Shade 12 Manual

The Shade Series is a development product of e frontier, Inc. Shade and MagicalSketch are trademarks of e frontier, Inc.
Other product names and company names are registered trademarks or trademarks of their respective companies. When scanning other images into this program, pay careful attention to copyright. It is prohibited to copy, reproduce, or translate all or part of this manual, or to convert all or part of this manual to other electronic media and the like, without permission of e frontier, Inc. For purposes of product improvement, we reserve the right to change this program without prior notice. This manual has been written and edited based on the program existing as of December 2010, and may di er from the speci cations of the actual program you have purchased.
Your Journey Begins Here
Thank you for purchasing Shade. We encourage you to visit the Shade section of Mirye SoftThis manual introduces the basic operations of Shade and describes the frequently-used functions in the form of a reverse look-up dictionary. For details on the functions, plugins, and others, refer to the online manuals provided with Shade. Additionally, for details on hardware settings and con guration such as your video card and monitor, refer to the manual provided with each peripheral. Most of the functions in this manual apply universally to all versions of Shade, however some portions detail features available only in Shade Standard or Shade Professional. Sections of this manual devoted to features found only in higher end versions of Shade will be denoted in the beginning of each chapter or section. Moreover, this manual collectively describes those operations that are common to the Windows and Mac OS X versions. Those operations that are OS-dependent are described individually. Unless otherwise noted in the Windows version, mouse button operations assume the use of the left button. You can nd more information about Shade here: Shade Camp. Online documentation for Shade at http:// www.shadecamp.net Shade 13 Page. The product page in English for Shade at http://mirye.net/shade-13-overview Shade Forum. The o cial Shade community forum at http://mirye.net/mirye-forums Shade Online (Japanese). The original developer of Shade at http://shade.e-frontier.co.jp ware, including the Shade support forum. There, you can nd out the latest information about Shade, upgrades and available updates and frequently asked questions. You can also nd information about displaying your work to share with others.
Contents
[Shade Beginner's Tutorial]
1. The Shade Tool Set 10 Names and Functions of Tool Set 10 Basic Workspace 10 Workspace Bar 10 Tool Box 12 Tool Parameter 13 Control Bar 13 Figure Window 14 Browser 14 Aggregate 15 ShadeExplorer 16 Motion Window 17 Image Window 17 Menu Bar 17 Using Windows 18 Folding Windows 18 Separating Windows 19 Changing a Window Boundary Position 19 Changing the Window Width 19 2. Shade Experience Tour 20 1. Starting Shade 20 2. Inserting Material Data into a Scene 21 3. Using Cameras 22 4. Setting a Background 24 5. Rendering 25 6. Switching to Split View 26 7. Including Objects within the View 26 8. Copying Objects 28 9. Rotating an Object to Face the Camera 29 10. Setting Surface Attributes 30 11. Changing Split Views 31 12. Moving the Robot 32 13. IBL Rendering 34
[User's Guide]
1. Figure Window 38 1-1. Changing Display Options 38 Changing the Workspace 38 Changing the View Display 39 Changing Workspace Illumination 40 Switching Views in a Viewport 41 1-2. Navigating the Figure Window 43 Scene Objects Arrangement in Viewport 43 Using the Navigation Tools 44 Scroll 44 Rotate 44 Zoom 44 Performing Work on Working Planes 45 2. Creating Basic Objects 46 Setting the Plane on Which an Object Is Created 46 Changing the Viewport and Selecting a View 46 Selecting a Face in Work Plane Controller 46 Changing Views with the View Switcher 47 Creating a Line Object 48 Creating a Rectangle 50 Creating a Disk 51 Creating a Box 52 Creating a Sphere 53 Creating a Pyramid 54 Creating a Cone 55 Creating a Cylinder 56 Creating a Capsule Object 57 Creating a Torus Object 58 3. Editing Objects 59 Selecting and Converting Objects 59 Selecting and Converting Line Objects 59 Selecting and Converting Polygon Meshes 60 Creating a Link Object 62 Converting an Object Type 63
3-1. Editing a Line Object 64 Adding Control Points 64 Deleting Control Points 65 Averaging Control Points 66 Creating a Line Handle to Modify Curved Lines 67 Deleting a Line Handle to Straighten a Line 68 Unlinking the Line Handle Connection and Bending a Curved Line 69 Editing Multiple Line Handles as a Group 70 Rounding or Trimming Corners 71 Rounding Corners 71 Trimming Corners 72 Creating or Deleting a Face on a Line Object 73 Creating a Curved Surface from a Line Object and Creating a Face on that Surface 74 Making a Hole in a Closed Line Object 75 Rearranging the Order of Control Points 76 Connecting Line Objects with Each Other 77 Creating a Curved Surface Using a Line Object as a Guide 78 Extruding a Line Object to Add Thickness 80 Rotating Line Objects to Create Solid Objects 81 3-2. Editing a Curved Surface 82 Adding a Line Object 82 Deleting Line Objects 84 Switching to the Cross Direction 84 Dividing a Curved Surface 86 Merging Curved Surfaces 88 Rounding or Trimming Corners 89 Rounding Corners 89 Trimming Corners 90 Reducing a Fold 91 Closing an Edge Hole 92 Closing a Hole by Copying a Line Object onto the Same Position 92 Closing a Hole by Making Control
Points Converge to a Point 93 Making a Cover on a Complicated Face by Making Control Points Converge to a Point 94 3-3. Editing a Polygon Mesh 95 Adding Vertexes, Edges, and Faces from Vertexes and Edges 95 Adding a Vertex to Edges 95 Adding a Vertex and Edge Using a Vertex 95 Adding an Edge and Face Between Vertexes 96 Adding Vertices Edges, and Faces 97 Adding Vertexes 97 Adding Edges 97 Adding Faces 98 Deleting Vertices, Edges, and Faces 99 Deleting Vertexes 99 Deleting Edges 99 Deleting a Face 99 Selecting Elements Using Di erent Methods 100 Selecting a Belt 100 Selecting a Loop 100 Selecting Continuous Faces 101 Selecting Vertices and Edges with Options 101 Selecting the Same Plane 102 Reversing Selected Elements 102 Deselecting the Selection 103 Extruding Faces 104 Bevel: O set 104 Bevel: Extrude 105 Bevel: Duplicate 105 Bevel: Bevel 106 Bevel: Detach 106 Copying a Face to Create a Mirrored Form 107 Copying the Face as Another Object 108 Cutting and Dividing the Face with a Drag Line 109 Dividing Faces 110 Aligning Vertices and Normal Lines 111 Aligning Vertexes 111
Making Vertices Converge at a Point 112 Unifying Normal Lines 113 Connecting Overlapping Vertices 114 Merging Multiple Objects into One 114 Merging Overlapping Faces 115 Reversing Faces 116 Creating a Face on Vertices or Edges 117 Creating a Face from Vertexes 117 Creating a Face from Edges 117 Displaying a Polygon Mesh with Rounded Corners 118 Using Other Editing Tools 119 Removing an Edge Shared by Multiple Faces 119 Moving Faces by Extrusion 120 Extruding Edges 120 Rearranging Triangles 121 Performing Edge Loop Slice 121 Connecting Faces Through a Bridge 122 3-4. Editing Extruded Objects and Revolved Objects 123 Changing the Extrusion Direction, Amount and Rotation Angle 123 Extrusion Amount of the Extruded Object 123 Start and End Angles of the Revolved Object 123 3-5. Editing Link Objects 124 Editing Link Objects 124 Reversed Link Object 125 Setting Attributes in the Browser 125 3-6. Other Editing Functions 127 Morphing Objects with the Magnet Tool 127 Displaying a Mirror Object Axis-Reversed 128 Aligning Vertexes 129 Performing Boolean Operations on Objects 130 4. Browser 132 Managing Multiple Objects 132 Searching for an Object by Name 133 Rendering Only Shadows Cast on Objects 134
5. Camera 135 Changing the Camera Angle 135 Operating the Camera in the Camera Window 135 Operations in Perspective View 137 Creating Camera Objects 137 Create Cameras by Dragging 137 Creation from the Camera window 138 Switching the Camera 138 6. Lights 139 Creating Lights 139 Point Light 139 Spotlight 140 Directional Light 140 Distribution Light 141 Ambient Light 141 Linear Light 142 Area Light 142 Using a Distant Light 144 Brightness Values for Common Light Types 145 7. Background 146 Setting Cloud and Ocean Patterns 146 Setting an Image as the Background 147 8. Move, Morph, and Copy 148 Move, Morph, and Copy 148 Move, Morph, and Copy from the Tool Box 148 Move, Morph, and Copy by Specifying Numerica Values 150 Move, Morph, and Copy Using the Manipulator 151 Changing External Dimensions with Numerical Values 152 Copying an Object in the Same Position 153 Copying an Object in Reverse 154 9. Surface Attributes 156 Setting Surface Attributes 156 Setting from ShadeExplorer 156
Setting from the Surface Window 156 Setting Common Surface Attributes for Multiple Objects 157 Creating a New Master Surface 157 Save Surface Attributes as a Master Surface 158 Setting the Master Surface 158 Surface Attribute Types 159 Basic Settings 159 E ects 160 Volume Setting 161 Mapping 165 Setting the Size and Position of an Image 168 Trimming an Image 169 Overlapping Multiple Maps 170 Setting Surface Attributes Individually on Polygon Mesh Faces 172 10. UV Mapping 174 Setting Up UV Mapping 174 Setting Multi-Mapping 176 11. Rendering 177 Selecting and Rendering an Object 177 Rendering All the Objects 177 Rendering Only the Selected Object 177 Rendering Only those Objects Set with the Browser 178 Rendering Only Part of an Image 179 Setting the Size of the Rendering Image 180 Setting the Rendering Method 180 IBL Rendering 181 12. Animation 182 12-1. Joint Animation 182 Move, Rotate, and Morph Using Joints 182 Slider Joint 182 Rotator Joint 183
Scale Joint 184 Uni-Scale Joint 184 Ball Joint 185 Changing the Brightness of the Light 186 Moving an Object Along the Path 187 Morphing the Shape of an Object 189 Switching and Displaying Multiple Objects 191 Limiting the Movable Range of a Joint 193 12-2. Skin 194 12-3. Motion Window 196 Parts of the Motion Window 196 Setting a Joint Value to Provide Animation 197 Changing Animation Timing 198 Making Joint Values Change Abruptly 199 Looping Animation within a Speci ed Range 199 Moving a Ball Joint and Camera Along the Path 200 Adding Sound to an Animation 202 12-4. Plugin Enhanced Animation 203 Animation with Constant Camera Facing 203 Restricting the Movement of Multiarticular Joints 205 Linking the Movements of Multiple Joints 208 Reproducing the Movement of a Train 212 13. Additional Features 214 Stereo Function 214 Stereo Settings 214 Switching the Stereo Images 215 Volume Rendering 216 Subsurface Scattering 218 Displacement Mapping 220 Setting the Displacement Map 220 Conversion to an Actual Object 221 Normal Mapping 222 14. Other Object Creation Functions 223 Creating 3D Text (TextE ecter) 223 Creating Meta Objects 225
15. Plugins 227 15-1. Particle Physics 227 Generating Smoke or Flame 227 Extinguishing Smoke 230 Generating Water Objects 231 Generating Particles from an Object 234 Generating Tornados 235 Drawing in Smoke in the Direction of Gravity 236 Making Objects Collide with One Another 237 15-2. Hair Salon 239 Creating Parted Hair 239 Creating a Layered Hair Style 241 Cutting Long Hair 242 Cutting Hair 243 Lifting and Styling Hair 244 Avoiding Hair Dents on the Scalp 245 Arranging the Length of Short Hair 246 Combing Hair for Flow and Tip Creation 247 Creating Flu y Hair and Hair Borders 248 Coloring Hair Areas 249 Creating a Tortoiseshell Style 250 Creating a Punk Hair Style 250 Lengthening Selected Portions of Hair 251 Curling Hair 252
Beginner's Tutorial
1 Shade Tool Set 2 Shade Experience Tour 1 Figure Window 2 Creating Basic Objects 3 Editing Objects
Manual
4 Browser 5 Camera 6 Light 7 Background 8 Move, Morph, and Copy 9 Surface Attributes 10 UV Mapping
User's Guide
[Shade Beginner's Tutorial]
11 Rendering 12 Animation 13 New Functions 14 Other Object Creation Functions 15 Plugins
Shade 13 Manual [Shade Beginner's Tutorial]
1. The Shade Tool Set

1 2
This chapter introduces the Shade Tool set provided for performing basic Shade operations.
Names and Functions of Tool Set
Workspace Bar
The Workspace Bar is used to switch between the workspaces that are provided by default. It can also be used to save or switch to workspaces that a user has customized.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Basic Workspace
The basic screen is displayed when Shade rst starts. The basic screen displays the Workspace Bar (1) at the top of the screen, the Tool Box (2) and Tool Parameter window (3) on the left, the Control Bar (4) in the upper middle of the screen, the Figure Window (5) in the lower middle, the Browser (6) in the upper-right corner, and Aggregate window (7) in the lower-right corner of the screen.
The following workspaces are provided as standard. Layout The Layout workspace displays the Perspective View in the upper part of the screen and ShadeExplorer in the lower
(1) (4) (6) (2) (5)
part. It is used to con gure object arrangements, surface attributes, backgrounds, and the like.
(7) (3)
Perspective view
ShadeExplorer
10
1. Shade Tool Set
Modeling The Modeling workspace displays only the Perspective View. This window is useful for modeling since it maximizes the Viewport for modeling.
UV Edit The UV Edit workspace displays the UV Edit window on the left and the Perspective View on the right. It is used to work with uv maps and models.
1 2 1 2
UV Edit window Perspective view
Perspective view
3 4 5 6
Split View The Split View is divided into four view types: Top View, Front View, Perspective View, and Right View. It is used to perform operations along the three axes and to perform work while checking on the status of the Perspective View.
Animation The Animation workspace displays two windows in the upper part of the screen (the Top View on the left and the Perspective View on the right), as well as the Motion window
7 8
for controlling animations at the bottom of the screen. It is used to create and edit animations.
9 10
Top view
Perspective view Top view Perspective view
11 12
Front view
Right view
13
Motion Window
14 15
11
Rendering
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The Rendering workspace displays two Pespective views: that for preview rendering on the left and that for wireframe on the right. It is useful for making checks before rendering or for performing simple corrections.
Tool Box
The Tool Box provides tools for creating and editing objects, and is divided into three sections: Create, Modify, and Part. You can also access most of the functions provided by the Tool Box from the Tools menu. Toolbox: Create The Create tool set provides the tools needed for creating objects. The tools are divided into the Object, Solid, Light/
Perspective view (Preview Rendering)
Perspective view (Wireframe)
Camera, Move/Copy, Other, and Plugins groups. Moreover, Object drops down to reveal Primitive, Surface, and Mesh options to allow you to directly specify the type of object to create.
12
1. Shade Tool Set
Toolbox: Modify The Modify tool set provides tools for editing objects. The tools are divided into the Surface, Mesh, and Tools groups.
Tool Parameter
At object creation, the Tool Parameter window displays the di erent parameters and allows you to modify them. For object selection, the Tool Parameter window provides functions such as object conversion and line object memorization and application.
1 2 1 2 3 4 5
At object creation Toolbox: Part The Part tool set provides the tools needed for creating parts and joints. The tools are divided into the Part, Transformation Joint, and Master Part groups.
At object selection
Control Bar
The Control Bar is used for changing Figure window settings
7 8
such as editing mode switching, manipulators, snaps, work planes, and stereo operations.
9 10 11
A popup menu is displayed by right-clicking an empty area on the Control Bar. From this popup menu, you can set Show/Hide for each button.
12 13 14 15
13
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
14
Figure Window
The Figure window is used to create and edit objects using the tools you have selected from the Tool Box. The Figure window can be a single window or can be divided into two or four subwindows. The separated subwindows can display Viewports such as a Top View, Front View, and Perspective View (viewed from the camera position). Either list all options or simply say "You can switch each view to di erent display modes."
Browser
The Browser window is used to hierarchically manage the elements of the 3D scene being created. For example, you can change and delete objects, combine joint structures, con gure object attributes, switch the object display/hide mode, and nd objects by their names.
1. Shade Tool Set
Aggregate
The Aggregate window contains tools for performing operations related to the camera, distant light, background, surface attribute, and the like, and for displaying information. You can switch between these windows by clicking the icons in the upper part of the Aggregate window.
Distant Light Tab The Distant Light window allows you to apply Distant Light which mimics a light source at a considerable distance, like the sun and which illuminates everything in the scene equally.
1 2 1 2
Camera Tab The Camera window allows you to operate the selected camera to control the contents of Perspective View, which in turn is used for rendering. You can also make the stereo settings from this window.
3 4 5 6 7
Background Tab The Background window is used to manipulate scene backgrounds. In addition to preset cloud, haze, waves, ocean, and others, you can assign images and con gure the background for IBL rendering with HDRI settings.
8 9 10 11 12 13 14 15
15
Surface Tab
Object Info Tab The Object Info window is used to display and edit information related to the object you have selected. You can set elements such as the brightness of a light source object, joint values, and part movement and rotation, and also perform operations such as rounding polygon mesh corners.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The Surface window is used to set the surfac eattributes to be assigned to objects. You can assign surface attributes to an object you have selected in the Browser window.
ShadeExplorer
The ShadeExplorer window is used to display, catalogs, sample object, surface attributes, backgrounds, images, and the like that are provided with Shade, arrange them into scenes, and con gure their surface attributes. Users can also create their own catalogs.
16
1. Shade Tool Set
Motion Window
The Motion window is used to collectively manage all the joints in a scene when creating an animation and to set joint values according to the sequence. You can also make the settings related to the animations such as the total number of frames, the frame start and end positions, and the frame rates.
Menu Bar
The Menu Bar is used to open and save Shade scene les and to exit Shade. Using this Menu, you can access almost all Shade functions as well as import and export data and use scripts and plugins.
1 2 1 2 3 4 5 6
Image Window 7
The Image Window displays the results of rendering and midway images. From this window, you can also make overall rendering settings such as the rendering method and sizes, as well as save the images you have created.
8 9 10 11 12 13 14 15
17
1 2
Using Windows
Folding Windows
1
By clicking the mark in Toolbox or Browser, you can fold or open the corresponding group. If Toolbox is too long, such that tools are hidden below Tool Parameters, you can display the hidden tools by folding those groups you are not using.
2 3 4 5 6 7 8 9 10 11 12 13 14 15
Click
18
1. Shade Tool Set
Separating Windows
You can separate the title of Toolbox or Browser into its own individual window by dragging it onto the Figure Window or the like.
Changing a Window Boundary Position

When the windows are lined up vertically, the boundary position can be changed by dragging the boundary part up or down.
1 2 1 2
Drag
Once the mouse pointer changes, you can drag this up and down.
3 4 5 6 7
Changing the Window Width 8

To return the title to its original position, drag the disclosure bar in the window onto the window to the right or left of the Shade screen, or to the right or left of the Shade screen itself. The title insertion position is displayed as a red line. Drag the title window to the desired position. You can change the width of a window by dragging the boundary between the window and Figure Window.
9 10 11 12
Drag
Once the mouse pointer changes, you can drag this right and left.
13 14 15
19
2. Shade Experience Tour

Follow the Shade Experience Tour to experience 3D modeling, animating and rendering using Shade.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1. Starting Shade
Start Shade as described below. Windows Double-click the Shade 13 shortcut icon created on the desktop. Alternatively, from the Start menu of Windows, select Programs > e frontier > Shade 13 > Shade 13. Mac Double-click the Shade 13 icon in the Shade 13 folder of the Application folder.
Shade starts.
20
2. Inserting Material Data into a Scene

First, you must read the material data you wish to use into the current scene.
1 2 1
Click Layout of Workspace Bar in the upper part of the screen.
Click
The screen display changes and ShadeExplorer ap-
pears at the bottom of the screen. From here, you open the material data to be used.
5 6 7
Click
to the left of Preset in the ShadeExplorer brows-
er area to open the hidden part (1). Click + to the left of the displayed Documentation to open the hidden part
(5) (1) (2) (4) (3)
8 9
(2) and then click and select Shade 13 Manual (3).

From the preview area to the right of ShadeExplorer, click tour_data.shd for selection (4) and then click the Insert button in the upper part of ShadeExplorer (5).
10 11
The selected material data is inserted into the current
12
scene of Shade.
13 14 15
21
3. Using Cameras
You can change the screen display to that as viewed from
1 2 1
the camera. Then, by operating the camera, you can display the object for the inserted robot or car from various angles.
Click [Modeling].
1
2 3 4 5
First, change the screen to enlarge the Viewport. Click Modeling of Workspace Bar. The screen display changes to that showing only Perspective View, as viewed from the camera.
2
6 7 8 9 10 11 12 13 14 15
22
From Aggregate in the lower-right corner of the screen, click the Camera button to display the Camera window
(1). From the Camera window, click the camera selection popup menu (2) and then select Screen View Camera from the displayed popup menu (3).
(1) (2) (3)
Move the camera by using the Move, Rotate, and Zoom
icons of the Navigation Tool in the upper-right corner of the screen. When you click and drag each icon with the mouse, the camera moves and the display changes. Let's take a look at the car and robot from various angles.
2 1
Move Rotate Zoom
2 3 4 5
This scene provides Robot View Camera to view the robot, Car View Camera to view the car, and Rendering View Camera for rendering. You can change these cameras as desired by following the procedure given in step 2.
6 7 8 9
To return a camera to its previous state, click the << (return) button in the Camera window. Every time you click, the camera is restored, step-by-step, to their previous states.
10 11 12 13 14 15
23
4. Setting a Background
You can set a background for a scene by using ShadeExplorer.
1 2 1
This time, display ShadeExplorer from Control Bar in the upper part of the screen.
1
2 3 4
Select the ShadeExplorer button on the Control Bar. ShadeExplorer will appear.
2
5 6 7 8 9
From the browser area of ShadeExplorer, click and select Shade 13 Manual (1). From the preview area on the right, click tour_background.shdbgr for selection (2) and then click the Insert button (3).
(3)
(1) (2)
Click the Background button of Aggregate to switch to the Background window (1). The background selected in ShadeExplorer is displayed. You can con rm that the background has been con gured (2).
10 11 12 13 14 15
(1)
(2)
24
5. Rendering
Lets' render the scenes created so far.
1 2
First, switch the camera to Rendering View Camera. Click the Camera button of Aggregate to display the Camera window (1). From the camera selection popup menu, select Rendering View Camera (2).
(1)
2 3
(2)
4 5
From the Rendering menu, select Render All. The Image Window appears to start rendering.
6 7 8 9 10
Once rendering is complete, the image rendered in the form of Ray Tracing is displayed.
11 12 13 14 15
25
6. Switching to Split View

You can change the screen display to Split View, which is
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
26
convenient for understanding an object.
Click Split View of Workspace Bar.
The following four Viewports are displayed: Top, Front, and Right and the Perspective View viewed from the camera.
Top view Perspective view
Front view
Right view
7. Including Objects within the View

The current scene contains an arrangement of one robot, one car, and one oor. However, the objects are not included in the Viewport since the zoom rate for the Viewport is high. Adjust the zoom rate of the Viewport so that the objects are entirely included in the Viewport.
From Browser in the upper-right corner of the screen, click Root Part to select all the objects.
From the navigation tool in the upper-right corner of
Top View (upper-left Viewport), click the View Operations icon (1) and then select Fit to Selection from the displayed popup menu (2). The entire object is included in the Viewport (except in the Perspective View).
2 (1) 1
(2)
2 3 4 5 6
The entire object, including the oor, is displayed. However, the zoom rate of the Viewport is too low. So, click the [+] icon of the navigation tool to slightly enlarge the Viewport. If you accidentally enlarge the Viewport too much, click the [-] icon to reduce it.
7 8 9 10
All the objects are perfectly contained within the view.
11 12 13 14 15
27
8. Copying Objects
You can copy a robot object and place it in the scene.
1 2
1
1 2 3 4
From Browser, click and select Robot Part.
5 6 7 8 9 10 11 12 13 14 15
From Toolbox on the left of the screen, click and select Create (1). Next, click and select Copy under the Move/ Copy group (2) and then click the displayed Translate
(3).
(1)
(2) (3)
28
On Top view (upper-left view), drag the selected ro-
bot to the right side of the car. The robot is copied and placed in the position to which it has been dragged.
2 1 2
Drag
3 4 5 6
9. Rotating an Object to Face the Camera 7

You can rotate a copied robot so that it faces the camera.
On Top view, position the cursor to the green arc of Universal Manipulator displayed for the copied robot
(1). The arc will change to the circle (2). 10 (1) (2)
11
Drag the circle counterclockwise (3) so that the robot
12
faces the camera in the Perspective View (4).
13 14
(3)
(4)
15
29
10. Setting Surface Attributes
1
2
Con rm that the copied robot is in the selected state. Select the ShadeExplorer button on the Control Bar to open ShadeExplorer.
2
1
(3)
From the browser area of ShadeExplorer, click and select Surface (1). In the preview area on the right, click and select metl_015.shdsfc (2) and then click the Open button (3). The surface attribute is set for the copied robot.
2 3 4 5 6 7 8 9 10 11 12 13 14 15
(1)
(2)
Click the Surface option of Aggregate to display the Surface tab. You can con rm that the selected surface attribute has been set for the robot.
Con rm the surface attribute you have set, using Preview Rendering where you can immediately check the edited contents through the rendering result. From the View Display popup menu of Perspective View (1), select Preview Rendering (2). The preview rendering result is displayed and the inner robot appears with its surface attribute con gured. TIP You can also con rm the result of preview rendering by switching to the Rendering workspace.
(1)
(2)
30
Set the surface attribute for the rst robot. From Brows-
er, click and select the upper Robot Part (1) and then repeat the setting procedure, starting from step 2. This time, set glss_044.shdsfc as the surface attribute (2).
(1) 2 1 2
(2)
3 4
11. Changing Split Views 5

To enlarge the Perspective View, change the split views.
On the Control Bar, click the Split View button (1). View Switcher is displayed. Click the upper-right part (2).
(1)
7 8
(2) 9
The display changes to that showing only the Perspective View.
10 11 12 13 14 15
31
12. Moving the Robot

To move the robot, you can operate the joints such that the
1 2 1
object moves. The robot object has joints set for its body and right arm.
1
2 3 4
From Browser, click and select Body Rotate Joint in the upper Robot Part.
2
5 6 7 8 9 10 11 12 13 14 15
32
Click the Info button of Aggregate to display the Object Info window (1). If you drag the Rotation slider of the Rotator Joint Attribute group right and left (2), the upper half of the body of the robot rotates right and left (3).
(1)
(2)
(3)
Next, you can operate the joint of the right arm. From
Browser, select Arm Swing Rotate Joint in the upper Robot Part and then drag the Rotation slider of the Object Info window to the right and left. The right arm of the robot rotates forward and backwards.
2 (1) 1 2 3
(3) (2)
4 5 6 7 8
Operate the joints of two robots to set a pose.
9 10 11 12 13 14 15
33
13. IBL Rendering

To complete the work, you can change the rendering options
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
34
and perform rendering that uses Image-Based Lighting (IBL). IBL rendering can obtain a photorealistic image by using the brightness of the background image as the light source.
Click the BG button of Aggregate to display the Background window (1). Set Lighting Factor to [1.4] (2).
(1) (2)
Next, set the distant light. Click the Light button of Aggregate to display the Distant Light window (1). IBL rendering is generally performed with only the brightness of the background images, set Intensity to 0. In the current example, shadow are di cult to render accurately when only the brightness of the background image is used. As a result, the rendering result may be unnatural. Should this occur, set a weak distant light so that shadows are rendered accurately.
(1)
(2) (3)
Set the following: Set Brightness to 0.1 (2). In the right hemisphere of Set Light Direction, click the upper-left part to set the shadow direction (3). Set Softness of the Misc. group to 0.2 to soften the shadow (4).
(4)
From the Rendering menu, select Rendering Settings.
Image Window is displayed and Rendering Options opens.
2 1 2 3
From the Method popup menu, select Path Tracing
(1). Click the G.I. tab to change the display (2) and
then select Path Tracing from the Global Illumination popup menu (3).
(1) (2) (3)
5 6 7 8 9 10
From the Rendering menu, select Render All and perform IBL rendering. 3DCG creation is complete once rendering ends.
11 12 13 14 15
35
Beginner's Tutorial
1 Shade Tool Set 2 Shade Experience Tour 1 Figure Window 2 Creating Basic Objects 3 Editing Objects
Manual
4 Browser 5 Camera 6 Light 7 Background 8 Move, Morph, and Copy 9 Surface Attributes 10 UV Mapping
User's Guide
[User's Guide]
11 Rendering 12 Animation 13 New Functions 14 Other Object Creation Functions 15 Plugins
Shade 13 Manual [User's Guide]
1. Figure Window
1-1. Changing Display Options
Changing the Workspace
1
You can change the workspace presets according to the usage. Clicking the buttons of Workspace Bar causes the workspace to switch.
1 2 2 3 4 5 6 7 8 9 10 11 12 13 14 15
38
Layout Displays the Perspective View and ShadeExplorer.
Modeling Mainly displays the Perspective View.
Split View Splits the view into four parts.
UV Edit Displays the UV and Perspective View.
Animation Displays the top view on the left, the Perspective View on the right, and the Motion window at the bottom.
Rendering Displays the rendering preview on the left and the Camera View on the right.
TIP You can modify a workspace part or change its size by dragging the window name.
TIP You can add a workspace that you have created by using the + button of the Workspace Bar.
1. Figure Window
Changing the View Display

The View Display popup menu in the upper-right side of each Viewport is used to change the display style of objects in Viewports.
2 1 2 3 4 5
Wireframe The object is displayed in wireframe format. This list style o ers the highest display speed.
Hidden Wireframe The object is displayed in wireframe format. All lines that would be hidden from sight are hidden.
6 7
Use the View Display popup menu to change the list style.
8 9
Shading The object is displayed by adding shadow in which distant light is re ected in the diffuse color of the object.
Shading and Wireframe The object is displayed by superimposing the Wireframe (Remove Hidden Lines) display on the coloring uv display.
10 11 12 13 14
Texture The object is displayed by superimposing Texture on the coloring uv display.
Texture and Wireframe The object is displayed by superimposing Texture and Wireframe (Remove Hidden Lines) on the coloring uv display.
Preview Rendering The object is displayed as an image that closely resembles the rendering result.
15
39
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Changing Workspace Illumination

From the View Display popup menu, you can adjust the display of lighting within the Viewport. This function is valid for list styles other than wireframe and preview rendering.
From the View Display popup menu, you can change the lighting mode.
Default Light The object is displayed using the rst position of the distant light as the light source. The brightness and color of the rst position of the actual distant light are not re ected. This is the standard list style.
Modeling Light The object is displayed as if the light always exists in front of the object, as viewed from the Viewport. The light is virtual and does not actually exist.
Use All Lights The object is displayed with the brightness and colors of all lights in the scene re ected. This sample data shows that the yellow and brightness (0.7) set for the distant light, the green point light located at the front-right side, and the red point light located at the inner-left side are being re ected.
40
1. Figure Window
Switching Views in a Viewport

From the View Type popup menu in the upper-left side of each Viewport, you can change the view to be displayed for that Viewport.
2 1 2 3 4 5
From the View Type popup menu, you can change the view to be displayed. Meta Camera Displays the view as seen from meta camera for the scene. Camera Displays the view as seen from the camera object created in the scene.
6 7 8 9 10 11 12 13
Pers View Displays the view as seen from the camera selected in the Camera window, regardless of the meta camera or camera object.
Top View Displays the view as seen from just above.
14 15
41
1 2 1 2 3
Bottom View Displays the view as seen from just below. Right View Displays the view as seen from the right. Left View Displays the view as seen from the left.
4 5 6 7 8 9 10 11 12 13 14 15
42
Front View Displays the view as seen from the front. Back View Displays the view as seen from the back. UV Displays UV for the object.
1. Figure Window
1-2. Navigating the Figure Window

Scene Objects Arrangement in Viewport
1 2 1
You can increase or decrease the zoom of the Viewport, so that the object you have selected or all the objects in the scene are displayed. This function is valid for views other than the Perspective and Camera Views. Select Fit to Selection from the View Operations popup menu.
The object you have selected is enlarged or reduced so that it is contained within the Viewport.
2 3 4 5 6 7 8 9
Similarly, if you select Fit to Window, all the objects in the scene are enlarged or reduced so that they are contained within the Viewport.
10 11 12 13
TIP
14
To turn the camera towards the object you have selected, click the Object button of Target in the Set & Link group in the Camera window.
15
43
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Using the Navigation Tools

You can scroll, rotate, or zoom the Viewport by dragging or clicking each icon in Navigation Tool in the upper-right corner of the screen. Scroll Zoom
Rotate
The Viewport is rotated in the drag direction. The eye of the camera rotates when in the Perspective View. Moreover, in any view other than the Perspective View, clicking the icon resets the rotation.
Drag
Zoom Out
Zoom In
Rotate
Rotate
Scroll
The Viewport is scrolled in the drag direction. The camera moves when in the Perspective View.
Drag
Zoom
You can zoom the Viewport in or out by clicking the [+] or [-] icon or by dragging the Zoom icon up and down. In the Perspective View, you can zoom the Viewport in or out while moving the eye of the camera forward and backward.
Scroll
Drag
Scale
44
1. Figure Window
Performing Work on Working Planes

You can create a local axis to as the working plane. So, you can easily create an object on any face.
The local axis is displayed and the working plane corresponding to the selected face appears in the Perspective View.
1 2
Select the face for polygon mesh or vertexes and the edges of three control points.
3 4 5 6
When performing the work in this status, you can create and edit the object along the working plane.
7 8
From Work Plane Controller, select Create local axis.
9 10 11 12 13
TIP
14
To cancel the local axis mode, switch to the global axis mode.
15
45
2. Creating Basic Objects

1 2
Before creating an object, you must rst set the plane on which the object is to be created, or use the current plane.
Setting the Plane on Which an Object Is Created
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Changing the Viewport and Selecting a View

From the View Type menu of the Figure Window, you can change the Viewport and select the plane on which the object is to be created. Pers view (screen plane) Top view and Bottom view (XZ plane) Right view and Left view (YZ plane) Front view and Back view (XY plane)
Selecting a Face in Work Plane Controller

To perform the work in Perspective View, you can click and select the face on which to create an object by clicking it in Work Plane Controller. Pers view (screen plane): Click in the middle.
Pers view (screen plane) Bottom view (XZ plane)
Bottom view (XZ plane): Click the yellow area in the Viewport. Side view (YZ plane): Click the yellow area in the Viewport.
Side view (YZ plane) Front view (XY plane)
Front view (XY plane): Click the yellow area in the Viewport.
46
Changing Views with the View Switcher

You can change the style of a split view list by selecting one of the nine patterns. Clicking the Split View button of the Control Bar displays the View Switcher. If you position the mouse to View Switcher, the red-framed combinations will change.
1 2 1
If the Control Bar does not display the Split View button, right-click any point other than the Control Bar buttons and then select an item. This allows you to switch between Show or Hide for the item.
2 3 4 5 6
Upper Left
Upper Right
Upper Left and Upper Right
7 8 9 10
Lower Left
Lower Right
Lower Left and Lower Right
11 12 13 14
Upper Left and Lower Left
Upper Right and Lower Right
4-Split
15
47
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Line Object

Creation Types Select an object type from Primitive, Surface, and Mesh. The table below shows the types of objects that can be created and types to which the objects to be created belong.
Primitive Creation Object to be created Line object Line object Surface Mesh -
If you click and then drag the Viewport, a line handle whose length equals the drag length is created before and after the direction of the dragging, starting from the control point. Once the line handle has been created, the control point comes a curved line.
From Create under Toolbox, select Closed Line or Open Line to start the creation process.
(1) Click
(2) Drag
When you click the Viewport, a control point will be created.
To create a line object, continue clicking for the straight line, and continue to click and drag for the curved line.
(1) Click and drag
(3) Click and drag
Click
(2) Click (4) Click and drag
48
Click Apply under Tool Parameters to complete the creation process.
TIP You can bend the handle during the creation process, by using the z Win or o Mac key. TIP
1 2 1
Changing a view to a plane view other than the Perspective View allows you to easily understand an object.
2 3 4 5 6 7 8 9 10 11 12
TIP You can also nish the creation process by double-click-
13 14
ing the end point of the line object or by pressing the Enter Win or return Mac key.
15
49
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Rectangle
Creation Types
Primitive Creation Object to be created Closed line Closed line Polygon mesh Surface Mesh
Finish dragging to complete the creation process.
From Create under Toolbox, select Rectangle to start the creation process.
TIP
Drag by an amount equal to the distance of the diagonal of the rectangle to be created, and then create the rectangle.
Selecting Rectangle and then clicking the Viewport creates a rectangle of the same size as the previous one.
Drag
50
Creating a Disk
Creation Types
Primitive Creation Object to be created Disk Disk Surface Mesh -
Finish the dragging to complete the creation process.
1 2 3
From Create under Toolbox, select Disk to start the creation process.
4 5 6 7
TIP
Drag by an amount equal to the radius of the disk to be created, and then create the disk.
Selecting Disk and then clicking the Viewport creates a disk of the same size as the previous one.
9 10 11 12
Drag
13 14 15
51
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Box
Creation Types
Primitive Creation Object to be created Extruded closed line Curved surface Polygon mesh Surface Mesh
Next, drag by an amount equal to the height and then create the box. If you drag in the Perspective View, the dragging is pushed out vertically against the face.
From Create under Toolbox, select Box to start the creation process.
Drag
4 2
Drag to create the rectangle.
Click Apply under Tool Parameters to complete the creation process. If you need to perform ne adjustment after completing the dragging, enter a numerical value in each item of Tool Parameters and then click Apply.
Drag
52
Creating a Sphere
Creation Types
Primitive Creation Object to be created Sphere Curved surface Polygon mesh Surface Mesh
1 2 3
From Create under Toolbox, select Sphere to start the creation process.
4 5 6
TIP Selecting Sphere and then clicking the Viewport cre-
ates a sphere of the same size as the previous one. Drag by an amount equal to the radius of the sphere to be created, and then create the sphere. NOTE
8 9
Using Tool Parameters You can also create a sphere, box, pyramid, cone, cylinder, capsule, and torus by entering numerical values in Tool Parameters.
10 11 12
Drag
13 14
(For a sphere)
15
53
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Pyramid
Creation Types
Primitive Creation Object to be created Curved surface Curved surface Polygon mesh Surface Mesh
Next, drag to by an amount equal to the height to create the pyramid. If you drag in the Perspective View, the dragging is pushed out vertically against the face.
From Create under Toolbox, select Pyramid to start the creation process.
Drag
Drag to create a rectangle.
Drag
54
Creating a Cone
Creation Types
Primitive Creation Object to be created Curved surface Curved surface Polygon mesh Surface Mesh
Next, drag by an amount equal to the height to create a cone. If you drag in the Perspective View, the dragging is pushed out vertically against the face.
1 2 3
From Create under Toolbox, select Cone to start the creation process.
Drag
4 5 6 7 8
Drag to create a disk.
Click Apply under Tool Parameters to complete the
9 10
creation process. If you need to perform ne adjustment after completing the dragging, enter a numerical value in each item of Tool Parameters and then click Apply.
11 12
Drag
13 14 15
55
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Cylinder
Creation Types
Primitive Creation Object to be created Extruded disk Curved surface Polygon mesh Surface Mesh
Next, drag by an amount equal to the height to create the cylinder. If you drag in the Perspective View, the dragging is pushed out vertically against the face.
From Create under Toolbox, select Cylinder to start the creation process.
Drag
Drag to create a disk.
Drag
56
Creating a Capsule Object

Creation Types
Primitive Creation Object to be created Revolved open line Curved surface Polygon mesh Surface Mesh
Next, drag by an amount equal to the capsule length to create the capsule.
1 2 3
From Create under Toolbox, select Capsule to start the creation process.
Drag
4 5 6 7
Drag to create a sphere.
8 9
10 11 12
Drag
13 14 15
57
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Torus Object

Creation Types
Primitive Creation Object to be created Revolved closed line Curved surface Polygon mesh Surface Mesh
Click Apply under Tool Parameters to complete the creation process. If you need to perform ne adjustment after completing the dragging, enter a numerical value in each item of Tool Parameters and then click Apply. Here, you can also adjust the radius of the cross section of the torus object.
From Create under Toolbox, select Torus to start the creation process.
Drag to create a torus.
Drag
58
3. Editing Objects
Selecting and Converting Objects
To edit only part of an object, you must rst switch the editing mode to Modify mode.
3. Editing Objects
1 2
Selecting and Converting Line Objects 1

A line object is edited by selecting a control point or line
From the Edit Mode menu on the Control Bar, select Modify.
handle.
2 3 4 5 6 7
Control point and line handle selection mode
Select the part of the object to edit. The selection method di ers between line objects and polygon objects.
9 10 11
NOTE Differences in Object Edit Modes If you edit an object in Object mode, the entire object changes. You can edit only a selected part of the object in Modify mode.
12 13 14 15
59
Selecting and Converting Polygon Meshes 1

From the Mesh Editing options on the Control Bar, change the selection target to a polygon mesh.
Face Editing Mode
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Vertex Editing Mode
Selection by clicking
Select, by clicking, a control point, line handle, vertex, edge, or face. TIP You can select two or more editing targets by clicking Edge Editing Mode them while holding down the C Win or 0 Mac key.
Selection by dragging
From the selection options on the Control Bar, change the selection method.
60
3. Editing Objects
Box Selection
1 2
Drag
1 2 3 4
Trace Selection
5 6 7 8 9
Lasso Selection
Drag
10 11
Drag
TIP To cancel the selection, click outside of the object while holding down the C Win or o Mac key.
12 13 14 15
61
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Link Object

A link object can be created from other objects. A link object only contains the same information as the original object. If you edit the original object, the result is re ected on the link object. Unlike a copy, the link object occupies no space in memory, thus reducing the amount of data.
Drag to create the link object from the selected object.
Switch to Object mode.
Original object
Link object
From Toolbox, select Copy > Link.
Drag
62
3. Editing Objects
Converting an Object Type

An object can be converted to another type. By converting the type of an object, you can edit object properties based on the new object type.
2 1
Select the object to be converted and then from Tool Parameters, select a conversion option.
2 3 4 5 6
Tool Parameters indicates that Disk has been selected. For the selected object, the corresponding Tool Parameters options are active. From Tool Parameters, you can convert one object type to another by selecting an active option. Convertible Object Types Object to which object is converted
Polygon Mesh Curved Surface Line Object Pseudo Polygon
7 8 9
Disk Sphere Polygon mesh Curved surface Closed line object Pseudo polygon Extruded object Revolved object
Object to be converted NOTE
10 11 12 13
Reconversion after Conversion Once you have converted an object, you cannot restore the original object. You can undo the conversion by using the Undo command on the Edit menu.
14 15
63
3-1. Editing a Line Object

Adding Control Points
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
You can increase the complexity and resolution of an object by increasing the number of control points that make up a line object.
The control point is added at the position.
Switch to Modify mode.
From Toolbox select Modify > Tools > Add Point.
Drag to edit the added control point.
Drag across the position on a line object where you want to include a new control point.
Drag
TIP You can also add a control point by dragging while

Drag
holding down the z + x Win or 0 + o Mac keys.
64
3. Editing Objects
Deleting Control Points

You can delete the control points constituting a line object.
The control points are deleted.
Select the control points to be deleted.
3 4 5 6 7
TIP You can also delete control points by clicking them while holding down the z + x Win or 0 + o Mac
8 9
To delete the control points, from Toolbox, select Modify > Tools > Delete.
keys.
10 11 12 13 14 15
65
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Averaging Control Points

You can average the control points constituting the line object, smoothing the progression of a line.
Move the control points.
Select the control points to be avaraged.
TIP In Object mode, this function is applied to an entire line object.
From Toolbox, select Modify > Surface > Iron.
66
3. Editing Objects
Creating a Line Handle to Modify Curved Lines

You can create a line handle to control and modify a curved line.
A line handle of a length equal to the length of the drag is created before and after the direction of the drag, and
the line passing through the control point becomes a curved line.
From Toolbox, select Modify > Surface > Scissors.
3 4 5
6 7 8 9
When you drag the line handle, the curved line changes.
Drag
Drag from the control point in the direction of the point to create the line handle. TIP From Toolbox, select Modify > Surface > Smooth to create a line handle at the control point being selected. TIP You can create a line handle for the entire line object by
Drag
10 11 12 13
switching the editing mode to Object Mode and then selecting Toolbox > Modify > Surface > Smooth.
14 15
67
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Deleting a Line Handle to Straighten a Line

You can delete a line handle and thus turn it into a straight Line.
One side of the line handle is deleted.
Select the control point at which to delete the line handle.
TIP To delete the line handle of the selected control point, from Toolbox, select Modify > Surface > Unsmooth.
Delete one side and then the other side of the line handle by clicking it while holding down the z + x Win or 0 + option Mac keys.
TIP To delete the line handles of an entire line object, set the editing mode to Object Mode and then, from Toolbox, select Modify > Surface > Unsmooth,
Win z + x + click Mac 0 + option + click
68
3. Editing Objects
Unlinking the Line Handle Connection and Bending a Curved Line

You can unlink a line handle connection and bend a curved line based on only the area in uenced by the portion of the line handle on one side of a control point.
1 2
When you drag the line handle, only the dragged line handle moves and the curved line is bent.
1 2
Select the control point at which to bend the line han-
dle.
Drag
6 7 8
TIP
From Toolbox, select Modify > Surface > Unlink Handle.
You can also bend the line handle by dragging it while
holding down the z Win or o Mac key.
10 11 12 13 14 15
69
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Editing Multiple Line Handles as a Group

You can collectively edit multiple line handles all at the same time.
If you drag a single line handle, all the other handles you have selected move in the same way as that line handle.
Select the control points to edit.
Linkage
Drag
Linkage
Linkage
On the Control Bar, select Multi-handle.
70
3. Editing Objects
Rounding or Trimming Corners

You can perform radius rounding or cutting down for control points to round or trim corners.
Specify the radius used for rounding, as a numerical value.
Rounding Corners 2
Select the control points at which the corners are to be rounded.
The corners are rounded.
5 6 7 8 9
From Toolbox, select Modify > Surface > Round Edge.
10 11 12 13 14 15
71
Trimming Corners
Specify the radius used for cutting down, as a numerical value.
1
2
Select the control points at which the corners are to be cut down.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The corners are trimmed.
From Toolbox, select Modify > Surface > Bevel Edge.
TIP In Object mode, rounding and cutting down are applied to all the control points for a selected object.
72
3. Editing Objects
Creating or Deleting a Face on a Line Object

You can set the presence or absence of a face by opening or closing the line object.
The open line object is closed and a face is created on it.
Select an open line object on which to create a face.
2 3 4
Uncheck the Closed checkbox of the Object Info window.
5 6 7 8
Check the Closed checkbox in the Object Info window of the Aggregate.
9 10
The closed line object becomes open and the face is deleted.
11 12 13 14 15
73
Creating a Curved Surface from a Line Object and Creating a Face on that Surface
You can create a curved surface from a line object and create a face on that surface.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The Curved Surface part appears in the Browser.
Create line objects having the same number of control points.
(5) (1) (2) (1) (1) (2) (2) (5) (5)
(4) (4) (4) (3) (3) (3)
Within the Browser, drag the line objects into the Curved Surface part.
The control points of the line object are connected to one another to create the face.
From Toolbox, select Part > Curved Surface.
TIP The line objects constituting a curved surface must all have the same number of control points.
74
3. Editing Objects
Making a Hole in a Closed Line Object

You can open a hole in any position of a closed line object with another closed line object.
From the Object Info window of the Aggregate, check the Hole checkbox while the closed line object in which to make the hole is selected.
Within the Browser, arrange the closed line object in which to make a hole, just below the closed line object used for making the hole.
Closed line object in which to make a hole
2 3 4 5 6 7
Closed line object used for making the hole
The hole is made in the closed line object. You can conrm the result in the rendering process.
9 10 11
Closed line object in which to make a hole
12 13 14 15
75
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Rearranging the Order of Control Points

This function memorizes the control point positions and line handle positions and applies the memorized positions to other control points.
Click Tool Parameters > Apply.
Select the control points to be memorized.
Direction of the line object
The control points return to their original positions.
Click Tool Parameters > Memorize.
Select the control points in turn to establish the order.
TIP If the line object direction is di erent, the line object will be twisted. You can change the line object direction by selecting Toolbox > Modify > Surface > Reverse.
76
3. Editing Objects
Connecting Line Objects with Each Other

This function memorizes a line object and connects it to another line object to create a single line object.
Click Tool Parameters > Append.
Select a line object.
2 3
4 5
5 2
Click Tool Parameters > Memorize.
The start point of the memorized line object and the end point of the appended line object are connected to each other to create a single line object.
6 7 8 9 10
Select the line object to be connected. TIP Executing this Memorize/Append creates a new single line object to which an appended line object has been connected. The memorized line object still exists. You can delete it if it is not necessary.
11
12 13 14 15
77
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Curved Surface Using a Line Object as a Guide

Using closed or open line objects as a guide, this function extrudes another line object to create a curved surface using the Sweep function.
The memorized line object is displayed as a thick line.
Select the line object to be used as a guide.
End point
Start point
Arrange the line object to be extruded at the start point of the line object being used as a guide.
Click Tool Parameters > Memorize to memorize the line object being selected.
78
3. Editing Objects
Click Tool Parameters > Sweep to extrude the line object.
TIP If you arrange the line object such that it is swept vertically at the start point of the memorized line object and then execute extrusion, the curved surface to be created will be di cult to twist. TIP
1 2 1 2
If the line object to be swept has a right-angled corner, the curved surface to be created may be twisted. You may be able to avoid this problem by slightly rounding The curved surface has now been created. the right-angled corner with Round Edge.
3 4
5 6 7 8 9
To check the object, change the display mode to Shading and Wireframe.
10 11 12 13 14 15
79
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Extruding a Line Object to Add Thickness

This function turns a closed or open line object into an extruded object.
Drag in the height direction to create an extruded object.
Select the line object to be turned into an extruded object (1) and then select the face in the height direction in the Work Plane Controller (2).
Drag
(1) Select a line object.
An extruded object is created, in which the thickness is of the drag distance and direction.
(2) Click
From Tool Box, select Edit > Tools > Extrude.
TIP When dragging in the height direction, if you switch to the orthogonal view (Right View here), you can easily perform a straight drag. TIP From Toolbox, select Modify > Tools > Solid group > Clear. This restores the revolved object to the original line object.
80
3. Editing Objects
Rotating Line Objects to Create Solid Objects

This function turns a closed or open line object into a revolved object.
Drag in the direction of the position that will become the rotation axis, to create a revolved object.
Select the line object to be turned into a revolved object
(1) and then select the face in the axis direction in the Work Plane Controller (2).
Drag
3 4
(1) Select a line object.
The revolved object is created using the dragged axis as a reference.
6 7
(2) Click
8 9
From Toolbox, select Modify > Tools > Revolve.
10
TIP Note that, if the rotation axis is deviated or slanted, the revolved object will be deformed. TIP
11 12 13
From Toolbox, select Modify > Tools > Solid group > Clear. This restores a revolved object to the original line object.
14 15
81
3-2. Editing a Curved Surface

Adding a Line Object
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
This function adds a line object consisting of a curved surface so that a ner object can be represented.
After selecting the bottom line object, select Copy > Move to perform movement and copying.
Using the Copy tool of Toolbox or the like, copy the line object from inside the curved surface. Alternatively, create a line object having the same number of control points inside the curved surface and then perform editing.
Bottom line object
Drag and copy
82
3. Editing Objects
The line object is copied and the details are added.
Drag such that the position at which to add the line ob-
ject is included.
2 1 2 3 4
Added line object
Drag
The line object is created in the cross direction.
5 6
Added line object Added line object
7 8
Manipulate the control point to edit the details of the object.
9 10
From Toolbox, select Modify > Surface > Scissors.
11 12 13 14
Drag
15
83
Deleting Line Objects

This function deletes line objects constituting the curved surface to simplify the object.
Switching to the Cross Direction

Of the line objects constituting a curved surface, this function switches the line objects to be edited to those in the cross direction.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the line object to be deleted.
From Browser, select the curved surface to be switched.
Delete the line object using the Backspace or Delete Win key, or the delete Mac key, or the like.
TIP If you delete a control point, the number of control points becomes uneven, such that the object becomes deformed. Be sure to delete control points in units of the line object.
84
3. Editing Objects
From Toolbox, select Modify > Surface > Switch to
switch the curved surface.
2 1 2 3
TIP In addition to switching using Browser, you can make this switch by selecting the line objects in the cross direction displayed.
4 5 6
The line object directions are switched to the cross direction.
7 8 9 10 11 12 13 14 15
85
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Dividing a Curved Surface

This function copies a single line object constituting the curved surface and turns it into another curved surface.
From Toolbox, select Part > Curved Surface to create a curved surface part.
From Toolbox, select Create > Copy > Translate.
Select the line object from which the curved surface is to be divided.
86
3. Editing Objects
Click the position where no object exists in the Viewport to copy the selected line object onto the same position.
Click
The curved surface has now been divided. The curved
surfaces are shown in di erent colors for ease of understanding.
2 1 2 3 4 5
Drag and move the copied line object and all the line objects below that line object, inside the newly created curved surface. TIP
6 7
You can divide a curved surface by copying a curved surface onto the same position and by deleting unnecessary line objects from each curved surface.
8 9 10 11 12 13 14 15
87
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Merging Curved Surfaces

This function uni es multiple curved surfaces having the same number of control points as the line objects constituting each curved surface, into one curved surface.
Drag all the line objects inside the other curved surface to unify the curved surfaces into one.
Select all the line objects on a one-sided curved surface.
Drag
TIP Unless the curved surfaces each have the same number of control points as line objects, the object will be deformed. If the line object directions are not the same, the object will be twisted. Note the line object list (in the cross direction) so that the start and end points of the line objects are connected to each other.
88
3. Editing Objects
Rounding or Trimming Corners

This function performs radius-based rounding and cutting down for a single line object constituting a curved surface in order to round or cut down corners.
Specify the radius used for rounding, as a numerical value.
1 2
Rounding Corners
Select the line object for which the corner is to be rounded.
The corners are rounded.
5 6 7 8 9
10
From Toolbox, select Modify > Surface > Round Edge. TIP To apply Round Edge to a line object on the curved surface, it is necessary to satisfy the condition indicating that the line object is not the outer circumference of that curved surface.
11 12 13 14 15
89
Trimming Corners
Specify the radius used for cutting down, as a numerical value.
1
2 1 2 3 4 5 6
Select the line object for which the corner is to be cut down.
The corner is trimmed.
2
7 8
From Toolbox, select Modify > Surface > Bevel Edge.
TIP To apply Bevel Edge options to a line object in a curved
9 10 11 12 13 14 15
90
surface, it is necessary to satisfy the condition indicating that the line object is not the outer circumference of that curved surface.
3. Editing Objects
Reducing a Fold
This function adjusts the handle length to reduce a fold.
Drag the handle while holding down the S key and position the handle near the control point. You can
This curved surface has a fold in the front-center part. This fold is caused by the front control point having an extremely long line handle.
make the line handle length equal to about 1/3 of the distance to the following control point. You can change only the length without changing the line handle direction by dragging while holding down the S key.
2 3 4 5 6
Drag
8 9
Select the line object of the S-shaped side and then select the control point of the fold part.
The length of the line handle is corrected and the fold is reduced.
10 11 12 13
Control point Line handle
14 15
91
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Closing an Edge Hole

There are several methods of closing a hole on the edge of a curved surface. Before performing processing, select an appropriate method according to the object.
Closing a Hole by Copying a Line Object onto the Same Position
Select the line object at the position where the hole cover is to be created.
Click the Viewport and then copy the line object onto the same position.
Place the copied line object outside the curved surface part.
92
3. Editing Objects
The cover has now been created with the closed line object.
From Tool Box, select Modify > Tools > Degenerate to
Point.
2 1 2 3
The control points of the line object will converge at a point to make the cover.
4 5
TIP
To cover a curved surface with the closed line object, the line object of the cover must be a level surface. Oth-
erwise, rendering will not be performed correctly.
Closing a Hole by Making Control Points Converge to a Point
9 10
TIP
Copy the line object at the position at which the cover was rst created, onto the same position.
A line object that converges at a point is the top or bottom one inside the curved surface part. If you have copied the top line object onto the same position, select the top line object and then aim for convergence to a point. TIP
11 12 13 14
Creating a cover through convergence to a point allows you to perform corner rounding and cutting down in the vicinity of the cover.
15
93
Making a Cover on a Complicated Face by Making Control Points Converge to a Point
Make all groups A, B, C, D, and E converge at a point to create a cover. All groups will converge at a point.
1
2
Copy the line object to be turned into the cover, onto the same position.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the control points of the copied line object for each associated alphabetic letter. Each letter group will converge at a point.
C D D E E C B B
TIP If the cover is not created properly through conver-
A A
gence at a point, create the cover through convergence so that the convergence part is inside the object.
94
3. Editing Objects
3-3. Editing a Polygon Mesh

Adding Vertexes, Edges, and Faces from Vertexes and Edges
This function adds vertexes, edges, and faces from the vertexes and edges constituting a polygon mesh.
1 2 1
The vertex is added at the position included by the drag.
2 3
Adding a Vertex to Edges 4
1 2
Switch to Vertex editing mode.
From Toolbox, select Modify > Tools > Scissors.
6 7
Edit the vertex and add the details.
8 9
Drag so that the position at which the edge vertex is to be added is included.
Drag
10 11
Drag
12 13
Adding a Vertex and Edge Using a Vertex
14
15
95
2
1 2 1 2 3 4
While holding down the z Win or o Mac key, position the cursor to the vertex. When the + mark appears beside the cursor, perform dragging.
Perform dragging up to the vertex connecting edges. When the ging. mark appears beside the cursor, stop drag-
An edge of a length equal to the drag length is added in the drag direction, and a vertex is added to the end.
5 6 7 8 9 10 11 12 13 14 15
4
Drag
The vertex is connected through the edges. If the edge connection forms a square or triangle, a face will be created.
Adding an Edge and Face Between Vertexes
While holding down the z Win or o Mac key, position the cursor to the vertex. When the + mark appears beside the cursor, perform dragging.
96
3. Editing Objects
Adding Vertices Edges, and Faces

This function adds vertices edges, and faces constituting a polygon mesh to enable the ner representation of an object.
Adding Edges 1
Adding Vertexes
3
From Toolbox, select Modify > Mesh > Append Edges.
From Toolbox, select Modify > Mesh > Append Vertices.
Click the Viewport or control points to create edges con-
necting the clicked positions. Press the Enter Win or return Mac key to complete the creation process.
Click
Click the Viewport to add vertexes. Con rm the created vertexes in Vertex editing mode. Press the Enter Win or return Mac key to complete the creation process.
Click
Click Click
9 10 11
Click Click
Click
Click
12 13
Click
14 15
97
TIP By clicking while holding down the C Win or 0 Mac key, you can specify the start point of an edge at a noncontinuous position.
(2) (3) (1) (3) (1)
(7) (2) (3) (2) (5) (6)
1 2 1 2 3 4
Adding Faces
(4)
(4) (1)
2
5 6 7
From Toolbox, select Modify > Mesh > Append Faces. TIP The two sides of the face change in the direction in which the control points are speci ed. For a polygon mesh, once you specify control points counterclockwise, the visible face becomes the right side. If you specify the control points clockwise, the visible face
From Tool Parameters, specify the number of control points of the face to be added.
becomes the reverse side.
8 9 10 11 12 13 14 15
3-sided, 4-sided, and Unlimited from the left
Click the Viewport as many times as the speci ed number of control points. If you have speci ed Unlimited, click the Viewport by the required number of times, and then press the Enter Win or return Mac key.
98
3. Editing Objects
Deleting Vertices, Edges, and Faces

This function deletes the vertices, edges, and faces constituting a polygon mesh.
Deleting Edges 1
This function selects and deletes edges to be deleted in Edge
editing mode. The edges, vertexes including the edges, and face are deleted.
2 3
Select the elements to be deleted. From Toolbox select
Modify > Tools > Delete to delete them.
5 6 7
Deleting a Face 8
This function selects and deletes a face to be deleted in Face editing mode.
Deleting Vertexes
This function selects and deletes vertexes to be deleted in Vertex editing mode. The vertices, edges including the vertexes, and face are deleted.
The face, vertexes constituting the face, and edges are deleted.
10 11 12 13
TIP
14
You can also delete elements using the Backspace or Delete Win or delete Mac key.
15
99
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Selecting Elements Using Different Methods

This function selects the faces and edges of a polygon mesh according to prede ned types found in the Tool Box. Use the tools accessed from Toolbox by selecting Modify > Mesh > Select group.
Continuous, belt-shaped faces are selected.
Selecting a Belt
This function selects continuous faces in a belt-shaped form. Moreover, if continuous edges are smooth on a sphere or the like, selecting one edge and then executing Belt allows you to select continuous edges.
TIP Connect and select two faces. If continuous edges are not smooth on a box or the like, selecting two continuous edges and then executing Belt allows you to select continuous edges.
Selecting a Loop
This function selects edges that become the outer circumference of a selected face.
From Toolbox, select Modify > Mesh > Belt.
Select the faces.
100
3. Editing Objects
From Toolbox, select Modify > Mesh > Loop.
1 2 1 2
This selects the edges that will become the outer circumference of the selected face.
The selected face and all the faces connected to it are selected.
3 4 5 6 7
Selecting Vertices and Edges with Options 8 Selecting Continuous Faces

This function selects all the faces connected to the selected face. This function selects overlapping vertices, an edge shared by multiple faces, or the like.
1
Select the faces.
To select the items from Toolbox, select Modify > Mesh > Detect and then select the items from the pop-up menu.
10
11 12 13 14
From Toolbox, select Modify > Mesh > Continuous Surface.
15
The relevant vertexes, edges, and faces are selected.
101
Selecting the Same Plane

This function selects continuous faces that are in the same normal line direction as that of the selected face.
Reversing Selected Elements

This function reverses the selected statuses of the vertexes, edges, and faces.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the faces.
Select the vertexes, edges, and faces.
From Toolbox, select Modify > Mesh > Select Plane.
From Tool Box, select Modify > Mesh > Invert.
Those faces which are continuous in the same direction are selected.
The selected statuses are reversed.
102
3. Editing Objects
Deselecting the Selection

This function deselects the selection and restores the nonselected status.
1 2
Select the vertexes, edges, and faces.
1 2 3 4 5
From Toolbox, select Modify > Mesh > Deselect.
6 7 8 9 10
The selection is deselected.
11 12 13 14 15
103
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Extruding Faces
This function extrudes ve types of face when you select Toolbox then Modify > Mesh > Edit > Bevel.
Bevel: O set
This function moves a face in the o set direction.
Select the faces to be extruded.
Select Tool Parameters > O set.
4 2
Drag the Viewport to extrude faces. The faces are extruded if the Viewport is dragged up; while they are retreated if it is dragged down. At the same time, the
From Toolbox, select Modify > Mesh > Bevel (1) and then select the extrusion mode from Tool Parameters
excluded faces are reduced if dragged left; while they are enlarged if it is dragged right.
(2).
(1)
Drag
TIP
(2)
The drag operation for extrusion (dependent on up, down, left, or right movement) is common to other mesh tools.
104
3. Editing Objects
Bevel: Extrude
This function extrudes faces in the o set direction.
Bevel: Duplicate
This function duplicates faces in the o set direction.
1 2
From Tool Parameters, select Extrude.
From Tool Parameters, select Duplicate.
1 2 3
Drag the Viewport to extrude faces.
4 5 6 7 8 9
Drag
Drag
10 11 12 13 14 15
105
Bevel: Bevel
This function extrudes faces individually in the o set direction.
Bevel: Detach
This function detaches faces in the o set direction.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3
From Tool Parameters, select Bevel.
From Tool Parameters, select Detach.
4
Drag
Drag
106
3. Editing Objects
Copying a Face to Create a Mirrored Form

This function copies the selected face as a mirror-image, using the clicked point as the axis.
Click the center of the mirror copy and drag in the reverse direction.
Select the face to be reversed.
2 3
Drag
4 5 6 7 8
From Toolbox, select Modify > Mesh > Mirror.
9 10 11 12 13 14 15
107
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Copying the Face as Another Object

This function copies the face as another object in the same position.
The selected face is copied as another face in the same position.
Select the face to be copied.
From Toolbox, select Modify > Mesh > Copy.
108
3. Editing Objects
Cutting and Dividing the Face with a Drag Line

This function cuts and divides the face with a drag line.
Drag the place to be cut.
Select the face to be cut
2 3 4 5 6 7
4 2
From Toolbox, select Modify > Mesh > Knife.
The selected face is cut and divided in the dragged place.
8 9 10 11 12 13 14 15
109
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Dividing Faces
This function divides a face into two to eight sections. Alternatively, it divides the face into triangle forms. 4-Division
Select the face to be divided.
From Toolbox, select Modify > Mesh > Divide and then select the number of divisions or triangle division from the popup menu. Triangle Division
110
3. Editing Objects
Aligning Vertices and Normal Lines

This function aligns the vertices. Moreover, it uni es the normal lines of a face. Align Left
2 1
Aligning Vertexes
This function aligns the vertices with the outermost speci ed position.
2 3 4
Select the vertexes, edges, and faces to be aligned.
Align Right
6 7
From Toolbox, select Modify > Mesh > Align and then
select the alignment position from the popup menu.
9 10
Align Center(Left/Right)
11 12 13 14 15
111
Making Vertices Converge at a Point
The other vertices converge at one of the selected vertexes. The vertices are not connected to one another.
1
2 1 2 3 4 5
Select the vertices that converge at a point.
2
6 7 8 9 10 11 12 13 14 15
112
From Toolbox, select Modify > Mesh > Align and then select Weld Vertices from the popup menu.
3. Editing Objects
Unifying Normal Lines
From Toolbox, select Modify > Mesh > Align and then
select Unify Normals from the popup menu. From the View Display popup menu in the upper-right corner of the Viewport, select Display and turn on Show Normal to display the normal lines.
2 1 2 3 4 5 6 7
Select the face on which the normal lines are to be unied.
The normal line directions are uni ed.
9 10 11 12 13 14 15
113
Connecting Overlapping Vertices

This function merges overlapping vertices into one vertex.
Merging Multiple Objects into One

This function collects multiple polygon meshes into one.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
1 2
Select the object containing overlapped vertices. From Toolbox, select Modify > Mesh > merge vertices.
Select the objects to collect.
From Toolbox, select Modify > Mesh > Merge Objects.
3 3
Click Tool Parameters > Apply to collect the overlapped vertexes.
Multiple polygon meshes are collected into one.
114
3. Editing Objects
Merging Overlapping Faces

This function merges overlapping faces into one face. Alternatively, it merges two triangle polygons into a quad polygon.
The triangle polygons are collected into quad polygons.
1 2
Select the faces of the triangle polygons that are to be merged into quad polygons.
3 4 5 6 7
TIP
Only the triangle polygons on the same plane are collected into quad polygons.
From Toolbox, select Modify > Mesh > Merge Face and then select Merge Triangle from the popup menu.
10 11 12 13 14 15
115
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Reversing Faces
This function reverses the two sides of a face.
The selected faces are reversed.
Select the faces to be reversed. Here, the normal lines are displayed to indicate the face directions.
From Toolbox, select Modify > Mesh > Flip.
116
3. Editing Objects
Creating a Face on Vertices or Edges

This function creates a face having the selected vertices. Alternatively, it creates a face that connects two edges.
A face is created containing the selected vertexes.
Creating a Face from Vertexes
Select the vertexes in the position at which a face is created.
3 4 5
Creating a Face from Edges 6
Select two edges where a face is created.
7 8
From Toolbox, select Modify > Mesh > Face.
9 10
From Toolbox, select Modify > Mesh > Face to create the face connecting edges.
11 12 13 14 15
117
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Displaying a Polygon Mesh with Rounded Corners

This function rounds the corners of a polygon mesh with subdivision surfaces.
The polygon mesh is displayed with its corners rounded. The vertex positions of the object remain unchanged.
Select the polygon mesh to be displayed with its corners rounded.
If you click Subdiv again with the polygon mesh with rounded corners selected, the corner rounding method changes from the Catmull-Clark method to DooSabin method. If you click Subdiv again, rounding is released.
From Toolbox, select Modify > Mesh > Subdiv.
TIP You can adjust the intensity of rounding using Weight in the Object Info window. Moreover, you can change the corner rounding method from the Round Edge popup menu.
118
3. Editing Objects
Using Other Editing Tools

Learn how to remove an edge shared by multiple faces, selects the same plane, performs movement by extrusion, extrudes edges, rearranges triangles, and performs edge loop slice.
From Toolbox, select Modify > Mesh > Other and then select Remove Edge Shared by Multiple Faces from the popup menu.
1 2
Removing an Edge Shared by Multiple Faces

This function separates three or more faces sharing one edge.
3 4
Select the faces sharing one edge.
5 6 7
An edge shared by three or more faces is removed to separate the faces. The gure below shows each face moved, so that you can easily see that the faces are
8 9
separated.
10 11 12 13 14 15
119
Moving Faces by Extrusion

This function extrudes the selected faces in the drag direction.
Extruding Edges
This function extrudes the selected edges in the drag direction.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the faces.
Select the edges.
2 3
2
From Toolbox, select Modify > Mesh > Other and then select Extrude + Move from the popup menu.
From Toolbox, select Modify > Mesh > Other and then select Extrude Edge from the popup menu.
3
Drag to extrude the faces.
Drag to extrude the edges.
Drag
Drag
120
3. Editing Objects
Rearranging Triangles
This function rearranges the division positions of the quad polygons, each of which is divided into triangles.
Performing Edge Loop Slice

This function divides edges. If square faces are stretched out, the edges are continuously divided by the same ratio.
1 2
Select the diagonals of the triangle polygons to be rearranged.
Select the object whose edges are to be divided.
1 2 3 4 5 6
2 3
From Toolbox, select Modify > Mesh > Other and then select Swap Triangle from the popup menu. The division positions of the triangle polygons are rearranged.
2 3
From Toolbox, select Modify > Mesh > Other and then select Edge Loop Slice from the popup menu.
7 8
If you click on an edge of the polygon mesh, the edge is divided at the clicked point.
9 10 11 12
Click
13 14 15
121
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Connecting Faces Through a Bridge

This function creates faces used to connect distant faces.
The faces connecting the two faces are created.
Select two faces containing edges so that three or more vertexes are included.
4 2
From Toolbox, select Modify > Mesh > Bridge.
From Tool Parameters, specify the number of divisions
(1) and then select Apply (2). (1) (2)
122
3. Editing Objects
3-4. Editing Extruded Objects and Revolved Objects

Changing the Extrusion Direction, Amount and Rotation Angle
You can select the extruded object or revolved object to be edited, display the Object Info window, and specify, as a numerical value, the extrusion direction of the extruded object and the rotation angle of the revolved object.
1 2 1 2 3
Extrusion Amount of the Extruded Object

Enter the X, Y, and Z values, in this order, from the left in the Direction text box of Extrude of the Object Info window.
Start and End Angles of the Revolved Object 4

Enter the start and end angles in the Begin and End text boxes of Revolve of the Object Info window.
5 6 7 8 9 10 11 12 13 14 15
123
3-5. Editing Link Objects

Editing Link Objects
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Editing Link objects is possible only when editing using Move and Copy under Toolbox. The result of editing the master object is re ected on all the child link objects. Two link objects are created from the master part. If any change is made to the master part, it is re ected on the link objects.
Master A cup is added to the master object.
Link The cup is also added to the link objects.
124
3. Editing Objects
Reversed Link Object

The master object is on the right and the reversed link object is on the left.
Setting Attributes in the Browser

The setting of attributes for the master object on the Browser is given priority over that for the link object. If Normal (inheritance) is set for the master object, the attribute setting for the link object is enabled. If On or O is set for the master object, the attribute setting for the link object is disabled. This results in the following re ection. The master object is on the left and the link object is on the right.
1 2 1 2
Reversed link object
Master
3 4 5 6
Master
Link
If you edit the master object, the result is re ected on the link object on the left with its reversed status retained. If Rendering for the master object is O , both the master and link objects are not rendered even if the link object is On.
8 9
Morph in the reversed direction
10
Drag
11
12
On
13 14 15
125
If the master object is On, both the master and link objects are rendered even if the link object is O .
If the pedestal of the master object is O , the pedestals of both the master and link objects are not rendered even if the link object is On.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
On On O
If the pedestal of the master object is On, the pedestal of the link object is rendered even if the link object is O .
On
126
3. Editing Objects
3-6. Other Editing Functions

Morphing Objects with the Magnet Tool
1 2 1
You can drag the vicinity of the drag point with the magnet tool so that it rises smoothly.
From Tool Parameters, select the shape that rises when dragged (1) and specify the morph range in Extent Area (2). If you wish to morph the entire object without selecting vertexes, uncheck the Active Vertices Only checkbox (3).
2 3 4
From Toolbox, select Modify > Tools > Magnet.
(1) (3) (2)
5 6 7
Switch the Work Plane Controller to the face in the drag direction (1) and drag the object to make it rise (2).
8 9
(2)Drag
10 11
(1)Click
12 13
TIP You can change the value of Extent Area by right clicking Win or while holding down the c key.
14 15
127
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Displaying a Mirror Object Axis-Reversed

This function always displays the mirror object axis-reversed by mirroring. Changes in the original object are immediately re ected on the mirror image. The mirror image is displayed as a list other than the wireframe format.
Select the target axis from Tool Parameters (1) and check Mirror.(2).
(2) (1)
Select the object to be mirrored.
The mirror object is displayed axis-reversed.
From Toolbox, select Modify > Tools > Mirror.
TIP The mirror object is not displayed in wireframe format. It is convenient to edit the mirror object in shading/texture view mode.
128
3. Editing Objects
Aligning Vertexes
This function aligns the selected vertexes, control points, and line handles to the speci ed position.
From Tool Parameters, specify the targets to be aligned and the alignment type (1). The speci ed coordinate axis is checked and the coordinate is displayed in the text box. If you have selected Align Max X, X is checked and the maximum coordinate 600 is displayed in the text box (2).
2 3 4
Select the control points to be aligned.
(1)
(2)
If you click Apply, the control points align to the specied coordinate.
8 9
From Toolbox, select Modify > Tools > Align Vertices.
10 11
Left gure: Alignment of only points (Maximum of X)
12
Right gure: Alignment of points and handles (Maximum of X)
13
TIP
14
You can align elements to any coordinate by checking X, Y, or Z or by changing the numerical values in the text box.
15
129
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Performing Boolean Operations on Objects

This function combines two objects through Boolean operations or cuts a one-sided object with the other one.
Select the object to be cut.
Select the object that cuts the other one.
4 2
From Toolbox, select Modify > Tools >Boolean Operation.
From Tool Parameters, select the Boolean operation
(1) and click Apply (2). (1)
(2)
130
3. Editing Objects
1 2 1 2
Target cut by source
Target union source
Target intersect source
3 4 5 6
Source cut by target
Source surface intersect target
Target surface intersect source
7 8 9 10
Source surface cut by target
Target surface cut by source
Boolean all parts
11 12 13 14
Boolean all parts in target
Boolean all parts in source
15
131
4. Browser
1 2
To collectively manage multiple objects, the Browser can collect and manage them as single part.
Managing Multiple Objects

3
To move the objects to be collected together, drag them into the part.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From Toolbox, select Part > Part.
Part is created in Browser.
TIP By selecting and manipulating the part, you can collectively move the objects within that part, perform editing, collectively set surface attributes, and perform other processing.
132
4. Browser
Searching for an Object by Name

You can search for an object by entering its name in the Find window. The objects to be searched are either the selected objects or those in the part.
The search results are displayed as a list.
1 2
Click Find to display the Find window.
3 4 5 6 7
4 2
Enter the object name to be searched for in Find and then click the Find button to start the search.
When you click within the search results, the relevant object is selected.
8 9 10 11 12 13 14 15
133
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Rendering Only Shadows Cast on Objects

When performing rendering, you can set the Browser so that only the shadows cast on the object by other objects are displayed.
Here, let's set the shadow catcher in Closed line as the oor. Select Closed line and then click the Shadow Catcher checkbox two times to enable it.
Click the
(Show/Hide switching button) mark in the
upper-right and lower-right corners of Browser (1) to display the checkbox (2).
(1)
Positioning the mouse to the shadow catcher causes Shadow catcher to be displayed in the lower-right corner of the window.
(2)
Right-click the checkbox Win or click it while holding down the c Mac key (1), and then select Shadow Catcher in the displayed list (2). The Shadow Catcher checkbox is added to Browser.
When you perform rendering, only the shadows cast on the object by other objects are rendered. Shadow catcher: O
(1)
Right-click
(2)
Shadow catcher: On
(The lawn is set as a background.)
134
5. Camera
Changing the Camera Angle
You change the camera position, the eld of view, and zoom settings.
5. Camera
1 2 1
Operating the Camera in the Camera Window 2

You can select the movement target with the Eye, Target, Eye & target, or Zoom radio button and operate the camera by dragging up, down, right, or left, relative to the center. Eye (Camera Position) You can change the camera position while the point on which the camera is focused remains xed. Target (Point on Which the Camera Is Focused)
3 4
You can change the point on which the camera is focused while the location of the camera remains xed.
5 6 7
Drag the Virtual Joystick.
8 9 10 11 12 13 14 15
135
Eye & target You can move the camera and the target point either vertically or laterally while maintaining the relative distance between the subject and the camera.
Zoom You can drag up or down to move the camera position back and forth along the line of sight.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
136
You can drag left or right to adjust the focal length ( eld You can drag up or down while holding down the C or Z Win key or the o Mac key to move the position back and forth parallel to the surface. of view).
5. Camera
You can drag the Virtual Joystick up or down while holding down the C or Z Win key or o Mac key to move the target point back and forth along the line of sight. You can create camera objects that are controlled by the manipulator or the Move tool.
Creating Camera Objects
2 1
Create Cameras by Dragging
From Toolbox, select Create > Light/Camera > Camera.
3 4 5 6
Operations in Perspective View

You can drag the Perspective View while holding down the s key to enable camera operation corresponding to the radio button selected in the Camera window.
7 8 9
Drag to create a camera object. The drag start position will become the Eye point, while the drag end point will become the Target point
Target
10 11
TIP
12
It is convenient to register a shortcut for the switching of the Eye, Target, Eye & target, and Zoom radio buttons in the Camera window. TIP You can also perform some camera operations by using the navigation tool of the Perspective View.
Eye
13
Drag
14 15
137
Creation from the Camera window
1
2 1 2 3 4 5 6
Switching the Camera

You can switch the camera used to view a scene.
Select Camera object from the Memory popup menu of the Camera window.
From the Select Camera popup menu in the Camera window, select the camera to be used to view the scene and then perform switching.
A camera object, con gured in the same way as the current camera, will be created.
7 8 9 10 11 12 13 14 15
138
6. Lights
Creating Lights
Point Light
Point Light represents a small light such as a light bulb.
6. Lights
1 2
The following shows the result of applying ray tracing to the space incorporating the oor and two walls. Point Light Placement
1 2
From Toolbox, select Create > Light/Camera > Point Light.
3 4 5 6 7
Drag to create a point light. The radiation intensity (brightness) depends on the amount of dragging. Result of Ray Tracing
8 9 10
Drag
11 12 13 14 15
139
Spotlight
Spotlight is achieved by limiting the irradiation angle of the point light.
Directional Light
Directional Light reproduces a light that mimics a light at a considerable distance, such as the sun, or whose rays are parallel and non-divergent, such as a laser pointer.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From Toolbox, select Create > Light/Camera > Spotlight.
From Tool Box, select Create > Light/Camera > Directional Light.
Drag to create a spotlight. The spotlight casts illumination in the drag direction, with the radiation intensity (brightness) depending on the amount of dragging.
Drag to create a directional light. The directional light casts illumination in parallel to the drag direction.
Drag
Drag
3
The following shows the result of applying ray tracing to the space incorporating the oor and two walls. You can apply a softness to the space.
The following shows the result of applying ray tracing to the space incorporating the oor and two walls. You can apply a softness to the space.
140
6. Lights
Distribution Light
With the Professional version, you can create a Distribution Light that reproduces the amount of irradiation from an actual lighting xture. You can download distribution light data (IES) from the lighting xture manufacturer and so on.
The following shows the result of applying ray tracing
1 2
to the space incorporating the oor and two walls. The way in which the distribution light actually casts illumination depends on the distribution light data which was read.
From Toolbox, select Create > Light/Camera > Distribution Light.
2 3
Ambient Light 4
Ambient Light is a light that illuminates an entire scene with an even degree of brightness. Ambient Light reproduces
light that is evenly re ected in all directions in the same
Drag the Viewport to create a distribution light. The distribution light casts illumination in the drag direction.
way as when light is scattered by particles of air in the atmosphere.
6 7
From Tool Box, select Create > Light/Camera > Ambient Light.
Drag
9 10 11
Select the distribution light data to be used, from the window for selecting distribution light data (IES).
Drag the Viewport and create an ambient light.
12 13
Drag
14 15
141
3
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
142
The following shows the results of applying ray tracing to the space incorporating the oor and two walls. Only the brightness and colors of the ambient light are reected, rather its scale and position.
The following shows the results of applying ray tracing to the space incorporating the oor and two walls.
Area Light Linear Light

Linear Light reproduces a light consisting of a line with a certain width (length). Area Light reproduces a light consisting of a plane of a certain size (area).
From Tool Box, select Create > Light/Camera > Area Light.
From Tool Box, select Create > Light/Camera > Linear Light.
2 2
Click or drag the Viewport to create a line object that will become the linear light. Create the line object in the same way as any other line object.
Drag the Viewport and create a rectangle to create an area light. Create the rectangle in the same way as any other rectangle. If you create the rectangle on the XZ plane, the light will be aimed upwards. To aim the light downwards, rotate the rectangle downwards. Alternatively, reverse the direction of the rectangle from the Flip Face checkbox.
Drag
6. Lights
The following shows the result of applying ray tracing to the space incorporating the oor and two walls.
TIP
You can adjust the Point Light, Spotlight, Directional Light, and Distribution Light using the Type popup
menu of the Object Info window. TIP You can convert a line object into Linear Light or Area Light. To do this, select the line object to be converted into a light and then enter a numerical value for BrightTIP You can con rm and edit detailed light information using the Object Info window. Select a light from Browser and display information on that light. The items that can be edited depend on the type of the light. ness of the Light Attribute group in the Object Info window. You can switch between Linear Light and Area Light from the Type popup menu. You can create an area light from Closed Line having a face. TIP Checking the Visible checkbox of the Object Attribute group enables Linear Light or Area Light to be rendered.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
For a spotlight
143
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Using a Distant Light

You can manipulate the direction of Distant Light, which mimics a light at a considerable distance, such as the sun, and which illuminates everything in the scene equally.
Click the light direction setting hemisphere in the Distant Light window and set the position of the distant light (1). Switch the reference level of the hemisphere with the View radio button (2).
(2)
(2)
(1) (1)
144
6. Lights
Brightness Values for Common Light Types

This section provides lumen values for general lights. Select a light. Then, from the Object Info window, set Lumen from the Unit popup menu and set a table value in the Brightness text box.
2 1 2
Point Light, Spotlight, Directional Light, and Distribution Light Light type 60 W incandescent light bulb (whitecoated) 100 W incandescent light bulb (white-coated) 50 W tungsten halogen lamp 100 W tungsten halogen lamp 15 W compact self-ballasted uorescent lamp (daylight) 10 W straight uorescent lamp (white, 330 mm in length) 15 W straight uorescent lamp (white, 436 mm in length) 20 W straight uorescent lamp (white, 580 mm in length) 30 W straight uorescent lamp (white, 630 mm in length) Area Light and Linear Light 40 W straight uorescent lamp (white, 1198 mm in length)
Total luminous ux
(Unit: Lumen)
810 1520
4 5
1000 1600 780 460
6 7 8
820
1160 1700 3000
10 11 12 13 14 15
145
7. Background
1 2
You can set clouds and/or the ocean as a background.
Setting Cloud and Ocean Patterns

3
From the pattern popup menu, select Ocean (1). Set blue for Lower Base Color (2). From the Area popup Select Cloud from the pattern popup menu of the Background window (1). Set blue for Upper Base Color (2). From the Area popup menu, select Upper (3). menu, select Lower (3). Check the Show All checkbox
1
2 3 4 5 6 7 8
(4).
(2) (1) (1)
(2)
(3) (4)
(3)
2
9 10 11 12 13 14 15
146
From the Layer popup menu, select New Layer and then create a new layer.
4 5
From the Layer popup menu, select New Layer and then create a new layer. From the pattern popup menu, select Haze (1). Set light blue in the pattern color box (2). From the Area popup menu, select Whole (3).
(1)
(2) (3)
7. Background
Enter 0.55 in the mapping text box.
Setting an Image as the Background

You can set an image as the background.
1 2 1
Select Image from the pattern popup menu of the Background window (1). Select a previously loaded image from Edit image. Or, load a new image using Load (2). From the Area popup menu, select one of Whole, Upper, or Lower as the area to be used (3). From the Projection popup menu, select the projection method (4).
2 3 4
Con rm the background through rendering.
(1)
(3) (4)
(2)
7 8
From Figure Window in the View Display popup menu of the Perspective View, select Show Background and con rm the image setting.
9 10 11 12 13 14 15
147
8. Move, Morph, and Copy

1 2
You can use the following methods to move, morph, and copy selected objects and control points. From Toolbox, select Move/Copy > Move or Copy to perform movement, morph, and copy. Specify numerical values for movement, morph, and Translate
Move, Morph, and Copy

Move, Morph, and Copy from the Tool Box
You can select a tool and drag the Viewport to perform movement, morph, and copy.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
copy. Use Manipulator to perform movement, morph, and copy.
Operational Di erences that Depend on the Editing Mode

If you perform movement, morph, or copy in Object mode, the result is applied to the entire object. The copy operation can be used only in Object mode.
Modify mode allows move, morph, and copy to be applied to selected control points, vertexes, edges, and faces.
Drag
Example of Dragging on the Bottom (XZ Plane)
148
Rotate
Uni-Scale
1 2 1 2 3 4
Drag
Drag
Example of Dragging on the Front (XY Plane) Scale
Example of Dragging on the Bottom (XZ Plane) Skew
7 8 9 10 11
Drag
12 13
Drag
14
Example of Dragging on the Bottom (XZ Plane)
Example of Dragging on the Side (YZ Plane)
15
149
TIP For tools other then the translate tool, reference points are set in the center of a selected object or point. For tools other then the translate tool, you can change their reference points by clicking the Viewport. If you drag while holding down the S key, you can limit mouse movement to 45 degrees.
Move, Morph, and Copy by Specifying Numerical Values

Select a tool, click the Viewport, and then set the reference point (1). Then, from the Transformation dialog enter numerical values in the Scale, Rotate, and Translate text boxes
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
(2).
(2)
(1)
Click
150
Move, Morph, and Copy Using the Manipulator

From the Control Bar, click the 3D Manipulator button to switch to a manipulator that is suitable for the application, and then move each part of the manipulator for move and morph. Moreover, if you drag while holding down the z Win or o Mac key, an element is copied. If you drag while holding down the S key in the same way as for move/ copy with a tool, you can limit mouse movement to 45 degrees.
Translate Manipulator
Axis movement
Screen movement
1 2
Face movement
Scale Manipulator
4 5
Axis scaling
Uniform scaling
7 8
Axis movement Axis scaling
Universal Manipulator
Rotate Manipulator
10
Screen movement Axis rotation Axis rotation Face movement Screen rotation
11 12 13 14 15
151
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Changing External Dimensions with Numerical Values

You can change the external dimensions of a selected object by using the bounding box.
Enter numerical values in Bounding Box Size to change the outer dimensions of the selected object. Check the Keep Proportion checkbox (1) and enter 1200 in Y
Select the object to be changed. If the object consists of multiple objects, collect them into the part and then select it.
(2). X and Z are automatically changed.
(2) (1)
Display the Object Info window. In Bounding Box Size, you can check the object size to be changed. Bounding Box Size contains numerical values for X, Y, and Z, starting from the left.
The object is proportionally reduced in size, when 1200 is set for Y.
486.43
1200.00 674.43
607.87
1663.79
842.81
152
Copying an Object in the Same Position

You can copy a selected object into the same position.
Click the margin of the Viewport.
1 2
Object mode is set.
Select the object to be copied.
3 4
Click
5 6
The object is copied in the same position.
8 9 10 11 12 13
TIP You can copy the selected object into the same position by clicking while holding down the S + z Win key or the S + o Mac key.
14 15
153
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Copying an Object in Reverse

You can copy a selected object in reverse.
Click the position in the Viewport to be used as the reverse reference.
Object mode is set.
Turn on Snap in the Control Bar.
Click the center axis.
Switch the Viewport to Top view.
Move the mouse by one snap (half a square) in the opposite direction (object direction) to the reverse direction and then click the position.
From Tool Box, select Create > Copy > Scale.
Click the position that is equivalent to one snap.
154
To make a reverse copy, drag for two snaps (one square)
in the reverse direction.

Drag for two snaps in the reverse direction
2 1 2 3 4 5 6
TIP The reference for the reverse copy is the distance clicked in the opposite direction (object direction) to the reverse direction from the reference position that was clicked initially. The object is copied, in reverse but at the same magni cation, by dragging for the same amount as the reference but in the reverse direction. TIP When making a copy by specifying numeric values, you can make a reverse copy by entering -1 in the Scale text box of the axis that will be reversed, in the Transformation dialog.
7 8 9 10 11 12 13 14 15
155
9. Surface Attributes
1 2 Setting from ShadeExplorer 1 Setting from the Surface Window 2 3 4 5 (3) (1) 6 7 8 (2) 9 10 11 12 13 14 15
156
Setting Surface Attributes
Select the object or part for which surface attributes are to be set. Once you select a part, the same surface attributes are assumed by all the objects constituting that part.
1 2
Select the object or part for which the surface attributes are to be set. Click the Create button of the Surface window and then create a surface attribute. The white-base basic surface attribute is set. Set it as required.
Open ShadeExplorer and then select Surface from the browser area (1). Select the surface attribute from the preview area (2) and then click Open (3).
Setting Common Surface Attributes for Multiple Objects

Using a Master Surface, you can set the same surface attributes for multiple objects. When you change the master surface setting, the change is re ected on all the objects to which that setting applies.
Set the name of the master surface in the displayed Name dialog.
1 2
Creating a New Master Surface 3
From Toolbox, select Create > Other > Master Surface.
4 5 6 7
The master surface is created in Master Surface Part.
Set the surface attributes for the master surface in the Surface window.
8 9 10 11 12 13 14 15
157
Save Surface Attributes as a Master Surface 1
Setting the Master Surface
1
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
158
Select the object for which the surface attribute to be registered as the master surface is set, and then display the Surface window.
1 2
Select the object for which the master surface is to be set. From the Use popup menu of the Surface window, select and set the created master surface.
From the Surface window, click Register.
Enter a name and then register the surface attribute as the master surface.
Surface Attribute Types

Basic Settings
2 1
You can set the basic settings and their values for surface attributes. Size: 0.2, 0.5, and 0.8 from the left Reflection Set the re ection intensities and colors from other objects and the background.
2 3 4 5
Diffuse Set the di use color and weight of an object. Re ection ratio: 0.1, 0.5, and 0.9 from the left Transparency Set the transparency intensities and colors of objects.
6 7 8
Di use Color
9
Transparency: 0.2, 0.5, and 0.8 from the left
10
TIP If you use Re ection and Transparency and if other
11
Weight: 1.0, 0.6, and 0.3 from the left Specular 1 and Size, Specular 2 and Size Set the specular color, intensity, and size.
items such as Di use are bright, highlight clipping may occur. You can easily distinguish the e ect by adding the weights of Di use, Re ection, and Transparency so that the addition result is 1.0.
12 13 14
Intensity: 0.0, 0.5, and 1.0 from the left
Transparency: 0.8
15
Di use: 1.0, 0.5, and 0.0 from the left
159
Refraction Set the refraction ratio by which an image or objects are visible through the object.
Anisotropic Set the ratio of specular and roughness that stretch in a given direction. For PolygonMesh_Roughness, the direction changes according to the UV value assigned to UV1 (parameter UV).
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
160
Di use Color: 0.0, Transparency: 0.8 Refraction: 1.02, 1.33, and 1.5 from the left Ambient Set the color and intensity of the ambient light for each object. Anisotropic: -1.0, -0.5, and 1.0 from the left Fresnel Set the ratio by which the re ection ratio changes according to the viewing angle. This attibute is valid for an object for which transparency, re ection, and specular were set. 0.25, 0.5, and 0.75 from the left
E ects
Set e ect settings and values for the surface attributes. Metallic
Re ection: 1.0 Fresnel: 0.6, 0.8, and 0.94 from the left
Set the intensity with which a pseudo metallic e ect is applied.
Roughness Set the degree of surface roughness on the surface of the object for which re ection and transparency have been set. This setting item is valid for path tracing. Glow
Di use color: Dark gray Metallic: 0.2, 0.5, and 1.0 from the left
Set the intensity with which an object is irradiated.
Roughness: 0.0, 0.5, and 1.0 from the left
Glow: 0.2, 0.5, and 1.0 from the left
Soft Glow Set the degree of blur of radiation.
represented. All of the settings are common to Volume Rendering and Subsurface Scattering of Type. However, Volume is supported only by the Professional and Standard versions. Moreover, Subsurface Scattering is supported only by the Professional version.
1 2 1
Di use Color: 0.0, Transparency: 1.0, Glow: 1.0 Soft Glow: 0.1, 0.5, and 1.0 from the left Back Light Set the intensity at which light from the rear is re ected by an object.
2 3 4
Type As the type, you can select from Volume Rendering, Subsurface Scattering and None. Point light in the center of the sphere, Transparency: 0.3 Back light: 0.2, 0.6, and 0.8 from the left Aberration Set the intensity of any color aberration. This setting item is valid for an object for which transparency and refraction are set. The result of volume rendering depends on whether the object to be con gured is a transparent or opaque body. For a transparent body, the volume rendering calculation result is multiplied by the transparent color. The refraction ratio and the color of the object inside the volume are also re ected. For a opaque body, the volume rendering results are added as is. The refraction ratio and any object inside the volume are not re ected. Decay Distance Set the density for the volume. The brightness falls to 0 Transparency: 1.0 Aberration: 0.2, 0.5, and 1.0 from the left when light enters an object and travels for this distance.
5 6 7 8 9 10 11
Scattering Set the volume color and weight.
Volume Setting
You can use the volume options to set up textures of the object interior with volumetric properties. Use Volume Rendering to represent a translucent body, meaning that the object is textured with a semi solid set of attributes. Subsurface Scattering is used to simulate how light is scattered on an object surface or perceptually right below the initial surface. This item enables a soft texture on a surface to be
12
Transparency Use the color of the part that becomes translucent, as well as the color of the shadow cast by the volume. Decay distance varies with the color.
13 14
Glow Set the glow color and weight of the volume.
15
161
For Volume Rendering (Shade Standard and Professional) 1

Decay Distance (opaque) Basic setting Transparency: 0.0 Volume setting Transparency color: None Glow: None Decay distance: 1000, 2000, and 3000 from the left Scattering (transparent) Basic setting Transparency: 0.0 Volume setting Decay distance: 2500 Scattering (color): R255, G128, and B255 Transparency color: None
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
162
Glow: None Decay Distance (transparent) Basic setting Transparency: 1.0 Volume setting Transparency color: None Glow: None Decay distance: 1000, 2000, and 3000 from the left Transparency (opaque) Basic setting Transparency: 0.0 Volume setting Decay distance: 2500 Scattering: None Scattering (opaque) Basic setting Transparency: 0.0 Volume setting Decay distance: 2500 Scattering (color): R255, G128, and B255 Transparency color: None Glow: None Scattering (weight): 0.25, 0.5, and 0.75 from the left Transparency (color): R255, G128, and B0 Glow: None Transparency (weight): 0.25, 0.5, and 0.75 from the left Scattering (weight): 0.25, 0.5, and 0.75 from the left
Transparency (transparency) Basic setting Transparency: 1.0 Volume setting Decay distance: 2500 Scattering: None Transparency (color): R255, G128, and B0 Glow: None Transparency (weight): 0.25, 0.5, and 0.75 from the left
1 2 1 2
You can control the parameters used for volume rendering by using mapping. From the Attribute popup menu of the Mapping group in the surface attribute window, select and set the associated parameters.
Spotted + Volume Decay Distance
Glow (opaque) Basic setting Transparency: 1.0 Volume setting Decay distance: 2500 Scattering: None Transparency color: None Glow (color): R255, G255, and B0 Glow (weight): 0.25, 0.5, and 0.75 from the left Left: opaque body, right: transparent body Spotted + Volume Transparency Left: opaque body, right: transparent body
5 6
Spotted + Volume Color
7 8 9 10 11
Glow (transparency) Basic setting Transparency: 1.0 Volume setting Decay distance: 2500 Scattering: None Transparency color: None Glow (color): R255, G255, and B0 Glow (weight): 0.25, 0.5, and 0.75 from the left Left: opaque body, right: transparent body Spotted + Volume Glow Left: opaque body, right: transparent body
12 13 14 15
163
For Subsurface Scattering (Shade Professional) 1 2 1 2 3 4

Decay Distance (transparent) Basic setting Transparency: 1.0 Volume setting Transparency color: None Glow: None Decay distance: 1000, 2000, and 3000 from the left Decay Distance (opaque) Basic setting Transparency: 0.0 Volume setting Transparency color: None Glow: None Decay distance: 1000, 2000, and 3000 from the left
Scattering (transparent) Basic setting Transparency: 0.0 Volume setting Decay distance: 500 Scattering (color): R255, G128, and B255 Transparency color: None Glow: None Scattering (weight): 0.25, 0.5, and 0.75 from the left
Transparency (opaque) Basic setting Transparency: 0.0 Volume setting Decay distance: 500 Scattering: None Transparency (color): R255, G128, and B0 Glow: None Transparency (weight): 0.25, 0.5, and 0.75 from the left
5 6 7 8 9 10 11 12 13 14 15
164
Scattering (opaque) Basic setting Transparency: 0.0 Volume setting Decay distance: 500 Scattering (color): R255, G128, and B255 Transparency color: None Glow: None Scattering (weight): 0.25, 0.5, and 0.75 from the left Transparency (transparency) Basic setting Transparency: 1.0 Volume setting Decay distance: 500 Scattering: None Transparency (color): R255, G128, and B0 Glow: None Transparency (weight): 0.25, 0.5, and 0.75 from the left
Mapping
You can set the mapping settings and values of surface attributes. This section introduces the application results with regard to Glow (opaque) Basic setting Transparency: 1.0 Volume setting Decay distance: 500 Scattering: None Transparency color: None Glow (color): R255, G255, and B0 Glow (weight): 0.25, 0.5, and 0.75 from the left Pattern (1), Attribute (2), Projection (3) as images.
1 2 1
(1)
(2)
(3)
4 5 6
Glow (transparency) Basic setting Transparency: 1.0 Volume setting Decay distance: 500 Scattering: None Transparency color: None Glow (color): R255, G255, and B0 Glow (weight): 0.25, 0.5, and 0.75 from the left
Pattern You can set patterns such as stripes and checks.
7 8 9 10
Striped
Checked
Spotted
11 12
Marble
Wood
Log
13 14 15
Wave
Ocean
Cloud
165
1 2
Image (the right image is actually a mapped one.) Fresnel Aberration Ambient Light
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
166
Attribute Set a pattern attribute. The following shows the attributes set with the stripe pattern:
Bump Normal Displacement
Di use
Specular 1 and Specular 2
Re ection Volume Decay Distance Volume Scattering Volume Transparency
Transparency
Mask
Environment Volume Glow
* Normal is supported only by Shade Professional. * Displacement, Volume Decay Distance, Volume
Glow Back Light Weight
Scattering, Volume Transparency, and Volume Glow are supported only by Shade Standard and Professional.
Refraction
Roughness
Anisotropic
Projection Set how to project mapping onto an object. The availability of the projection methods depends on the pattern. X Mapping is projected in parallel from the X direction.
Wrap Mapping is projected while the four corners of an object and those of the image match.
1 2 1 2
Cylinder
Mapping is projected in parallel through 360 degrees from the central axis.
(Left: edit screen, right: rendering result) Y Mapping is projected in parallel from the Y direction.
5 6
Sphere Mapping is projected vertically and horizontally through 360 degrees from the central axis.
7 8 9
Z Mapping is projected in parallel from the Z direction. Box Mapping is projected in parallel from all three directions, X, Y, and Z.
10 11 12 13 14 15
167
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Setting the Size and Position of an Image

You can set the image application size and the position at which the image starts.
The mapping image is displayed on the Viewport.
From the Surface window, check the Modify checkbox in the Mapping group.
Drag the manipulator to set the image position and size.
TIP For the projection mapping for the X, Y, and Z axes and Cylinder and Box mappings, you can adjust the image size from the Position and Size tab of the Surface window. Speci cation of actual sizes is supported only in Shade Standard and Professional.
168
Trimming an Image
You can modify the area over which an image set in the pattern is used.
In the Crop Area Setting... dialog, enter a numerical value in the text box, or drag the trimming handle to set the range to be used.
From the Surface window, select Mapping group > Edit image > Set Crop Area....
2 3 4 5 6 7
TIP If you set a range larger than the image in the text box, the image will have margins. For a 500 x 500 image, if you set top to -10, bottom to 510, left to -10, and right to 510, a 10 margin is added to the top, bottom, left, and right sides.
8 9 10 11 12 13 14 15
169
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Overlapping Multiple Maps

You can overlap map layers and set complicated surface attributes. This set of steps demonstrates overlapping two images using three layers.
Render the scene to con rm that it looks like this.
Set the Mapping Layer to 1, and the layer option to Diffuse. Load the image map.
Create a new layer.
170
Set the Mapping Layer to 2, and the layer option to Bump. Load the image map.
Create a new layer as layer 3, set the layer option to Re-
flection and import the image. (Basic setting re ection: 0.16)
2 1 2 3 4 5 6 7
The following is the rendering image obtained by overlapping and setting two layers. The rusty parts appear as dents while the blue-painted parts protrude.
8 9 10
The following is the rendering image obtained by overlapping and setting three layers. Only the blue-painted parts re ect the background.
11 12 13 14 15
171
Setting Surface Attributes Individually on Polygon Mesh Faces

You can set the master surface of a selected face of a polygon mesh. This allows you to set multiple surface attributes on a single polygon mesh.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From the selector, select a previously added master surface to assign it to the Face Group.
Select the face of a polygon mesh.
From the Object Info window, open the Face Group options, and then click the Add button to add a new Face Group.
172
Repeat steps 1 to 3 to individually set master surfaces
on multiple faces.
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
173
10. UV Mapping
1 2
You can use the following steps to set up UV mapping for a polygon mesh.
Setting Up UV Mapping
2
Switch the workspace to UV Edit to enter Modify Mode.
1 2 3 4 5 6 7 8 9 10 10 12 13 14 15
Set a UV image. Select the polygon mesh for which UV mapping is to be performed and then set the image used for Mapping Pattern from the Surface window (1). Select Wrap from the Projection popup menu (2). From the UV popup menu of the Image tab, select UVO (Distance) (3).
3 On the UV drafting on the left side of the figure window,

click the Make UV button, select Make UV from the displayed popup menu, and then display the Projection window.
174
10. UV Mapping
Use Projection as is as the projection method (1), set Top for Projection (2), and then click the Make UV button to create UV (3).
Since UV is distorted according to the inclination of the
face, change the UV popup menu to UV1 (Parameter) from the Mapping group of the Surface window.
2 1 2 3 4
From the Switch Display popup menu, check display image to display the image.
Change the left-side UV view display to UV1 (Parameter) such that the setting is the same as for UV of the Surface window.
6 7 8 9 10
Switch the Perspective View to the Texture and Wireframe display and then confirm the image (mapping status).
10 12
UV is displayed properly.
13 14 15
175
1 2 1 2 3 4 5 6 7 8 9 10 10 12 13 14 15
Setting Multi-Mapping
You can add multiple UV layers to a polygon mesh using the following steps.
From the Surface window, you can nalize and customize the image options.
Select a polygon mesh and then switch the viewport to display the UV View. From the Make UV popup menu, select Append UV Layer and then add the UV layer.
Select the UV layer (1), then from the Make UV pop up menu select Make UV to create the UV map (2).
Repeat the procedure to set multiple UV layers.
TIP You can output the created UV as an image through the Make UV menu by selecting Save UV into Image.
176
11. Rendering
Selecting and Rendering an Object
Rendering All the Objects
11. Rendering
1 2 1
You can render all the objects in a scene using the following steps.
From the Rendering menu select Render All and then start rendering.
3 4 5
(Image by Syuzo)
Rendering Only the Selected Object

You can render only selected objects.
6 7
All the objects that can be rendered are rendered, regardless of whether they are selected with the Browser. The gure below shows that only the base has been selected but the entire scene has been rendered.
From the Rendering menu select Render to start rendering.
8 9 10 11 12 13 14 15
177
2
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
178
Of the objects selected with the Browser, only those that can be rendered are rendered.
Rendering Only those Objects Set with the Browser

You can set whether each object is to be rendered from within the Browser. Use the Render checkbox of the Browser to do this. Each time you click the Render checkbox, its status loops in the order of (Normal). (Normal) Assumes the settings of the upper layers. This status is the initial value. (O ) The object is excluded from rendering, regardless of the upper layer setting. The selected object is not rendered and cannot be rendered with the Render All command. (On) The object is rendered, regardless of the upper layer setting. Objects that are not selected are also rendered. The following table summarizes whether objects are rendered. (Normal) -> (O ) -> (On) ->
Rendering Result
(Image by Syuzo)
Normal Rendering all the objects Rendering of only selected objects + selected status Rendering of only the selected objects + non-selected status O On
: Rendered : Not rendered
11. Rendering
The Render checkboxes for Headhorn and studio are unchecked.
Rendering Only Part of an Image

You can rerender only part of a selected image.
1 2
Check the Area Rendering checkbox of the Image Window.
1 2 3
Objects are rendered with Render All.
The Image Window displays the frame for setting the
4 5 6 7
rendering area. From this frame, set the rendering area.
Only JazzBase and Boogie (ampli er) are rendered.
8 9
(Image by Syuzo)
10 11 12 13
(Image by Syuzo)
14 15
179
Setting the Size of the Rendering Image

You can change the size of the image to be rendered.
Setting the Rendering Method

You can set the rendering method to be used.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From Image Window, set values in the Width and Height text boxes by typing in values.
Click
in the upper-left corner of Image Window to
display the Rendering Settings (1) and then select the rendering method from Method (2). The selectable methods may vary depending on the version of Shade you have.
(1) (2)
(Data provided by Syuzo)
To use global illumination, go to the G.I. Tab, and select the method from the Global Illumination popup menu.
(Image by Syuzo) TIP You can also set the sizes from the Image tab of Rendering Settings.
180
11. Rendering
IBL Rendering
IBL (Image Based Lighting) rendering can reproduce lighting that more closely approximates reality because it uses the color and brightness of the image set as the background as the light.
From Image Window, select the Basics tab and then check the Re ect Background checkbox.
1 2
Set the image in the Background window and set
Lighting Factor. The numerical value is a relative value obtained by setting the image brightness as 1.
If you set the distant light brightness to 0, you can easily
check the IBL e ect.
6 7 8
From Rendering Options, select G.I. and then select Global Illumination > Path Tracing or Path Tracing + Photon Mapping.
Check the result through rendering. If the result is too dark or too bright, adjust Lighting Factor in the Background window.
10 11 12
TIP The Path Tracing + Photon Mapping function of Global Illumination is available only in the Standard and Professional versions.
13 14 15
(Image by Syuzo)
181
12. Animation
12-1. Joint Animation
Move, Rotate, and Morph Using Joints
1
You can use joints for animating most objects in Shade. If you insert an object into the created joint, or set a skin and then change a joint value, the object will be animated.
1 2 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Drag the cursor to create a slider joint. You can move the object in a straight line in the drag direction, from the drag start point (base point) to the end point.
Slider Joint
This joint is used to move an object in a straight line and is displayed as a straight line from the start point to the end point.
Drag
From Toolbox, select Part > Transformation Joint > Slider.
Manipulate the joint value. From Browser, select the created Slider joint and then open the Object Info window to expose the Slider Joint slider for further customization.
182
12. Animation
The object moves in a straight line along the joint.
Drag the cursor to create a rotator joint.
You can rotate the object using the range from the drag start point to the end point as the rotation axis.
2 1
Drag
TIP You can also manipulate joint values from the Motion window.
3 4
Rotator Joint
This joint is used to rotate an object and is displayed within the Viewport as an axis of a straight line and a circle in the direction of rotation.
5 6
When you manipulate the joint value, the object rotates.
From Toolbox, select Part > Transformation Joint > Rotator.
7 8 9 10 11 12 13 14 15
183
Scale Joint
This joint is used to enlarge or reduce the size of an object and is displayed within the Viewport as a point and a straight line in the direction of enlargement.
If you manipulate the joint value, the object is enlarged or reduced.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From Toolbox, select Part > Transformation Joint > Scale.
Uni-Scale Joint
This joint is used to evenly enlarge or reduce the size of an object in all directions and is displayed in the Viewport using the basic point and straight lines in the directions of all three axes.
From Toolbox, select Part > Transformation Joint > Uni-scale.
Drag the cursor to create a scale joint. You can enlarge or reduce the size of an object in the drag direction, within the range from the drag start point to the end point.
Drag
Drag the cursor to create a uni-scale joint. You can evenly enlarge or reduce the size of an object in all directions, within the range from the drag start point to the end point.
184
12. Animation
2
Drag
Drag the cursor to create a ball joint. You can move the
object in all directions by using the drag start point as the basic point.
2 1
Drag
2 3
When you manipulate a joint value, the object is evenly enlarged or reduced in the directions of all three axes.
4 5 6
3
Ball Joint
This joint is used to rotate an object through 360 degrees and is displayed as a wireframe sphere.
When you manipulate the joint value, the object rotates.
7 8 9 10
From Toolbox, select Part > Transformation Joint > Ball Joint.
11 12 13 14 15
185
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Changing the Brightness of the Light

To increase or decrease the brightness of the light, use a Light Joint. If you include multiple light objects within a Light Joint, you can collectively increase or decrease the brightness of all those light objects at the same time.
Insert the light object into the light joint. Here, the part containing multiple light objects has been inserted into the light joint.
From Toolbox, select Part > Transformation Joint > Light and then create a light joint in Browser.
Manipulate a light joint value to animate the light brightness.
186
12. Animation
Moving an Object Along the Path

You can create a path joint for moving an object from the starting point to the ending point of the line object used as a path. If you insert an object into the path joint, or set a skin and then change a joint value, the object moves along the path.
From Browser, place the line object to be used as the path just above the path joint. :Move path is added after the name of the open line object. This indicates that the line object has been speci ed as the path.
1 2 3
From Toolbox, select Part > Transformation Joint > Path and then create a path joint in Browser.
From Browser, enter an object in the path joint.
6 7 8
Place the object to move at the Start point position of the line object to be used as the path.
9 10
Path line object
11
Start point End point
12 13 14 15
187
5
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
188
Manipulate the path joint value to provide animation.
TIP In Shade Professional and Standard, it is possible to adjust the direction of the object to be moved, with the Direction Control group in Path Joint Attribute of the Object Info window.
12. Animation
Morphing the Shape of an Object

You can create a morph joint for morphing two objects, so long as each has the same number of control points. If you insert two objects, each having the same number of control points, into the morph joint and then change a joint value, the objects and surface attributes will be morphed from one shape to another.
2 1 2 3
From Toolbox, select Part > Transformation Joint >
Morph and then create a morph joint in Browser.
Enter two objects, each having the same number of
control points, in the morph joint.
7 8 9 10 11 12 13
TIP The morph joint can control two or more objects. If, for example, you morph three objects, joint value: 0 becomes the status of the top object, joint value: 0.5 the status of the second, and joint value: 1.0 the status of the third.
14 15
189
Two objects having 4 x 3 = 12 control points
1 2 1 2
4
3 4 5 6 7 8 9 10 11 12 13 14 15
190
Manipulate the morph joint value to provide animation.
12. Animation
Switching and Displaying Multiple Objects

You can use a switch joint to switch the display of multiple objects, at rst displaying one, then the other. Multiple objects in the switch joint can be switched and displayed by changing the joint values.
2 1 2
From Tool Box, select Part > Joint > Switch and then
create the switch joint in Browser.
4 5 6
From Browser, insert the objects into the switch joint.
7 8 9 10 11 12 13 14 15
191
3
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
192
Manipulate the switch joint value to provide animation.
TIP You can switch the display of the objects in the switch joint from the Select popup menu in the Switch Joint Attribute group of the Object Info window.
12. Animation
Limiting the Movable Range of a Joint

You can set the upper and lower limits of the movable range of the joint.
2 1
Select a joint and drag the limiter on Joint Attribute of the Object Info window to set the movable areas of the upper and lower limits.
2 3 4 5 6 7 8
Lower limit
Upper limit
TIP Click the joint slider while holding down the C Win
10 11
or o Mac key to display the numerical value input dialog. From this dialog, you can change the input width of the slider as well as enter joint and limiter values as numerical values.
12 13 14 15
193
12-2. Skin
You can set a skin for a control point.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From the View menu, select Skin to display the Skin window.
Select the control point of the object for which a skin is to be set.
Set the joint from the Joint popup menu of the Skin window (1) and then set the joint application value (2). Here, the Uni-Scale joint has been set with application value 1.0.
(1) (2)
194
12. Animation
Similarly, set the skin for the control point just above the
line object with an application value of 0.30.
2 1 2 3 4 5
TIP
If the joint has a hierarchical structure (bone), the joint that is a ected upon pressing the Bind button is auto-
Manipulate the con gured joint value to provide animation.
matically assigned. TIP You can set the joint values individually by clicking the leftmost number in the Skin window and by selecting a control point.
8 9 10 11 12 13 14 15
195
12-3. Motion Window

Parts of the Motion Window
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The Motion window is used to collectively manage all the joints in a scene when creating an animation, and to set joint values according to a sequence. This section introduces the names of the basic parts of the Motion window.
Play button
Sequence cursor
Sequence Timeline
Sequence key box
Line handle
Sequence key point Motion curved line Motion point Joint value slider Active motion box
Sequence Cursor Displays the current sequence position. Sequence Key Point Displays the sequence position for which the motion is set. Sequence Timeline Changes the sequence position by clicking or dragging. Sequence Key Box Displays the sequence key point. Creates or moves the sequence key point.
Joint Value Slider Changes a joint value. Motion Point Displays the joint value set for the sequence. Active Motion Box Displays the motion point for the selected joint. Line Handle Changes the motion curved line. Motion Curved Line Displays joint value changes through the motion point connection line.
196
12. Animation
Setting a Joint Value to Provide Animation

You can create a motion point in the sequence to provide animation. Let's create an animation in which the light rotates around the Earth.
Select the joint to be set.
1 2 3 4
Click or drag the sequence ruler to set the sequence position from which animation will start.
5 6 7
Drag
Click Animation in the Workspace Bar to switch the workspace to Animation.
9 10 11 12
While operating the joint value slider, set the joint value
(1), and then click the + button to create a motion point or keyframe (2). (2)
(1)
13 14 15
197
5
1 2 1 2
Set the sequence position at which the sequence ruler ends (1) and then check Auto Key (2).
Changing Animation Timing

You can change the joint value and sequence position of a created motion point to adjust timing.
(2) (1)
1 6
While operating the joint value slider, set a joint value
Select the motion point to be changed.
3 4 5 6 7 8 9 10 11 12 13 14 15
(1). A motion point is automatically created (2).
Drag
(1)
(2)
You can drag the selected area to change both the sequence position and joint value at the same time.
While operating the sequence ruler, return to the start position and then click the Play button to check the created animation.
Drag
You can drag the sequence key point to change only the sequence position.
Drag
You can drag the motion point vertically to change only the joint value.
Drag
198
12. Animation
Making Joint Values Change Abruptly

You can bend the line handle of the motion point to make an abrupt change to a joint value.
Looping Animation within a Specified Range

You can repeat a selected sequence range to create a looping animation.
1 2 1
Select the motion point where the line handle is to be bent.
Select two or more motion points that are continuous to each other.
2 3 4 5
Check the Cusp checkbox. The motion curved line is bent.
Set the repetition count in the repeat text box or pulldown menu.
6 7 8 9
The animation is repeated backwards from the selected range, as many times as the speci ed repetition count.
10 11 12 13 14 15
199
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Moving a Ball Joint and Camera Along the Path

You can set an o set movement for a ball joint or camera object in the animation path. Here is an example using a ball joint.
From Toolbox, select Create > Move/Copy > Joint Operation > O set.
Select a ball joint.
Select the rst sequence position (1). Click the + button to create the rst motion point (2). Check Auto Key (3).
Drag the ball joint in the Viewport to create the motion point.
(1)
(2)
(3)
Drag
Select the sequence position at which the next motion point is to be created.
200
12. Animation
Repeat the procedure to create an offset movement path.
TIP You can edit the created path by dragging the control point. TIP
1 2 1
Drag
By setting the rotation of the ball joint itself at the same time, you can create an animation that moves along the
path while rotating. TIP The camera object path is created for each of the eye and target points.
3 4 5
Target
6 7
Eye
8 9
Drag
10 11 12 13 14 15
201
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Adding Sound to an Animation

You can create and append sound to create 3D audio e ects in an animation.
Small Volume Great
From Tool Box, select Create > Other > Sound.
Drag
Eye
From the opened Open window, select the sound to be reproduced.
From the Motion window, drag the sequence key point of the sound or drag the left end of the waveform to set the sequence position at which the sound will be reproduced (1). Set the playback volume with the joint value of the motion point (2).
Drag or click the Viewport to create a sound object. The eye position of the camera becomes the mike. The nearer the sound approaches the eye point, the louder it is when reproduced; the further the sound moves away from the eye point, the quieter it is when reproduced.
(1) (2)
202
12. Animation
12-4. Plugin Enhanced Animation

Animation with Constant Camera Facing
Using Set AimConstraints Camera Attributes (which utilizes a Shade plugin included with some versions of Shade), you can create animation in which an object inserted into a rotator or ball joint always faces the front of the camera. Set AimConstraints Camera Attributes is supported only by Shade Professional and Standard.
1 2
Standard and Professional Only 1
From the Attributes popup menu of the Browser, select Set AimConstraints Camera Attributes.
2 3 4
Select the ball joint containing the object that is made to face the front of the camera.
5 6 7 8 9 10 11 12 13 14 15
203
3
1 2 1 2
From the displayed dialog, check the Apply checkbox
(1) and then click the OK button (2).
(1)
(2)
4
3 4 5 6 7 8 9 10 11 12 13 14 15
204
While operating the camera, con rm that the object always faces the front of camera as the camera moves.
12. Animation
Restricting the Movement of Multiarticular Joints

Using SmartKinematics, you can restrain the movement of the ends of the multiarticular joints. This feature is only available in Shade Standard and Professional.
Standard and Professional Only
1 2
From Browser, select the top ball joint bodyBall Joint.
1 2
From ShadeExplorer, open smartkinematics_robo.shd
included in Shade 13 Manual of Documentation. When the body of this doll is moved with joints, restrain the doll so that its ankles always remain in their original positions.
4 5 6 7 8
9 10
From the SmartKinematics window, click the Apply button of the Root group to register this ball joint in the root.
From the View menu, select SmartKinematics.
11 12 13 14 15
205
5
1 2 1 2 3 4 5 6 7 8
Next, select both the ankle ball joints, namely left_foot Ball Joint and right_foot Ball Joint.
Switch to Joint Mode (1). Select the top body Ball Joint and then operate the manipulator (2). The shape from the ankle to the end is restrained so that it always faces the original position (3).
(1)
(2)
Drag
(3)
6
9 10 11 12 13 14 15
206
From the SmartKinematics window, click the Apply button of the Goal group to register these ball joints in the Goal.
(2)
Drag
(3)
From the Edit menu, select Undo to return that shape to its original position.
12. Animation
Next, restrain the shapes from the ankles to the ends so that they do not move. Select left_end Ball Joint and right_end Ball Joint of the ankle ends.
11 Select body Ball Joint and then operate the manipu1

lator (1). The position relationship between the ankles and their ends is restrained (2).
(1)
Drag
1 2 3
(2)
4 5
(1)
Drag
6 7
10 From SmartKinematics, click the Apply button of the

End group to register this ball joint in the End.
8 9
(2) 10 11
TIP To cancel a registration, select the joint and then click Delete Attribute in the SmartKinematics window.
12 13 14 15
207
Linking the Movements of Multiple Joints

Using AimConstraints, you can link the movements of multiple joints together to represent complicated movement. AimConstraints automatically runs after the target position is con gured. This feature is only available in Shade Standard and Professional.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
The joint named Arm Rotator rotates the upper arm.
From ShadeExplorer, open animation_target.shd included in Shade 13 Manual of Documentation.
This scene incorporates two rotator joints and one slider joint. The Lift Rotator joint rotates the lower lift pedestal.
208
12. Animation
First, link the Lift Rotator to the Arm Rotator.
Select the Lift Rotate joint and, from Toolbox, select Part > Plugins > AimConstraints Target.
2 1 2 3
The Shaft Slider joint moves the shaft part in a straight line.
From the displayed dialog, uncheck the Create object
out of IK end joint. checkbox (1) and then click the OK button (2).
(1) (2)
7 8
Switch to the front view, click or drag the linkage between the arm and shaft, and then create Target:AimConstraints.
9 10 11
Drag
12 13 14 15
209
6
1 2 1 2 3 4 5 6 7 (1) 8 9 10 11 12 13 14 15
210
From Browser, right-click Target:AimConstraints and then select Reset This Joint to return the joint to its original position.
Switch to Joint Mode (1) and operate the manipulator to con rm that Lift follows the target movement (2).
(2)
Drag
Next, from Browser, select Shaft Slider and create the target in the same position.
Create the target at the same position.
12. Animation
1 2 1 2 3
Insert the two created targets into the Arm Rotator
joint.
5 6 7 8
TIP
Operate the Arm Rotator joint to con rm that the two joints are linked to the Arm Rotator joint, that the lift rotates, and that the shaft stretches.
To
unlink
the
linkage
setting,
delete
the
Target:AimConstraints object.
10 11 12 13 14 15
211
Reproducing the Movement of a Train

Using PathConstraints, you can move the multiarticular joints along a path. This feature is only available in Shade Standard and Professional.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the path joint and, from Toolbox, select Part > Plugins > PathConstraints End.
From ShadeExplorer, open pathconstraints_train.shd included in Shade 13 Manual of Documentation. Five railway cars are linked by the ball joints and an open line object that will become the path stretches out from the head of the train (start point).
Start point Line object
Click the OK button of the displayed dialog.
Click
the
tail
of
the
train
and
then
create
End:PathConstraints.
Ball joints
The linked railway cars are in the path joint and the path of the open line object exists above the path joint.
Click
212
12. Animation
TIP You can achieve diagonal movement by creating an upward path for setting the upward direction for the path. Copy the path, move it onto the train, and then place the upward path whose end point has deviated slightly within the curve. The train will thus slant inwards along the curve.
1 2 1 2
Move End:PathConstraints inside the lowest layer ball
joint.
4 5 6 7 8
Operate the path joint to con rm that the train moves along the path.
Upward path
9 10 11 12 13 14 15
213
13. Additional Features

1 2
This function creates stereo images by combining the images captured by multiple cameras with di erent eye points.
Stereo Function
Stereo Settings
Stereo Camera When this checkbox is checked, a stereo image will be
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
formed when you perform rendering. Moreover, you can select a stereo method from the popup menu.
To create a stereo image, rst enable the stereo camera function by checking the Stereo Camera checkbox in the Stereo Settings group of the Camera window.
Views You can set the number of views. Camera Type You can set di erent camera arrangements. To obtain stable results, select Parallel. To obtain stronger stereoscopic e ects, select Convergence. Monitor Setting You can set the physical size and resolution of the display equipment. Profile You can adjust the stereoscopic e ects. You can also perform custom adjustment by numerical input, in addition to preset for automatically setting values according to the monitor setting.
214
13. New Functions
Switching the Stereo Images

Once you perform rendering with the stereo function, you can change the image arrangement from the Stereo Settings popup menu at the bottom of the Image Window without having to perform rendering again.
Stereo: O
1 2 1 2 3 4 5
Stereo: On (anaglyph display)
6 7 8 9 10
Moreover, you can perform the work with the Viewport displayed in stereo mode, by turning on the Switch Stereo button on the Control Bar. The default is the anaglyph display seen through the bluish red glasses. When using the NVIDIA 3D VISION PRO, however, the work can be done in full-color stereo mode. (This mode is supported only by the Windows versions.) TIP When using NVIDIA 3D VISION PRO, it is necessary to update settings on the NVIDIA control panel. Moreover, settings are required for some 3D glasses and displays. The contents of individual settings may di er. Refer to the manual for each piece of machinery.
11 12 13 14 15
215
Volume Rendering
Volume Rendering represents the texture of an object interior. This function can represent a translucent body having thick particles such as smoke or cream. Volume Rendering is only available in Shade Standard and Professional.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the object for which volume rendering is to be set.
Once you perform rendering, the texture of the object interior will be represented with volume rendering.
From the Type popup menu in the Volume group of the Surface window, select Volume Rendering and then set Decay Distance, Transparency, Transparency color, and so on.
216
13. New Functions
You can also represent clouds, sponges, and the like by
setting Volume Decay Distance or other options from the Attribute popup menu of the Mapping group.
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
217
Subsurface Scattering
Subsurface Scattering can be used to represent the e ect whereby light that enters an object is di used. This function can be used to represent complicated hues and shadows such as those associated with jade, marble, plastics, and human skin. Subsurface Scattering is only available in Shade Profes-
Professional Only
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
From the Type popup menu in the Volume group of the Surface window, select Subsurface Scattering and then set Decay Distance, Transparency, and so on. Here, let's set the following for the objects for four horses: Surface Setting (1)
sional.
Select the object for which subsurface scattering is to be set applied.
(1)
(2)
(3)
(4)
218
13. New Functions
Surface Setting (2)
Surface Setting (4)
1 2 1 2 3 4 5 6 7
Surface Setting (3)
When the objects are rendered, the di used re ection inside the objects is represented with subsurface scattering.
8 9 10 11 12
(1)
(2)
(3)
(4) 13 14 15
219
Displacement Mapping
Displacement Mapping uses texture maps to represent the unevenness of an object. Unlike bump mapping or a normal map, this function does not use pseudo mode to represent unevenness by changing the slant of the object surface (normal line direction). It actually deforms the object. For this reason, unevenness is reproduced using shadow shapes.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Moreover, this function can save a displaced version as an actual object. Displacement Mapping is only available in Shade Standard and Professional.
Setting the Displacement Map
(1)
Select the object for which the displacement map is to be set.
(2)
Once you perform rendering, the density of the pattern is represented as being uneven.
Set the pattern in the Mapping group of the Surface window and then set the Displacement in the Attribute popup menu (1). According to the object neness or mapping pattern neness, set the neness of the displacement from the Displace div. popup menu (2). Here, Fine has been set.
220
13. New Functions
Conversion to an Actual Object

This function converts the result of displacement to an actual object.
A con rmation dialog is displayed. Click Yes.
1 2
Select the object for which the displacement map is set and then from Tool Parameters, click Convert to Polygon Mesh.
1 2
Conversion is performed to convert the displacement map to an actual object.
3 4 5 6 7
From the displayed dialog, check the Bake Displacement Mapping checkbox.
8 9 10
TIP In comparison with the bump mapping and normal mapping, a displacement map consumes much more memory during rendering, thus resulting in a long rendering time.
11 12 13 14 15
221
Normal Mapping
Normal Mapping uses an RGB based image to produce distorted surfaces on 3D faces or surface normals to enhance details on otherwise low polygon models. This feature is only available in Shade Professional.
Professional Only
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the object for which the normal map is to be set.
(1)
(2)
(3)
From the Mapping group of the Surface window, set Image from the Pattern popup menu and Normal from the Attribute popup menu (1). Set the RGB image drawn with the normal lines, in Image (2). If necessary, set the pattern repetition count (3). Here, let's set the horizontal direction of Repeat to 10 and the vertical direction to 4.
When you render, the RGB image will give the appearance of distortion.
222
14. Other Object Creation Functions

Creating 3D Text (TextEffecter)
The TextE ector can take letters and outputs them as 3D characters. Under Mac, TextE ector can only be used under 32 bit mode.
1 2
Enter the characters to which the stereo e ect is to be applied, in the Text Input text box (1) and then select a font (2). Set the depth (thickness) with Extrude (3).
1 2
From Toolbox, select Create > Other > Bevel....
(1) (3)
(2)
3 4 5 6 7 8
Set the shape of the side that is visible once the stereo e ect has been applied to the characters, with Bevel.
9 10 11 12 13 14 15
223
4
1 2 1 2 3
Set the size of the entire character string in Size.
Click the OK button to output the stereo characters.
TIP Shade Basic ships with a more limited TextE ector Lite
4 5
version.
From Set, select a curved surface or polygon mesh.
From the Set Bevel dialog, you cannot perform detailed editing such as point addition, point deletion, and the like during bevel editing. You can write the object of the created characters to Curved Surface only. The object cannot be saved as a Polygon Mesh.
6 7 8 9 10 11 12 13 14 15
TIP If you twist and process the created characters with the editing tool or the like, it is necessary to output them as a polygon mesh. TIP You can re-edit the TextE ector objects by selecting the part containing all the objects written out from Browser and by selecting Set TextE ector Attributes from the Attributes popup menu.
224
Creating Meta Objects

Meta objects are special objects which can have range based in uence upon each other, resulting in deformation. MetaCube: Meta object of a cube
2 1
From Toolbox, select Create > Plugins > Meta Shape. From the displayed popup menu, select one of the three types of meta objects to be created. Drag the Viewport
2 3
to create each meta object.
4 5 6 7
MetaCylinder: Meta object of a cylinder
8 9
MetaBall: Meta object of a sphere
10 11 12 13 14 15
225
2
1 2 1 2 3 4 5 6 7 8 9 10
The meta objects are combined within the range of inuence in the vicinity of the object.
For the setting of the combination range and other options, select Set MetaMesh Attributes... from the Attributes popup menu of Browser.
If you have selected the MetaMesh:Native-Meta object, all the meta objects are set.
If you have selected each meta object, items such as each combination range are set.
When the meta objects have been created, the MetaMesh:Native-Meta part for managing all the meta objects and each meta object are created in the Browser. TIP If you use Set Native MetaRenderer Attributes of the Attributes popup menu of the Browser, you can manually modify the smoothness of how the objects meld with each other.
11 12 13 14 15
226
15. Plugins
15-1. Particle Physics
Generating Smoke or Flame
15. Plugins
Standard and Pro Only
1 2 1
You can use the following steps to create smoke rising from a burning source.
If the settings for drawing particles have not yet been made, a dialog is displayed. Click OK.
2 3
From Toolbox, select Create > Plugins > Particle Physics > Particle Emitter.
4 5
6 7
Switch the workspace to Animation and preview the smoke generation animation with the Play button of the Motion window. Alternatively, check the animation by advancing the sequence position while operating the sequence cursor.
8 9 10
Drag within the Viewport to create the source.
Smoke being generated
11 12
Preview button
13
Drag
Sequence cursor
14 15
227
5
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
228
From Browser, select the root part then do a test render to see that the smoke is rising correctly. If you perform rendering on the still image, you must set the sequence to greater than 0.
From the Particle Emitter Settings window, click the Animation tab and then click each marker of the smoke generation position, middle position, and end position. Then, set a color in the color box.
Marker
Add color to the smoke in Set Particle Attributes. Select the emitter [Emitter - Particle Physics] part (1) and, from the Attributes popup menu (2), select Particle Emitter Settings... (3).
Color color box
(2)
(1)
(3)
15. Plugins
Click the OK button and then check the result obtained through rendering.
10 Select the element copied in Browser, select Particle

1
Emitter Settings... from the Attributes popup menu, click the E ects tab of the Particle Emitter Settings window, and then check Blend Glow.
2 1 2 3 4
Overlap the emitters to represent a frame. Copy emitter [Emitter - Particle Physics] onto the same position.
5 6 7 8 9
11 Render your image to produce something that looks

like this.
10 11 12 13 14 15
229
12 Perform
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
230
rendering, including the original emitter, to
represent ame and smoke.
Extinguishing Smoke
This function prevents the rendering of the smoke that is generated with the particle physics.
From Browser, place particle (particle billboard) [Billboard - Particle Physics] outside the emitter [Emitter - Particle Physics] part. Or, simply delete it.
13 Place a colored point light in the root of the emitter and

add e ects of Receive Light (1) and Drop Shadow (2) to the rst emitter. In this way, you can create a more realistic scene.
(1) (2)
15. Plugins
Generating Water Objects

This function uses the particle physics to represent water, bubbles, or any object, in much the same way as smoke. The MetaParticle function used in this example is only available in Shade Professional.
Professional Only
1 2
Insert particle [metaparticle - Particle Physics] created in Browser into the emitter [Emitter - Particle Physics] part.
1 2
Create Particle Emitter in Particle Physics and then ex-
tinguish the smoke through the Extinguishing smoke procedure before starting work.
From Particle Physics, select Meta Particle.
5 6 7 8 9
Drag in the Viewport to create a meta particle. The position and size of the meta particle are not related to the water generation position or size.
10 11
Drag
12 13
Emitter
14 15
231
5
1 2 1 2 3 4 5
When you move the sequence position, meta particles are generated by the emitter.
Similarly, insert the object into the emitter part to generate that object. On the Browser, insert any object (Umbrella Part here) into the emitter [Emitter - Particle Physics] part.
Perform a draft render to check how the meta particles ow.
6 7 8 9 10 11 12 13 14 15
To create transparent water, set the transparency surface attribute for the meta particle.
232
15. Plugins
From Browser, select Umbrella Part and then select Physics Settings... from the Attributes popup menu.
11 In the Motion window, if you move the sequence posi1

tion, box-shaped meta particles are generated.
2 1 2 3 4
10 In the Particle Physics Settings window, set Box in Basic Shape (1) and then set Air in Material (2). In Collision Detection, check Collision Detection and Collision detection of Particles:.(3).
12 Perform rendering to con
rm the result.
7 8
(1) (2)
9 10 11 12
(3) 13 14 15
233
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Generating Particles from an Object

This function generates particle elements from an object surface.
Since particles have been dropped, open Physics Settings... of meta particles. Set Material to Custom (1) and negative value -0.5 to Mass density (2) to create rising particles instead.
Delete the billboard, from the previous example, then prepare the emission source where you input meta particles into the emitter, and then insert the object into the objects part. In this example, we will insert a polygon mesh created with MagicalSketch.
(1) (2)
Advance the sequence again to con rm that the particles are rising.
From the Motion window, advancing the sequence position (1) generates particles from the polygon mesh.
Emitter Polygon mesh Rising
Setting the number of particle generations and the surface attributes allows you to represent bubbles that are being generated from rocks.
(1)
234
15. Plugins
Generating Tornados
You can create tornadoes that are swirling and rising from a source.
Drag to create the area to be in uenced by the tornado.
From Toolbox, select Create > Plugins > Particle Physics > Particle Emitter to create a particle generation source.
2 3
From Toolbox, select Create > Plugins > Particle Phys-
ics > Tornado Wind.

Drag
5 6
Preview the created area to con rm tornado genera-
tion.
8 9 10 11 12 13 14 15
235
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Drawing in Smoke in the Direction of Gravity

This function applies a gravitational force and a range of inuence in which the smoke will be drawn in to a contained area.
Drag and create the area to be in uenced by gravity.
From Toolbox, select Create > Plugins > Particle Physics > Particle Emitter to create a particle generation source.
Drag
From Toolbox, select Create > Plugins > Particle Physics > Particle Physics > Gravitational Pull.
Preview the created range to con rm that smoke is being drawn in the direction of gravity.
236
15. Plugins
Making Objects Collide with One Another

This function arranges multiple objects and performs physical settings such as rolling, colliding, and rebounding, often referred to as collision detection.
Building blocks (polygon mesh) Sphere (sphere)
2 1 2
From Toolbox, select Create > Plugins > Particle Physics > Physical object initialization.
Slope (closed line object) Floor (closed line object)
3 4 5 6
From Browser, select each object, open Physics Settings... from the Attributes popup menu and make the physical settings. To x the oor and slope within the scene, uncheck Receive Force (1). Set Basic Shape to Box (2) and Material to Wood (3).
7 8 9 10
Insert the object to be subject to the physical setting in the physical [physical - Particle Physics] part. Here, let's prepare a oor, a slope, a rolling sphere, and three building blocks.
(1) 11
(2) (3)
12 13 14 15
237
For the three building blocks, set Basic Shape to Box
While previewing the result, you can con rm the animation from the physics object where P is written on the wireframe.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
238
(1) and Material to Wood (2).
(1) (2)
Render the animation, con rm that the sphere rolls down the slope, strikes the blocks, and then falls onto the oor.
(1)
For the sphere, set Basic Shape to Sphere (1) and Material to Wood (2).
(2)
(3)
(4)
(1) (2)
15. Plugins
15-2. Hair Salon

Creating Parted Hair
1 2 1
Using Hair Salon and the Mirror tool, you can create realistically parted hair.
Select the Mirror button (1), click Symmetrical Axis Speci cation (2) and then drag and specify that the portion as a hair part (3).
2 3
Select the target object on which the hair is to be created. From Toolbox, select Create > Plugins > Hair Salon > Generate Hair and open Hair Salon.
(3) 5 6 7
(2) (1) 8
The Grow Tool button has been selected (1). Trace the sphere as is to create Guide Hairs (2).
9 10
Drag
11
(1)
12 13
(2) 14 15
239
4
1 2 1 2 3 4 5 6
Using the Dryer button (1), style one side of the sphere to create a hair part (2). The mirrored portion is simultaneously styled, but in the opposite direction.
Complete the styling by performing any nal edits, such as deleting any unnecessary parts.
(2)
Drag
(1)
5
7 8 9 10 11 12 13 14 15
240
Select the Mirror button (1) and then click the Symmetrical Guide Substantiation button to perform substantiation (2).
(1)
(2)
15. Plugins
Creating a Layered Hair Style

You can perform partial styling through selection and layer separation.
Repeat the procedure to create multiple layers.
Click the Select button (1), drag on to the hair guide, and then select the portion to be styled with the range circle (2).
2 3
(2) (1)
Drag
4 5 6 7 8 9
Click the + button (1) to assign the selected portion to a layer or group.
10 11
(1) 12 13 14 15
241
4
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
242
Select a layer for styling.
Cutting Long Hair

Using the Remove hair button, you can adjust the amount on a hair guide.
Select the Remove hair button (1), adjust the Selection Size to a somewhat larger size (2), adjust the strength with Strength of the Remove Tool group (3) and then gradually drag the portion where hair amount is to be reduced (4). Here, let's set Selection Size to 0.7 and Strength to 0.3.
(1)
(2) (3)
(4)
Drag
15. Plugins
Cutting Hair
You can perform hair styling with either a straight line cut or freehand cut by checking or unchecking the Freehand checkbox.
2 1 2
The model is turned, with the left side turned to the front.
3 4
Next, check the Freehand checkbox (1) and drag in a zig-zag motion, so as to cut hair into a shaggy, natural style (2).
5 6 7
Select the Cut hair button (1), uncheck the Freehand checkbox (2) , and then drag across to perform cutting
(3).
(2)
9 10
(1)
11 12
(3) (2) (1)
Drag
13 14 15
243
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Lifting and Styling Hair

Using the dryer, you can lift up attened hair or malformed hair on an object.
Rotate the model and repeat the procedure to adjust the overall hair volume.
The following shows hair styling where the hair sticks to the scalp where the hair is shorter.
Drag
Select the Dryer button (1) and then set Selection Size to a somewhat larger size (2). Here, let's set 1.0. Lift up the hair slightly while dragging in the upward direction
(3). (3)
Drag
(2) (1)
244
15. Plugins
Avoiding Hair Dents on the Scalp

You can use collision detection for objects on which the hair is growing, perform hairstyling again,and then correct any hair dents on the object. Hair collision detection is only available in Shade Professional.
Professional Only
1 2
Select the Gravity button (1). Check the Use Gravity checkbox (2) and click the Apply button to remove the dents (3). You may have to click the Apply button several times.
1 2 3
If you perform hairstyling without setting collision detection, hair may enter into the area of the object.
4 5
(1) 6 (2) (3)
7 8
Select the Detect Collision button (1) and then check the Collision with Object checkbox to set Collision Distance (2). Here, let's set 30.
9 10 11 12 13 14
(1)
(2)
15
245
Arranging the Length of Short Hair

In the previous sections, we styled long hair into a shorter, more natural style. We will now cut hair to a xed-length short cut, using the Arrange button.
Professional Only
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Select the Arrange button (1) and then drag the hair guide to cut the hair to a xed-length (2). Here, Hair Length has been set to 300.
Select the Detect Collision button (1) and then make the Boundary Settings to cause the roots of the hair to rise up(2). Here, let's set 50.
(2)
Drag
(1) (1)
(2)
Perform hair styling using the somewhat long hair guide.
246
15. Plugins
Combing Hair for Flow and Tip Creation

Using the Comb button, you can bring together large hair ows and create hair tips.
Reduce the Selection Size setting (1) and bring the hair tips together (2). Here, let's set 0.1.
Select the Comb button (1). Set Strength to a weak setting and Selection Size to a large value (2) to represent the overall hair ow (3). Here, let's set Selection Size to 0.5 and Strength to 0.2.
2 3
(2) (3) (1)
4 5 6 7
(2) (1) 8 9 10 11 12 13 14 15
247
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating Fluffy Hair and Hair Borders

Using the Fur mode setting of Hair Salon, you can set the hair thickness and density to represent downy hair and hair borders.
Similarly, select the Hair Density button of the Fur Operations tab (1) and paint and set the growing density
(2). Here, the growing density has been painted gradually and separately within a range of 0.6 to 0.3.
Select the downy hair guide (1). Click the Fur Mode button to switch to Fur mode (2), select the Hair Color and Thickness button of the Fur Operations tab (3), and then set Thickness of Root to 1.0 (4).
(2)
(2)
(1) (1)
(3) (4)
The hair in the hair part has turned to downy hair.
248
15. Plugins
Coloring Hair Areas

You can perform partial coloring using the Hair Color and Thickness button of Fur mode.
2 1
Select the color change hair guide (1). Click the Fur Mode button to switch to Fur mode (2), select the Hair Color and Thickness button of the Fur Operations tab
2 3
(3) and then set the root color and hair-tip color in Hair Color and Thickness (4). Here, red has been set for the
root.
4 5
(2)
(1) 6 7 8
(4) 9 (3)
10 11 12 13 14 15
249
Creating a Tortoiseshell Style

Using the Root Color button of Fur mode, you can represent the speckle patterns that look like those of a tortoiseshell cat.
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Creating a Punk Hair Style

Using the Hair Length button of Fur mode, you can represent a pruning hair style.
Click the Fur Mode button to switch to Fur mode (1), select the Root Color button of the Fur Operations tab
Click the Fur Mode button to switch to Fur mode (1), select the Hair Length button of the Fur Operations tab (2), set the hair length in Length (3), and then paint the object (4). Here, the object has been painted with the 0.3.
(2), select a color in the Color color box (3), and then paint the object (4).
(1)
(4)
(1)
(4)
(2)
(3) (2) (3)
When you have created the hair guide, the painted color becomes the color of the root.
Once you have created the hair guide, the painted length becomes the length of the hair.
250
15. Plugins
Lengthening Selected Portions of Hair

Using the Lengthen Tool button, you can extend the length of the selected part of the hair guide or that of the entire hair guide. Moreover, by dragging the hair guide, you can extend it to the dragged form.
Drag
2 1
Select the hair guide to be extended (1), select the Lengthen Tool button (2), and then set Hair Length
(3). Here, let's set 100. (1)
3 4 5 6 7
(2) 8 (3)
Click the Lengthen Selected Hair button. Each time you click the button, the hair guide is extended by the speci ed length.
10 11 12 13 14 15
251
1 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Curling Hair
Using the Wave button, you can create natural and unnaturally curly hair.
Complete the curled hair while adjusting the brush size and drag time.
Select the hair guide to be curled. (1). Select the Wave button (2) and then set the size of the brush in Selection Size.
(1)
(2)
(3)
Drag and curl the hair guide toward the root of the hair guide.
252

Shade 12 Manual

Diunggah oleh

Informasi Dokumen

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

Shade 12 Manual

Diunggah oleh

Hak Cipta:

Format Tersedia

The Shade Series is a development product of e frontier, Inc. Shade and MagicalSketch are trademarks of e frontier, Inc.

Your Journey Begins Here

[Shade Beginner's Tutorial]

11 Rendering 12 Animation 13 New Functions 14 Other Object Creation Functions 15 Plugins

Shade 13 Manual [Shade Beginner's Tutorial]

1. The Shade Tool Set

Names and Functions of Tool Set

(1) (4) (6) (2) (5)

1. Shade Tool Set

UV Edit window Perspective view

Perspective view Top view Perspective view

Shade 13 Manual [Shade Beginner's Tutorial]

Perspective view (Preview Rendering)

Perspective view (Wireframe)

1. Shade Tool Set

Shade 13 Manual [Shade Beginner's Tutorial]

1. Shade Tool Set

Shade 13 Manual [Shade Beginner's Tutorial]

1. Shade Tool Set

Shade 13 Manual [Shade Beginner's Tutorial]

1. Shade Tool Set

Changing a Window Boundary Position

Changing the Window Width 8

Shade 13 Manual [Shade Beginner's Tutorial]

2. Shade Experience Tour

2. Shade Experience Tour

2. Inserting Material Data into a Scene

Click Layout of Workspace Bar in the upper part of the screen.

The screen display changes and ShadeExplorer ap-

to the left of Preset in the ShadeExplorer brows-

(5) (1) (2) (4) (3)

(2) and then click and select Shade 13 Manual (3).

The selected material data is inserted into the current

Shade 13 Manual [Shade Beginner's Tutorial]

(1) (2) (3)

2. Shade Experience Tour

Move the camera by using the Move, Rotate, and Zoom

Move Rotate Zoom

Shade 13 Manual [Shade Beginner's Tutorial]

2. Shade Experience Tour

Shade 13 Manual [Shade Beginner's Tutorial]

6. Switching to Split View

convenient for understanding an object.

Click Split View of Workspace Bar.

7. Including Objects within the View

2. Shade Experience Tour

From the navigation tool in the upper-right corner of

All the objects are perfectly contained within the view.

Shade 13 Manual [Shade Beginner's Tutorial]

From Browser, click and select Robot Part.

2. Shade Experience Tour

On Top view (upper-left view), drag the selected ro-

9. Rotating an Object to Face the Camera 7

Drag the circle counterclockwise (3) so that the robot

faces the camera in the Perspective View (4).

Shade 13 Manual [Shade Beginner's Tutorial]

10. Setting Surface Attributes

2. Shade Experience Tour

11. Changing Split Views 5

The display changes to that showing only the Perspective View.

Shade 13 Manual [Shade Beginner's Tutorial]

12. Moving the Robot

2. Shade Experience Tour

Operate the joints of two robots to set a pose.