....u:

22 Make the cone edge soft.

Edit the PhotoView 360 Controls of Spot l.
Set the Soft edge angle t o 20.0 degrees.
Click OK.
--sa harder

23 Examine the preview.

The circle now has a softer edge. Notice that t he
=~ss gra::-'.--..~ intensity of the light is very uniform across the
circular area.

ad"m s is c::-= -e-

s c ;;J-;e- 2

c.-get the -:2::e

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. ~p~~~

Edit the Photo View properties of the spot light. IJ-an 11 Photov;.w :

Select Shadows and set the Spot light radius to 0 .0 mm.

Leave the Shadow quality at the default value of 16.

~~... Sh.:::
adows
= ----
:il>ot iglt radus:
O.OOOnvn
 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. rPhot~Con~ - *l

=:dit the Spot light radius and set it to 7.0 mm. t-:;'
I ~"
on in Photo\'itw '
! Bri!t>t1.!:ss
' O.S w[srm ~ 2 :
ISoft
1
1i ITI fi-~lartrJ ufjrJII
11i.t
edge:

20.00deg : J
lifd ' TQ"TIIPn:DJli"f'Pl

i[-!) Sha~ ~'

I~-- rod<Js:----
Spot lght
~

! ,:;,_~rn;prrnuw~ J
Shadow~

I 16
Jt!UUJ:ITJTTWEW..
L --- _.J
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. [,(, Fog

On the PhotoView tab, select Fog.

75.00%

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 light-
to-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, whic-
makes 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 bez-
for 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:
Direct lights (directional, spot. point) ..; ft:s Scene (Piaon Whrto)
~ Background (Coler
Environment image (file, orientation, illumination) ~ Envi ronment (l<itclmr:
= &;] Lights
Background image ~ Scene lllum~ntfborr
Floor (size and appearance) (J} Ambtent
'?' r$' D~rect1 ona l3
Floor shadow and ref lection settings g- ~ Directional4

Saved in the scene file are all the

settings est ablished on the three
tabs of the Edit Scene
PropertyManager.
Background ~ I Floor S"IZe/ R;;..:
ota i n _ _....;.~
;:.;t::..;;
.o.;;.. PhotoView Illuminatioe
I LJ Axed aspect rolio l l!ad<ground brightness:
-----' :./ Autosize floor !.000 wfsrmA2
~

-
\'lidth

I, a
'[- 8< - .-. . ~
- o-wse
2647.91mm : 2.000 v-.'/Sfm"2
1!11 ' t ~-, rmm' 1111suai
.~; =t~e
1

Depth Scmereflectivity:
_j Keep bad<grocnd [CJ 2647.91mm
1i1! I I I frnTQTI I jj~~~~
Environment Aspect ratio: 1.00 : 1
~ C: \l'rogram fiesi,SoidWor Rotation
~ .Odeg
I Bro~ =-oJ
-
:)

~ ~1 Environm~nt Rotation ~
j Floor reflections
Odeg >:
[!.Floor shadows j
Aign floor v.ith:
12JOO:: ==-:J
I- t Soenefile
- ~
1

~ C:\l'rogram Res\S<lidWor

Floor offset:
(1] Omm ~:
I I Browse.. . ::::J
1111 J !!Jl !1 l i i11 ~

[ Offset to Geometry
(C ~=:J)
 Advanced Scenes 465

The properties for each light in the

f'~~
tll ~
~=-= scene are also saved with the scene . , )( 1:1')
s=?'""'E file. .l i!Jht Position ::: I ,---

~ l Co-ordinate System: . / I(lit) PhotoView ' - - - - - - - -

,~ Spherical

~ Basic 1\1 ?1Cartesian ..l'hotovlewControls :>:J

Rl On in Solidworks / : ~]On in PhotoView I
.:r.;: In Keep iiglt when scene
~] Lode to model
.. ..... .... .... iBrightness I
! changes
D
/
d' x
12.5mm
iimo!T!~tlllMii~<il
..-.
III 0.5 wfsnn 2
A - --

uitt: -JjJ''f~ U11 U!lM1Mt''l

1--""'~

~ omm
jEdit Color... J - . 1sWr'siiehh:r ._...
soft edge:
Ambient: y '""'1 Hit! I! " J;' lwuo:i 20.oodey . - -- : - J

0 '
/z ~ -l'IlJIITI......,..
lith) 1 It rn:~--.-" : f ~~~dQ _ J fiin
n I !1 1 I u Hew.gn
.1

:). ~1
/x IOOmm '
A :

' j,(] Shadows " I

'Q Brightness:
X iQ\i'ITilJTITD~~l rSpot ight radius : i
~ r:m _-1, r:~ " fIl l Jj,..,.,.,q,. .M , I 7.ooOmm
1 -:-.
j ,~ + = k: 1 '"1J f 0 illf'"t 1J.Jj!;Yjtn'.'ilj l
I SpeaJiarity:
/zz iii[TU
omm
.. c: 4' . ....
. !
111; ~ 1 11 t JiJ::Ni;,,l ; Shadow qua&ty:
.1 ...

~ l'tJ~;aa j
0 .. I 100 .
:). t} zodj- Jj !f. U I l ! Ji l I U i !
L_ - -

[..rJ Fog
: Fog distance:
I'l l
l >
...
1000.00%
l '1iiJT!TITDJJJJTlTJWfi'~ I
, i
: Fog quaity:
1

I 40 1
L~;q;o;.;;mmrrr:Hl~~

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-by-
step 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 backg-
and 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 S-
a 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 SL-

Spherical 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.

1:-"7"
:5?: ~

::.~
;~::c- rc::
-,: 5[!""

::T.....G.
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::-.:
5
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:o-
the 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 jLs-
shoot one exposure.
 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.
472 Chapter 15

Note that this is not a sharp-focused image, but that is not a problem as we generally do not wants-
focus 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.
 - - _:.e;
ELt sauaJS paJueApy
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.
476 Chapter 16

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 sense-
output 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 post-
processed 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.
-

.._.=
~-

=::

r ~

=------=-
; LS::::

=e-
.::e

.?~

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.
~

:r:s:;:
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
:00::5..
post-processed using other commercial software.
478 Chapter 16

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 vi-
Using 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 lig-
and 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.
 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
-r::e- -
shutt er speed adjustments should be obvious. in t hat if you change a shutt er speed from 1/500th of a
-3: .5-~
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.
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
-r-E- ; : -
camera sensors up to t he 10 t o 12-step range. The problem is that when we photograph a scene, it will
::A:)~ -
.c
not look the same to us as we see with our eyes because of the differen ce in dynamic range .

10 !a:::::::::t- 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 computer-
rendered 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
-:o ::"-;.,.
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
~!;-=Ce!:
are a valuable tool when analyzing and evaluating images.
:.:._?:_, C"JE' They are simply a bar graph that shows a representation
C'!i 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.
480 Chapter 16

Histograms work equally well with full color photos, since we're dealing with brightness values, not .'le ca
colors. In some programs, the histogram may be able to show additiona l values such as specific co:::-s :Jhoto2
or luminosity. t:O Cc;J'
a certc:
In a world scale, low dynamic range results in the horizontal axis limits being close together and a t- 5
-:-he h~
dynamic range places these axes far apart.
a!rve !
HDR Photographs
.ocre;
Our intent in t his book is to create comput er-rendered images and not to use a camera to take
are erE
photographs. However, we use photogra phs as background and environment images, so it is import=:-
mage:
to have an idea of the difference between low dynamic range (LDR) images (standard photographs) c--::
same.
high dynamic range (HDR) images.
In photography, HDR is a digital process effect used to combine a number of images of differing
expose
exposures to create a consistently exposed picture throughout the entire frame. This increases thE
a;e nO'.
luminance, the amount of light. visible within an image.
-oomc:
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
~ese
see, the photograph does not look like what we
....a!ls c.
see when we are actually standing in the room. In
:JO~h c.
t his image, we have a wide range of contrast from
s'-:cc::u
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.
 Advanced Output Options 481

_, .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':
i!: ,:
- 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
E
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 under-
exposed. The bright areas outside the windows
5-
are now better exposed, but the areas inside the
room are so dark that we cannot see the detail.
se:s::;::

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.
482 Chapter 16

The third shot is exposed one stop overexposed. Gam me

The inside shadow areas now show detail, but Gamma
outside the windows is overexposed. ::>fthe ;-
360anc
The gar
output:
inear re
.Vith ga
The histograms show that data t hat would be :Jrighter
piled up at either end in the middle photograph is darkene
now pulled out into the usable area in the other affecte1
two images.

Tone Mapping gamma.

The completed HDR image can be created using value fc
several different software programs. These rend ere
programs align the images and then combine the severa!
information from the individual images into a gamma
single image. The histogram shows how the fyou e.
luminescence has been mapped more evenly :1at a;-e
across the entire exposure range. ~ce a-c

Remember, we do not have to go through this Nith ga

process with our rendered images because we do :Jlack fc
not have the problem of recording with a sensor :-esult o
t hat has limited dynamic range. .ightei'i
::'leer.:
rendere
ot:: -;-
j)Urpose
360.
 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 Q)
c:
360 and stored in memory. This is essentially the camera RAW image. ~
.....
The gamma correction maps the tonal values of the input to the ::::J
"!;:>
.8-
output through a smooth curve. With a gamma of 1.0, there is a 1 to 1 ::::J ~,:
0
"'0 <><;::'
linear relationship between input and output, so there is no change. Q)
.....
lJ)

With gamma values greater than 1.0, the mid t ones of the image are ::::J
'0
<(
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. Input Tone

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. Gamma= 3.0

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 Gamma= 2.0
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.
484 Chapter 16

The global value fo r gamma is set in the PhotoView 360 option. This wil l be the ~derQuantv
initial va lue used in the Final Render window, but this value can be overridden on Pre'<iewrender~tv
I !Good
an image-by-image basis. 1Fml render ~ty:
J [aest
:--;CUstom render settr9
 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.

-
"""'= ::;-
~::.": - The vectorscope ca n be used to shift the color balance of the
image.

-:::::g 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
C'Zr:::: ;~
dis play, it provides the information in vertical bands that
correspond left to right with the image.

"= :~

::5 G CS

- -.-r- --
1 ~.5)- '--'=
'-.,. :::~a!:=

r::: :32:
488 Chapter 16

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).
490 Chapter 16

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

'--'

If we examine the Hue and Saturation Parade graphs QQi..WCQ.. t.i~Gllf.$!.!3:L1!f'8'

we can see that in the Hue display the colors are
positioned relative to the six balls. In the Saturation ~
Hue
I~
Parade, each ball has about the same saturat ion.

'i' - - -
These are all vertical areas because each ball goes
'
from zero saturation at the specular highlight to
about 50 percent saturated in other areas.

- ~
feo'l.o.!ll. _ __ - >I
[.w,i~'ll; . 1:1]
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 c-
pure 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 .

:::.1r'
0 .1 .2 .9 .9
Black Level White Level Black/White Level
"E'&

X In the image we can see the results of these adjustments. Here. the black level is raised to
0.1 W/srm 2, which darkens the image. The histogram shows more pixels at the left end.
494 Chapter 16

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 PowerPointpresentations.
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 post-
production 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

Post-Processing in Other Software

5I?: 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.
496 Chapter 16

File Types
Rendered images can be saved to the following file types:
Flexible Precision Image Format [*flx] Targa [* tga)
Windows Bitmap [*.bmp] Radia nce High Dynamic Range[*.hdr)
JPEG 2000 [*.jp2] JPEG 2000 16-Bit [*.jp2]
JPEG 2000 16-Bit Lossless [*jp2] J PEG [* .jpg]
Portable Network Graphics PNG [*.png) Po rtable Network Graphics PNG 16-Bit [* png
SGI RGB [*.SGI) Tagged Image Format File [TIFF) [*tit]
16-Bit TIF [*tit) 16-Bit Uncompressed TIF [*tif)
Open EXR Ha lf 16-Bit [*ex r) Open EXR Half 32-Bit [*exr]
Open EXR Tiled Half 16-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.
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.
-~= ~
- es - -- File Compression
:r-
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
ESE':r0?C'
schemes can be lossless or lossy.
.E ;:-;;....
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.
498 Chapter 16

The following table is a comparison of some of the file types available to save our rendered outpl..!:..

QJ
"0
E QJ QJ
ro VI
z VI VI 2
c..ro
...... QJ
.... VI
ro c.. ~ >- QJ..C
ro
QJ E
.... E VI VI au ..c
~
c..
0
u. u
0
VI
0
....J
VI
0
....J
:~
CCC..
w c..
<(

.fix Flexible Precision Image Format X X 32 X

.tga Truevision Graphics Adapter Optional X X 8 X
.bmp Device-Independent Bitmap or DIB Optional X 8 X
.hdr Radiance High Dynamic Range X 32

.jpg Joint Photographic Experts Group X Optional X 8-16

.png Portable Network Graphics X X 8 X
.png16 Portable Network Graphics 16 X X 16 X
.psd Photoshop Document X X 8-32 X X
.sgi Silicon Graphics Image 8-32

.tif Tagged Image File Format Optional X 16-32 X X

.exr Open EXR Optional X 16-32 X

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

~c.;:;.:.~
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
X
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 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
X
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 - -

'? 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.
2~~~ : :..-_! '
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
1377'::= 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 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
25
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
There are many monitor calibration systems available on the market. The method used by many of these
C2Sl 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.
8:;: ::~--
Printer Correction
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,
.-::c:?S 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

File Options v;..,. Hoi!>

f
AppliCIItiMSJProc.esses Services ] Pformancel NetworkiifUsers ]

Cl'U I.Jsage Cl'lJ Usage tis!Dry

!O::.a-:r-
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..s-
wait 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 File Option View Help
rendering. start a final render and r~tions JPro=ses [ I
5enf>::es Performance JNetworloug Users I J
then open the Windows Task - .- - - - - -----
!m~ Nome ~lemory (. Desoiption
Manager by pressing I User Name
Pen _ToudllJs... jboland
CPU
00 4,784 K Toud1 User Mode~

Ctri+Shift+Esc. Select the i"OI1otoview360... iboland 98 542 004K PhotoVoew 360 l

00 4,996K Roxio Bum '-"'j Open File Location
Processes tab and then right- 00 3,900K SolidWorks Re$OU"
EndProc~s
00 805,872K SldWorks
click the Photo View 360 process 00 53,200K Snagit End Proce~'i Tree
00 35,780K Snag! Editor
and click Set Affinity. 00 2,444K Snagit RPC H>er
Debug
UAC Virtualization
00 4,024 K Pmt driver host fol
00 l,488K StreetsOI<Silim.e:( Create: Dump Fde
00 8,096K lOT PC Audio
00 14,J20K S"tt'lt'BAServer Set Priority
00 S,SOOK Syn.opt;c:s ToudlP~ ( Set Affonrty ... )
2,323 K Syn.optics Panting
00
00 6,268K r ablet PC !Jl!JUt Pa Propertoe I
00 n2K r blet PC !JlpiJt Po Go to Service(>)
00 3,968 K HostProcessfor\h'~ l d...
00 3,340K Host Process for l<rrldows Ta .
01 S, 376K Windows Task Mo,.ger
00 l,.244 K rechSmllh ~IL Help Helper
00 s,.26o K
----
j~~>JI'~how processes !Tom ..J users j j ~dProc=

Procem!.: 148 CPU U>age: 99% Ph)l'ical Memo ry: 54%

Clear t he selection of the cores that you do not want to be used by Proar.-.or Affinoty
Photo View 360. In the image, CPUs 6 and 7 have been cleared.
These cores will now be available for the other tasks.

OK II Conczl
 Advanced Output Options 503

~ II'!""- 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.
3 =:x25
3lt. :sr Windows Task Manager
Fil Options View Help

!I\IJilliGioonsTProresses 1 ~n Pet~
~-abiti Usets ] _ _ _ _ __
~ ~~ ~~~ ~

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.
The alternative is to schedule the rendering process to run at times when the computer is otherwise idle
L..__jl
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
1 Open the file.
Open the assembly Toy Fire Engine found in the Chapter 16\ Case Study\ Toy Fire Engine
folder.
504 Chapter 16

This is the same assembly we have used previously and is already set up to render. 5 (
Click
2 Position the model.
For the first image, we want an image of the model in the position we have established by t he camera This i
named Render. Optic
a set
Press t he spacebar and double-click the camera named Render.
Phot
3 Set the PhotoView 360 Options.
We cc
Set the options as follows:
OK.
Output image size: 800 x 600 (4:3)
Click
Image format: Windows BMP
Final render quality: Good
Click OK.

4 Schedule the render. Schedule Render

Click Schedule Rende r from the Render Tools Fi~e Name
toolbar. Toy Ftre Eng:ne_8cn<600_Good.bmp 6 s
Save File To . Reori~
To ident ify the settings of each render. we will add (S Stepby-Step Guides\ Product Vsuo!iz~t1on\Ch"pter 9\Rendered Images~ D fro m
some information into the file name. Name the file
::-J Include Alpha Output Image
Toy Fire Engine_800X600_Good.bmp. Tosk Schedule 7 s
Start o31ter PreVJotiS Ta~k Set tr
For Save File To, click Browse and select the
Start Time
11 .45.00AM
folder Rendered Images. Sett~ngs . Oui
Start Date 12/ 312010 ~

Clear Start aft er Previous Task. As this is the fi rst lmc:

Fin,
image to be rendered, we will set a specific time. Fnish I[ Cancel ] [ Help

All later images will be set up to Start after Click ~

Previous Task so that they will all run in sequence.
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.
 Advanced Output Options 505

5 Check settings. Rende r Settings ~

Click Settings. Doa.rnent Properties

Render Quaity: Good

=- - This is a summary of t he settings we set in t he Photo View 360
Bloom: Off
Options for this specific render. You cannot make changes here, so if
Bloom S.lpOOt: :oo
a setting is incorrect. you must cancel and make the changes in the
Bloom Exrent:
PhotoView 3 60 Options.
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

AspectRatioW : H ~ L33 : l

~ Lcance__; L._ ~
6 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. Render Setti ngs 9
Click Schedule Render from the Render Tools tool bar.
Document Properties
c-::
Render Quality: Good
Name the file Toy Fire Engine_640X360_Good.tif.
Bloom: Off
The path for Save File To should show the directory Rendered Bloom Setpoint 100

Images in the Chapter 9 folder. lf not, click Browse and set the Bloom ExtEnt:

path. Contour Rondering: Off

Select Start after Previous Task. This task will run after the render Line Thd<ness:

we set in steps 4 and 5. Line Color:

Click Settings. Examine the settings and note that they are both OUtput Settings

File Format - Tagyed Image Format File

correct and different from the settings used for the first image.
j Image Size - 640 X 360

Click OK and Finish. I ASjlectRatio -w: H = us: 1

I[ OK II caned ]~
 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.

t1.' SolidWooo Task Schedul~r l= H

File Task< View Help
,:

ltf
(\?' Conl!M
~
. File ----~U!ijE!I.l!1JC;ai
L=:;::====J~~
I
Show Tasks lj @t
Today X '
T Refresh ~ ~ Print
.D~<.ecffj!e;;
- I I1: I I I I I Progress
ITI
T itle Dale lime Status CQmputer
!!) !!.pdate File~ . Tos firl;.fngin~ 800Xfi00 l]nnrl.J>f"P. 12/3{:1-010 11:45:00 AM Scheduled
Iii"'; ., . 2 Joy fire !;J>..9l!>e 640X}_!!(l.1if 121312-010 11:46:00 AM Scheduled
~ Update ~octal'ed Ftle

~
~ J?.nnt:fil~ c::: Cl! ====I
r;jfijj !mpoJt Fi~s - - -

~'.i:l f;<p<nt File'

~ Update ~ustl>n> P.r!ip~hr.'~

~ Cr.,.,te !;lrnwih'g<
!j Convert to Hi!j/l ~m.iilfty ~~~
~0 BunCu>tomTak
{@ Crepte eO~ns
!JJ,Update Simulati?n
~ Design Gijg~ker
1
I Iii! Re nder an~ l<ni'!>~l\fo
~ Convert Workgm~p, ~f.il~

L~ Print WorRgrg~ P..i'l1:!!~--!.__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

1

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.

12 Open.
Open the assembly Red_Toy Car from the Red Toy Car folder.

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 k:>,, . l..i.3..

File Tasks View Help
-
!lf Conyer! Files ~

' ) { DiF>ed Ales

Show Tasks IToday :JI @ Rofre<h l{!J X ~ Pnnt

1:1 Tttle I Date l Time I status I Computer I Progress I

IJj !.!pdate Files 1 r~ fir!: t"!lh'" ~('QX(>PO r,ood hm;1 , 12/3/2010 1l!45:00AM S<heduled
12 fr!y_fufnWn.l: r;.4C)X~!\(l.!if 12/3/2010 11:46:00AM Scheduled
~ Update~sf!ciatod Piles 13 J:Q;Lill<:.lns.rt" .!j(l(l}(~ro G,<>rl.,Wg 12/312010 : 11:47:00AM Schedul..d
@.~rint Fi~ '4 Red To:t (,, ROO)(MO (1(\(\Q,P.!!!l 12/312010 ll:48:00AM Scheduled
1-
6Q. !mport Files
Q'O Export Files
- -

16 Task Scheduler progress.

As the tasks are processed. t he Task Scheduler will update the st atus.
Note You may have to occasionally press Refresh in the Task Scheduler toolbar to update the display.

~ SolidWorks Task Schedule< !-=.a~

File Tasks View Help

tlt Con;tert Fri!!S llEl'l ' .

; / ( DiSed f de.
ShowTa.ks ~ JI I Refresh tr!J x ~Print

r: I Title I Dat e I Time

l Status J I
Computer Progress
llJ !.!pdate FHes 1 !QJLfir~ ~n!Jir.~ fi('ll)Cilnn Gr<>d.h'lli' 12/3/2010 11:45:00AM { omJ>IPtP<j ~
12 TQ:t.fir.r ln!lin" 640X}~~.!it 12/3/2010 11:46:00 AM In Progress ~
......
~ Updafe [\$()9~ted Flies 13 IQY Fk~ f~'l!' lj(IOX6()~ Go<>rl.jw 12/3/2010 11:47:00 AM Scheduled
@ ~rintFiles IT R~tl To,y~'" R!}OXI)OO \>onnl'"S 12/3/2010 11:48:00 AM - Scheduled '
1- - .
6Q. Import Fites
;i?:~ Export Files

a-v:
510 Chapter 16

17 Check files.
Once t he rendering is complete, check the Rendered Images folder. All four images should be-=~
in the correct size and f ile type.

~ 1'--'"
t
. ......... .... 1
A l
Product Visualization ' Chapt er 9 ' Renderedlm agos J ~t II Sta"b Rtndutd lrr.ages
Filt' Edit View lao!> Hel p

Orgniz~ lndude in !tbrary Slide show Bum Ne.,. fofder -- y

fN
.- ChapterS N am~ Dat e Typ~ Size Olmf'nstOns.
Case Study
"5: Red_Toy Car_800X600_Good.png 1213/1010 11:48 AM PNGFtle 5<l1 KD 800 )(60()
.., Prad Ke Exer<l!~
~ Toy Fire Ertgine_liOOX600_GoodJPG 12/3!2(110 11:47 AM JPEG 1mage HB 600 x600
Rendered lmag5
,.. ChapterlO
"1i Toy Ftre Engtne_640X360.td 12/3;1010 11 :46 AM Tlf Ft l~ 24) KB 640"360
_!!: Toy Ftr~ Engtne_800X600_Good.BMP ll/3/1016 11:->S >J,! BMP Ftl 1,8761(8 800 x600
Chaptffll
_. Chapterl2
Chapter13
- '
4 rtems
 Advanced Output Options 511

18 Examine the results.

X'.: -=-= 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 In
To reduce render times. the rendering process can be distribut ed to multiple computers using the Tc
Photo View 360 Network Rendering client. The Network Rendering client is on ly available to SolidWorks Re
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.
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. Re
one bucket is sent to each processor. at 500 percent f ive buckets are sent. The process is not continuous
To
in that when rendering starts. t he coordinator computer will render one bucket per core. As each core 36
finis hes a bucket. it is sent another bucket to render. With the clients. the flow is different. If for example Cli
you have eight client cores to use and client workload is set to 200 percent. 16 buckets will be sent ou: T;
to the client. When the client finishes rendering all16, the data is sent back to the coordinator compute~ no
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.
 Advanced Output Options 513

Install and Ready the Client

--gtne To install the render client, use the SolidWorks Installation Manager and select Photo View 360 Network
SolicWor:<S Render Client.
:JCESS, t :-'E
--- -o.r.e '!1!!:' Welcome Product Selection
Select products to add or remove. Selected products w11l rema1n on the computer, unseleded products w1ll
Serial Num b e r
be removed from the computer.
System Che ck Indicat es ;a cha nge has been made~
::m'J~ e- ::-
Pro duct Sel ection Sol idWorks Premi um Select dtfferent pack aoes or products /

Summary
ll 0 SohdWorks
Download Ill SolidWorks eDrawings

- .;> c 1 Jnst2111
ll [t'] SolidWorks Explorer/Workgroup PD1>1
- ~ Ill SolidWorks flow S1mulabon
Finish
0 COSMOSM
./ PhotoV1ew 360 Network Render Client
:{j SohdWorks Plast1cs

---:: '-,-
.._ :::"
.JC API Tools
Ill Sol:dWorks S1mulab on
,. .... ' .. .
(' ~, ~

[Select a product to see Its description.

as- ,_
Estim ated addi tional s pace requi red : 0 KB
.a::y Does not mdude the: SIZe of any downiOlJids.

z-::.r
~-~

-~=~
Render Settings in the Coordinator Computer ~ tktwork-~~
Clil!nt woridoad:
Al
- '""'~.
.:cs To use the available render clients. select Network Rendering in t he PhotoView
I 1oo%

==~- ::r: 360 options. II I I 1- n; -1111

./ Send data for networi<job

~ E ..:r:c~,- Client Workload ~twori< Shorl!d Drectory:
---- -
--~ _I _ The client workload specifies the ratio of buckets that will be sent to client c.~

nodes as compared to coordinat or nodes. !lrows<o ...

E :~ ;:::::-
:>-o:W2
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 Render Chent
confirm it is in fact in the Client Mode.
 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 c-
anything 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

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.
s=-
a::-i!C" 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 u
Overhead TJ
Windows and SolidWorks take a significant amount of RAM before any other programs are opened. e1

User Memory
Free up memory by closing all other programs when you are rendering.
rE
Though you can continue working with any model in SolidWorks when the fina l rendering is t aking
rE
place, it is important to note that this consumes system resources which can slow down the final
rendering. D
u
Rendering Lightweight
sr
Models can be rendered in lightweight mode which reduces the amount of RAM used by the model
cr
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.
cc
PhotoView 360 Settings or
Photo View 360 settings can significantly affect performance. Note that with each of these items you
rE
make a tradeoff between the desired rendering/rendering quality and the rendering performance.
rE
Output Image Settings VE
When the output image is created, it is stored in an uncompressed format before it is converted to
u.
the desired output format. This can take a lot of memory, so the general ru le is, the smaller the
Yc
re ndering t he less time and memory it will take.
Har
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
For r
SolidWorks. This is true no matter what kind of hardware is available.
how!
lf you need to render images larger t han the limit, divide the rendering into smaller parts then merge t hen
them together in an image editor. proc

Render Quality Gr
The table found in Render and Preview Quality on page 75 shows what items are controlled with the Tr
Good, Better, Best, and Maximum final render settings. Rendering times tend to go up Pr
proportionately to the number of indirect rays, so rendering at Better t akes about fo ur times longer
Tr
than rendering at Good. Best takes about twice as long as Better, and Maximum will be around 16
re
times longer than Good. Remember that this is not exact as other factors affect the rendering time,
st
but it should give you a rough idea of what the changes cost in time.
Fe
 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 'TO-
t 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.
 Photo View 360 Gallery
~--
JE 3 -:!sr
g ~3""
?- ....... _:. . . ,:
2' "? ~.:-::

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
45P:. used in isolation. Because the goal was to learn how to use the tools and
-~e ~. G=
settings in Photo View 360, most of the renderings were ke pt simple and not
=:::. ~ Ll::"" fully refined. To demonstrate the capabilities of PhotoView 360, this section
includes renderings created by SolidWorks employees and SolidWorks
customers.
- ;oes se:

::S'L<:> .:.-.e
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
:uo
uoqewJO:J-U! Jeuoq]ppe sap]AOJd X]puadde SJLjl
530 Appendix A

Acknowledgement The CIE

Some of the material in this section is adapted from the SolidWorks World presentation "Making Sense records
of All Those Colors" by Steve Howe and is used courtesy of Computer Aided Technology, Inc. oflesse
diagrarr
Color
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.

- -~ Limita1
;oo 500 '6oo 100 aoo
Wavelength The din
limitati
Visible Light The twc
Within the spectrum of visible light. there are billions of colors. In the early 20th century a color system that cat
was developed by the Commission lnternationale d'Eclairage (CIE, International Commission on (as that
Illumination) which depicts our percept ual color identification based on additive mixing of light. This renderir
syst em is shown as the CI E 1931 color space chromaticity diagram. produce
frequer
CIE 1931 Chromaticity Diagram 0.9 renderi
The outer curved boundary is the spectral (or
monochromatic) locus, with wavelengths shown 0.8
in nanometers. Note that the colors depicted
depend on the color space of the device on 07
which you are viewing the image, in this case a
0.6
printed page, and no device has a gamut large
500
enough to present an accurat e representation
0.5
of the chromaticity at every position. So, what y
you see on the page is not actually the entire 0.4 '
!
range of visible color.
I
7t;l)

0.2 .

0. 1

I
0.0 '
0.0 0.3 0.4 0.5 0.6 0.7 0.8
X
 Color 531

The CI E diagram is only one plane within a color-space which

2 ""5Se-s= records the sensation of light. Other planes represent colors
IC. of lessen ing brightness, in other words. the respective
diagrams show how colors will appear when there is less light.
s .5'- =n=
c-tS 2~5=-= -z
c.~ . r-.o ~ ..
/
~
' X

Limitations of Media
The different methods of displaying color have
0.9
limitations as to which colors they can produce. I
520 Visible light
The two areas of interest to us are the colors 0.8
G:or syste- that can be produced by our computer monitor
.- ~;'1 (as that is where we are generally creating our 0.7
g :-t. This 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
0.-l

7t

0.2

0. 1!

I
0.0 '
0.0 0. 1 02 0.3 0.4 05 0.6 0.7 0.8

~t~ll
X

~ 70()

07 0.8
532 Appendix A

Color Wheel Terti<

Sir Isaac Newton first created the color wheel as a method of displaying the relationships between the Tertia
various colors. In the color whee l, colors are arranged according to t he chromatic relationship. and a
It may appear in different fo rms in different references.

Primary Colors
Compl
Primary colors are co lors that cannot be created by mixing other colors. They are
Compl
like the prime numbers of color. Depending on the color system used, the primary
oppos
colors are different.
equal1
In light addition: red, green. and blue eit her
In painting: red, yellow, and blue
In printing: cyan. magenta, and yellow
Secondary Colors
Secondary colors are created by mixing two primary colors.

Anal a~
Ana log
 Color 533

Tertiary Colors
:s:vwee- ~m.: Tertiary colors are created by mixing a primary
and a secondary color.

Tertiary

Complementary Colors
Complementary colors are colors located on t he

I I /
opposite side of the color wheel. When mixed in
equal proportions, complementary colors produce
either white or black.

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
rr
Hue: The name of a color, such as red. blue. or green.
b
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. s
distinguishing the chromatic colors from black and white. Adding black causes the color to become T
dark, or shade. Adding white will wash out the color or give it tint. d
VI
lc
al
T
p
Saturation

51
soo;. I
w
rr
Intensity: The brightness or dutlness of a hue. One may lower the intensity by adding white or black. A
Luminance/Value: A measure of the amount of light reflected from a hue. Those hues wit h a high 1/1
content of white have a higher luminance or value. ac
ar
a1
soJ soo;. J 10o% 1 fi
~.
te
The variation of a hue can be referred to by shade. tint. or
tone.
c
Shade: A hue produced by the addition of black T
Tint: A hue produced by the addition of white is
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
H
A
a1
 Color 535

Additive and Subtractive Colors

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.
==-=s=-.:
Subtractive Color Method
~ - .---,.-......
... JC'- ......
-I:' 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.

E =,: -::a-:: Additive Color Method

-=- 5 '"
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
primary colors. Sometimes. 24-bit color is described as 8-bit color because 256 Levels. grayscale
8-b~. 256 colors
eight bits are used to describe each of the primary colors. Because an 8-bit 16brt. 65 thousand color:
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
.x: -s:E::C co lors of light. The X-axis is red, Y-axis is green, and the Z-axis is blue.
~ .... 'E-2. -~

~== =
""::-E =--c-.
-- E~g-: ~: ~, If we start w it h a single ball, at the origin with no lights it
will look black.

c:-c. :.:.::::: We then add balls along each of the three axes. Along the
e-: =
,- X-axis, the value for Red is increased until t he maximum
cc:: ;:;r,- ~ value of 255 is reach ed while the va lues fo r both blue and
0 Red

~~55
green remain at zero.

~--."':":;
~
...
- .. --- ~ Along the Y -axis, green increases while red and blue
remain at zero. Along the Z-axis, blue increases while red
and green remain at zero.

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 255
top of theY-axis, red will increase while green will remain
at 255,

When both green and red are at maximum and blue is at

zero, we have yellow.
0

-
IIOiiR

-=~

- ==-~
538 Appendix A

The RGB Cyan Corner The

In a similar manner, if we add balls from the end of the If \ ',E
Z-axis where blue is at maximum, and the t op of t he go"
~
Y-axis is maximum, we will have cyan.

The RGB Magenta Corner The

In a similar manner, if we add balls from the end of the To!'
Z-axis where blue is at maximum. and the end of the X-axis sta1
is maximum, we will have magenta. cub
eac
incr

In t
rep
valt
tim
mar
rep
255 one
The RGB White Corner WOI

Continuing from the cyan, magenta, and yellow corners we anc

get to the white corner where red, green. and blue are at
their maximum values of 255.
 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.
.,.-.~~-.-.
'' ,....~
,....~ ..... ,.~~
..
. ~, '\
..
'\

.
.. _...
Sl..# \ ,...... ..
'\ \
~~ ,
1""4 \ '\ , . ...... .,. , _
" '\ '\

~~ -" I
I); \
f ,fl-1,1/c
'\ , , . . . .... '\
' ' .' ' . , . , '> '\ '\ ~'\
' '\ e \
"it>'~;/ . ' '
f~
( 4 ', ,',
. '
'\ '\ '\. '\. '\. ' ' '\
,.... , . , , ,. , ,
' ,' ,' ,
....
, 4.,
'~ .
' . . '\ \ '\ , ..... , . '
'\ ....

..

The RGB Cube

To fill in the entire cube, we could
start at the bottom layer of the

cube where green is zero. With Green=2rh
each successive layer, green is
increased. G!eew,.'2/

In this example, each ball

Green=l~JH
represented an increase in color
0 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
-:J::: 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

C,reen '0
-
540 Appendix A

HSV Model Definitions RC

HSV is an acronym th at stands for Hue, To
Saturation, and Value. In some cases it may be jus
called HSL (hue, saturation, luminance). HSB r
(hue, sat uration, brightness), or HSI (hue, r

saturation, intensit y).


When creating colors, the standard Windows
dialog box graphically represent s t he colors in
r= r
Custom colors
HSV format. o rrrr r r r
Within the appearance's PropertyM anager color
rrrr rr r r Hue n49
Sit 39
Red. 255
Gloen 255
Wn 240 au. 255
can be def ined by RGB or HSV. What is HSV and
OK I I Cancel I Mel to eu.tom Colors J
how do we get from RGB t o HSV?
Rc
First, the definitions of HSV: bl<
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
Rc
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.
 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.

I Floe 250

Rotate our perspective so that the pure white and pure

black spheres are aligned.

I 0H9.

-: color will

Rotate our point of view 30 degrees counterclockwise.

::-:e color will

542 Appendix A

Now show the rest of the cube. De fin

When t
This flat image is what we see in many of the color dialog boxes.
be spe
Co!orr.
called
lf stanc~ar~
numbe
I !:olors: >COLC
If we v
blue, v,
intege1
To ent
correc
New
$COLC

l __ __ __
I
_] Osrent
Create
first CE
MAXI
What we see is the range of colors represented by o to
360. Saturation is zero in the middle (white) and Weca1
increases t o maximum at t he outer edge. follow
!?////////// ..

i J

0 60 120 180 240 300 360

180 0"/360

r-
, 2
240 3ooo !3 A-~
l 4 B-1(
; 5 A-2C
While we are representing this as a flat image, there is
i6 B-2(
depth, which is the value or luminescence. As value is i 7 A-3(

decreased, all the colors converge to black. !s B-3C

~ 9 A-4
i 10 8--<:<
iu C-SC
[12
':]13
~14
:1ii?77}'N
..../)7)',jy
.. J
 Color 543

Defining Color in Design Tables ~ <.:olor Des1gn table xlsx "' X

When colors are defined in a SolidWorks design table, they must A _ B C D {:_~
1 Design Table for: Color Design table
be specified as a 32-bit integer value in a design table variable
called $COLOR. This 32-bit integer is formed as the sum of three ,GJ
.--4 ...-4 2
numbers: - -5 ~
I
~

1
$COLOR = (Red x 16) +(Green x 162 ) +(Blue x 164)
ll ~
~ fl ~ <:!
2 ~ 3 ;:: ~
;.:
If we want to be able to enter a color as values of red. green, and 3 A100 100 150 1 255
4 B-100 100 250 1 12632256
blue, we can use basic Excel functionality to compute the 32-bit 5 A-200 200 150 2 49152
integer. 6
,
B-200 200 250 2 12632256

To enter values f or red, green, and blue and have Excel fill in t he ~~~ ., sheen ~ " .J 1J7l ~d1!
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 C. and blue in column D to give t he
following result s:

0"/300:
I,,. .,,. ,.,., """ "'"'"
A _B
_~ C _ D
~.,.
_ E___ F G H I

-82
_ J__ ~
.
l;t'///// //////////////////////////////////////// /////////////////,.. ,///// /////1'/// /l'///////////////////////////////// ///////////.tu.
~

~ ....
:, ~
w ~
w ~
w - -6 ~
i 6 6 0 ~ Vl
~ ] ~
i z, z, z, W
:2~cwiil
VI VI

~
: ~ ~ ~
: w w w
~ io ~ ~
,. ~
f3
~ 4
~ 5
2
A-100
B-100
A-200
a a a
0
255
255
0
0
128
0
0
0
0
255
33023
"' ~ ~
100
100
200
~ f3.
150
250
150
10
10
20
I
~
f 6 B-200 255 255 0 65535 Yellow 200 250 20
f 7 A-300 0 255 0 65280 100 150 10
j 8 B-300 0 255 fjf" ;100 250 10
l 9 A-400 0 0 ,: 11- . 200150 20
l 1o 8400 255 o 200 250 20
i 11 C-500 255 255 300 100 15
iu ~
L 3 Red \ ;reen Blue~"! ~
li!
. 14
%
. ,~

~,;.;)';,,~. .,~)':n?~~. .;;.n,;-;;;J,. ;;.,n.,,,,,,,,,,,,,,,,...,,h(w. . . . . .,,,;:; ~

1
.... ~
544 Appendix A

Note We could have just used the equat ion =B3 + (03 * 161\2) + (D 3 * 161\4); however, the longer hexc:
equation provides error correction because it insures that each value can only be a number fro m 0 to 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.
Eacr
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 basE
enter a negative number, it is less than zero. so zero would be used. t he r
gree
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 16m215

Colo
255
Colo1
f reqt
infor
swat
 Color 545

~.e-. the 1:::. 5 :::!: hexadecimalDefining Colors in Hexadecimal ~ Red

-:;e'"" from c ::=,
e =:;;:part c= ~
--.c.:er; eithe- ~
- .: .::::>:::.~. thai vc ..c:
:;e :o:-:e mmr;;: . . ~
.
There are different places where color is defined by a
.-------------------~~ G reen
hexadecimal number. Notice in the Color Picker dialog
r--------_,~ Blue
below. the color red is shown in four systems: HSB. RGB.
CMYK. and Lab. Black
Each two-digit hexadecimal number can represent 256 White

c::;; or zero. ;; ""=
c-:; second.::;--
base ten numbers (16 x 16 = 256). The first two digits are Red
the hexadecimal number for red. the second two are for
Ume
green, and the last two are for blue.
Blue

Color P1cker (Foreground Coeor)

.... OK ]

DtJ
arrrent
ColorL~
~ ~
[ AddTo Swatches J

L: 77

5: 0 % a: 0
S: 75 % b: 0

R: !IfiJ C: 25 %

G: 191 ~1: 20 %

B: 191 Y: 20 %

____.,#bfbfbf K: 0 %

Color Swatches
Color swatches provide a way to save a color scheme or Cu rrent color
-
_J:A~-:=====,=:~=-....:
frequently used colors. Swatches are created to save color Colo r swatch :~"--" -

~~
information but they do not save appearance information. Color
swatch files have the extension* .s ldclr.

Colo r selection 1 ..,

area .

191 .'-~

Color sliders . 191

RGB-HSV
system
C .
, .. 0;;-
L..._
191
1
HSV
546 Appendix A

Creating Color Swatches F

To create a new swatch, click New Swatch [lli:!J. Save the new ~
swatch either to the default directory SolidWorks\ Color picker [
SolidWorks\Lang\english\ colorswatches or to a common New swatch ~ :ru l[swatmtest ]
directory that can be shared with coworkers. You now have an Add to swatch t.l ~
empty swatch.
Use t he sliders or the color box to pick a new color. Or, you can
swatch l'
Remove from _,,J.!'Jj

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 ~ - 191
,.
I )
To remove a color from the swatch, select the color square and 191

click Remove from swatch [). ..

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 c
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.
5
 Color 547

PowerPoint ~ Colon

Microsoft PowerPoint has a large va riety of color combinations found on t he BuittIn

o c al:!
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.
rJ:JO
=c:l[J.III!J
office
Grayscale
Apex

.:J[J
=.::011:1
Aspect
Civic

:=: :!.c
: Concourse
Equity

= o
c::c::c:J
f (O\'/

Foundry

~r::c Median

~c Metro

.~r.::c Module

::.:JU~:rc Opulent

11r:c= .: . Oriel

;:::a:::;;:: Origin

' c :rc Paper

=-=
em:;;
c~::EIClll Trek
Solstice
Technic

--=-=
.:oJ
EDI Urban

Verve
re;,te New Theme Colors...

Paint Manufacturers
Paint manufacturers have different predefined color combinations. The m e
-~.....~ ..-;;.;-~ ll!l'-1:';ftl
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
--o: - :. .
O""" O~..::::::J ...V .!o-
- i ..,.. ... ...
~ O'~'t::!l

- ---
program with a color picker, you can det ermine t he settings to reproduce o if0,- 1::1 ~... r:;::?~;
..va.- a.Vllo ... ~.:Ro_..
the color. As an example, we could determine that the color values for the ~Q:LJ G?~LJ D~-::::!
colors of the San Diego Chargers are:
:i\:
:...
tl~~ ~~~
:...
- '- -- -
SD Gold: Red-255. Green-194. Blue-a -~ ~ or;~LJ .- ;:::;-...
:ases ~ ~-- ... -'1<!1- Q.Uli..:::J
SO Navy: Red-O, Green-47. Blue-91 iit~ii-- II!!!IL
-
..,-~~ 0ll!!ll0b:ii
--
SO Powder Blue: Red-O, Green-121, Blue-186 e~~ ii~~ ~~~:
ii:~:ii ~:~ ~~~
----0-- -

l
SO White
548 Appendix A

Color Names c
With all t he possible colors, how do we know what the settings are for a color when we are told that it w
should be "CadetBlue"? There are multiple sources on the web that will yield tables that will give the w
RGB or Hex values for each color. Tl
The examples below are from 'i\fWYY,_Qigi!l~QID. and wwww3schools.com. We can see that to mix br
CadetBiue, we use Red-95, Green-158, Blue-160, or Hex #5F9EAO. 51

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.
 Color 549

Color on the Web

: ::-.a~ - : When preparing out put for the web, there are only 216 colors that are considered to be "browser-safe':
5= ~1iE 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.

?r;! L:~ u.io:=

"'I --: - -
- 'l..'t.i,;O,I ::
 :uo
uoqewJOJU! Jeuor~Jppe sapJAOJd X]puadde 5!41
II
II
552 Appendix B

Acknowledgement Oii
Some of the material in this section is adapted from work done by Mike Wilson and Phil Sluder of Dif
Triaxial Design and Analysis and is used with their permission. sur
a pi
Illumination
Within the settings for all appearances is an Illuminat ion tab. To understand t he choices, we must first api
understand the different settings. Dif
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 BaSe Advanced }
always mixed with other appearance properties. In the following section, the
p;;J Colo< /lm1lge 1<6 MoppOJg )
images are meant to show the effects of changing a single appearance property ~ Ibrination YQ& ~rnmj
through its entire range while holding all other properties constant. ~Illumina tion
J; Dynamic help
Common Controls Doffuse amount:
In this section, the various common controls will be examined individually. These 1.00
)
are the settings that apply to all appearances. In each graphic, only one control
will be varied to see its effect.
Speajar color:

Th
Speajar spread:
0.6875 the
Ph
1 Reflection amount:
0.200 USI
j
~~ BUry reflections
Transparent amount:
0.00
:)
L..mnous intmsoty:
0.000 w/srmh2
anfirrmmrmrfj1'ttiH
 Illumination Settings 553

Diffuse Amount
_::e- o" 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.
:: ~:..!st ~irs~
Diffuse at values from 0.0 to 1.0; Specular amount: 0 .0

g;~.__ :
:21 !Utioa: Fi'ilil

.,I 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
,.
Itilt: Photo View 360, t he specular amount is set by the appearance definition and cannot be adjusted by the
I
user.

-rn:
r
I

r
orr.
l_
.-
:l.1liW
554 Appendix B

Specular Amount Diffl

Specular amount controls the intensity of the light on the surface. This cont rol only affects the As a
appearance in OpenGL and ReaiView and has no effect in Photo View 360. This is a mirro r type the b
reflection. so t he property is dependent on the position of the light source and the position of t he view. back
With the light position locked to model. as you move your viewpoint. t he specu lar highlight will appear speC!
to move on the surface.
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

Diffuse versus Specular

:ts:he As a comparison, in the leftmost image, the ball on the left uses Diffuse and Specular reflections while
;:-:ne the ball on the right uses just Diffuse. In the rightmost image. we are looking at the assembly from the
r s: the viev/. back so the ball positions are reversed. Because the light is locked to the model. we can see that the
1: .. ill appear 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
o illuminated by t he same light but each specular highlight has been set to a different color.

::x;: ~o
556 Appendix B

Specular Spread Blurr

Specular spread controls the blurriness of any highlights on a surface. Increasing the Specular spread This b
value makes high lights larger and softer. 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

Blurry Reflections
11~ar spread 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.
:.ed as

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 Additi1

Transparency amount controls the degree to which a material allows light to Some a
pass through it. The model consists of six spherical lenses. t o the r
Refrad
Material: color; Index of refraction: 1.59 (default)
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 1.5 1.75 2.0

Index of Refraction
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
 s8umas ys!ul:l- aJej.Jns
sad,.\+ YS!U!:J. aJe:J.Jns
:uo
uoq.ewJO:J.U! ]euo1:pppe sap)AOJd X)puadde 5!41
.pafqo ll.!a..:!
562 Appendix C

Surface Finish Brushed

Surface fi nish is used t o give t he appea rance that the surface is something other than smooth. This is Brushed g
done by using either a bump map or disp lacement map. The bump map is generally a gray sca le image st riations.
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.
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) Sandblasi
Joint Photographic Expert Group ("'.jpg, '''.jpeg) Sandblaste
Portable Network Graphics (~'. png) sandblaste
AdobPhotoshop ("'.psd)
Silicon Graphics 8-bit RGBA ('''.rgb)
Targa (*.tga, ''.targa)
Tagged Image File Format ('~.tiff)

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 . Burnished
In each of the following images, there are two planar faces and one cylindrical face as you will see if you Burnisheci
examine both t he hard edges and silhouette edges. knocked c::
 Surface Finish 563

Brushed
c::.~~ This is Brushed gives the appearance of regular linear
ca e image striations.
e ore the
r:: ::aanges

:.::--. make

Sandblasted
Sandblasted gives the appearance of being
sandblasted with a small irregular pattern.

- ~defa ult

E r,nishes,
52

Burnished
see if you Burnished gives the appearance of a smoothed, or
knocked down, pattern over an irregular surface.
564 Appendix C

Casting Treadp
The casting surface finish applies an irregular Treadpl;
casting pattern. plate pc

Machined Treadp l
A machined surface finish should look like the This is a
surface has been ground.

Diamond Treadplate Knurlec

Diamond treadplate provides a regular pattern of Knurled
diamond shapes. 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 DimplE

Knurl height cap controls the height of the individual knurls. With a setting of 1.0 , each knurl is a pyramid. Dimple
As the value is reduced, the pyramid is truncated. Knurl height cap cannot be set to zero because it means
would eliminate the surface finish. zero, a
t here <

Dimpled
Dimples are a regular pattern of uniform-sized Chain
dimples. Chain I
just th
 Surface Finish 567

Dimple Size Control

sa pyramid. Dimple size is relative to dimples that are sized so that they just touch each other. A dimple size of 1.0
Eause it 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 Bump P
This appearance simulates a wrought surface with The folio
appropriate grain and imperfections. maps for

Bump N
The br
tone ir
Diffus
SpecL
bump~
The s,
if t he
Shade
Rough 1 surfac
This is a finish of random variations.
Shade
really
Unlike
shado
The li
map.
Refle1
Refra:

Displao
Rough 2 The b1
This is a coarser variation of Rough 1. in a ci
Shaclc
but c
shado
Shade
topog
Like r-
shado
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 n

Like other rendering software, PhotoView 360 performance is heavily influ enced by the hardware that 10
makes up the computer system. Being SolidWorks users, we know how hardwa re can affect the la1
performance and stability of the software. Having a high performance SolidWorks system does not pr
necessarily translate into having a high performance Photo View 360 system. pr
In t his appendix we'll examine what role the following parts of your system hardware and operating ca
software play in Photo View 360 performance. re1
on
Central Processing Unit ei~
Random Access Memory pe
Operating System or
Graphics Card ho
pn
Central Processing Unit (CPU)
CPUs come in a variety of configurations. CPUs can have multiple cores (Dual Core, Quad Core, Six Core} Nc
and combinations such as dual quad cores or dual six core CPUs. In addition to t he number of cores, bu
most modern CPUs are multithreaded so that each core may act as two CPUs . Some portions of WE
SolidWorks take advantage of multithreading and use the additional processors: thE
File, Open is a multithreaded process. One thread loads the view information, while another thread pe
COi
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 or
quickly as possible while a second thread is used to calculate the precise HLR views in the Sp l

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. Ra
RA
Multithreading therefore can produce a performance increase with computers equipped with more than
for
one processor or processors with multiple cores/threads. Because of this, having more than a dual core
ins
or dua l processor comput er benefits SolidWorks performance.
file
Sol
ele
dri'
will
 Hardware and PhotoView 360 Performance 573

The Photo View 360 rendering engine however is a

9 '
a;-:::-.rare that 100% multithreaded application and can see a 8 -+
:c: :he large performance increase when multiple "' QJ
0 7
- :::;es not u
processors are available. The more cores or 0 6
processors available, the fa ster Photo View 360 :::! 5
0

can process the information t o complete the ~ 4

u
:::2:=;-ating
rendering. Two cores or processors are faste r than
~ 3
0.

one, four cores or processors are faster t han two, 0"" 21

eight cores or processors are faster t han four. The 0 - ----
E--
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.
::.- :;, Six Core) Not only is t he number of processors important,
::- :::f cores, 4.5 . . . - - -
but the speed of the processor plays a role as 4
c-:::-s of well. The higher t he processor speed, t he faster 3: 3.5 -+-- - - - - - -

:;:""':er thread
the rendering will compute. To obtain the most
performance from PhotoView 360 the
12.: :il . .. - - - --- -

~ views

.
--o
~
as
computer system should contain a multiple core
or multiple processor CPU at the highest clock
speed available.
i 1.~ -~---~----
0.. 2 .

0.5
=::.::!.dation is 0 -- ---- - - - - - - -
.

Slow Fast
:: SolidWorks Render Processing Speed
:; email, word
Random Access Memory (RAM)
RAM stores the information to be processed by t he CPU. Unlike a syst em's hard drive, which is meant
L:""' ;nore than
fo r permanent data storage, RAM is a temporary area to store data required by the CPU based on the
,_a dual core
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: ThE
The
Complexity of model
ap~
Size of final rendered image ope
Appearances being rendered
Render quality settings Wh
sys
Generally speaking. the higher the level of realism and the larger t he size of rendering you require, the for
more RAM the system will require. 64
Operating System 64
The amount of RAM installed on a computer system is limited by the operating system. Today's 64
operating systems are either 32- or 64-bit, with 64-bit now t he dominant choice in computers used for to
SolidWorks. USE

One of the most significant differences between 32- and 64-bit operating systems is the amount of all
memory they can address. A 32-bit system can have 232 addresses while a 64-bit system can have 264 uti
addresses. ant
Ph
32-bit Operating Systems an
32-bit operating systems (Vista 32 and Windows 7- 32) allow for t he insta llation of up to four gigabyt es wi
(GB) of RAM.
Gr
Limitations of 32-bit operating systems do not, however, let your software applications take advantage Th
of the full four gigabytes of RAM. In fact the 32-bit operating system reserves up to almost one gigabyte pu
of RAM for devices which require memory mapping. sh
An example of a device which requires memory mapping is a graphics ca rd. If your graphics card has
Af
512MB of on board memory, that memory will be mapped in the one gigabyte the operating system has pr
set aside for these types of devices. A computer system with four GB of RAM actually only has o,
approximately 3.12 GB of RAM available. In addition to the one GB of RAM set aside for memory-mapped re
devices, a 32-bit operat ing system only allows each running application a maximum of two GB of RAM. re
Basic math tells us if you have four GB of installed RAM, you subtract one GB for the memory-mapped th
devices and two GB for the running application limit, there is one GB of RAM not being utilized by your bE
system. hi
gr
3(
 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.
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
-. -e. the 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

5
64-bit operating systems (Vista 64, Windows 7- 64. and Windows 8- 64) allow for the installation of up
...sed for 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
-::of all the system memory available by running applications. This means SolidWorks/ PhotoView 360 can
-c.-:e 264 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
gaoytes with a 64-bit operating system.

Graphics Card
:.'c ntage The graphics card (video card) processes the information from software to paint an image to screen
ggabyte
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.
-;:has
Applications that render 3D information in real time. like SolidWorks, use the widely known
;:em has programming API OpenGL. Graphics hardware certified for use with SolidWorks is optimized to execut e
!S
OpenGL calls very efficiently and effectively. ReaiView is GPU- (graphics processing unit) based and
-lapped requires a certified OpenGL graphics card to process huge amounts of information to display semi-
o" RAM. realistic rendered models in real time. When using SolidWorks the model is rarely in an idle state. Since
-'""lapped the model is continuously being dynamically panned, zoomed, and rotated, the graphics card needs to
: :Jy your 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.

Index
Numerics
3GB switch 575
A from photograph 388
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,
68,92 101,345-350
advanced properties 95
appearances, scenes and
decals tab 26
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
folder location 350
folders 345
from Modo 370
hierarchy 97, 117, 293
hybrid 122, 365
illumination 95, 375
image files 342
level of detail 518
library 345
lighting 412
mapping 95,122
missing files 406
patterns 518
procedural 99
PropertyManager 41 , 95
reflections 518
refractions 518
removing 130
rounded corners 405
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
area lights 412, 438
arrow keys
adjusting 186
aspect ratio 202, 269
577
8
background 228
environment 226
images 226, 466
backlight 414, 418
backlit LCD lights 412
bloom 283
blurry reflections 557
brushed surface f inish 563
bump map 393, 562
burnished surface finish 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
view rectangle 195,199
casting surface finish 564
caustics 335, 521
settings 336
578
~------------ ---- ----- -------- ---- --------- -- ----------

chain link surface finish 567 value 534, 540 visibility 169 p2s
chroma 534 web safe 549 decals PropertyManager 152 sa
chromatic 534 See a/so Appendix A default appearance 33 see
CIE 1931 chromaticit y color correction 18 depth of field 211 files
diagram 530 color management 501 diamond treadplate surface mor
CMYK color model 536 color models 359 finish 564 sav
color color wheel 532 diffuse amount 553 fi lllig
additive 535 color/image 95 dimpled surface f inish 566 final r
analogous 533 CommandManager 25 direct illum ination 410 cor.
chroma 534 comp lementary colors 533 direct lighting 428 sta
chromatic 534 computer hardware directiona l lights 412 f loor
CMYK color model 536 See also Appendix D displacement mapping 394 Focol
complementary 533 contours 258 display pane 34, 94, 291 fog L
create definitions 107 convention s 8 icons 292 folder
custom 106 CPU 572 display states 3 app
depth 536 cube mapped images 462 DisplayManager 25, 34 see
gamut 534 custom view appearances 35
HSV color model 535 folders 110, 349 view decals 36 G
hue 107,534, 540 render settings 76 view scene, light s and gamrr
in design tables 543 scene files 464 cameras 36 ga mu:
intensity 534 cylindrical mapping 135, 142 dpi (dot s per inch) 268 gradie
luminance 107,534 145 dynamic help 28, 376 graph
mat ching syst ems 548 grays
monochromatic 534 D E
names 548 decals 22, 152- 175 edit ing appearances 374 H
optical properties 546 adjusting 167 environment 225, 226 hard\',
primary 532 applying 156, 162 environment al images 237 3 G:
RGB color mode l 535 file typ es 152 environment al lighting 314, 412 32 t
saturation 107, 534, 540 gradient mask 176 64 :
schemes 546- 548 illumination 156 F CPL
secondary 532 image 156 field of view 194 gra~
shade 534 image masks 169 fi le compression 497 RA.
subtractive 535 mapp ing 156, 158, 162- 165 fi le types he lp
swatches 545 mapping t ypes 162 for deca ls 156 dyn<
terminology 107 masks 169 fo r rendering 496 Pho
tertiary 533 order 175 p2d 156 Solil
tint 534 PropertyManager 156 p2l 464 hide/ s
tone 534 saving 156 p2m 345 hieran
 579

p2s 464 117 speed 256

,'l.anager 152 saving images 496 histogram 479 index of refraction 559
:.~ce 33 scene 464 HSV color 535, 540 indirect illumination 237, 410
files hue 107,534,540 quality 432
1: ate surface monochrome 358 hue and saturation parade 487 ray tracing 428
:P4 saving 495 hybrid appearances 122, 365 rays 75
.:J:J3 fill light 414, 417 indirect lighting 431- 433
; !:inish 566 final render window 84, 478 I input levels 492
::-: 410 compare and opt ions 86 illuminat ion 95, 375
t~8 statistics 85 capabilities 410 K
s 412 f loor 226, 228 illumination controls keep light 413
apping 394 Focoltone 548 blurry reflections 557 key light 414, 416
., 94. 291 fog 454 diffuse amount 375, 553 knurled surface f inish 565
folders index of refraction 376, 559
appearances 345 luminous intensity 376, 558 L
=3. 34 scene 233 reflection amount 375, 556 LCD light 412
1Cf5 35 refle ct ion roughness 560 levels
5 G ref raction roughness 376 input 492
*'l:s and gamma correction 483 specular amount 375, 554 library
35 gamut 534 specular color 375 appearances 345
268 gradient mask 176 specular spread 375, 556 scene 51, 233
376 graphics cards 14, 575 transparency amount 558 light
gray scale adjustment 18 transparent amount 376 media limitations 531
image based lighting 314, 412 visible 530
:es 374 H image evaluation 307 lighting 17. 22. 237. 414-423
i- 226 hardware image masks 169 backlight 414. 418
.:ges 237 3 GB switch 575 image quality concepts 410
0 ing 314, 412 32 bit operating system 574 rendering 500 direct illumination 41 0
64 bit operating system 575 image size 268 environmental 314
CPU 522,572 images environmental images 237
graphics card 521, 575 cube mapped 462 f ill light 414, 417
.!..97 RAM 522,573 HDR 314, 478, 480 image based 314
help maximum size 478 indirect 431
dynamic help 28 monochrome 358 indirect illumination 410
~ ~..-
:~ Photo View 360 27 spherical 463 key light 414, 416
SolidWorks 27 spherical panoramic 466 lighting plan 415
hide/show decals 169 tiled 345 methods 411
hierarchy of appearances 97, increasing rendering Photo View 360
sao
~------ - ---------------------------- -- ---------------- -

characteristics 454 materials 33, 68 photo studio 438 ligr

principles 414 memory photographing a texture 388 SCE

soft edge 454 3 GB switch 575 phot orea listic rendering 4

special 414 RAM 573 Photo View 360 15, 22- 28,32 Q
spot light radius 454 missing files 406 appearance target 93 qualii
lighting concepts 410- 423 Modo assets 370 ap pearances ren
lighting principles 424- 433 editing 374 PropertyManager 41 qualit
lighting schemes 413 monitor CommandManager 25
lights 36, 54 adjustments 17 def inition 22 R
ambient 412, 430 correction 18, 501 DisplayManager 25 RAM
area 438 resolution 275 interface 56 ray-tr
brightness 454 monochromatic 534 menu 25 ray-t r
creating 412 options 28, 520 Real\1
directional 412 N quality settings 77 sha
fill 414, 417 named views 187 scene Propert yManager 73 reflec
fog 454 neon tube lights 412 starting 23 reflec
intensity 413 network rendering 512- 516 user interface 24, 33 env
keep light 413 client 512, 514 point lights 412, 449 opt
key 416 coordinator 512 post-processing 477, 485, 495 qua
point 412, 449 ppi (pixels per inch) 268 ray-
positioning 248 0 presentation scenes 232 seo
properties 246 on-line help preview quality 75 refrac
show light s 247 Photo View 360 27 preview render 256 qua
spot 412, 452 OpenGL 10 preview window 57 rou.;
liquid appearances 334 shadows 12 primary colors 532 remo>r
lock camera view 444 opt ical properties of color 546 print screen 152 rende1
luminance 107, 534 options Alt+print screen 153 bas
luminous intensity 558 PhotoView 360 28 printer correction 501 com
system 29 proceduralappearances 99 f ile
M output product visualization 2, 10-17, f in a
machined surfa ce finish 564 design intent 256 32- 38 ima!
mapping 95 layered image 281 elements 16 ima!
adjustments 138 t ypes 22 projection mapping 138 141 me;-
cylindrica l 142- 145 projector reso lution 275 netv
decals 167 p PropertyManager pixe
spherical 145--149 Pantone 548 advanced properties 95 qua
textures 125 perspective view 103, 187 appearances 41, 95 ray-1
masks 169 modify 103, 187 decals 152, 156 redu
 581
------ ------------- ------ -------------- ------------- -- ------
lights 246 reducing complexity 258 user-defined 233
--e 388 scenes 73,233 reducing quality 258 schedu ling renderings 503
- ~g 4 results 5 secondary colors 532
.::: 28.32 Q scaling down 273 secondary reflections 325
93 quality scaling up 271 set affinity 501
rendering 500 scheduler 503 shade 534
ger 41 quality settings 77 screen presentations 275 shadows 420 423,429
. 25 speed 175, 256 clutter 422
R Render Preview 56 OpenGL 12
5 RAM 573 Render Tools toolbar 25 properties 423
ray-tracing 411 , 428 RGB color 535, 537- 539 quality 454
ray-tracing depth 325 rough surface finish 568 Rea lView 14
RealView 13 rounded corners 405 show lights 247
shadows 14 snapshot 36
ncger 73 reflection amount 556 s soft edge 454
reflections 314 sand blasted surface Software OpenGL 12
:n environment options 314 finish 563 special lights 414
I options 324 saturation 107, 534, 540 specular
L ~S. 495 quality 75 saving images 495 amount 554
258 ray-tracing depth 325 scene spread 556
232 secondary reflections 325 background 226,228 spherical mapping 136, 145-
refractions elements 226 149
quality 75 floor 226, 228 spherically mapped
roughness 560 lock to model/view 225 images 463
removing appearances 130 scene library 51, 233 spot light radius 454
render scene PropertyManager 73 spot lights 412, 452
53 basics 411 scenery 226- 233 standard le ns 211
c- contours 258 scenes 17, 22, 51, 224 225 studio scenes 232
: es 99 file types 496 custom 464 subt ractive color method 535
~ 2. 10 17. fina l render window 84 environment 225 surface finish 95, 393
image evaluation 307 in use 224 brushed 563
image quality 500 legacy 232 burnished 563
-~B-i 41 memory usage 520 presentation scenes 232 casting 564
?:o network 512 PropertyManager 233 chain link 567
pixel quantity 267 scene library 233 diamond treadplate 564
ES 95 quality 75, 520 stretch image to fit 241 dimpled 566
:.; ray-tracing 411 studio 224 knurled 565
reduce number of pixels 257 studio scenes 232 machined 564
582

rough 568 treadplate 2 surface finish 565

sandblasted 563 Truematch 548
threadplate 565
treadplate 1 565 u
treadplate 2 565 user interface 24, 33
wrought 568
See also Appendix C v
surface finish controls 394- vectorscope 487
568 video cards 14
bump mapping 394 view appearances 35
displacement mapping 394 view decals 36
mapping 394 view rectangle 195, 199
view scene, lights and
T cameras 36
task pane 38, 94 viewpoint 184- 188
tertiary colors 533 arrow keys 186
text ure appearances 99 middle mouse button
text ure mapping 122, 125 functions 185
automatic 125, 129 named views 187
by the numbers 138 perspective 103
correcting 130 positioning 184
cylindrical 129, 135 visible light 530
mapping types 128-130
projection 130, 138-141 w
projection direction 126 walk-through 36
reference 128 waveform 487
size and alignment 130 wrought surface finish 568
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
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