TrainingCourse ArtCAM Pro PDF

ArtCAM Pro 2008
Training Course
Delcam plc,
Talbot Way, Small Heath Business Park, Birmingham, B10 0HJ.
www.delcam.com
Important Notice
This document is supplied as part of a Delcam Training Course. It is not intended to be

distance-learning material: rather as an aid for Tutors when presenting material to course
delegates and as a subsequent aid memoir to those delegates.
Delcam does not accept responsibility for any personal belongings / valuables whilst on the
premises. Delegates are advised to keep their belongings on their person at all times.
Delcam plc. has no control over the use of the software described in this document and
cannot accept any responsibility for any loss or damage howsoever caused as a result of using
the software. Users are advised that all results from the software are checked by a competent
person in accordance with good quality control procedures.
The software described in this document is furnished under a license agreement and may be
used only in accordance with the terms of such license.
Copyright  2007 – Delcam plc. All rights reserved
UK Training Centre UK Customer Support

Tel: 0121 683 1050 Tel: 0121 683 1010
Fax 0121 7665511 Fax: 0121 7665542
ArtCAM Pro Contents
ArtCAM PRO 2008 Contents
Chapter Day 1 Page No.

1. Introduction 1-8
2. Generating Vectors 1 - 14
3. Vector Editing 1 - 18
4. Reliefs 1 - 24
Day 2
5. Pictures 1 - 12
6 3D Blend and Fade Relief 1-8
7. Extrude, Spin, Turn, and 2 Rail Sweep, Reliefs 1 - 24
8. Weaves 1 - 10
Day 3
9. 3D Clipart and Texture 1 - 12
10. Relief Layers 1-6
11. Relief Editing 1 - 16

Day 4
12. Toolpath Options 1-2
13. 3D Z Level Roughing 1 - 10
14. Relief Machining & 3D Rest 1-8
15. 3D Cut Out Machining (Inc. Profile Options) 1-6
16. Feature Machining 1-8
17. Post processing Toolpaths 1-4
18. Toolpath Editing and Templates 1–2
Continued on next page:-
Issue ArtCAM Pro 2008 1

Contents ArtCAM Pro
19. 2D Vector Machining 1 - 10
20. Engraving 1-6
21. Drilling 1-6
22. Projects 1 – 13
Appendix
2 Issue ArtCAM Pro 2008

ArtCAM Pro 1. Introduction
1. Introduction
Introduction.
ArtCAM Pro allows complex Reliefs (ArtCAM 3D models) to be created quickly and easily
from 2D vectors (ArtCAM wireframe) or bitmaps (Image files). These vectors and bitmaps
can be generated within ArtCAM or imported from other systems. ArtCAM can also import
3D Surface data, which is translated on entry as a Relief model.
ArtCAM Pro contains tools for editing and/or combining Reliefs. Once a Relief has been
created 3D toolpaths are easily generated for roughing, finishing and engraving. The
toolpaths can be simulated to allow complete visualisation of the product before manufacture.
2D Toolpaths can also be created based on 2D Vectors.
In the Delcam training department ArtCAM Training Course files to be used in conjunction
with the course notes are stored in:- D:/users/training/Artcam_Data
Starting ArtCAM Pro
• Double click the ArtCAM icon on the screen with the Left mouse
button.
The ArtCAM user interface will appear as shown above. To start working in ArtCAM the
user must first for simple components, create a New Model or for more complex assemblies,
a New Project. Projects will be covered later at a more advanced stage of the training course.
Issue ArtCAM-PRO 2008 1.1

1. Introduction ArtCAM Pro
• Select the Create New Model icon.
A new model must have:- A defined

area in Y and X to work in, an origin
(datum) position, and a Resolution
(The total number of squares within
the working area). Each square
defined by the Resolution will either,
stay put or extrude up or down to
produce a tiny part of the 3D Relief
form.
When working with bitmaps the
Resolution is inherited from the
imported image file. As a result it is
important to use as higher quality
image as possible.
Resolution
The dragon model shows the 2D view of the model broken up into a number of squares
(pixels). Each square is given a height in ArtCAM dependent upon the command used. The
first relief uses a low resolution, which means a loss of fine detail in the resulting 3D relief.
If a high Resolution is applied, the model is broken into more pixels, which is in turn
reflected in the definition and quality of the Relief model.
1.2 Issue ArtCAM-PRO 2008

• Set the Height and Width as 100 and the resolution as 796 x 796 points.
• Select OK.
Menu Bar
2D view
Assistant
Layers
ArtCAM opens up displaying the 2D view, with the 3D relief view hidden beneath Transfer
between is achieved via the 3D or 2D icon located at the top left of the respective window.
Alternatively pressing the F2 or F3 shortcut key can be used to toggle the views. ArtCAM
commands are accessed from the Menu Bar options or direct from the Assistant area.
Menu Bar
At the top of the Main window, there is a Menu Bar.
Clicking on a menu item opens a pull-down menu that

contains submenus and commands. If a menu item does
not apply to the currently active view it will be greyed out.
For example the top part of the Vectors menu appears as

in the illustration to the right.
Sub menus are indicated and selected via the arrow at the
right hand side (where applicable).

ArtCAM Assistant
The ArtCAM Assistant gives the most information and help. Information can be hidden or
shown by clicking the arrows up or down.
Project Information - this shows the actual size of the

artwork and height of the relief
File – These options are applied when creating new, or

opening existing ArtCAM models.
Model - This controls, the editing of the model attributes and

also includes Lights and Materials for shading the relief.
Bitmap Tools - These bitmap commands work with colours,

directly on the defined resolution.
Vector Tools - Vectors are flat 2D lines, independent of

resolution. These command control the creation of the vectors.
Position, Combine, Trim Vectors - These are the tools to

modify vectors.
Relief Tools- These are the tools for generating the relief.
Tabs – Give access to other pages.
Fly - out menus

Some menu options are hidden within a fly - out menu to save space. They are accessed via an
arrow located to the right of an existing icon. To lock them in positon, click the pin at the end
of the fly out menu.
pin

Fly – out menus will change dependant upon the last command you used in the menu. For
example, if you select a star, then the star moves to the left side of the menu, so when the fly -
out is closed, the star icon is the one shown.
To hide a fly-out menu reselect the pin.
2D and 3D views
If required the 2D and 3D views can be shown side by side by selecting either Tile Vertically
or Tile Horizontally from the Window menu.
• Select Window  Tile Vertically.
The 2D view is required when

working on the bitmaps,
vectors, and applying them to
create the ongoing relief model.
The 3D view is required for a

more realistic view of the relief
model as well as the simulation
of the toolpaths. F2 and F3 are
shortcut keys used to switch
between the 2D view (F2) and
the 3D view (F3).
Status Bar
The Status Bar is at the bottom of the main window.
As the cursor moves over the 2D or 3D Views, the X, Y, Z co-ordinates of the current cursor
position are displayed in the Status Bar. If a vector is selected, the current Width and Height
are also displayed here. If the cursor passes over a relief model then the current Z height of
the model at that position is displayed.

Layers Assistant
The Layers Assistant contains 3 different types of

Layer categories that the user is able to assign
Vectors, Bitmaps, and Reliefs to. This is to assist
selection or temporary visual removal of entities
displayed that are currently not required and are in
the way.
If required, the Layers Assistant can be switched

on and off using the shortcut key F7. This will
provide a larger area for the graphics.
Help
By selecting Help - Index from the top Menu bar (or by
pressing the F1 shortcut key) a Help Page will open over
the graphics area.
A more direct form of Help is obtained while working in a form by clicking on the ‘?’ in the
top right corner. This expands the form with detailed explanation of each available option.
To exit the expanded help form click the ‘?’ again.

Some of the help options within a form include a video clip icon which if clicked
allows the user to observe the command as used in combat!
Saving and Closing Down the ArtCAM session
• Select File  Close Model.
• Select the No tab in the Would you like to save your changes form
The ArtCAM model is now closed.
ArtCAM Data Storage and Export

An ArtCAM Model will contain all entities created within the session (Bitmaps, Vectors,
Reliefs. Machining data) and all will be exported as a file which is identifiable by having a
.art extension.
It is also possible to export specific entity types from the model independently from the whole
ArtCAM Model. These include:- Vectors (.eps .dxf .dgk .pic), Reliefs (.rlf), Triangle
Models (.stl .dmt), Machining Output (.tap).
For more advanced applications where it is required to create an assembled group of separate
Relief models an ArtCAM Project is first opened in which several ArtCAM Models can be
created and combined as required for an assembled item. When saved, the Artcam Project is
identifiable by a .3dp extension. To enable the Reliefs to co-exist together, the individual
components are converted within the Assembly as Triangle Mesh models.


ArtCAM Pro 2. Generating Vectors
2. Generating Vectors
Overview
Vectors are mathematically defined shapes consisting of a series of points (nodes), which are
connected by lines, arcs or curves (spans) to form the overall shape. Vectors can be generated
directly within ArtCAM by using the Vector Tools in the Assistant.
Vectors can be rectangles, squares, circles, polylines, ellipses, polygons, stars or text. These
can be edited if required to make the final vectors to create a relief from.
Vectors can also be imported from another drawing package, using the File – Import menu
option, or copied and pasted from another package using the standard Windows commands.
Generating Vectors Example
• Press Create New Model.

• Set the size as Height 150 and Width 80.
• Set the Origin in the middle of the model.
• Set the resolution as 628 x 1177 points by using the slider.
Once the model size has been set, the

design can begin.
• Select OK.
The model is now opened and the Vectors are generated in the 2D View. The 3D View is
used for displaying the ArtCAM, relief.

2. Generating Vectors ArtCAM Pro
• From the Assistant or Vector toolbar, select the Create Rectangle

icon.
The rectangle creation page appears, showing the options

available.
The rectangle can be created by clicking in the screen and dragging

to a size, or by entering in the values.
Several rectangles can be created without closing down the page.
Each Assistant Page has help available, indicated by the word

Show Help.
• Press Show Help.
The Assistant displays help at the side of each option.
Typically, this increases the length of the page and you will have
to move the page down to see further instructions, by moving the
bar down.
Once help is switched on it is displayed for each command. To

switch this off, you need to Hide the Help.
• Select Hide Help.

• Press down the left mouse button in the 2D view and drag the corner of
a rectangle to the required size.
The preview rectangle appears as dotted. The length and

height can be dragged dynamically by moving the squares
located in the middle of the spans. A corner radius can be
created dynamically by dragging one of the small corner
boxes.
The rectangle can be rotated dynamically by dragging the

circle on the lever running out from the centre.
• Click on a corner and drag inwards.
A radius has been produced on the corners of the preview

rectangle. If the Create tab is selected the rectangle will be
generated, with the form ready to create a new one.
• Press Create.
• Press Close.
While a vector is being created dynamically the values in the data

input form continually update. Once the vectors are visually to the
required size the final values can be entered manually to round off
the inherent values.
To delete selected Vectors press the delete key (on the keyboard) or the cut icon in the
assistant.
While de-selected vectors are coloured black (default) unless the layer to which they belong
has been assigned with an alternative colour.
If one or more vectors are selected they are displayed with a pink colour. If there are 2 or
more coincident (duplicate) vectors then is selected these will be displayed with a red colour.
ArtCAM has an Undo facility, which allows the user to step back through previous actions.

Mobile Phone Cover Example

Now that all the original vectors are removed, the same model (Size and Resolution) will be
used for the creation of the Vectors required for a Mobile Phone Cover. Below is a drawing
of the item including basic dimensions, so that the user can get an idea of how the final
product should look before working through the ‘step by step’ instructions.
• Select the Create Rectangle icon.

• Select the option Rectangle.
• Enter a Width of 50, a Height of 120 a Corner Radii of 3 and a centre
point of X 0 and Y 0.
• Press Create.

The main shape of the cover is generated.
• Change the Width to 40, Height to 30, Corner Radii to 1 and the centre
point to X 0 and Y 20.
• Press the right mouse button.
By pressing the right mouse button, the rectangular vector is created

and the Rectangle vector form is closed.
The second rectangle will represent the display window.
• Click on the ellipse icon.

• Enter a Start Point of X –14 Y –50 with a Height of 7, Width of 10 and an
Angle of 140 degrees.
• Select Create and then Close.
This first Ellipse will be block copied to form the remainder of the key
vectors.

• With the ellipse selected, click on the block copy icon from
Vector Editing on the Assistant.
The Block and Rotate Copy form appears. This

allows the user to create a block copy in X and Y, or a
rotated copy.
The distances can be set as an offset value or by a gap

value between each item.
• Select Block Copy. Select distances are offsets.

• Select an X Offset of 14, with number of Columns as 3.
• Select a Y Offset of 10, with number of Rows as 4.
• Press Apply and then Close.
The main button positions are generated. The option button will be
created next. This is a combined design of two circles merged together.
• Click on the circle icon.
The Circle Creation form opens.
• Set the Circle centre as X 0 Y –4, Radius as 4 and press Create.

• Change the Circle centre to X 0 Y –8, and press Create and then Close.

The two circles are ready to be merged together.
• Select both circles and select the Weld command from Group Merge
Join Trim Vectors on the Assistant.
A new single vector has been made from the two circles.
Note: The Weld command only works on two selected

closed vectors.
• Zoom in to see the vector more clearly.

• With the new vector selected, press Node Editing icon from the
Vector Editing area of the Assistant. (or press N on the keyboard)
The vector nodes are displayed. At each point (node) the position
and shape of the polyline can be altered. At each span (between the
nodes) the polyline shape can be altered. Nodes can be added or
removed to change the shape.
• Hover the mouse over a black node and select the right mouse button.
• From the menu select Smooth Point (or press S on the Keyboard).
• Move the mouse over the other black node and press S.
• Select N to return to select mode and click away from the vector.
The vector is now suitably smooth at the edges. The next buttons will
be generated from an offset triangle vector.

• Select Create Polygon command.
The Polygon Creation form appears in the Assistant.
• Select No. of Sides to be 3, Angle 0, polygon centre at X –14, Y –2 with a

radius of 4.
The triangle can be offset with a radius to produce the

desired relief.
• With the triangle vector selected, select the offset vector(s) icon.
The offset vector form appears in the assistant. Vectors can be

offset inwards, outwards or both and can; at the junction between
straight lines; be given a chamfer or radius.

• Select an Offset Distance of 1, Offset Direction as Outwards, Offset

Corners as Radiused and select Offset and then Close.
The new vector is radiused at the corners.
• Select the inner vector and press Delete on the keyboard.

• Select the new Vector and select the Mirror Command.
The mirror form appears in the assistant. This allows the

user to mirror the selected vectors about themselves or a
selected line.
Note: The mirror line must be selected first before

Mirror Vectors - About Line option is applied.
• Tick Copy the Original Vector and press Bottom and then Close.
The vector has been copied and mirrored. The new vector needs to be
moved downwards. This can be nudged using the down arrow or moved by
a value using the Transform Vector command.
• Select the Transform icon (or hit T twice on the keyboard).

• Enter Move Y as –1 and press Apply and Close.
• Select both triangular vectors and select the Group command.
The two items can now be treated as one.

• Select create a Polyline command.
Polylines can be generated by entering absolute co-

ordinates in the X and Y area, by angles and line length, as
relative co-ordinates using the dx and dy (distance from
last point) or by clicking with the cursor.
Note: Polylines can also be created dynamically in the

graphics area either by holding down the left mouse key
while freehand sketching a curve, or by using the left
mouse key to click individual points along the required
route.
• Press Add. (Enters a point at 0 0).

• Enter 30 in dy (30 mm in y direction) and press Add and then Close.
The polyline will be used for mirroring the triangular buttons

across the component.
• Select the poly line and shift select the group.
• Select the Mirror Command.

• Tick Copy the Original Vector and press About Line and then Close.
• Delete the polyline.

• Select the icon Vector Text.
Any additional fonts loaded onto the computer will be

recognised ArtCAM, as well as the standard fonts.
• Select Font as Arial, Script Western, Size as 3 mm.

• Click at the bottom of the 2D view and type ARTCAM VECTOR TEXT.
• Select Done.
This text will be wrapped around the outer vector,

with the text inside, using wrap text around a curve.
• Select the text and shift select the outer vector.

• Select the command wrap text around a curve.
Issue ArtCAM-PRO 2008

The Text on a Curve form appears, which allows the user to

align an existing Text Vector to a curve vector.
Text Position includes options that control the relative,

position of the text across the curve.
Text on other side, puts it on the other side of the curve.
Text Alignment includes options that control the flow of the

text along the curve.
Text Spacing allows the user to vary the spacing between the
individual characters.
Editing Style allows the user to set individual Words or

Letters to be repositioned around the curve independently.
• Select the option Specify and enter 1mm. Select Text on other side.
• Select the option Single Words.
• Move the text using the cursor to align on the three sides. Select OK.
The text is now wrapped.
• Select Create Polyline and in the form select Draw smooth

polyline.
• Left click 5 suitably positioned points to create a smooth polyline similar
to the one shown below. Select Close.
This polyline will be used to paste vectors along.

• From the Vector Tools area select Create a star.
The Star Creation form appears.
• Select 5 points, star centre as X –28, Y 62, first point radius as 4.5 and
second point radius as 2.
• Select the Star vector and shift select the sketched Polyline.
• From the Vector Tools select the Paste Along Curve option.
The vector is pasted incrementally along the curve

either by dividing the curve equally (Specify Number),
or by a fixed distance, leaving any surplus at the end of
the curve (Specify Distance).
• Select Specify Number and Enter number of Copies as 5.

• Select Paste and Close.
• Delete the original Star vector and the sketched Polyline.

• Save the model as:-

• …\COURSEWORK\ArtCAMPro-Jobs\training-phone-cover.
• Close the model.
Exercise A
• Open a new model of height 150, width 100.
• Generate the vectors for this apple juice model,
using your own values.
……\COURSEWORK\ArtCAMPro-Jobs\apple.
Exercise B
• Open a new model of height 60, width 40.
• Generate the vectors for this locket.
……\COURSEWORK\ArtCAMPro-Jobs\locket.

ArtCAM Pro 3. Vector Editing
3. Vector Editing
Vector Editing
The following chapter runs the user through several Vector editing options.
Shield Design Example

• Create a new model with a Height of 20 and width of 20 and a resolution
of 1002 x 1002.
• Set the origin to the middle and press OK.
Note:
The origin position can be moved by using the option Set model position.
This allows the user to positon the zero datum to the; centre, one of the 4
corners, or a typed coordinate positon.
Vector input by snapping to a Grid

Grids provide snap points to assist in dynamically defining vector points. Grids are controlled
from the Bitmaps - Views pulldown menu.
• Select Bitmaps  Views  Snap Grid settings…
The selected grid spacing value is mainly dependent on the

size and complexity of the component to be produced.
• Switch on Draw Snap Grid, switch on

Snap to Grid, set the Grid Spacing to 1
and press OK.

3. Vector Editing ArtCAM Pro
• Select create polyline.

• Snap to the same grid points as shown in the illustration.
Note: The best position to Snap in a vector point is just to the

lower, left of a grid point.
• Select File  Save As:-

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\train-shield.
• Select Bitmaps  Views  Snap Grid settings…
• Switch off both Draw Snap Grid and Snap to Grid before pressing OK.
• Select the Fillet command.
The fillet is generated at a node point or from two

polylines that would intersect.
• Enter a fillet radius of 5 and select either side of the bottom point to
generate the fillet.
• Change the fillet radius to 1 and create a fillet at the top two corners.
• Change the fillet radius to 2.5 and create a fillet at the last two corners.
The main shield vector is as shown.
• Select Close.

• With the Vector selected, select Offset Vector.

• Set an Offset Distance of 0.5, select Inwards and Radiused before
selecting the Offset tab and then Close the form.
Vector input by snapping to Guidelines

A constant offset has been generated. For the middle part,
instead of using grid lines, instead, guidelines at actual values
will be used.
Guidelines are pulled from within the rulers located around

the border of the model. For accurate positioning they can be
snapped direct to grid points or if the Grid is switched off
once created they can be precisely positioned via a Position
Guide form
• Hold the left mouse button down within the top ruler and drag down a
horizontal guideline, releasing the mouse, when it is near the centre of
the model (0 on the vertical ruler).
• Right mouse click on the guideline.
A selected guideline can be accurately positioned

by inputting a suitable value in the New position
box and pressing the Apply tab.
Note: A selected Guideline can also be deleted via

this form.
New Guidelines can be inserted using the options

in the lower half of the form.
• Enter a New Position of 0 and press Apply.

• Generate a vertical guideline at 0 by dragging it from within the left ruler.
There are now 2 guidelines in the model. These can be snapped

onto when creating or moving vectors or nodes.
These guidelines can be shown or hidden by clicking the

guidelines icon.
This is at the top left hand corner of the rulers.

• Select Create polyline.

• Snap on the guidelines to create horizontal and vertical centrelines.
• Pick the top left corner icon in the 2D view to switch off Show
Guidelines.
The 2 new polylines will be used to create Offset Copies. With the on both sides option set.
• Offset the horizontal line, vector both sides by 0.5mm using the Both
Sides (ridge) option.
• Offset the vertical line, vector both sides by 0.4mm
• Delete the original polylines (if the delete original vectors option was
not set during the offset operations).
• Select trim vector and cut the polylines to be within the shield.
The completed vectors for the shield design are as

shown.
• Select File  Save and then File  Close.

Vector Layers
Vector Layers provide a more ordered method of controlling the selection and display of
selected groups of vectors. In default mode ArtCAM Pro assigns all vectors produced to
A layer named Default Layer (which cannot be renamed or deleted). Any additional Vector
Layers can be Renamed, Deleted and Merged together. As new layers are created specific
groups of vectors are assigned to them as required.
Phone Cover Example2.
• Open the model:-

D:\users\Training\COURSEWORK\ArtCAMPro-Jobs\training-phone-
cover.art
Selected groups of Vectors will be assigned from the Default

Layer to new layers.
Vector layers are controlled by this toolbar. The

current layer is highlighted and provided the layer is
switched on (light bulb) any vectors assigned to it
will be displayed.
Whichever layer is selected at the time will have any newly created vectors directly assigned.
• Select the stars vector group.

• Select New on the Layers toolbar.
Vector Layer 2 appears allowing you to change

the name, by double-clicking on the name..
• Double click on Vector Layer 2 and overwrite as stars and select the
green tick to confirm.
The new level is now named and switched on.
• Right mouse click on the selected star vector group and pick Move to
Layer > stars.
• Switch off the layer stars by clicking the light bulb on the layer stars.
The star vectors are now hidden. The other vectors on the
default level are still displayed
Note: When a layer is current any vectors that are pasted are
automatically placed on that layer.
• Create a new layer and change the name to buttons.

• Create a new layer and change the name to holes
• Select the 12 ellipse vectors.
These selected vectors will be placed on another layer.
Note: Layers can have the snapping facility switched on or off.

For example if you had vectors close together and wanted to be
sure you snapped to the correct vector on a layers, then you
would switch snap off for all the other layers

Layer > buttons.
• Select the other shaped vectors as shown.
These selected vectors will be placed on another layer.
Note: Layers can be locked, so any vectors on that layer cannot

be moved until the layer is unlocked.
Layer > holes.
• Switch off the Default Layer, leaving on the layer stars and holes.
• Make current the layer called holes.
The vectors displayed are going to be combined into the one

current layer called holes.
• Select Merge Visible.
The layer called buttons has disappeared as it has

merged into the layer holes. The vectors on the
layers can be coloured for identification.
• Select the black spot to the left of the layer

name holes.
The colour form appears. This allows you to select the

colour for the vectors on that layer.

• Select a light green and select OK.

• Switch on all the layers using the Toggle All Visibility.
All the vectors on the layer holes are now shown as green. Imported vectors are automatically
put on the current layer.
• Make the layer called Default layer current.

• From the main pull down menus select Vectors – Import.
• From D:/users/training/Artcam_Data select the file tel-insert.eps and

select Open.
The saved vectors have been placed onto the currently

selected layer.
The vectors are imported as a group and as a result they first
must to be ungrouped to be able to work on them
individually.
To save vectors independently from the ArtCAM model,

select the required wireframe and from the Vectors menu
select the Export options.

• Select File  Save and then Close.
Node Editing
Vectors are made up of nodes. To change a vector, the nodes are changed as the following
example shows,
Enamel-Pin Example
• Create a New model, width of 60 and height of 20.
• Create a guideline at X 0 and Y 0.
• Select Create Polyline. . Untick Draw smooth polylines.

• Enter X as –25, Y as 1 and press Add.
• Enter dx as 35 and press Add. Press Close.
• Select Create Polyline. . Untick Draw smooth polylines.

• Enter X as –25, Y as –1 and press Add.
• Enter dx as 35 and press Add. Press Close.
These two vectors can be joined

together with either an arc, straight
line or by moving the end points.
• Select both vectors.

• Select Join vectors with a curve.
The two vectors have been

joined together to make a new
vector. The open vector can be
closed.
• Select the new vector.

• Select Close vector with a line.
The vector has been closed. An

ellipse will be modified to
produce a leaf shape.
• Select Create Ellipse.

• Enter a Start Point of X -4 Y 4, an Ellipse Height of 3, an Ellipse Width of
12 with an Angle of 340.
• Select Node Editing.

Using N on the keyboard on a selected vector will

switch between node mode and select mode.
The ellipse will be opened up halfway by removing

spans using the right mouse button menu.
The part of the vector between two node points

is called a span. If a span was removed, the
vector will become open.
In node mode, if you move you mouse over a

node point and click the right mouse button a
different set of menus appears.
• Right mouse click over the right bottom span of the ellipse and select
Remove Span from menu.
The ellipse vector is opened at the required area.

The other lower span needs to be deleted.
• Right mouse click over the left bottom span of the ellipse and select
Remove Span from menu.
Only half of the original ellipse remains. In Select

mode this half ellipse can be closed with a line.

• Pick Select mode.

• With the vector selected, select Close Vector with a Line.
The vector is now closed. A polyline needs to be

created to mirror the vector around.
• Select Create Polyline.

• Enter X as –10.3, Y as 1.5 and press Add.
• Enter X as 3.6, Y as 6.6 and press Add and then Close.
• Select the polyline and the leaf shape and select Mirror Vectors.
• Tick Copy the Original Vectors and press About Line.
• Select Close. Select the polyline and press Cut.
The leaf shape has been generated. A copy is required over

the other side.
• Select Create Polyline.

• Snap to the horizontal guideline to create a line across the whole model.
• Select the horizontal vector and the leaf shapes.
• Select Mirror Vectors.

• Tick Copy the Original Vectors and press About Line.
For the other design a circle

will be modified.

3.11
• Select Create Circles.

• Set the Circle Centre as X 10 Y 0. Select Radius and enter 1.5mm.
• Untick Create with arcs and press Create.
• Set the Circle Centre as X 16 Y 0. Select Radius and enter 6mm.
• Press Create and then Close.
The smaller circle will be subtracted from the larger circle.
• Select the larger circle and then shift select the smaller circle.
• Select subtract vectors. Select Node mode.
• Move the mouse over the top marked area

and from the right mouse menu select Insert
a point.
• Move the mouse over the bottom marked

area and from the right mouse menu select
Insert a point.
The addition of these extra node points will allow us to

move the node point in between the new points and it will
only stretch the vector within that region.
• Select the middle node.

• Drag the point along the horizontal vector
and release the mouse at a suitable position
as shown.
• Delete the horizontal vector.

The design has been changed.
The two control points can be dragged to produce a more

realistic curve.
• Select each control point and move around as shown.
The shape is complete. For an inner part a polyline can be

generated, using the smooth option.
• Press Select vectors. Select Create Polyline. .

• Tick Draw smooth polylines.
• Click on several points on the model to make the shape as shown.
• Click on the start point to finish off the vector. Select Close.
The last point is not smoothed when it is joined. This can be

achieved in node mode by smoothing the point.
When you are in node mode a smooth point is shown as blue

and a non-smooth point is shown as black.
All of the vectors can now be offset.
• Press Select vectors.

• Stretch a box over all of the vectors. Select Offset vectors.

3.13
• Select an Offset Distance of 1. Select Outwards.

• Select Radiused and press Offset and then Close.
The design has now been finished.
Closed vectors can be filled in with bitmap colour to give an idea of what the design will look
like before the relief is made.
• Select the new offset vector and select the gold coloured square at the
bottom of the 2D view with the left mouse button.
• Select flood fill vectors.
The whole inside of the vector

is filled with the colour . The
colour is a bitmap. Other
vectors can be selected and
filled to overwrite the colour.
• Select the leaf and stalk vectors and select the green coloured square
at the bottom of the 2D view
• Select the petal vectors and select the red coloured square at the
bottom of the 2D view
If the vectors were altered, the

colours need to be recreated.
• Select File  Save As D:\users\training\COURSEWORK\ArtCAMPro-

Jobs\train-flower.

Selected Node Editing.

When a node is selected it turns red and can be moved dynamically. Shift and select allows
the user to select several nodes in a curve, ctrl and select allows the user to pick individual
nodes, to be moved simultaneously.
Selecting X on the keyboard edits the selected points with the X coordinate of the last node.
Selecting Y on the keyboard edits the selected points with the Y coordinate of the last node.
Vector Clipping and Slicing

Vector Clipping is used to trim a group of vectors within a defined vector.
Vector Slicing is used to split a vector across a selected cutting vector.
Vector Clipping Example

• In a new model of size 100 x 100 create the following vectors.
The sizes do not really matter as long as there are a few stars
within the pentagon.

3.15
• Select Vector Clipping.
The vector clipping form appears with instruction on how to use

the command and the different results available with the options
given.
• Select the polygon and then shift –select all of the other vectors (can
drag a box).
• Select Inside and Trim.
• Press Clip Vectors.
The stars that are whole within the polygon are

retained and those that cross the polygon are
trimmed back as shown.
• Try out the above example using the other Overlapping Vectors options.

Vector Slicing Example

• In a new model of size 100 x 100 sketch the following vectors.
• Shift - Select both the closed vectors followed by the open (slicing) vector,
and then select Slice Selected Vectors.
The slice form appears displaying the options available. The use
last selected vector option is only available when more than
one vector is selected. Otherwise it will be greyed out.
• Select the option Close and use last selected vector.

• Select Slice Vectors.
• Nudge the two new vectors up and down using the keyboard up and
down arrow keys to see the result.
The vectors have been sliced and rejoined.
• Experiment with the other options.

3.17

ArtCAM Pro 4. Generating a Relief
4. Generating a Relief
Relief.
A Relief is the ArtCAM 3D model created either from vectors, bitmaps, imported CAD
surface models or existing stored Reliefs. One set of options operates by building a Relief
from one or more closed vectors using the Shape Editor. Double clicking on the selected
vector/s or pressing the F12 shortcut key will open the Shape Editor form.
There are three main 3D forms, Domes, Pyramids and Flat

Planes. By selecting one of the 3D Relief icons the
relevant options become active in the form. The relief form
can only occur within the defined model area and is
effectively formed by the individual bitmap squares
(Resolution) moving up or down in Z. The Shape Editor
is the original method for creating a Relief. As ArtCAM
has evolved, a selection of more specialised and advanced
options have been added to the Relief Tools area of the
Assistant.
There are 6 options to control how the Relief is combined with the existing ArtCAM model.
These comprise Add, Subtract, Merge High, Merge Low, Zero and Zero Rest.
The 2D view shows the dome relief already made from a circle
vector and the rectangle selected for the new relief.
Add ADD
This method adds the new relief on top of
the current relief, producing the result as
shown right.
In this case a Plane of a start height of

1mm was Added to the Relief.
Subtract
This method removes the new relief from SUBTRACT
the current relief, giving the following

effect.
In this case a plane of a start height of
1mm was Subtracted from the Relief.

4. Generating a Relief ArtCAM Pro
ZERO
Zero
By applying Zero, the Relief inside the
vector will have z height of zero.
Merge High MERGE HIGH

The new relief is merged along Z through
the existing relief.
In this case a Plane of a start height of

1mm has been Merged High through the
dome.
Merge Low MERGE LOW
The new relief is merged through the

existing relief and any of the original
Model form above it is removed.
In this case a plane of a start height of 1mm was Merged Low through the dome.
ZERO REST
Zero Rest
The new relief is flattened to the zero plane
outside of the vector area.
Note: with this option it does not matter what relief shape was chosen, the area outside the 2D
rectangle area was zeroed.
Reliefs are displayed in the 3D View and can be exported from ArtCAM as individual (.rlf)
file.
The smoothness of a Relief is dependant on the Resolution. An option exists at the top of
the 2D View to display the Relief as a shaded image. This shaded image can if required be
used to create a bitmap, which in turn can be modified to exhibit photo realistic colours on
the 3D Relief model.

Anchor Example.
• Open the model anchor.art from D:/users/training/Artcam Data.
The model contains the vectors as shown left.
• Select the outer, bar vector of the anchor as shown.
• Double Click on the vector to bring up the Shape Editor.
A flat plane shape has been selected with a start

height of 0.5. The start height indicates the very top
Z level of the flat plane.
• Press Add, Close and then F3.

• Switch off the Draw Zero Plane

The bar is produced as shown. If the mouse is placed

on the Relief, the Z height at that point (0.5) will be
displayed in the information box at the lower right of
the graphics area.
• Press F2. De-select the bar vector. Hold down Shift and Select the two
vectors inside the bar.
The relief will be generated inside the two

selected vectors.
• Right Mouse Click and select Shape Editor from the menu.
The selected vectors have been assigned with a

dome shape with a start Angle of 45 degrees, and
No Limit with regard to overall height. This means
that the domed form will initially start to rise at 45
degrees and gradually level out naturally as it
passes across the vector area.
• Select the Dome option.

• Change the start height to 0 and press Add, Close and then F3.
The extra detail has been added to the relief.

• Press F2 to open the 2D View.

• Select the main anchor vector.
This vector will be merged into the bar vector.
The vector has been assigned with a pyramid shape,

with an Angle of 65 degrees. The overall height is
constrained to be flat at a Height of 0.75 by the
Limit to Height option.
• Select Merge High, Close and then F3.
The main anchor form is now combined with the bar.

• Press F2. Select the hook vectors.
These vectors will be combined with the current relief.
These vectors have been assigned with a relatively

shallow Angle of 30, but the new dome relief form
will include an initial vertical wall as specified by a
Start Height of 0.75.
The hooks have now been added.
• Press F2. Select the ring vectors.

The hook vector has been assigned with a dome

form with a relatively steep Angle of 65, and an
initial Start Height of 0.5.
• Spin the view of the relief around by holding down the left mouse button.
• Select File  Save As naming the model in:-
D:\users\Training\COURSEWORK\ArtCAMPro-Jobs\training-anchor.
• Select File  Close.

Tin Lid Example

• Open the model tintop.art from D:\users\training\ArtCAM Data.
• Select Toggle all Visibility from the Bitmap layer menu
This switches off the bitmap so that any vectors can be seen more clearly and as a result will
be easier to select.
These vectors were previously generated in the

imported ArtCAM and are all closed. They will
be used to produce a relief model of a tin lid,
which will be shaded using the inherent model,
bitmap colours.
• Select the outer circle vector.

• Select the shape editor.
• Select a Dome Shape with an Angle of 60, a start height of 5, with limit
to height set with a value of 1mm.
• Press Add and then F3 (3D view).
The relief (overall height 6) is created as

shown. A fillet runs around the outside,
which blends flush with the flat top form
but forms a tangency with the sidewall at a
Start Height of 5.

• Press F2 (2D view).

• Select both of the leaf vectors.
• Select a Dome Shape with an Angle of -8, a start height of 0.5, with no
limit set. Press Add and then F3 (3D view).
The leaf shape has been added on the top at a start

height of 0.5mm, which has then been scooped out
by a negative angle to produce the inverted leaf
shape shown.

• Select both of the leaf vein vectors.
• Select a Dome Shape with an Angle of 10, a start height of 0, with no
limit set. Press Add and then F3 (3D view).
By zooming into one of the leaves it can be seen

that by adding the vein relief it follows the
shallow shape of the leaf.

• Select the petal to the left of the highest petal to select the lower group.


• Select a Dome Shape with an Angle of 15, a start height of 6.5, with
scale to height set with a value of 1mm.
• Press Merge High and then F3 (3D view).
When Merge High is applied the Start Height

value is the actual height from the Z0 of the
relief. By setting the value higher than the
leaves the petal forms are raised above.

• Select the highest petal to select the higher group.
• Select a Dome Shape with an Angle of 15, a start height of 7, with scale
to height set with a value of 1mm.
This petal group is higher than the other group,

so that the petals in the front are full petals and
the petals below are only partial petals.

• Select the small circle vector (in the centre of the flower).
• Select a Dome Shape with an Angle of 25, a start height of 7, with no
limit set.
The centre of the flower has been merged into the petals.
The text can now be added.

• Select both of the text vectors.

• Select a Pyramid Shape with an Angle of 45, a start height of 6, with
Limit to height set with a value of 0.2mm.
The text has been produced with a chamfered edge and a flat
top making it stand out.
The relief can be shown in alternative shaded colours or the

same as the 2D bitmap colours.
• From the Assistant - Model, select Lights and Material.

• In the Shading Setup or Material areas select a down arrow (to the right of
a current settings tab) and select an alternative (Note the selection in the
Material category or adjustment to a slider will only update on clicking
Apply).
• In The Material section select 2D View and press Apply and observe the
change in style on the relief to reflect the 2D bitmap colour scheme.
The relief is overlaid with the same colour scheme as the

2D bitmap (This will override the settings in Shading
Setup)
The whole relief can be shaded from a choice of colour

schemes located in the Shading Setup or Material pull
down menus.
• In the Material section select Selected Colour and press Apply.

• Select File  Save As naming the model in
D:\users\training\COURSEWORK\ArtCAMPro-Jobs\train-tin-lid.

In ArtCAM you can use a selected vector to distort the final relief, allowing you to
interactively shape the final relief.

• Select the circle vector.
• From the Assistant - Relief Editing select Relief Envelope Distortion.
The Relief Envelope Distortion page appears. Also the

selected vector is displayed within a special, gridded vector
box (called the envelope) with nodes at the corners.
The nodes can be moved around with a view to stretching

and squeezing the relief.
Additional nodes can be added and the envelope vector

and edited by using normal vector commands.
When a relief is distorted, the Z height can be altered, if

required or kept the same.
The ability to use existing curve is available as shown.
Finally, to accept the final envelope distortion select the

Finish tab, otherwise Cancel will revert the relief back to
it’s original shape.
The Grid can be clearly seen in the 2D

view. Individual nodes can be moved
around and the angles can be changed.

• Select the option Replace Original Relief.

• Select Create Vector Outline and set Relief Z Height Scaling as
Average Scale at 100% (A rectangular, Vector appears as the outer limit).
• Select in the form to access node editing.
• Put the mouse in the middle of the top span and press I to insert a new
point.
• Select the new point and move it down in the Y until it is halfway down
the text letter l.
• Move the left angle node down.

• Select the right span across the top and press L to convert to a line.
• Move the bottom left angle node until it snaps on the letter e.
• Move the bottom right angle node until it snaps on the letter d.
The new shape of the relief is shown in outline.
• Select Add, press Paste (to recreate the relief) and Finish to accept.
• Select F3.
• From the Assistant – Model – Lights and Material, select Default.
The relief has been distorted.
• Press Done to exit the Lights and Materials form.

• Press F2.
• Select Preview relief layer.
When the relief is changed the greyscale view is

automatically updated. By switching the Relief
Layer view on, it is clearly different from the
original design.
To keep the Z height the same the option Keep

Current Z would be applied.
Pyramid Exercise
• Create a new model of

size 100 x 100.
• Create suitable vectors
as shown left and
construct a relief Based
on the illustration on the
right.

Teddy Bear Example

This example takes the user through the creation of a Teddy bear relief model mainly using
the Shape Editor in addition to the specialised Angled plane and ISO-Form lettering relief
options.
• Select File - Open File and load in the existing ArtCAM model file:-
D:\users\training\Teddy.art.
• Select the body vector using the Left mouse button.
• Double click the selected vector.

• Select a Dome shape, with an angle of 45 degrees with No Limit and click
the Add button. Select Close.
• Select the 3D view using F3.
• Select the Draw Zero Plane button at the top of the 3D View window
to toggle the display of the relief form at Z0.
• Select Low Detail.
This will speed up the refresh rate when displaying the relief in the 3D View but will result in
the surface form appearing visually rough.

• Press the F2 key to select the 2D View.

• Using the Left mouse button, select the outer ear vectors and then hold
down the Shift key and select the Inner ears vectors.
• Double click and select a Dome shape with No Limit, an angle of 45

degrees with a start height of 0.5. Select Add.
ArtCAM generates a shape for the area between the

selected vectors.
• De-select the vectors in the 2D View and select the inner ears vectors.
• Double click the selected group and select Reset button.

• Select a flat plane with a start height of 0.5 and press Merge High.
The inner ears have been merged with the outer edge.
• Select the arm vectors.
If the arms were added to the body, then a bulge would

appear where the shape is added on the top of the body
relief. The arms need to be merged high.
• Select a Dome shape, with an angle of 45

degrees with No Limit and click the Merge
High button.

The arms are generated.
• Select the face vector.
The face will be given a rounded appearance with a higher

angle. The face will be merged into the current relief.
• Select a Dome shape with an angle of 60 degrees with No Limit and

press Merge High.
The face has been added. The higher dome

angle makes the face higher and rounder.
• Select the circle vector.
If a dome shapes is added on top of the relief, it will

follow the shape of the relief to produce a rounded
belly. Using Add if a high angle was used the effect
would be more pronounced as there is already a curve
on the relief.
• Select a dome shape of 15 degrees with a start height of 0 to No limit

and press Add.

The ‘belly’ is added.
• Select the feet vectors.
The relief for these feet vectors will be generated using an

angle plane. This will slope the feet at a specified angle
making the toes point forwards and the heels lean back.
• Access Relief Tools on the Assistant.
Creating an Angled plane and other relief operations

such as smoothing are available from this part of the
assistant. An Angled plane can be generated on the
whole relief or within selected vectors.
• Select the Create Angled Plane icon.

• Click on Show Help.
A minimum of two points must be selected to generate an Angled Plane

at a fixed angle to the XY axes. The maximum of three points must be
used for a plane aligned to a compound angle to the XYZ axes.
These points are often initially positioned in X and Y by snapping to

vectors. Once all three points are picked, then the Z heights of the
points can be edited in the form.
Once the Angled Plane has been correctly defined in the form, the
resultant relief is generated with Add, Subtract, merge Highest, or
Merge Lowest.

• Click Set Third Point and press the Start button.

• Select the bottom point of the left vector with the mouse.
Once Start has been selected, the First point is expected

to be selected (this is the bottom point of the plane). As
the mouse is moved over the vector it changes to a target
symbol. The second point is at the top of the vector.
• Select the top of the vector with the mouse.
A dotted line shows the distance from the first point to the
second point. The third point is midway between the two
vectors.
• Click in the centre of the vectors (Centre located symbol is:- )
Now all three plane positions have been captured, the Z

value for each position becomes available.
• Set the First Point Z as 1.5, Second Point Z as 3.5 and Third Point Z as
2.75.
• Select Highest and press Create.
The angled plane has been generated giving

the feet a slightly pointed look. Further relief
can be added onto these areas.
• Select Close and double click on the feet vectors.

• Select a dome shape with an angle of 15 degrees with No Limit and
press Add.

The dome shape has been added to the

angled feet.
• Select the snout and the Paw print grouped vectors.
These will have the same shape so can be created at the

same time.

press Add.
• Select the eyes and nose vectors.
press Add.
To complete the teddy this relief can be

smoothed to soften the edges between each
shape.
• Click the Smooth Relief button on the Relief Editing Assistant.

This displays the smooth options.
• Select Whole Layer, enter the number of Smoothing Passes as 5 and

select Apply.
• View with ‘High Detail’ set at the top of the 3D View window.
The teddy relief is smoothed around the

previously sharp edges.
ISO-FORM Letters
Iso-form letters have a constant height set by the user, whereas text created using the Shape
Editor can result in thin parts of the letters being lower than the rest of the relief.
Lettering will be added to the teddy’s tummy, using Iso-form letters. The Greyscale view of
the relief helps visualisation in the 2D view.
• In The 2D View Switch off Preview Relief Layer to display the

inherent bitmap image.
The higher the relief the whiter it appears. This gives the
user a better picture of the shape of the relief from the 2D
view.

• Select Vector Text and set the font as Times New Roman and a
height of 2mm.
• Click a suitable location point on the belly and type the text TED.
• With the Text selected, click the Iso-form letters button on the
Relief, top toolbar.
The following dialog box appears:
• Give the letters a Top Height of 0.25mm and a Bottom Height of 0.25mm.
• Ensure Circular Cross Section is selected, select Add and click OK.
Closer inspection of the letters

will show that the all the text is a
constant height.
• Save in D:\users\training\COURSEWORK\ArtCAMPro-Jobs\train-ted,
then File – Close.

Exercise.
• Open the model training-phone-cover.art from
D:\users\training\COURSEWORK\ArtCAMPro-Jobs\
• Build a relief model from the stored vectors.
Exercise
• Create a new model with a width of 30 and height of 60.
• Import the vector data angel.eps from Examples2.
• Create a relief from the closed vectors.

• Save and Close the model.


ArtCAM 5. Pictures
5. Pictures
Introduction
Coloured Pictures can be generated or edited within ArtCAM using the Bitmap toolbar or
they can also be imported using any of the following formats bmp, .tif, .pcx, .gif, and .jpg.
The coloured areas of a Picture can be used directly with the Shape Editor to create a relief
instead of using vectors. As with vectors the enclosed coloured area is formed of tiny
squares, which are given a height. In this case the smoothness of the relief is directly,
dependant on the resolution of the picture. Where coloured areas are used the smoothness of
the relief is not improved by changing the model resolution, as the number of bitmap
squares are inherent in the picture.
ArtCAM can also generate vectors around a selected colour. The vectors can in turn be
smoothed using such techniques as splining and node editing after which the actual model
resolution is used to control the smoothness of the relief. ArtCAM has the power to
temporarily link colours together, which enables the user to combine different coloured areas,
without changing the original picture. This is called colour linking.
Colour linking - Spider Coin Example
In this example a bitmap has already been opened, modified and saved as an ArtCAM model.
• Select File  Open.
• Load in the model:- D:\users\trainingArtCam Data\Train-spider.art
The picture is made up of several colours,

displayed at the bottom of the 2D view.
Similar to vectors, each colour can be

assigned a shape. Colours can be
temporarily combined using Colour
Linking. This is a temporary way of
creating larger areas of similar colour that
does not permanently change the original
picture.
Issue ArtCAM Pro 2008 5.1

5. Pictures ArtCAM
• Using the left mouse button click on the yellow square at the bottom of
the 2D View.
This will assign yellow to be the Primary colour.
• Select the white square using the right mouse button. This is now
assigned as the secondary colour.
• From the top pull down menu, select Bitmaps Colour Link all colours
This will temporarily change all colours used, except the secondary (white) to yellow as
shown with a link all of the original coloured squares in the 2D View. The main area of the
coin (Yellow) can now be raised as one unit.
• Double Click on the yellow colour in the 2D View.

• In the Shape Editor, select a flat shape with a height of 1.5 and press
Add.
• Select Close.
A coin shape has been generated. To produce the Rim, the colours need to be unlinked and
then re-linked to include only the purple text.
• From the top pull down menu, select Bitmaps Colour Reset all links.
• Double right mouse click on the dark purple square at the bottom of the 2D
View.
• Note;- there are more coloured boxes (including the dark purple one) below
the top row. Access them by using the slider to the right of the palette.
Double clicking with the right mouse button makes the colour become the secondary and
links it to the primary. So in this case the dark purple text becomes yellow.
Primary
Secondary
• Double Click on the yellow colour in the 2D View.

• In the Shape Editor, select a flat shape with a height of 2 and press
Merge High.
5.2 Issue ArtCAM Pro 2008

ArtCAM 5. Pictures
• From the top menu select Reset all links.

• Double Click on the dark purple colour in the 2D view and the Shape
Editor will open with the selected colour displayed.
• In the Shape Editor, select a pyramid shape with an Angle of –25 degrees,
start Height of 0 and press Add.
The text is cut into the rim as a ‘V’

shape.
• Double Click on the dark green colour in the 2D View.

5. Pictures ArtCAM
• In the Shape Editor, select a dome shape with an Angle of –10 degrees,
start Height of 0 and press Add.
The relief now includes curved indentations

between the web detail and the spider outline.
The actual spider and web detail can now be
added to the relief.
For a realistic spider effect the colours need

to be added in order and a little bit of colour
linking as the light blue area shown as (3)
belongs to both the black main head as well
as the blue antennae.
• Double left click on the colour 1 in the 2D View.

• In the Shape Editor, select a dome shape with an Angle of 24 degrees,
Start Height of 0 and press Add.
• Double left click on the colour 2 in the 2D View.
The black is linked with the light blue to provide an area for the whole of the head.
• Double left click on the black area in the 2D View to assign as the primary.
• Double right mouse click on the light blue square at the bottom of the 2D
View to link it to the primary black colour.
• In the Shape Editor, select a dome shape with a Start Height of 0, and an
Angle of 30 degrees before selecting Add.
• From the top menu bar, select Reset all links

ArtCAM 5. Pictures
Link the dark blue with the light blue, to make all of the antennae area have the same colour.
• Double left Click on the dark blue area in the 2D View.

• Double right mouse click on the light blue square at the bottom of the 2D
View.
• From the top menu select Reset all links.
The body of the spider has been generated. The

next stage is to create the legs.
• Double Click on the area labelled 4 in the 2D View.

• Repeat the process for areas labelled 5, 6, 7 and the pink area (webbing).
The coin is now complete.
• Select File  Save As:-

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\coin.

5. Pictures ArtCAM
Bitmap to Vector - Toucan Link Exercise
Colour linking can be used to highlight areas to obtain vectors, using the bitmap to vector
command on the Vector Toolbar. The primary colour is used with this command. The
following exercise illustrates this feature.

• Select the folder D:\users\training\ArtCAM Data.
• Select File Type to be Gif image (*.gif).
• Select the file toucan.gif and click Open.
• Leave the Set Model Size dimensions as default and press OK.
• Left Click on the first green in the colour palette with the left mouse
button.
• Double Click on the next 5 green colours with the right mouse button.
• Double Click on the red and yellow with the right mouse button.
The toucan is now surrounded by a single green colour.
For the body part of the toucan, the feet and the red beak
are not required, so they will be linked to the green.
A vector can then be produced from the boundary of the

primary colour.
• From the Bitmap Tools toolbar, Select the
Bitmap to Vector icon.

• Select OK for the Tolerance.
• Select Bitmap on/off from the top 2D View controls.
Vectors showing the outline of the toucan and the

border are created (as shown left). This vector can be
smoothed and changed to suit.

ArtCAM 5. Pictures
• Delete the square, outside vector. Double click the bird vector to open the
Shape editor.
• Select a Dome shape with an angle of 45 degrees and press Add.
• Select Reset all colours.
• Select the yellow colour using the left mouse button.

• Select Bitmap to Vector and select OK for the Tolerance.
• Select the red colour using the left mouse button.

• Select Bitmap to Vector and select OK for the Tolerance.
• Select bitmap on/off from the top 2D controls.

• Select the toes and beak vectors.
• Select a dome shape with an angle of 45 degrees and press Add. Select
F3.
The eye shape is generated by subtracting the

white coloured area. The combined wing shape
is generated using add.
• Select F2. Double click the white colour with the left mouse button.
• Select a Flat shape with a start height of 0.5 and press Subtract.
• Select bitmap on/off from the top 2D View controls.
• Select the blue at the bottom of the wing with the left mouse button.
• Double-click the dark blue for the top part of the wing with the right mouse
button.
• Double-click the blue wing colour and set a dome shape with an angle of 25
degrees and press Add.

5. Pictures ArtCAM
The finished relief has been generated from vectors and colours.
Note: For pictures with many colours in, you can use the Reduce Number command from the
Colour pull down menu.

ArtCAM 5. Pictures
Create Relief Layer from Bitmap Layer

ArtCAM can create a Relief layer from an Imported Image.

• Select the folder D:\users\training\ArtCAM Data.
• Select File Type to be Gif image (*.gif).
• Select the file HillmanImp.gif and click Open.
• Leave the dimensions as default and select OK.
If required the option Scanned d.p.i. (dots per inch) can be used which retains the original
Image size allowing the user to decrease/increase the resolution of the bitmap.
• From the Bitmaps layers tab select Create Relief from Image.
• Enter a new height of 1mm.

• Select OK
• View the new Relief in the 3D Window.

5. Pictures ArtCAM
This new scale will limit the height of the Relief generated where the light areas will be at the
highest level and dark areas at the lowest. As the height varies between Z0 and Z1, the Relief
will not provide a true perspective representation of the car. On the other hand the shallow
background detail such as the trees and grass etc should be ideal. The car must be defined
separately using Polyline Vectors around the key features displayed on the Bitmap. The
newly defined Vectors can then be used to locally create Reliefs, replacing the original model
areas with a more realistic perspective representation.
• Select File – Close.

ArtCAM 5. Pictures
Create Bitmap Layer from Relief Layer

ArtCAM can quickly create a new bitmap layer containing a greyscale image of the relief.
• Select File – New – Model.

• Enter the File Name as Lady. Enter the width of 50 and height of 50.
• Enter a Resolution as 35. Select Accept.
• From the Relief Layers Tab, select Open.
• Import the relief model Lady Justice.rlf from D:\users\training\ArtCAM

Data.
• Select Preview relief layer or F3 to view the loaded Relief.
Issue ArtCAM Pro 2008

5.11
5. Pictures ArtCAM
• With the new layer highlighted, select Create Greyscale Bitmap.
A greyscale image is created of the butterfly relief and placed on a new bitmap layer
(assigned with the same name as the original relief)
Exercise.
Use the available colours to create an outline vector of the Butterfly.

ArtCAM Pro 6. 3D Blend and Fade Relief
6. 3D Blend and Fade Relief

Overview
The 3D Blend creates the relief form either inside a closed vector or between 2 closed
vectors. The height and shape across the void is controlled by a series of standard, cross
sectional forms or a user defined Z modulation curve.
Star Example
• Open the model star-blend.art from D:\users\training\ArtCam Data
This model contains various vectors to demonstrate

the 3D Blend relief options.
• In Relief Editing select 3D Blend.
The 3D Blend assistant page appears providing a comprehensive

range of the options. The 3D blend - relief is either generated
from a single vector to a central or user defined point, or across
to an inner vector using one of the Profile types, displayed in
the form.
The final shape of the relief is controlled by a combination of

the type of Profile and Height definitions selected.
The above options combined with merge highest, lowest, add,

and subtract relief provides a very powerful command for the
user.

6. 3D Blend and Fade Relief ArtCAM Pro
• Select the Star vector and shift and select the circle as well.
• Select the Linear Profile option.
• Select Border height as 0.
• Select Inner height as 5.
• Select Inner Vector Edge and tick - Fill Inner Vector.
• Select Highest and press Create Blend.
The relief has a linear blend from the

outer to the inner vector. It then
continues at constant height (5mm)
across the area inside the inner
vector.
• Select Undo (Ctrl + Z).

• With the vectors still selected and the 3D blend
page open, Untick - Fill Inner Vector Edge.
This time the area on the relief inside

the inner vector is left open on the
relief.

• With the vectors still selected and the 3D blend page open, select the
Profile option Smooth.
• Tick - Fill Inner Vector Edge.

A smooth relief is produced from

the outer to the inner vector. It
then continues at constant height
(5mm) across the area inside the
inner vector.

• Select the outer star vector only with the Linear Profile option selected.
• Switch On - Select Point With Cursor and enter x 0 and y 10.
The relief is produced with an offset vector

blend producing an offset centred star
shape.
The next part of the chapter will compare the addition of different cross sectional, Selected
Vectors numbered 1 to 3 as shown below.
Each vector will produce a different shape when scaled across the relief to the defined
heights. The Selected Vector is always picked last.

• Select the outer followed by the inner vector and with the 3D Blend page
open, select the Profile option, Selected Vector.
• Hold shift and select the cross section vector 1 from the 2D window.
• In Blend from Border to: set Inner Vector Edge and tick the box Fill
Inner Vector.
A new relief has been produced as the cross

section, vector 1 scaled between the inner and
outer vectors. It then continues at constant height
(5mm) across the area inside the inner vector.

• Select the star vector, shift select the circle vector and then the cross
section, vector 2.
The new relief has been produced as the

scaled vector 2 between the inner and outer
vectors. It then continues at constant height
(5mm) across the area inside the inner
vector.

• Select the star vector and shift select the cross section, vector 3.
• Select Middle of Border Vector.
The shape of the relief is controlled by cross

sectional, vector 3 running from the outer
star vector inwards as well as from the
centre outwards. The maximum height
(5mm) occurs exactly half way between the
outer star vector and the centre.

Fade Relief
This command will reduce a relief down by a percentage (100% is down to zero) within a
specified area.
Shoe Sole Example

• Open the model shoe-tread.art from D:\users\trainingArtCam Data
This shoe sole relief was generated

from vectors, created by opening a
picture file. The sole needs to be faded
to generate a better design.
• Select the 2D view.

• From the Assistant, select Fade Relief.
The fade relief command appears.

Fade strength can be set anywhere from 1 to 100%, with
100% being faded down to 0 and 50 % down to half the
current height in Z.
The reverse option allows you to fade upwards instead of

downwards.
Linear fade, with fade the whole relief between the start
and end of a line.
Radial fade will produce a radial fade from a central

position.
Between boundaries fade will limit the fade area between
two selected vectors.
• With the fade strength at 100%, reverse unticked, linear selected, press
Start.

With this option, once start is pressed, then you need

to select two positions.
The start position shows where the fade is going to

start and the second position where it is going to end.
• Using the cursor, select the two points (1 and then 2) as shown.
• Press Create.
The toe region has been faded. The x

and y values are kept even when you
undo, to allow you to try different
options.
The fade is parallel to the line, so if

you pick angled points, you get an
angled fade.
• Change the fade strength to 50% and press Create.

• Press Start.
With this option, once start is pressed, then you need to

select two positions.
The start position shows where the fade is going to start and
the second position where it is going to end.
• Using the cursor, select the two points (1 and then 2) as shown.
• Press Create.

The heel area has been given a sloped

edge.
The radial option can now be used.

• Select the option radial with a Fade Strength of 25%.
• Select the oval vector (marked as 1).
With the radial option, a selected vector must be used to

define the fade area.
• Press Select Centre and pick the oval centre (marked as 2).
• Press Create.
As the edge of the selected vector is where it fades

down to, the result may not be what is expected. To
change the effect so that it fades from the edge down to
the centre of the oval, the Reverse option is used.
• Press Undo
• Select Reverse and then press Create
The relief has been faded from the border down to the
centre of the oval.
The between boundaries option is going to be used to

create a defined fade.

• Select the option between boundaries and shaped vector (marked 1) the
oval vector (marked as 2). Leave reverse ticked.
The area between these two boundaries will be faded.
• Press Create and then Close.
The shoe sole design is

complete.
• Close the ArtCAM model, without saving.

ArtCAM Pro 7. Extrude, Spin, Turn, Two Rail
7. Extrude, Spin, Turn, 2 Rail

Overview
Extrude, Spin,Turn, and Two Rail Sweep
are commands that create reliefs as cross
sections along vectors.
Extrude Relief
An extruded relief is produced using 2 or more vectors. The relief is produced as a
swept form of the start profile vector along the drive curve vector. If an different
end profile vector is used the relief will change shape from one end to the other.
Drive Curve Extrude Example
• Create a New Model with size of 25mm by 25mm of resolution 1078 x

1078 with the origin in the centre.
For this example the drive curve vector is made from creating a circle and removing some
nodes. The drive curve vector must be a single vector.
• Create a circle of radius 7 at X 0 Y 0.

• Select N (Node editing) and remove the lower spans.
The drive curve vector determines the location of the

relief.
The start and end profiles now need to be generated.

These will define the sectional form along the relief.
• Create a rectangle of width 4, height 2, corner radii 0 at X-8 Y-4.

• Select N (Node mode) and remove the lower span.
This rectangle will be the start profile (section).

The vector is the exact size that is required and can
be located anywhere on the 2D View.
The start profile vector has to be a single vector,

(not Grouped).

7. Extrude, Spin, Turn, Two Rail ArtCAM Pro
• Select Extrude from the Assistant, Relief Tools area.
The Extrude Wizard form provides the options for the user to
create the required extruded relief form.
• Select the Drive Curve vector with the left mouse

button.
• On the Extrude Wizard press Select.
The Drive Curve vector is highlighted.

The Green Square indicates the Start of the Curve, where the Start Profile will be located.
The small lines running off the curve indicate which side of the vector the sectional profiles
will be extruded along.
• Leave all options on the Drive Curve area of the form unticked.
• Select the rectangular vector with the left mouse button.
• in the Start Profile area of the form press Select.
The Start Profile vector is highlighted.

The Green Square indicates the Start of the section.
The small lines running off the curve indicate whether the
relief would be positive (ticks inside) or negative (ticks
outside). For this example a positive relief is required.
• Tick move anchor point to other end and Invert Curve in Z.
The vector is updated immediately with the start point on the

left hand side and the ticks facing inwards.

This page is for selecting an End Profile of a

different shape to the Start Profile (if required).
By default the End Profile is the same as the
Start Profile. If an End Profile is required, the
Use separate end profile box must be ticked to
provide access to the required selection options.
This area of the form enables the user to include

a Z modulation Vector. This controls the relief
height along the Drive Curve.
This page is for selecting the method to be

used to combine the form with the existing
relief.
• With Add selected, click the Extrude button. Close the Wizard.
• Switch on the greyscale view from the top of the 2D View.
The relief has been generated inside the arc as selected.

The relief is generated.

This relief will be reset and a new end profile
vector generated.
• From the Assistant Relief Tools area, select Reset Relief.

• Press F2.
• Create a circle of radius 2 at X 0 Y0.
• Select N (Node editing mode) and remove the lower spans.
This smaller semi circle will be the end profile vector.
• From the Assistant, Relief Tools area Select Extrude.

• Select the Drive Curve vector with the left mouse button.
• On the Extrude form – Drive Curve area press Select
The vector is highlighted as before
• Select the Use as Centreline option.
The small lines are now displayed both sides, which

will result in the relief being generated central to the
Drive Curve.
• Select the rectangle vector with the left mouse button.

• On the Start Profile area click Select.
The vector is highlighted as before.

• Tick – Use separate end profile.

• Select the small semi-circle vector with the left mouse button.
• On the End Profile press Select.
The start point is on the bottom left and the small lines
are inside (The same as the rectangular vector). This
means that the extrude will flow between each profile
without twisting or turning upside down half way
through.
• In the Combine (relief) area, select Add, click the Calculate button and
Close the Form.
The relief has been generated centrally across the

drive curve vector.
This relief will be reset and a new Z

modulation vector generated to include in
the next example.
• From the relief toolbar, select Reset Relief.

• Press F2.
The Z modulation vector will override any heights associated with the start or end profile
vectors. This vector proportionally changes the relief height along the whole length of the
drive curve.

• From the 2D Bitmap menu, select Snap Grid Settings and enter a grid
size of 1mm with the Draw Snap Grid and Snap To Grid both selected.
• Use polyline to create a modulation vector by snapping to the grid points.
This vector will be used as the modulation

vector.
• Click the Extrude button on the Relief Toolbar.
The Extrude form appears.
• Select the Drive Curve vector with the left mouse button.
• In the Drive Curve area click Select.
• Select the option Use as centreline.

• Select the rectangle vector with the left mouse button.
• In the Start Profile area click Select.
• Tick – Use separate end profile.

• Select the small semi-circle vector with the left mouse button.
• Tick - Use Z modulation profile.

• Select the new polyline, vector with the left mouse button.
• In the Z Modulation area press Select.
The modulation vector is selected. The start

point is on the left hand side and the ticks are
inside, indicating a positive relief.
• In the Combine (relief) area, select Add, click the Calculate button and
Close the Form.
The relief has been generated either side of the

drive curve vector and looks similar to the
previous relief.

The relief is generated and the effect of the Z

modulation vector can clearly be seen.
This relief will be reset and the Z modulation

vector will be used a start profile. All other
vectors will be deleted and a new drive curve
vector generated.
• From the relief toolbar, select Reset Relief.

• Press F2.
• From the 2D view menu, select Snap Grid Settings and untick Draw to
Grid and Snap to grid.
• Delete all vectors apart from the z modulation vector.
• Create a polygon of 5 sides of radius 4.5 at X 0 Y -1.
The pentagon will be used as the drive curve with

the relief being generated on the outside. The option
create square corners on the drive curve keeps the
relief sharp, otherwise it would round off the corners
• Click the Extrude button on the Relief Toolbar.
The Extrude Form opens.
• Select the Drive Curve pentagon vector with the left mouse button.
• On the Drive Curve form press Select.
• Tick the option, Create square corners.
Make sure the small lines are displayed on the outside of the vector.
• Select the other snapped vector with the left mouse button.
• On the Start Profile area press Select.
Make sure the small lines are displayed on the outside of the vector.
• With Add selected, click the Calculate button and Close the Form.
The relief has been generated outside of the drive curve vector.

The relief is generated with the inside the

pentagon shape.
• From the File menu, select Save and save the model as:-
D:\users\training\COURSEWORK\ArtCAM-Jobs\training-extrude.

Spin Relief
A Spin relief is produced, by spinning a single. Cross sectional vector around it’s
own start point.
Spin Example
• From the 2D view menu, select Snap Grid Settings and enter a grid size
of 1mm with the Snap to grid selected.
• Use polyline to create a vector by snapping to the grid points.
The polyline will be spun around it’s own start point

(shown as a green square) to generate a relief. The
polyline or start profile determines the actual size of the
model and has to be a single joined vector.
• From the Assistant, Relief Tools area, select Spin.
• Select the snapped vector with the left

mouse button.
• On the Extrude Wizard press Select.
The vector is selected. The start point (green square is on

the left hand side and the small lines are pointing inside,
indicating a positive relief.
• With Add selected, click the Calculate button and Close the Form.

• Switch on the greyscale view from the top of the 2D View window.
It will be observed that the relief has been formed by the

section vector being spun around it’s own start point.
• Press F3.
The 3D View shows the full relief. The next relief will be
spun around a partial angle.
• From the Assistant, Relief Tools select Reset Relief.

• Press F2.
• Delete the old polyline.
• Use polyline to create a vector by snapping to the grid points.
This vector has a large flat area on the left. When this is spun, this will appear as a hole in the
middle.
• From the Assistant, Relief Tools area, select Spin.
• The Spin Form appears again.

• Select the snapped vector with the left mouse button.
• On the Start Profile area click Select.
The vector is selected. The

start point (green square) is
on the left hand side and the
ticks are inside, indicating a
positive relief.

• Untick the box Sweep through 360 degrees.

• Enter a Start Angle of 60, an End Angle of 120 and set Clockwise.
• Click the Calculate button to generate the relief.
• Close the form.
From the greyscale view you can see that there is no

relief produced where the line is on the zero height
for the section..
• Press F3.
The relief is created using the start and

finish angles to limit the extent of the
form.
D:\users\training\COURSEWORK\ArtCAM-Jobs\ training-spin.

Turn Relief
The Turn command takes a vector and rotates it over itself to generate a relief. The
axis of rotation is defined along the line between the start and end points of the
vector.
Turn Example
To generate a turn relief a vector needs to be generated first.

• From the 2D view menu, select Snap Grid Settings and with Snap Grid
Settings and Snap To Grid selected enter Grid Spacing of 1mm.
• Use Create Polyline to create a vector by snapping to the grid points.
This single vector will be turned about the Y axis.
The centre for the model to be turned around shown as a

thick centre-line) is automatically taken as a straight line
between the start and end node of the vector.
• From the Assistant, Relief Tools select the Relief Toolbar.
The form provides an option for vector selection, scale

factor for the Z Height and Combine relief creation
method.
• Select the snapped vector with the left

mouse button.
• On the Turn form press
Select.

With the vector select the small lines appear. There are no options to
change the ticks, so whether or not they are on the inside or outside does
not matter.
If Add is used you will get a positive relief and with subtract a negative
relief.
• With Add selected, click on Turn and then Close.

• Switch on the greyscale view from the top of the 2D window.
The relief is turned out of the page.
• Press F3.
The relief has been turned with the

heights to match the full width of the
section (selected vector) in Z.
To produce a flatter shape, the scaling

factor can be reduced to any value less
than 1.
• From the Assistant - relief toolbar, select Reset Relief.

• Press F2.
• Select the Turn button on the Relief Toolbar.
The select profile page appears on the Wizard.
• Select the snapped vector with the left mouse button.

• On the Turn form press Select.
• On the Turn form enter the scaling factor as 0.5.

• Press Next >.
The combine relief page appears.

• With Add selected, click on Turn and then Close.
The relief is turned out of the page and looks exactly the same
in the X and Y.
• Press F3.
The relief is flatter in Z giving an oval

appearance.
D:\users\training\COURSEWORK\ArtCAM-Jobs\training-turn

Two Rail Sweep

The Two Rail Sweep provides the user with a powerful relief creation tool with a variety of
controlling options. The basic principle is to one or more scale sectional vector forms
between two drive curve vectors.
• Open the model 2Rail-Xtra.art from Examples2.

• Select and maximise the 2D view.
• Select the Outer Drive Rail vector and Shift Select the Inner Drive Rail
vector followed by the Cross Section vector.
• In the top toolbar Select the Relief tab followed by
the Two Rail Sweep icon to open the form shown
on the following page.
Outer Drive Rail
Inner Drive Rail
Cross Section

• Fill in the form exactly as shown with Sweep

between spans and Scale Height with Width
both ticked.
• Select Add and Calculate to create the Relief
(Do not Close the form).
• On the keyboard press F3 to change to the 3D
view.
• Select a View Along Y to observe the scaling of

the height along the relief relative to the width
between the Drive Rails.
• In the top toolbar select Reset Relief.
• In the above form untick the box, Scale Height with Width and select
Calculate to create the Relief.
• Select a View Along Y to observe the constant height of the Cross
Section vector applied along the full length of the Relief.

• Close the Two Rail Sweep form.

• Return to the 2D view (keyboard F2) and in the Assistant - Vector Editing
area select Poly Line .

• In the Poly Line form Add the four X Y positions -25 0 -25 5 0 10 0 0
in turn to create the following vector.
It is essential that the Z Control vector end

points lie exactly on the same Y position.
This is achieved here with 2 lines, one at
each end, linking the angled part of the
vector to a common Y value.
Note; the Z Control vector operates from

left to right irrespective of it’s actual
direction.
• In the Assistant, Relief Tools area, select the Two Rail Sweep
icon.
• In the Two Rail Sweep form register the same Outer, Inner, and Cross
Section vectors exactly as before.
• Select the above new vector and in Z Control Vector click the tab labelled
Select with Vector Controls Exact Height Switched off (unticked).

• Tick both Sweep between spans and Scale Height with Width as shown
above right, then set Add followed by Calculate the new Relief (Do not
Close the form).
The Two Rail Sweep is calculated as a combination of the width between the Drive Rails
and the linear drop along Z Control Vector. In this case at one end the Cross Section of
original height 2.5 has been adjusted to a height of 3.541 based on the width across the Drive
Rails. The Z Control Vector reduces the remaining values by a proportional linear value in
addition to the adjustment caused by the varying width between the Drive Rails up to the
other end (adjusted height 1.832).
• Select an Isometric view and move the cursor over the model, dwelling
over the positions (shown arrowed above). The coordinate information
displayed at the bottom right of the graphics area will update accordingly
providing the user with the X Y and more importantly the Z height of the
model at the cursor position.

• In the Two Rail Sweep form keep all settings the same apart from
switching off Scale Height with Width (no tick visible).
• With Add still set Calculate the new Relief (Do not Close the form).
This time Two Rail Sweep is calculated purely based on the linear drop along Z Control
Vector, the width between the Drive Rails having no influence on the height whatsoever.

• Select an Isometric view and again move the cursor over the model,
dwelling over the positions at the top - centre of the ends noting the
maximum Z heights displayed to the bottom right of the graphics area. This
time the Z values should be in the region of 1.25 and 2.5.
• In the Two Rail Sweep form keep all settings the same apart from
switching on Vector Controls Exact Height (tick visible). Note that the
options Scale Height with Width and Scale Final Height are now
unavailable (greyed out).
• With Add still set Calculate the new Relief.
This time Two Rail Sweep is calculated based on the actual height along the Z Control
Vector, not the height difference between the start and end as in the previous example.
Again the width between the Drive Rails has no influence on the height whatsoever.
• Select an Isometric view and again move the cursor over the model,
dwelling over the positions at the top - centre of the ends noting the
maximum Z heights displayed to the bottom right of the graphics area. This
time the Z values should be in the region of 5 and 10 (exact heights of the
ends of the Z Control Vector).

Positioning of Cross Sectional forms

It is possible to define a different cross section as required at any chosen position along the
drive curve. It is also possible to select the exact position to locate cross sectional vector
forms on the individual drive rails.

• Create a 2 radius fillet on the top left and a 5 radius fillet at the top right
corner of the Polyline created earlier.
RAD 5
RAD 2
The linear vectors spanning between the
drive curve vectors will be used as
markers to position the cross sectional
vectors.
• In the Assistant, Relief Tools area, select the Two Rail Sweep
icon.
• In the Two Rail Sweep form select the same Outer and Inner drive rails as
before.
• Ensure that only the new 3 sided, vector is selected and in the Two Rail
wizard click on the Add Cross Section tab.
3 sided vector

This vector form is inserted as section number 1 as labelled on the drive rails.
• Ensure that only the new semi-circular, vector is selected and in the Two
Rail wizard click on the Add Cross Section tab a total of 3 times.
This vector form is inserted as section numbers 2 3 & 4 as labelled on the drive rails. Note
that the numbered positions of the cross sectional forms do not align to the span lines.
• Ensure that only the new 3 sided, vector is selected and in the Two Rail
wizard click on the Add Cross Section tab.

This vector form is inserted as section number 5 as labelled at the end of the drive rails.
When 3 or more cross sectional vectors are input, the ends are positioned equidistant along
the drive rail vectors. Once specified the end points of the cross sectional vectors can, if
required, be repositioned on the drive rail vectors.
• Zoom into the area around sections 2 3 & 4 on the drive rails.
• Click on the word Position adjacent to Cross Section 2 in the table on the
wizard (the word Position changes to 1st Rail in red text).
• Click on the end of the span crossing the two rails, first on the outer rail
(the word Position changes to 2nd Rail in blue text) followed by the inner
rail.
• Repeat the process to align Cross Sections 3 & 4 to the ends of the other
remaining ‘marker’ spans.

The cross sectional forms

are now exactly in
alignment to the ‘marker’
spans.
• In the Combine section of the Two Rail Sweep form select the Add option
and then click the Calculate tab to create the relief.
• From the File menu, Save the model as:-

D:\users\training\COURSEWORK\ArtCAM-Jobs\ Training-
TwoRailSweep.


ArtCAM Pro 8. Weaves
8. Weaves
Weave Relief
A Weave relief is generated from a series of overlapping vectors and a section
vector, using the Weave Wizard.
Example
• Open a New Model and set the size of the relief to 25mm by 25mm.
• Create three vectors for the drive curves, and a small vector for the
cross-section.
The overlapping vectors will be used as the

centrelines for the drive curve.
The smaller vector will be the cross-section of the
weave pattern, and must be an Open vector. The
small vectors section is actual size.
• Shift select the drive curve vectors and the cross-section vector last
The vectors turn pink as they are selected and a box appears
around the extents of the vectors to show that they are selected.

8. Weaves ArtCAM
• Select the Weave Wizard button
ArtCAM creates the weave pattern at the places

where the vectors crossover each other.
The direction of the vectors determines which

vector goes under or over the others.
Length of Crossover determines the length of

the weave that will be lowered or raised at the
crossover point. This is usually Relative to
cross-section.
% Depth of Underpass and % Height of

Overpass allow you to determine the percentage
that the height of the weave cross-section is
lowered or raised at the crossovers.
Te Corner Shape can be Round or Square, and

the relief is combined in the same manner.
• Leave the options as they are, and click OK.
ArtCAM generates the weave pattern:

Example2
• Create the following vectors, including the small half ellipse cross section
vector.
If the cross section is to big the weave will

cross over itself.
• Select Relative to cross section as 1.5, set Square and click OK.
With square corners set the weave has sharp

edges, rather than rounded.

8. Weaves ArtCAM
Weave Pattern Exercise

• Create a new model of height 100 and width 100 with a resolution of 800
x 800 pixels and the origin in the centre of the model.
• Switch grids on, snapping to a distance of 2mm.
• Create a vertical guide line at 0.
• Create a horizontal guide line at 0.
• Create the vectors shown in the top right hand corner.
This weave is of an angular design and

therefore the option square will be used
when generating the weave.
Once generated, the weave will be

copied using the merge mirror
command.
• Select the rectangle vectors and then the small section last.
• Fill in the values as shown and press OK.

The weave is produced and needs to be mirrored

to the other sides.
• Select Relief Mirror Merge.
This command works around the centre of the model.
• Select Right over left.

• Select Top over bottom and then Close.
The finished relief is complete.

8. Weaves ArtCAM
Fruit Plate Exercise

• Open the model fruits-on-plate.art.
These vectors will be turned into a plate relief, using swept profiles.
• Select the pineapple dome vector and generate an Added Dome Relief
with an angle of +45, start height of 0.4 with No Limit.
• Use the diamond vectors and generate an Added Pyramid Relief with an
angle of +25, start height of 0 with No Limit.
The generated relief goes over the edge of the

pineapple. To remove the excess relief is to
flatten the area outside of the vector by using
Zero Rest.
• Double click the round pineapple vector and select Zero Rest.

• Use the left middle leaf vector and generate an Added Dome Relief with
an angle of +45, start height of 0.1 with No Limit.
• Use the right middle leaf vector and generate a Merge High Dome
Relief with an angle of +45, start height of 0.2 with No Limit.
• Use the outer leaf vectors and generate a Merge High Dome Relief with
an angle of +45, start height of 0.4 with Limit to Height at 1mm.
• Select the three vectors for the banana and generate an added two rail
sweep relief.
• Generate an extruded relief using the line as a drive curve, the arch as
the first section and the angle as the end section. Use Merge High.

8. Weaves ArtCAM
• Select the pear shape vector and generate an Added Turn Relief.
• Select the stalk vector and generate a Merged High Turn Relief.
• Use the leaf vectors and section to generate a Merged High Two Rail
Sweep Relief.
• From the polyline vector Add a Spin Relief.

• Select the grouped chain design of vectors and then the nearby small
vector.
• Add a weave relief with the following values and select OK.
• Select the text fruit and generated an Added Pyramid relief with No limit
at a start height of 0 and an angle of +60 degrees.

8. Weaves ArtCAM

ArtCAM Pro 9. 3D Clipart and Texturing
9. 3D Clipart and Texturing

3D Clipart
The 3D Clipart form opens when the user imports an existing externally stored relief using
the Paste Relief from A File option. The 3D Clipart form enables the relief to be scaled, re-
positioned, re-orientated, copied, etc. Before being combined into the current model.
Lady Example
• Select File  Close any files you may be working on.
• From the Assistant, select the Open Existing Model icon.
• Open model D:\users\trainingArtCam Data\\Pend_frm.rlf.
(Note:- Check that the choice in Files of type filter includes .rlf extensions).
• Select the 2D View.
On loading the Relief, ArtCAM automatically generates both a

bitmap (colour) and greyscale representation in the 2D view.
The model size and resolution is the same as the imported relief
before it was originally exported from ArtCAM as a .rlf file.
• Click the Paste Relief From A File button on the Relief toolbar.
• Browse and select the file Lady.rlf from the D:\users\trainingArtCam Data
directory and select the Open tab.
The 3D Clipart dialog box and a vector outline of the clipart appears in the 2D View.
A Preview of the relief is diplayed as a

vector outline, and is currently too large. It
will be transformed, sized and positioned,
using the 3D clipart form before being
pasted onto the existing model.

9. 3D Clipart and Texturing ArtCAM Pro
• Select the Scale tab.

• Enter the new scale as 30%.
The relief could also be scaled manually by

dragging the corner handles of the relief
vector, with SHIFT held down to maintain
the proportion.
Now the vector (and associated relief) can be

moved to the centre of the pendant.
• Press Apply.
• Move the cursor on the vector outline so that Move Cursor appears.
• Press the Left mouse button and move the mouse to ‘drag’ the relief.
• Release the button when the vector is suitably positioned.
Now that the Clipart is suitably positioned, the inherent Z

Range value can be altered to provide independent control to
the final Z height of the new relief.
The Clipart summary shows the vector

relief height as nearly 2.6mm with the
current relief at nearly 0.7mm.
• Click the Size page on the 3D Clipart dialog box.

• Input a value of 0.5 in the Z Range box to control the new relief height and
click Apply.
• Click the Mode tab on the 3D Clipart dialog box.

• Check that the Add mode is selected, click the Paste button, and then
Close the form.
The new relief has been Added to the original pendant adding an additional height value of
0.5 to the model.
Texture Relief
Texture is required between the head and the outer frame. To define this area, a vector can be
created around the central mid-grey coloured area. There is already an exiting vector around
the profile of the head, created during the last clipart operation. The Texturing will be
created between the two vectors.
• In Model select Greyscale from relief to create a

Bitmap from the greyscale view.
• In the Bitmap view, double click within the grey
colour are to be textured and assign to Primary.
• Select Close on the Shape Editor.
• Select the Bitmap To Vector icon.

• Select OK.
The grey colour also applies to other tiny areas and as a result several
additional vectors are created, but these can just be ignored.
• Select the new outer vector and shift select the inner face vector.
• Select the Texture Relief button on the Relief Editing toolbar.

The Texture Relief dialog appears:
This dialog box allows the selection of several pre-

set texture shapes including Sphere, Ellipse, Cone,
Pyramid and Weave.
Other options provide the user with Sizing and

Scaling cababilities to adjust the texture exactly to
the desired form.
The From File option enables a user defined relief to

be imported for use as a texture.
If ticked Blend Edges allows the input of a fading

distance from the vector into the relief area from
zero to the full texture - Z Height.
• Select the Pyramid Shape, set the Size to 0.5, the Truncation to 50% the
Z Height to 0.1, and select Blend Edges with a value of 5mm and Click
Add.
• Do not Close the above form but reverse the texturing process by
selecting Subtract and then select one of the other texture relief styles
before clicking Add (in this case a Weave of Size 3, Z Height 0.5, and
Bar Width % 50).
• Save the model in D:\users\training\Coursework\ArtCamPro-Jobs as
lady head pendant.

Paste Relief Along Vector

This button on the Relief Toolbar allows several copies of the 3D Clipart to be
pasted along a selected vector.
Fork Example
• Open the model fork.art from D:\users\training\ArtCam Data\.
This model contains the vectors to generate the fork shape. It also
contains some additional vectors along which a jewel relief will be
pasted for the finer detail.
• Reset the relief.

• Select the fork vector and generate an added dome profile of angle 90
with a limit to height set at 1.5.
• Select the bottom vector of the decal.
This decal is added onto the main flat fork shape.
• Generate an added dome profile of angle 30.

• Select the two side curled vectors.
• Define a dome profile with a start height 1.5, angle 30 and Merge High.
• Select the oval vector and define a dome profile with a start height 1.5,
angle 30 and Merge High.
• Select the vector around the decal shown on the next page.

A relief will be pasted along the middle of the selected

vector. The relief can be scaled and moved, before it is
pasted.
• Select the Paste Relief Along Vector button on the Relief Toolbar
• Select the relief Jewel.rlf from Examples2.
The vector outline appears in the

2D View and the Paste along a
curve form appears in the
Assistant along with the 3D
Clipart dialog box in the
graphics area. The 3D Clipart
box is not used in this case as the
Mode is already set to Add. It
must however remain open until
the Paste along a curve process
is completed.
The Paste Along a Curve page appears in the Assistant:

First select the vector that the clipart form is to be pasted
along.
The Spacing setting in the Assistant page allows you to

define the space between adjacent copies of the clipart.
100% means they will be next to each other, less than 100
means they will overlap, and greater than 100 means there
will be a gap.
The Start size and Finish size define the sizes of the
relief at the start and end of the curve. By making the
sizes different, ArtCAM will scale the clipart
automatically from one size to the other.
• In the Paste along a curve form, set

spacing as 300%, Start and End Size as 10% and tick Adjust to fit
exactly.
• Click the Paste box on the Paste along a curve form.
• Do not close either the Paste along a curve or the 3D Clipart forms.
The vectors indicate where the new reliefs have been added to the original
relief.
• Select the vertical vector in the middle of the fork.

• Use the Jewel Relief and Paste along the vector and add a spacing of
200%, a start size of 10 % and an end size of 20%.
The fancy details have all been added. The curvature for the fork now
needs to be added into the relief.
• Close the Paste along a curve and 3D Clipart forms.

• Generate an extruded relief, using the horizontal vector as centre-line.
• Use the vertical shaped vector as the start and end vector. Select Add.
This will Add the Z profile to the current fork shape relief.
Alternatively the fork shape could be Saved as a relief (.rlf file). The relief
can be Reset and the extruded relief can be generated as the first stage of a
new relief. The fork .rlf file can then be imported via the Load Relief option
and subsequently Added or Subtracted from the shape.

• Select the 3D view to see the finished relief.
Motif Example
• Use the File menu to Close any projects that you are working on.
• Open a New Model and, set the Height to 25mm and the Width to 50mm.
• Paste relief from file Leaves.rlf from D:\users\training\ArtCam

Data\.
• Select the Rotate page on the 3D Clipart dialog.

• Set the Rotate by angle field to -40 and Click Apply
• Click on Mode and select Add and then Paste.
The vector rotates to reflect the change in Angle.
When the Paste box is selected, the new relief is combined

with the current model and the form remains open by default
in anticipation of further pasting operation.

• Click on the Rotate page and select the Horizontal button.

• Switch to the Move page setting the Move X origin by field to 25 and click
Apply followed by Paste.
• Click Paste and then Close.
• In the 2D View delete both vector shapes.

• Switch Preview Relief Layer.
• Select, Load Relief and import Flower.rlf from the Examples/Clipart

directory.
• Select the Scale page on the 3D Clipart dialog.

• Set New scale % field to 60%. Click Apply.
• In the 2D View, select and drag the vector outline of the flower between
the leaves.
• On the Mode page, select a Start Height of 0.5 and the Mode as Merge
Highest.
• Click Paste and then Close.

• Smooth the Relief with 1 smoothing pass.
Exercise
• Load the relief Plate.rlf from D:\users\training\ArtCam Data\..
• Paste the relief Motif.rlf from D:\users\training\ArtCam Data\. three
times onto the plate to generate the following effect.
Note: On the ARTCAM CD there is a large folder called 3dclip,which contains a variety of
reliefs broken into separate categories. The whole folder can be copied onto your computer or
the reliefs can be copied from the CD as and when required.

Relief Wrapping
When a relief is added onto a surface it is normally projected down the Z-axis. A relief can
also be wrapped onto a surface within the 3D clipart or vectors can be wrapped onto the
surface. The process of wrapping will ‘bend’ the relief to wrap around the model without
changing its overall size.
In the above diagram the vector A is wrapped onto the relief B.
On the left hand side, the vector is not wrapped but is simply projected down Z and
therefore the finished vector C is distorted as it goes over the curve.
On the Right hand side the vector is wrapped to produce vector D, which retains the same
dimensions along the 3D surface as the original 2D vector.
In ArtCAM in addition to projecting down Z it is possible to wrap radially, such as around a

sphere, or cylindrically, like a tube in the X or Y direction.
Wrapping example
• Create a New Model of size X 100 - Y 100 with the origin in the centre
and a resolution of 860 x 860.
• Create a circle of diameter 80 with the centre at X0 Y0.
• Remove the left half of the circle.
• Create a turn relief with a scale factor of 1.
This hemisphere relief will have another relief pasted onto it,
by initially using the default, Wrap - Project option and then
the Wrap - Radial option.

• Use Paste Relief From A File to import the file dolphin.rlf from
D:\users\training\ArtCam Data\.
• Select a scale of 125% and press Apply and then Paste. (do not close)
The default option, project down Z

when applied to a very rounded shape,
such as this sphere has caused the
resulting relief to be elongated as it is
projected onto a steep area. It is
especially noticeable on the tail area.
• Select Undo.
• On the 3D Clipart form, select the Wrap tab.
There are four types of

wrapping, Project (default),
Radially (for sphere shapes),
Wrap X and Wrap Y. The
wrap origin can also be set.
• Select Radial and then Paste and Close.
The dolphin is scaled in such a way as to

make it look as though it has been
wrapped around the spherical surface, as
opposed to simply being projected down
Z.
• Close the ArtCAM model without saving.

ArtCAM Pro 10. Relief Layers
10. Relief Layers

Introduction.
An individual Relief operation can be assigned to a Relief Layer. This provides the ability to
create a model in which the user can switch the relief components to exhibit different design
variants.
Relief layers are controlled by the relief toolbar.

This can be switched on or off by pressing F7 on the
keyboard.
Lid Example
• Create a new model 100 x 100 with resolution 796 x 796 and origin in
the centre of the model.
• Create a vector square of size 65 at the origin with a corner radius of 10.
• Press F12 and select a dome shape with an Angle of 90 degrees, Start
Height of 5, limit to height with a Height of 3, Press Add, and then
Close.
The new Relief is automatically assigned to

the default Relief Layer. A Relief Layer can
be switched off as required by clicking the
light bulb icon. Any relief operations assigned
to a Relief Layer that is switched off will be
temporarily removed from the model.
• Create a new relief layer by selecting New.

• Make the relief layer current by highlighting the layer.
• Switch off the default Relief Layer.

10. Relief Layers ArtCAM Pro
If a new relief is created it will automatically be generated on the selected, Relief Layer 1.
• Generate a star vector with 5 points, at the origin, first radius of 20 and
second radius of 8.
• Press F12 and select a pyramid shape with an Angle of 25 degrees,
start height of 0 with no limit. Press Add and then Close.
The second relief can be combined with the first relief by

clicking the combine options in the relief layer
toolbar they are add, subtract, merge high, merge low
and multiply.
• Switch on and make current relief layer.

• Select the combine options in relief layer 1.
Each time the combine icon is pressed, the icon changes as a different option is selected and
the relief is automatically updated.
This is a result of adding the relief on layer 1 to

the default relief layer..
• Create a new relief layer.

• Make the relief layer 2 current.
• Switch off Relief Layer and Relief
Layer 1.
A new relief of a textured area is made can be made.
• Create a vector square of size 55 at the origin with a corner radius of 5

with invert corners selected.

• Select Texture, selected vector, ellipse, size 1, horizontal 100%, Z

height 0.5, spacing X and Y as 100% and overlap O% as 50%, Select
Blend Edges as 5mm.
• Select Add and then Close.
This textured relief can also be combined with the other

relief layers.
• Switch on and make current relief layer.

• Select the combine options in relief layer 2.
In this case, the textured relief has been subtracted

from the current relief.
A saved relief can be pasted into the current relief

layer.
• Create a new relief layer.

• Make the new relief layer 3 current.
• Switch off Relief Layer, layer 1 and Layer 2.
• Select Paste Relief from file and select dolphin.rlf from

D:\users\training\ArtCam Data\.
• Select Paste and then Close.
This relief can also be combined with the

other relief layers.
• Switch on and relief layer and Layer 2.

• Select the combine options in relief layer 2 and relief layer 3.

This is a result of subtracting layer 2 and adding layer 3 to the current Layer.

D:\user\training\COURSEWORK\ArtCAMPro-Jobs\relief-layers
As well as being a front relief, there is also a back relief option. This is used when making a
complete stl model, or just for viewing purposes.
• Switch on only layer 3 and select Make Duplicate.
An exact copy of the selected layer is put on a new relief layer called Relief Layer 4 Copy.
This can be switched to the back relief by using the command switch slides.
• Select Transfer opposite sides
• Switch on the Back Relief.

• Select Relief Layer 3 Copy and make it current.
• Select Invert Relief Z only.
The relief is inverted. The back relief can be used to

make a 3D model.

• Select create triangle mesh.
• Select the option Close with Back Relief.
• Select Create Triangles.
By rotating the triangle mesh, the dolphin is displayed.

The volume and weight is also given. This triangle mesh
cane be saved outside of ArtCAM using Save triangles.
When the command is closed the triangle mesh will

disappear.
• Select Close.
• Delete Relief Layer 3 Copy and switch to the Front Relief.
• Switch on Relief Layer and Relief Layer 3.
• From the Top Relief Pull down menu, select Save Composite.
D:\users\training\COURSEWORK\ArtCAMPro-Jobs\lid-dolphin
• Switch to the Back Relief.

• Make the Back Relief Layer current.
• Load in the Saved relief lid-dolphin and press Paste.
• Invert the Relief.
• Create a new triangle mesh.

A box shaped mesh is produced.
• Select Save and then Close.

ArtCAM Pro 11. Relief Editing
11. Relief Editing

Overview
There are several ArtCAM options available to directly edit a Relief model.
Lizard Relief Example

• Open the model Lizard.art from D:\users\training\ArtCam Data\.
D:\user\training\COURSEWORK\ArtCAMPro-Jobs\training-lizard
The overall height of this lizard can be

reduced by using the Scale Relief
Height function. The option, Preserve
Detail if selected will take longer to
process but will retain features which
otherwise may be erased with a
general scaling.
• In the Assistant - Project Information note the

currently displayed Relief - Max. (Z 38.372).
• Select Scale Relief.
The Scale Relief Height button enables height

adjustment over the entire relief, the selected vector,
or the selected colour.
The current height of the model is displayed in New

Height is then amended to the desired height.
If ticked, Preserve Detail along with suitable values

will identify small features on the relief and scale them
locally before merging them with the detail on the top.
This is necessary to prevent fine detail being lost
during the overall scaling process.
Issue ArtCAM-PRO 2008 11. 1

11. Relief Editing ArtCAM Pro
• Enter a New Height of 35, leave Preserve detail unchecked and select
OK.
The lizard relief now has a maximum height

of 35. The relief can be inverted negatively,
for generating a mould. Generally, the relief
is saved before inverting.
• Save the relief as lizard-top.rlf in C:/Temp.

• Select invert relief Z only.
The lizard relief is inverted, producing a

negative image. The relief can be inverted,
again returning it to its original state.
• Select invert relief Z only and then select invert relief male/female.
The lizard is inverted and also mirrored.

The relief can be inverted, again returning
it to its original state
• Select invert relief male/female.

• Select offset Relief.

The Offset Relief button allows you to offset the relief by

a certain distance either Inwards or Outwards.
• Select OK on an Offset Distance of 1. (Relief is now 36mm high).
A Draft Angle can be added to the relief. This command is found on the pull down Relief
menu.
• From the Relief pull down menu select Add Draft.
The Add Draft Angle form appears and a suitable

draft angle value is entered.
• Enter a Draft angle of 45 and press Apply and then Finish.
A large draft angle has been chosen thereby

exaggerating the effect of adding draft onto
the relief.

Sculpting
Interactive Sculpting is used on 3D reliefs to locally add, remove, or smooth the model by
dynamically using the mouse in the 3D View.
• Select the Sculpting button.
A temporary relief is produced which will change

while sculpting. The 3D View is maximised and the
Interactive Sculpting page in the Assistant appears.
Smooth – allows selective smoothing of the relief as

opposed to the generalised effect of the Smooth Relief
button on the Relief Editing Toolbar.
Smudge – takes a copy of the relief under the brush,

and allows it to be dragged to another position.
Deposit – add material to the relief.
Carve – removes material from the relief.
Eraser – selective undo for any part of the relief
during an active session of Interactive Sculpting.
Each action has options for brush size, strength, etc,

and different options will be available depending on
the action chosen.
At any time the changes can be made permanent by

selecting Apply to update the original relief.
The Revert button cancels the current sculpting operations back to when Apply was last
selected. It is the same as Cancel except the form remains open.
The Cancel button has the same effect as Revert but automatically exits the form ignoring all
changes since the last time Apply was selected.
The Finish button exits Interactive Sculpting mode and applies all changes.

Sculpting Teddy Example
• Click the Load Relief button on the Relief toolbar.

• Open the file Sculpt_Teddy.art from D:\users\training\ArtCam Data\
At present the relief contains quite sharp

edges and creases - particularly where
the arms join the body.
Instead of smoothing the whole relief to

get rid of these, it is far better to use
Interactive Sculpting to locally smooth
those particular areas.
• Change to a view down the Z-axis.

• Click the Sculpting button on the Relief Editing toolbar.
The Interactive Sculpting page appears in the Assistant and a

temporary relief replaces the 3D relief.
• Ensure that the Smooth option is selected.
When the Smooth option is selected the Combine Mode part of the page appears.
Normal – Simply blends the area under the brush.

Raise Only – Pulls up the lowest points to eventually meet the
highest points.
Lower Only – Smooths by only lowering points on the model.
• Choose the Raise Only option.
The Colour Usage part of the toolbar allows the user to

choose whether the sculpting affects the whole relief, or just
the area under the Primary colour, or just the area not under
the Primary colour.
• This can be left set to Ignore for this example.
The Brush Definition part of the Assistant page allows size and strength of the brush to be
defined.

Diameter – measured in pixels.

Strength – a percentage of the brush diameter being
applied in Z.
Smoothness – the effect at the edges of the brush.
To make major changes to the relief set the Strength to

100, and the Smoothness to 100.
• Set the Diameter to 15, Strength to 50 and Smoothness to 100.

• Move the cursor repeatedly over the join between the right arm and the
body.
The cursor has a red circle attached to it that shows

the size of the brush and the area of the relief that is
being affected.
It will be observed that material is being deposited in

the join. Material is only added to the lowest areas.
The difference between the left arm and the right arm
should be clearly visible as below:
• Repeat the procedure for the joins between the body and the left arm,
and the body and the head.
• Click the Finish button.
The changes made to the temporary relief are now applied to the original relief, and the
Interactive Sculpting page closes.
Exercise
• Edit the teddy bear’s features using the

Smooth - Lower only option to remove
his eyes, and then the Deposit option to
add newly positioned eyes.

Face Wizard
The Face Wizard simplifies the side profile of a face picture file to be used for generating a
3D relief. Ideally, the picture should have a clear background and generally be of good
quality. The Face Wizard will guides the user through this process, finishing up in sculpting
mode to allow fine changes to be made.
Face Wizard Hints

The face wizard automatically produces a face, but manual sculpting smoothing and
smudging can be used to produce a more defined image. Once the relief is produced you can
use sculpting many times to generate the desired image.
1. Photo must be well lit to show up the detail.

2. Resolution needs to be at least 4MB pixels
3. When picking Nape of neck, pick under the hair if the hair is long.
4. Ears – generate an angled plane and merge high. Smooth over the join.
5. Glasses – sketch in vector, use angled plane and get the height merged just below the
overall height.
Example
• Close down the model.
• From Add-Ins select Face Wizard.
Step one of the Face Wizard appears in the Add Ins area.
• Select Open Photo.

• D:\users\training\ArtCam Data\, select woman.jpg.

Step 2 of the Face Wizard

appears in the Assistant and
the picture is loaded into
ArtCAM, automatically
creating a model.
All of the tabs are now

available as a model is
opened.
As shown in the assistant a polyline needs to be created to select the area where the relief is to
be generated. A saved polyline can be imported, if required. Note: When creating the
polyline, make sure you pick just inside the face because any part of the background can
produce a spike at the edge of the relief.
• Select create Polyline.

• Click around the head, as shown.
At the creation stage, it does not matter if you make

a mistake when clicking as the polyline can be
changed after creation by using node editing.
• Select Close.
• Select the polyline and press N (node editing).
• Make any final adjustments to your polyline.
• Select Next.

Step Three of the Face Wizard appears and indicates where to

pick the two locating points for this command. This tells
ArtCAM which way the relief if facing (to the left or right)
and also where the features are.
• Select the two points as indicated by the Wizard and select Next.
Step Four allows you to set the actual relief and model size,
which may be different to the initial picture. In this case the
picture has come in at around 500mm square.
• Under Head Dimensions, leave the width and height values.

• Under Model Dimensions, change the Width and Height to be 120.
• Select Next.

The model is automatically generated and ArtCAM automatically opens up the sculpted
option with the 2D picture shown on top for clarity.
There are no fixed methods for smoothing this relief, however it is usually advisable to treat
the hair and face with different sculpting tools as the face generally needs to be smoother than
the hair.
• Select smooth and the diameter to 70.

• Select Mode as raise only.
• Smooth over the face area.
When sculpting the control button can be used with the left
mouse button to rotate the relief around. This allows you to
see the relief from different angles to check the smoothing.
Smudging is another good tool, which can be used for

defining areas such as the cheek bones.
• Select Smudge with a diameter of 100 and smudge the cheek area.
• Select smooth, diameter 50, strength 25% and smooth the hair.

The sculpting needs to be saved by pressing Apply and then

finish. If you want to start again, just select Revert.
• Press Apply and then Finish.
The relief is finished and the Wizard closed. The finished ArtCAM relief can be saved.
• Save the Relief in D:\users\training\Coursework\ArtCamPro-Jobs as

sidelady.rlf.
Exercise.
• Generate a relief of the picture man.jpg.
Relief Distortion
Relief Envelope Distortion can be used with another relief (in this case a textured square) to
create dramatic effects.
Fish Example
• Open the model fish-scales.art from D:\users\training\ArtCam Data\.
The relief includes a fish shape created by the Two Rail Sweep command, and a textured
plane. We can add the textured plane to the fish shape, using the Relief Envelope Distortion
function.

• Select the rectangular vector.

• From the Assistant - Relief Editing select Relief Envelope Distortion.
The Relief Envelope Distortion page appears. Also the selected

vector is displayed within a gridded box (called the envelope) with
nodes at the corners.
• Select Keep original relief.

• Tick the option Use Existing Curves.
The selected area can be mapped along a single curve or

mapped between two (like a two rail sweep.
Note: If two curves are chosen there must be a gap at the

end of each curve to leave space for the distortion.
• Select Wrap between 2 Curves.

• Press Select Top Curve and select the top vector of the fish.
• Press Select Bottom Curve and select the bottom vector of the fish.

The two curves are selected.
• Select Number of copies as One - Stretch To Fit and Apply.

• Select Add, followed by Paste, and Finish.
The relief is wrapped on to the

fish shape being compressed
between narrow sections and
expanded between the large
areas, giving it a visually
exaggerated 3D effect.
Copy Relief with Relief Envelope Distortion

There is a new option on the Edit pull down menu called Copy Relief. This option allows a
selected area of a relief to be copied and pasted into a new model via Relief Envelope
Distortion, where repositioning, scaling, and controlled distortion can be applied before
committing it as part of the relief.
For this exercise, two sessions of ArtCAM will be used.
• Open the model grapes.art from D:\users\training\ArtCam Data\.

• Switch on the 2D Greyscale view.
A relief of a branch, two

bunches of grapes and a
leaf is seen. There is also a
group of vectors around
each particular part of the
relief.

• Select the large rectangular vector.

• From the Edit Pull down menu, select Copy Relief.
A new session of ArtCAM needs to be opened, so we can easily switch between the two.
• Open a new session of ArtCAM.

• Create a new model 120 in X, 120 in Y with the origin in the centre and a
resolution of 860 x 860.
• Create an ellipse of height 90, width 60 with the centre at X0 Y0 and
Close the form.
• Select Edit  Paste.
ArtCAM pastes in the relief as a template for the Relief Envelope Distortion and opens up
the page in the Assistant.
• In the Relief Envelope Distortion form select Use Existing Curves.

• Select Wrap along single curve - Right, with a Width value of 8.
• Select the ellipse, vector and in the form press Select Curve.
• Select Many - Specify number of copies entering the value 10.
• Press Apply.
The grey lines appear around the vector to indicate the area
where the relief is to be implanted.

• Select Add and then Paste and Finish.
The grapes have been wrapped around and match perfectly

around the closed vector.
Exercise.
• Use Copy Relief to position and Combine 2 bunches of
grapes using Add and Highest respectively as shown
right.
Note: In the Relief Envelope Distortion use
And dynamically position and orientate the vector before selecting

Paste.


ArtCAM Pro 12. Toolpath Options
12. The Toolpath Options

Intoduction.
ArtCAM can produce a variety of machining strategies on the relief. The machining set up
and strategy commands are accessed from the Toolpaths tab located below the Assistant
area. The toolpaths that are generated are stored within the ArtCAM model and can easily be
edited. To drive a specific machine tool one or more toolpaths are output as a post-processed
file translated to the format of the relevant controller.
Relief Machining Process

• Define Material Setup relative to the relief.
• Generate the required toolpaths.
• Simulate the toolpaths to visualise the strategies used.
• Save the ArtCAM model to include the toolpaths.
• Output the post-processed toolpaths in the required Machine Tool format.
• Select the toolpaths tab.
The Toolpaths page is segregated into four main categories -

Toolpath Operations, 2D Toolpaths, 3D Toolpaths, and
Toolpath Simulation.
When a toolpath is created it will be displayed in the upper area

and the toolpath name listed at the top of the Toolpaths page.
The toolpath names can be selected for Toolpath Simulation,
toolpath operations or to re-open and edit the strategy.
The 2D toolpaths section contains commands to generate 2D

toolpaths directly from vectors.
The 3D toolpath section contains commands to generate the

toolpaths over the 3D relief.
The Toolpath Simulation section provides controls for viewing

toolpath animation and material removal.
Note: It may be required to modify the origin of the model to a

position more appropriate as a machining origin. This is achieved
by inputting suitable X Y Z values in the;
Assistant - Model - Set Model Position form.

12. Toolpath Options ArtCAM Pro

ArtCAM Pro 13. Z Level Rough Machining
13. Z level Rough Machining

Z Level Roughing (Raster) Example
The following example takes the user through the creation of a toolpath using Z Level
(Raster) Roughing on the ArtCAM Relief (teddy bear).
• Select Open Existing Model.

• From D:\users\training\ArtCam Data, select the model machine-ted.
• Select File - Save As:-
D:\users\training\COURSEWORK\ArtCAMPro-Jobs\train-machine-ted
The following Relief appears in the 3D View

window:
Before any toolpaths can be created the Material

Setup must be defined. The user decides on a
suitable Z position for the relief within the material.
The X Y dimensions of the material are the same as
the model.
• Press F3.
• Select the Toolpaths tab.
• From toolpaths operation section, select Material Setup.
The Material Setup dialog box appears:
The thickness of the material to be machined

is entered here. The current relief height is
also displayed (5.115). As the material
thickness is greater than the relief thickness, a
value for top or bottom offset can be entered.
This allows the user to position the relief
within the material as required.
The Material Z Zero (machining datum) is

also set either at the top or bottom of the
block.
• Enter a Material Thickness of 6mm.

• Set a Top Offset of 0.25mm.
• Ensure that the Material Z Zero is set to the top.
• Click OK.

13. Z Level Rough Machining ArtCAM Pro
The material. is displayed around the relief

in the 3D View.
The machining origin is displayed by

switching on the Origin icon located at
the top of the 3D window.
• From the 3D Toolpaths section, select Z Level Roughing.
The Z Level Roughing page appears.
As with all the Assistant pages the Show Help button can be
clicked to show or remove the help from the page.
Z Level Roughing will remove the excess material from

around the relief up to the specified Material Allowance and
Tolerance values. For efficiency a relatively large tool is
generally used for this operation. Z Level Roughing splits the
Material into Z Slices and performs the selected area clearance
strategy (Raster or Offset) on each one.
• In the Area to Machine, select Composite Relief.

• Click the Roughing Tool Select… tab to access the standard Tool
Database.

The default Tool Database contains a large

selection of tools and associated parameters
for a variety of materials. The selection can be
modified, deleted, or added to by the user as
required.
The Tool Database can also be accessed

independently by selecting the icon in the
Toolpath Operations.
To select a tool group, select the + in front of the name.
• Browse Metric tools, Steel, Roughing and 2D Finishing and then select
End Mill 6mm.
When a tool is selected (highlighted) in the left

hand window, the tool data and description is
displayed on the right-hand side of the form.
Individual tools can be modified as required by

clicking the Edit tab on the right hand side of
the form.
• Press Select.
• Select the down arrow on the End Mill 6mm bar.
The tool values are shown. Changing values in this

form do no affect the original tool stored in the
database.
The Stepover is the distance between passes.

The Stepdown is the incremental depth of cut.
A Tool number is essential if the outputting to a

machine tool fitted with an automatic tool changer.
• Enter a Stepover of 4mm.

• Set the Stepdown to 2mm (This will be used for calculating the Z Slices).
• Leave the Feed Rate at 15, Plunge Rate at 4, Spindle at 15000 and Tool
Number as 1.

The Feed Rate, Plunge Rate and Spindle Speed are based on the tool manufacturer
recommendations but may need to be ‘fine tuned’ to suit the machine tool, and material used
and how rigidly it is clamped down.
A unique Tool Number value must be input if the toolpath is for a machine tool with an
automatic tool changer. If not, the value can be left as 1.
• Leave Add Ramping Moves unset.
Ramping Moves are applied to avoid plunging, especially where harder materials are being
machined. If Add Ramping Moves the user has access to a selection of ramping options to
control the Angle, Length, and incremental Height of ramp moves.
• The Material has already been defined hence there is no need to open
Setup.
The material and relief information are loaded into

the page.
It is possible to specify initial and final heights for

the Z Slices between which the Step Down value
applies. Any values entered are absolute relative to
Z Zero, which in this case is the Top.
• Leave the Start/Surface Z at 0. (This is the initial height from where the
first Step Down value will be subtracted).
• Set the Material Allowance to 0.5.
The Material Allowance is the specified thickness of

material that is left on over the actual relief when the
toolpath is created.
• The Last Slice Z defaults to the height of the Material Allowance above
relief base level. This value can be modified upwards to leave more
material on the base level if required.
• Click Apply.
On clicking the Apply the number of Z slices are

calculated, based on the tool stepdown and the thickness
of each slice.

• Select the down arrow on the Machine Safe Z bar.
Safe Z is the user defined, height in Z above the material where the tool can safely perform
rapid moves to and from plunge positions. Note:- Do not forget to consider the heights of
clamping and fixture components, if applicable.
The tool Home Position defines the Start (1st move) and End (last move) of the toolpath. It is
not permitted for the selected Z value that is less than the Safe Z value.
• Set Safe Z at 15 and the Home Position as X0 Y0 Z15.

• Change the Tolerance value to 0.1
Tolerance determines how accurately a cutter path

follows the true shape of the relief, the actual value
being the maximum permissible deviation from the
relief form.
The next stage is to select a suitable Strategy from either Raster or Offset.
Raster Roughing
With the Raster strategy, the tool moves across

the Z Slices in parallel, straight line moves
separated by the Step Over distance. The
toolpath is automatically limited away from the
relief by the tool radius plus the Material
Allowance, as shown.
The Raster process on it’s own tends to leave

steps around the relief. If required these can be
removed by applying a Profile Pass either
before (First) or after (Last) the Raster moves.

Offset Roughing
With the Offset strategy, the tool moves are
offset inwards from the shape of the
Complete Relief or limiting vector, and
outwards from the shape of the relief contour.
Individual tracks are separated by the Step
Over distance.
In this example the Z Slices will be machined using a Raster

strategy without the addition of a Profile Pass.
The default Angle - 0 (along X) for the Raster strategy can

be changed if required.
• Set the Strategy as Raster, Angle 0 with Profile Pass set to None and
enter roughing for the toolpath name.
• Click the Calculate Now button and then Close.
The Toolpath can be calculated Now or Later. When the

option Later is chosen it will save the uncalculated
toolpath until the Batch Calculate option is selected
from the toolpaths menu.
Several unprocessed toolpaths could be Batched ready to be calculated at a later time (eg
while the user goes for a coffee break).
The generated toolpath components are

colour coded to assist with both
visualisation and identification for post-
processing.
Cutting Feed Rate moves are Red, Safe Z
rapid moves are Dark Blue, and
Plunge/Ramp moves are Pale Blue.
The toolpath appears as ‘selected’ at the top of the

Toolpaths page. The toolpath can be shown or
hidden by ticking or unticking the relevant Show in -
3D box.

The Objects to draw icon at the top of the 3D View opens a form in which the user can select
which entities are to visible.
• Click Objects to Draw on the 3D View Toolbar.
Different objects are toggled for selection by clicking

on them followed by pressing Apply to display the
selected items.
• Select only the roughing toolpath and click Apply.
The toolpath is now the only

displayed item.
• Select all objects and click Apply.

• Select File and then Save. (Note: More toolpaths will be added to the ArtCAM
Model in the next Chapter)
The Toolpaths will be saved in the ArtCAM model.
If it is required to modify a toolpath the machining form is re-opened by double left clicking
on the named toolpath in the top area.
The user can then change the parameters etc but if a new, separate toolpath is required, edit
the Name to be different from the original.
The edited settings are then Calculated to process the changes as the original or new
toolpath.

Simulating the Toolpaths

Toolpath movement and material removal can be Simulated in the ArtCAM 3D View.
• Select the Roughing Toolpath.
Click on the name roughing from the list so that it is

highlighted (selected).
• From the Toolpaths page, click the Simulate Toolpath Fast.
The following form will be displayed:
Relief Dimensions: shows the overall

dimensions of the relief.
Simulation Block Dimensions: gives the size of
the block. This should be at least as big as the
minimum and maximum height of the relief plus
any height (or depth) of the engraving features.
Simulation Relief Resolution: specifies the
quality of the image that you require. Obviously
the lower the resolution the greater the speed of
calculation.
• Select Standard from the Simulation Relief Resolution section.

• Use the other default settings and click Simulate Toolpath.
A ‘virtual’ model of material removal is displayed

as controlled from the Toolpath Simulation
dialog. This is what the end result will look like
on the actual machine tool.
The result is a 3D model of the part machined component which also within graphics
limitations will indicate the standard of surface finish.
• Select Delete Simulation.

Note: the ArtCAM model has already been Saved prior to the toolpath simulation.

Z Level Roughing (Offset) Example

The following example takes the user through the creation of a toolpath using Z Level
(Offset) Roughing on a previously saved ArtCAM Relief model.

• From D:\users\training\ArtCam Data, select the model flowers.
• D:\users\training\COURSEWORK\ArtCAMPro-Jobs\ rough-machine-
flowers.
• Select Z Level Roughing.
• Select Composite Relief.

• Click the Select…button on Roughing Tool to
access the standard Tool Database.
• Select Metric tools, Steel, Roughing and 2D Finishing and then End Mill
6mm.
• Press Select.
• Select the down arrow on the End Mill 6mm bar.
• Enter a Stepover of 5mm.
• Set the Stepdown to 1mm.
• Leave Feed Rate at 42, Plunge Rate at 13, Spindle at 15000 and Tool
Number as 1.
• Leave Add Ramping Moves unset.

• On Material, press Setup.
• Enter a Material Thickness of 10mm.

• Set a Top Offset of 0.25mm.

• Ensure that the Material Z Zero is set to the top.
• Click OK.
• Leave the Start/Surface Z at 0.
• Set the Material Allowance to 0.5. Leave the values in Last Slice Z and
click Apply.
• Set Safe Z at 15 and the Home Position as X0 Y 0 Z 15.

• Keep the Tolerance at 0.01
• Leave the Strategy options as Offset, Cut direction as Climb with Start
From set to Outside and enter roughing for the toolpath name.
• Click the Calculate Now button and then Close.
The offset toolpath means the toolpath

is offset around the relief.
• Select Simulate Toolpath Fast.
The simulation visually, shows the effect of

the toolpath.
• Select File  Save and then Close.

ArtCAM Pro 14. Relief Machining
14. Machine Relief & 3D Rest

Overview
These provide finishing strategies, which project a toolpath over the surface Relief while
adjusting for tool geometry and settings.
3D Machining Example
The following example takes the user through the creation of semi-finishing and finishing
toolpaths as a continuation to the Z Level Roughing created in the previous chapter.
• Open the model created earlier:-

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\Train-machine-ted.
The existing Relief appears in the 3D View window:
• Press F3 to open the 3D View and select the Toolpaths tab.
There is already a Z Level Roughing toolpath that was saved earlier in the ArtCAM model.
The material definition and basic machining setup are already defined based on the Z Level
Roughing toolpath already saved in the ArtCAM Model.
Semi Finishing (Raster) Toolpath

The Machine Relief option will be applied to create a semi-finishing toolpath using a Raster
in X strategy with a material Allowance of 0.25mm. The idea is to take a heavy cut over the
Relief mainly to remove the steps left by the previous roughing out operation.

14. Relief Machining ArtCAM Pro
• Select Machine Relief from the 3D Toolpaths section.
This machining page includes several options enabling the

user to control and ‘fine tune’ the required toolpaths.
Area to machine – this either applies to the Composite

Relief or the area within the Selected Vector.
Strategy - there are six basic strategy options:-

Raster in X - Creates the strategy along one direction.
Raster in X and Y - Repeats the strategy at 90 degrees.
Spiral - Creates a spiral strategy limited by the model.
Spiral in a box - Creates a spiral strategy trimmed to the
model.
3D Offset - Follows the outer contour offsetting the
toolpath with a stepover relative to the 3D form.
3D Offset Spiral - Same as 3D Offset but creates a spiral

instead of a stepped offset.
Raster Angle – A different Angle can be entered for the

direction of the toolpath (default 0 degrees = along X).
Do Multiple Passes - if a hard material is to be machined,

instead of applying one heavy cut to full depth, it can be
slowly taken off in stages by repeating the strategy
downwards from a defined height by applying Do
Multiple Z Passes.
The Material and Machine Safe Z have already been set

up for this model earlier while creating the roughing
toolpaths.
• Select Composite Relief and a Raster in X strategy with a Raster Angle

of 45, Allowance of 0.25 and Tolerance of 0.1.
• In the Tool area click the Select button to access the tool database.
• Select the Ball Nose 3mm from Aluminium – 3D Finishing.
A Ball Nosed tool is normally used for finishing to track over the 3D model form more
effectively.
• Edit the Stepover to 0.5 and leave Do Multiple passes unticked.

• Enter the toolpath name BN3-SemiFinish.
• Click Calculate Now and then Close.

The Semi-Finishing toolpath is as shown with a relatively large stepover set at a 45 degree
Angle for a more consistant finish over the whole of the relief. A finer Stepover will be
applied in the Finishing operation that follows next.
The Dia 3 Ball Nose tool has created a Semi-Finished form with a 0.25 Thickness on the
relief. The advantage of running a semi finishing toolpath is that it removes the steps left by
the Z Level Roughing, leaving a more consistent material removal rate for the final finishing
operations.
• Select File  Save to update the ArtCAM Model.

Finishing (3D Offset) Toolpath

For the initial finishing, the same Dia 3 Ball Nose tool will be used, but this time using 3D
Offset Spiral with a smaller Stepover and an Allowance of 0. A vector will be used to limit
the extent of the toolpath to be over the 3D relief form and not the flat base area. It will still
leave excess material on internal corners but these will be picked out locally, later on with a
smaller Ball Nosed tool. Generally the bigger the tool the faster the machining process!
• Press F2.
• Select the Assistant tab.
• Switch off the Preview Relief Layer icon on the 2D View top toolbar.
• If a bitmap is displayed switch off the twin light bulbs in Bitmaps (Layers)
to the right of the graphics area.
The vector for the outside of the Relief form will be offset to allow for the tool radius and a
bit of overlap across the base area.
• Select the vector enclosing the relief form and Offset a copy (with Offset
Corners - Radiused set), by 2mm outwards.
• Select the new offset vector.

• Select and double click on the stored BN3-SemiFinish toolpath to open the
Machine Relief form to enable editing of the settings and parameters.

• Select the option Selected Vector with a 3D Offset

Spiral strategy with an Allowance of 0.0, a
Tolerance of 0.01.
• In the Tool area click the

downward chevron symbol
and enter a Stepover of
0.05.
• Name the toolpath BN3-Finish.

• Select Simulate all.
The complete machining process is simulated. Note the finer finish over the relief form to
where the last finishing toolpath has been confined.
Note: The final finishing toolpath creation using the Dia 3 Ball Nose tool has been limited to
within the Selected Vector.
• Select File  Save but do not close the model as work will continue to
create further toolpaths in the next section.

3D Rest Machining
3D Rest Machining creates closed vectors around areas of the relief that are out of reach to
the tooling geometry of previously created Toolpaths. A further Machine Relief toolpath
using a smaller tool can then be applied within the vector area to locally pick out the
remaining detail. The calculation of the Rest Machining vectors uses the simulation model
of the previous toolpaths.
• Select the offset, relief form Vector used to limit the final Finishing
toolpath named BN3-Finish.
• In the 3D Toolpaths area select 3d Rest Machining.
It is only necessary to create Rest boundary vectors over

the relief form area (not the flat base area).
• Select the option Area Under selected

vectors.
• Select the option Simulating the last

toolpath.
• Enter a Cusp Tolerance value of 0.05.
• Keep the default Layer name, Rest

Machining.
• Click on the Create Boundaries tab.
New vectors will be created, as shown left and assigned to

a new Layer with the name Rest Machining.
• In the Vectors part of the Layer options switch off the Layer named
Default Layer by clicking the adjacent light bulb icon.

A Tapered Conical Tool of 10 Deg and 0.75 Rad will be used to perform the Rest
machining. Due to the small tip radius it is necessary to offset the rest boundary vectors to
enable the new toolpath to blend in with the previous finishing strategy.
• With the Rest Machining vectors selected, in the Assistant – Vector
Tools area select the Offset Vector icon.
• Enter an Offset Distance value of 0.2.
• Select the Outwards/Right option.
• Select the Radiused option.
• Tick - Delete original vectors.

• Click the Offset tab to perform the offset.
The Offset - Rest boundary will allow the new finishing

toolpath to blend more smoothly over the form previously
finished with the Dia 3 Ball Nose tool.
It will be easier to use a copy of the previous finishing

toolpath as the basis for the new rest finishing strategy.
• Select and double click on the stored BN3-Finish toolpath to open the
Machine Relief form to enable editing of the settings and parameters.
All of the parameters and settings will remain the same for the new toolpath apart from the
Tool selection and the toolpath Name.

• In the Tool area Aluminium – Engraving,

select the ‘Conical Rad .75 10 degree’ tool.
• Name the toolpath Conical075-Finish.

• Select Simulate Fast.
The last toolpath is Simulated which will produce sharper detail in the corners which were
previously inaccessible to the Dia 3Ball Nose tool.
• Select File and then Save (to update the model Train-machine-ted).
• Select File and then Close the model.

ArtCAM Pro 15. 3D Rest & 3DCut Out
15. 3D Cut Out Machining

Overview.
This strategy follows the shape of the selected vectors and automatically compensates for tool
radius and material Allowance. Note: This strategy does not collision check to the actual
relief and as a result material Allowance does not apply down Z.

• From D:\users\training\ArtCam Data, select the model
brooch_machined.art.
This relief exists both above and below Z0,

as displayed at the top of the Assistant
page.
The outside form of the model will be profile machined in stages with the 3D Cut Out
machining strategy.

• Select the 2D View and the outer Vector.
The 3D Cut Out command is intended for

profiling around the component form or the inside
of a pocket.

15. 3D Rest & 3D Cut Out ArtCAM Pro
• In the 3D Toolpaths area select the 3D Cut Out icon.
3D Cut Out uses vectors as the basis for creating a

stacked toolpath offsetting either Outside or Inside for
the tool geometry and machining Allowance.
Note: The relief is not directly involved.
• Set Profile Side to Outside.

• Set the Surface Z as 0 and Finish Z as -13.
• Set the Safe Z as 10 and Home Position as X0 Y0 Z10.
• Select a Dia 3 End Mill and override the Stepdown as 1.
• Enter the toolpath Name as BN3-3DCutout and press Calculate Now.
The Toolpath has been generated

at Z heights calculated using the
tool stepdown.

Lead in/Out Moves

To provide a smoother tool move onto the component profile it is possible to apply a circular
lead move on and off the toolpath.
• Select Add Lead In/Out Moves.
The Add Lead In / Out Moves form provides two

main options, Linear or Circular Arc.
• Enter a Distance of 5, select Circular Arc with a Radius of 5.

• Press Calculate Now and then Close.
• Press F2.
A smooth Lead In and Lead Out has been generated.
Next an Add Ramping Move will be added to instruct

the tool to ramp down in a zig zag motion during the
Lead In move.
Ramping is used for tools that do not cut at the base but
only around the edges.
• Double-click on the toolpath name from the top of the toolpaths page
(to allow for editing).
• Select Add Ramping Moves.
The Add Ramping Move options are displayed.
• Set the values as shown and press Now.

The light blue moves on the toolpath are

ramping moves onto the profile passes.
These only apply to the Lead In moves. At
the end of the Lead out the tool finishes
with a rapid retract to Safe Z followed by a
rapid move to the Home Position.
Ramping is essential in cases where a non-

plunging tool is being used.

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\
BroochMachineTraining
Creating Bridges.
In some applications it is required to profile around a component within a block of material
leaving location lugs to keep it in position until such time as it is required to break it free.
To create suitable location lugs settings from the Bridges form is applied form the Proflile
Options.
• In the 2D View select the toolpath profile.
• In 2D Toolpaths select Profile Options - Bridges.

• Select Add Bridges to Profiles – Constant Number with Number 4.

• Input a Bridge Length of 5 and a Bridge Thickness of 3 with 3D
Bridges ticked.
• Select the Create Bridges tab.
Four Bridges have been introduced into

the selected toolpath but are not currently
in a suitable position along the form to act
as location lugs.
• For each Bridge, select the central circle while the left mouse key is
depressed dynamically drag to a more suitable position as shown
below.
• The four Bridges added

to the 3D Cut Out
toolpath have been
moved dynamically to
more suitable positions to
act as location lugs.
• Note: A Bridge Length

can also be edited
dynamically by dragging
on a square marker at
the end of a Bridge
preview.
• Select the Close tab to exit the Profile Options.

• Select a 3D View.
In the case the 4 Bridges

are formed with a
triangular movement in
the Z Plane.
If 3D Bridges is unticked
then the Bridges are
formed with a rectangular
movement in the Z Plane.
On Simulating the
toolpaths the 4 location
lugs can clearly be seen.
• Save and Close the ArtCAM model.

ArtCAM Pro 16. Feature Machining
16. Feature Machining.

Overview
Feature Machining is a 3D engraving strategy, where the actual thickness over areas of the
relief are controlled within Vectors. There are three types of Feature, Raised, Recessed, or
Centre Line. The type is defined using the options in the Feature form. Only toolpaths that
are created after the Feature Machining has been performed will comply with the thickness
attributes of Feature vectors.
Example
A vector will be imported and then Turned to create a Relief. Then a set of three Vector
Text items will be generated to show the different types of features.
• Create a new model

• Set size as 100 x 100mm with a resolution of 1028 x 1028 with the origin
in the centre.
• From the top menu select Vectors - Import.
• In the resultant form, browse to D:\users\training\ArtCam Data selecting
the file feature-bottle.eps and press Open.
The vector is imported into the new model and remains

selected.
The vector for the bottle section will now be used to

create a Turn, relief inputting a Z scaling Factor of 0.5
to create a flatter design.

16. Feature Machining ArtCAM Pro
• Select Turn button from the Relief Toolbar.

• Select the vector, select Z scale as 0.5, select Add and press Turn.
The relief is now complete. The next

stage is for vectors to be created and
converted into Features.
In this case Text Vectors will be used

as the basis for the Features.
• Select the 2D View and at the top switch on Preview Relief View.
• Create vector Text using Font - Book Antiqua, Size - 12mm with a
character spacing of 65% of the text ‘TEXT’.
• Position near the top of the bottle as shown below.
• Use Block Copy to create 3 copies incrementally offset by Y-15 down the
bottle as shown.
Each of these three Text Vectors will be

converted to a different type of Feature,
(Raised, Recessed, or Centreline) which in
turn will be machined using Feature
Machining.
The heights or depths of Features are

measured incrementally from the relief
surface.
Note: A Feature could also be created from

a group of vectors.
• Select the top text.

• From the toolpaths tab, select Feature Machining.

The Feature Machining form will appear.
The Feature Height option will automatically allow for

the specified amount of material to be left on within the
defined Feature area.
A value in Feature Allowance will cause an additional

amount of material to be left around the edge of the
feature.
FEATURE ALLLOWANCE
The Allowance value is an additional amount of stock on

top of the defined Feature Height.
• Set the Feature Height to 1mm, Allowance to 0, select Vector at Top

Edge, Sharpen at bottom, and enter the Name - Raised-3bn.
• Select Material - Setup and set Material thickness as 25, Z zero at the
top and a Top Offset value of 1mm.
• Click Now and when processed, select Close.

The area inside the Feature has been defined with a Raised offset of 1mm above the existing
relief. The Feature is represented internally in ArtCAM and the effect will only be visible
after the toolpath has been created and simulated.
Note, only toolpaths created after the Feature

Machining operation will respect the settings of
a Feature vector. As a result of this the main
finishing toolpath will be created next and then
manually moved to the top of the list of created
toolpaths. This will result in the to surface of the
above text being an exact 1mm offset above the
actual relief (It is currently flush with the top of
the material block as shown above).
• Select the Machine Relief button on the Toolpaths page.

• Select Whole model with a Raster strategy, Allowance of 0 and a
Tolerance of 0.01.
• Select a Ball Nose 6mm Tool and change the Stepover to 0.3.
• Name the toolpath finish-6bn.
• Delete the current toolpath simulation and run Simulate all toolpaths.
The toolpath has machined over the Feature

area to the specified offset Feature Height of
1mm.
The selected, main finishing toolpath will be moved to the top of the list in the Toolpath
Operations window by clicking on the upward arrow.

Corner sharpen
On checking the Corner Sharpen box ArtCAM Pro will automatically move the tool in 3
axes along intersecting regions, which require sharpening.
The following example shows the effect of corner sharpening on a letter "M“.
Multiple Z Passes
This option allows the chosen machining strategy to be repeated in a series of selected
incremental heights down Z.
Drop Tool
The tool geometry is taken into account when producing a gouge free toolpath.in relation to
the Feature.
Project Tool
With this option the tool geometry is ignored and the tip of the cutter is projected directly onto
the relief. This would create gouging of the relief on inclined faces.
• Open the existing Feature Machining toolpath and change the Name to
Raised1-5 to initiate a copy.

• Input a Feature Height of 1.
• Tick Sharpen At Bottom.
• Select Profile Only.
• Change the tool (Select) to a 1.5 Ball Nosed

cutter.
• Change Name to Raised1-5.

• Click Now and when processed, select Close.
This is a single pass toolpath strategy designed to further, sharpen the corners left by the 3
Ball Nosed toolpath created earlier.
• Run Simulate last toolpath.

• Save the Model as:-

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\Feature-MC.
Exercises
If Feature Machining is of interest as a potential application then repeat the above process on
the central Text vector as a Recessed Feature and the lower Text vector as a Centre Line
Feature.


ArtCAM Pro 17. Post Processing Toolpaths
17. Post Processing Toolpaths

Introduction
The Toolpaths produced in ArtCAM have to be translated into a different format as an
exported file for a specific machine tool controller. The collective name for one of these files
is ncdata and the operation is called Post-Processing which is accessed via the Save
Toolpaths option.
Post Processing of Toolpaths for a Manual Tool Changer
• Open the model:-

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\Train-machine-ted.
• Click the Save Toolpaths button on the Toolpath toolbar.
When the Save Toolpaths dialogue is opened all existing toolpaths are listed in the left
hand window. If one of the toolpaths is selected prior to opening the Save Toolpaths
form it will appear in the right hand window. Toolpaths are selected and transferred
from one side to the other using the central Arrow buttons.
All the files in the right hand window will be included for output into one ncdata file. If the
machine tool uses a manual tool change then it will only be possible to include Toolpaths in
the ncdata file that share the same cutting tool. If the machine tool has an automatic tool
changer then any combination of the available toolpaths can be include in the ncdata file.
• Select the left black arrow.
The toolpath has moved back to the list of calculated toolpaths.

17. Post Processing Toolpaths ArtCAM Pro
• Select the toolpath Em6-Roughing and then the right black arrow.
• Untick Save files to spool Directory (The user will be prompted for the
location directory for outputting the current ncdata file).
• From Machine Output, select Proma PPM 3Axis Flat.
Note: this machine does not support an automatic tool changer hence only Toolpaths that
use the same tool can be included in the ncdata output file.
• Press Save and select C:\temp, file name as Em6-Rough-ted and press
Save.
• Select the left black arrow (to move the toolpath to the left side).
• Select the toolpath BN3-SemiFinish and then the right
black arrow.
• Select the toolpath BN3-Finish and then the right black
arrow.
• Set Machine Output as Proma PPM 3Axis Flat.
• Press Save, browse to select C:\temp, enter the file name as BN3-All-ted
and press the Save tab.
• Select the left Red arrow (to move all toolpaths to the left side).
• Select Close on the form.
Two post-processed Toolpaths have been saved outside ArtCAM and translated in the
format required for a Proma 3-Axis controller.
• Do not Close the model as it is required again in the next chapter.

ArtCAM Pro 17. Post Processing Toolpaths
Post Processing of Toolpaths for an Automatic Tool Changer

If a Machine Tool is fitted with an Automatic Tool Changer then the control of this feature
will be available in the Post Processor translation.
If toolpaths containing different tools are passed over to the right hand window of the Save
Toolpaths form and the selected Post Processor does not support an Automatic Tool
Changer then a box with an error message will appear.
The Tool Number is essential to identify the location of an individual Tool in the tool
changer, carousel.
If a compatible Post Processor is selected but the individual Tools are not allocated a unique
Tool Number in the respective Toolpaths then again the operation will fail and an error
message will be displayed.
The Tool Number can be defined in a number of ways.
1. Entering the tool number within the defined tool of the toolpath.

17. Post Processing Toolpaths ArtCAM Pro
2. Entering/Editing the default tool number defined in the Tool database
3. A tool number can be changed after toolpath calculation by selecting
from the bottom of the Toolpaths tab.

ArtCAM Pro 18. Toolpath Templates
18. Toolpath Templates

Toolpath Templates.
A Toolpath Template is a file containing one or more unprocessed machining strategies
stored outside ArtCAM as a tpl file. A previously stored Toolpath Template is imported
into ArtCAM and the associated machining strategies can be then edited (if required) before
the toolpaths are regenerated for the current model.
The benefit of Toolpath Templates is that a whole set of unprocessed machining strategies
can later be loaded into ArtCAM with all the tooling and settings already set for the user
specific application or for a series of similar ArtCAM models.
• In the current model, Machine-Ted select the Toolpaths tab.
This ArtCAM model contains five Toolpaths, two of which require closed vectors to control
the area to be machined. When a Template is Saved all toolpaths that exist in the model are
included in the output file.
• Select Save Toolpath as Template.
The toolpath template is a

special file type (*.tpl) and is
stored outside of the ArtCAM
model.
It is a good idea to be as
descriptive as possible with the
template name.
• Select the area D:\users\training\COURSEWORK\ArtCAMPro-Jobs and

enter the name EM6-BN30-Bn1.5-Con0.75.
• Press Save.
The template can now be loaded into a different model or, if these toolpaths have been
deleted, they can be loaded back into the current model.
• Select and delete all of the toolpaths.

18. Toolpath Templates ArtCAM Pro
• Select Load Toolpath Template.
• Select the file EM6-BN30-Bn1.5-Con0.75.tpl and press Open.
The Unprocessed toolpaths are displayed in red and

there are no ‘display toolpath’ tick boxes below
‘Show in 2D/3D’ indicating that they have not yet
been calculated.
• Select Batch Calculate toolpaths.
A form appears with all of the toolpaths listed.

By default all of the toolpaths are ticked, ready
to be included in the Batch Calculate process.
Note: If use a selected vector is specified in

the toolpath form, a suitable vector must first
be created and selected if Batch Calculating
the template on a different model.
• Select the Start tab and when finished Close the form.
All of the toolpaths have been calculated including the last 2, which require the selection of a
suitable limiting vector. As the Toolpath Template is being applied to the same model then
the vectors will be remembered and selected automatically. If the Toolpath Template is
applied to a different model then these toolpaths will have to be opened on an individual
basis and suitable limiting vectors created and selected before applying Calculate Now.
• Select File  Close (No need to Save the model).

ArtCAM Pro 18. Toolpath Templates

ArtCAM 19. 2D Vector Machining
19. 2D Vector Machining

Introduction.
For certain type of 2D components it is of no benefit to create a 3D Relief Model. For these
applications ArtCAM Pro has a series of options to create 2D Toolpaths that are directly
calculated from vectors.
Forest Sign – 2D Area Clearance.
• Open the Model:-

D:\users\training\ArtCAM Data\Forest_Sign.art
• Hold down Shift and multi-select the inner ellipse, squirrel, tree, and
Text vectors.

• In the 2D Toolpaths section select the
Area Clearance icon.
• Set the Start Depth as 0, Finish Depth as 2 and

Allowance as 0.
• Set the Final Tool Allowance as 0.25 and
Tolerance as 0.01.
Note: 2D Vector Machining will produce Toolpaths without a

defined Material Setup.
• Input the Name EM6EM1_5-AreaClear1.

19. 2D Vector Machining ArtCAM Pro
The height from where the Stepdown is

calculated.
The maximum depth for machining to
occur.
The amount of 2D stock remaining on
the vectors for the final tool.
The amount of 2D stock remaining for
all except the final tool.
The toolpath will create a finish to
within 0.01 of the original vector.
• Click on the downward arrow to the right of Machine Safe Z.
Safe Z:- The height at which rapid moves across the

component are permitted.
Home Position:- The coordinates of the Start and End

point of the toolpath.
• Set the Safe Z as 15 and the Home Position to be X -100 Y-50 Z20.
• Select Add from the Tools List.
• From the tool database Wood or Plastic  Roughing and 2D Finishing
section load in both the End Mill 6mm and the End Mill 1.5mm tools.
This is the area where the selected tools are

displayed. In 2D Area Clearance it is possible to
select more than one tool, which will
automatically be sorted and used sequentially in
descending size.
The Tools List contains two different End Mills. When the toolpath is calculated, the larger
Dia 6mm End Mill is used first to perform the main 2D Area Clearance machining. Any
subsequent, smaller tools in the Tools List will only operate locally in areas that are out of
reach to the previous tool (Rest Milling).
• Select a Raster strategy.
There are two options available for 2D Area

Clearance machining strategies, Raster which steps a
linear cutterpath backwards and forwards across the
component or Offset which steps the cutterpath
parallel to the selected vector(s).
• Click on Calculate Now.

The 2D Area Clearance toolpaths will appear as shown above. As the primary tool (End
Mill 6mm) has a Stepdown value of 2.4mm, all of the machining has been performed at the
single depth of –2mm. If the above Stepdown value were 1mm then the machining would
have been performed at depths of both –1mm and –2mm.
• Select Close.
The Toolpaths window now

contains two named toolpaths,
which by default are also
displayed in both the 2D and 3D
views. As is shown above the
individual strategies can be
selected separately if it is. For
instance required to perform an
individual toolpath simulation.
• Open the 3D window and select an isometric view.

• Select the End Mill 6mm strategy only (as shown above).
• Click on the Simulate Toolpath Fast icon.
Note:- Only the selected toolpath -

End Mill 6 mm is simulated.
This toolpath has machined the inner

form leaving a 2D stock of 0.25mm
to be finished by the End Mill 1.5 mm
toolpath.

• Select the End Mill 1.5mm strategy only.

• Click on the Simulate Toolpath Fast icon.
The End Mill 1.5 mm toolpath has

successfully rest machined the remaining
areas inaccessible to the previous cutter and
removed the final 0.25mm stock
allowance.
Forest Sign – 2D Profiling.
• Select the 2D view and select the outer ellipse - vector.
A 2D Profiling strategy will be used to drive

the tool around the outside of the sign.
• Click on the 2D Profiling icon.
A Profiling toolpath can be generated to the defined depth, on the Inside or Outside of a
closed vector. There is also the option to apply a Climb Mill or Conventional direction of
cut. For an open Vector, Inside will offset the toolpath to the right of the vector direction
whereas Outside will offset the toolpath to the left of the vector direction.
The depth of cut for each profiling pass is defined by the tool’s stored parameters, for
example if the tool has a step down of 2mm maximum, it would take 5 profiling passes to get
down to a total depth of 10mm.
With a 2D Profiling toolpath the option is available to approach required profile with a
horizontal, arc Lead in and Lead out. This would result in a tool plunge move occurring
away from the profile followed by a smooth, tangential transition onto the actual tool track.
• Select Profile side as Outside.

• Select a Start Depth of 0, Finish Depth of 10 and Allowance of 0.

• In Profiling Tool click the Select button and load in the same 6mm End
Mill that was used earlier in the 2D Area Clearance operation.
When 2D Profiling around a component, a superior finish is achieved for most materials if
the direction of travel is the left of the vector (Climb Milling). There are however a few
materials (certain plastics) where a superior finish is achieved if the direction of travel is the
right of the vector (Conventional).
• Select Climb Milling.

• Click on Calculate Now to generate the toolpath.
The 2D Profiling toolpath has been generated

outside the outer ellipse.
• Select Close.
The simulation steps the 2D Profiling pass down to a total depth of 10mm. If it is required to
keep the sign attached to the outer material then location lugs (Bridges) can be applied
retrospectively along the toolpath.

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\TrainForestSign
• Do not close the model yet!
Exercise
• Select Profile Options and Create 4 suitably positioned 3D Bridges
of Thickness 3mm, Length 4mm near the corners on the 2D Profiling
strategy.

• Do not close the model yet!
Bevel Carving
The 2mm high text ‘FOREST’ on the sign will have a 1mm chamfer added by using the 2D
Toolpaths option called Bevel Carving.
The process requires the user to input a Bevel Carving Tool. The tool dimensions and/or
stored values of Stepdown and Stepover will determine if the chamfer is machined as a
series of ‘stepped passes’ or in one ‘hit’.
• In the 2D View select the Text item ‘FOREST’.

• In the 2D Toolpaths section select the Bevel Carving icon.
• In the Bevel Carving form input:- Start Depth 0,

Bevel Max Depth 1, Finish Depth 2.
• Select a V-Bit 6mm 90 degrees tool.
• Select an End Mill 1.5mm tool.
• Select Calculate Now.

• Do not close the form!
The resultant Bevel Carving strategy has stepped

down the chamfer due to the Stepover and
Stepdown values stored in the tool parameters.

• Click the downward arrow to the right of the V bit tool and edit the
Stepdown value to 1.5 as shown below.
• Select Calculate Now to regenerate the Bevel Carving toolpaths.
The resultant Bevel Carving strategy has

now machined the chamfer in one pass.
This is due to the amended Stepdown
value being larger than the depth of the
chamfer.
The 1mm chamfer can clearly be seen above

on the embossed 2mm high text.
• Select File - Save to update the model saved earlier.
(D:\users\training\COURSEWORK\ArtCAMPro-Jobs\TrainForestSign)

V Bit Carving
The following example illustrates the V Bit Carving options.
• Select Create New Model and input a of size X100 and Y100 with a
Resolution of 2004 x 2004 and set the Datum in the centre.
• From the top pulldown menus select Vectors - Import and Open the
file:-
….\ ArtCAM_Data\Examples2\V-BitCarvingVectors.eps

• In the 2D Toolpaths section select the V Bit Carving icon.
• Keep the Start Depth as 0

with a Tolerance of 0.01.
• Edit the Stepover to 1 and

the Stepdown to 3.
The maximum permissible depth for machining to

occur can be set by selecting the tick box and
specifying a Maximum Depth value.
• Select Now to Calculate the toolpath.

• Do not close the form.

The toolpath is calculated creating ‘V’

shaped recesses inside or between pairs
of selected vectors and text. The
maximum depth of the recesses is
currently unlimited but the tool does
perform an area clearance at
incremental depths equal to the specifed
Tool Stepdown value.
The area clearance can be removed by
inputting a suitably high value for
Stepdown.
• Edit the Tool Stepdown to 10.

• Do not close the form.
The toolpath has created the same

end result, but without performing
area clearance at 3mm incremental
depths (The tool Stepdown is now
10mm)
• In Sequencing tick the box Limit tool maximum depth and enter a
Maximum Depth value of –5.

The toolpath is now limited to a

maximum depth of -5mm where
area clearance is performed as
shown. The tool Stepdown is
greater than this value resulting in
single pass moves at the base of
the ‘V’ recesses above the
specified, maximum depth.

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\VbitCarving
• Select Close.

ArtCAM 20. Engraving
20. Engraving & Scribe Lines

Introduction.
Smart Engraving allows the user to input a selection of Roughing (End Mill) and
Engraving (V Shaped) tools, which create a series of efficient toolpaths within the defined
vector selection ultimately producing the required engraved form. Different machining
parameters and tool settings can be applied to each toolpath from within the Smart
Engraving options. For small detail it is possible to run Smart Engraving with one ‘V’
shaped tool. In applications where more than tool is defined the secondary toolpath
operations only remove material that is inaccessible to the previous toolpath.
Smart Engraving Example
• Open the model arch.art from D:\users\training\ArtCAM Data
The Smart Engraving options provide for finishing of

sharp internal corners for the finishing tooplaths using the
‘V’ Cutters.
The selected vector is the top edge of the detail. The

option to offset the End Mill for the engraving tool (it
leaves additional material on) is used to give the v-bit
finish tool some material on each side to cut out, to
balance the loading on the v-bit tool.
• Select the inner feature vector as shown above.
• Select the toolpaths tab and in 2D Toolpaths select Smart Engraving.
Issue ArtCAM Pro 2008 20. 1

20. Engraving ArtCAM
• Input Start Depth 0 and Finish Depth 5.
• Set Max Sharpening Angle as 150

degrees.
• Tick – Vectors are on surface.
• Tick – Offset end mills for engraving
tools.
• Set Machine SafeZ as 5 and Home
Position 0 0 5.
• Add Dia 6 and Dia 3 End Mills, along with

a Small V-Bit 12mm 90 Degree tool.
Note: the V Bit tool will have to be copied and edited

within the Tool Database from an existing stored tool.
• A 0.1 stock Allowance on the final profiling

pass has been assigned to the operations
using the End Mill 6mm tool.
Note: Several of the parameters can be defined

independently for the specific tool selected
(highlighted) in the form.
• Set the Material Thickness to 25.4mm

with the Z0 datum at the top.
The machining calculations will take the vector to be the top edge of the chamfered detail.
• For the End Mill 6mm tool set the tool Stepover to 4mm and the
Stepdown to 5mm.
• For the End Mill 3mm tool set the tool Stepover to 0.5mm and the
Stepdown to 1mm.
• For the Small V-Bit 12mm 90degrees tool set the tool Stepover to 0.1mm
and the Stepdown to 5mm.
• Select Calculate Now to generate 2 Area Clearance, and 1 engraving,
within the collectively named [Smart Engraving] toolpaths.
• Close the form.

All of the 3 toolpaths created by the Smart

Engraving options are displayed and could all
be simulated at the same time. It would
however be better to simulate them one at a
time to see more clearly what each one is
actually machining.
End Mill 6mm tool

This Operation performs Area Clearance on
the whole aperture to full depth (less than the
Stepdown value).
End Mill 3mm tool

This Operation performs Area Clearance on
areas inaccessible to the larger End Mill. In
the small enclosure at the tip the 1mm
stepdown causes machining to occur at
several Z descending Levels.
Small V-Bit 12mm 90degree tool

With corner sharpening on, the tool will ramp
along internal corner intesections to produce
the sharpened shape.

• Select the 2D view and select the four triangular vectors and the text
arch.
As these are only small indentations only one v-bit tool

will be rquired.
• Select Engraving.
• Select a Start Depth of 0 and a Finish Depth of 3mm. Set tolerance as
0.01.
• Select the Small v-bit 6mm 90 degrees tool.
• Change the Stepdown to 3mm.
• Select Do Corner Sharpening.
• Press Calculate Now and then Close.
• Simulate the toolpath.
Small V-Bit 12mm 90degree tool

All the small detail has created in a
separate Smart Engrave operation with
a single V-Bit tool.

Machine Along Vector
This 2D Toolpaths option directly traces along the selected vectors to a user defined depth.
A typical application would to mark a scribe line around the outside of a component form.
• Select the outer vector.
• Select the toolpaths tab and in 2D Toolpaths select Machine Along

Vector.
• Input a Finish Depth of 1.
• Select a Ball Nose 1.5 mm tool.
• Select Calculate Now.

The outer limit of the

component has been ‘scribed’
with the Dia 1.5 Ball Nosed
tool.

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\SmartEngraving
• Select Close.

ArtCAM 21. Drilling
21. Drilling
Introduction.
In the Toolpaths window, 2D Toolpaths section there is a Drilling option, which uses
selected vectors for defining the hole positions. The hole positions are defined either central
to circle vectors, at vector node points, at a vector dimensional centre, or on the Plunge
Move positions of a selected 2D Toolpath.
For creating a Drill tool the V-Bit tool form is used as this has the same geometrical shape.
• Open the Model:-

D:\users\training\ArtCAM Data \Drilling.art
• Select the 6 Circle vectors.
• In 2D Toolpaths select the Drilling icon.
• Use a Finish Depth of 20mm.
Plunge Clearance is a separate Safe Z for Drilling.
• Set a Home Position of X0 Y0 Z5.

• Select a Small V-Bit 6mm 90 degree
tool.
• Change the Tool Stepdown to 6.
• Select the option Selected Circular
Vectors.
• Tick the box, Use Peck Drilling and enter

a Retraction value of 4.
The Drill will lift 4mm at each incremental
Stepdown depth of 6mm.
Optimise is one of several options controlling the

order in which a hole pattern is Drilled.
• Define a Material Thickness of 25.4.
• Input a Name Drilling-1.

• Press Calculate Now.
• Close the form.
Issue ArtCAM-Pro 2008 21.1

21 Drilling ArtCAM
Before calculating the individual Drilling positions are previewed in the 2D View as shown
above left. The resultant Drilling Toolpath is as shown above right in the 3D View.
• Simulate the Toolpath and observe the 4mm upward pecking

movements at 6mm incremental depths.
• In the 2D View select the oval vector.
For the next Drilling toolpath the option Drill

Centre of … All Selected Vectors will be
applied. The hole will be positioned as shown
left, dimensionally central to the vector
selection.
21.2 Issue ArtCAM-Pro 2008

ArtCAM 21. Drilling
• Use a Finish Depth of 6.
• Use the same Small V-Bit 6mm 90 degree

tool.
• Define Drill Centre of … as All Selected

Vectors.
• Untick Use Peck Drilling.

• Close the form.
• Simulate the Toolpath to observe the drill plunge directly to the full depth
of 6mm, central to the oval vector.

21 Drilling ArtCAM
• In the 2D View select the 5 sided vector.
For the next Drilling toolpath the option Drill

Centre of … All Selected Vectors Nodes will be
applied. The holes will be positioned as shown left,
on the Node Points of the vector selection.
• Use a Finish Depth of 10.
• Use the same Small V-Bit 6mm 90 degree

tool.
• Define Drill Centre of … as All Selected

Vector Nodes.
• Untick Use Peck Drilling.

• Close the form.

ArtCAM 21. Drilling
• Simulate the Toolpath to observe the drill plunge directly to the full depth
of 10mm, at the Node Points of the 5 sided vector.

D:\users\training\COURSEWORK\ArtCAMPro-Jobs\DrillingExample
• Select Close.

21 Drilling ArtCAM

ArtCAM Pro 22. Projects
22. Projects
Overview
An ArtCAM Project allows more than one Model to co-exist as an Assembly. A Project
enables the user to perform such tasks as to re-orientate and reposition separate model items
to put together a complete 3D Assembled Component. It is also possible to directly import
Surface data (converted as a Triangle Mesh) into a Project as a separate Assembly item.
Assembled Table
• From the ArtCAM options select Create New Project.
This will open a new Project window, the top of which is as shown above.
Import of a Surface Model (Table Leg)

• From the Project Tree on the left hand side right click on the Assembly
and select Import….
• In the Import 3D Model form change the File of type to Surface Models
and select the File Name:-
D:\users\training\ArtCAM Data \AssembledTable\TableLeg.3dm

22. Projects ArtCAM Pro
A copy of the table leg is required which will be rotated into a suitable orientation for
Toolpath creation.
Nudge Scale Mirror Material
• In the Assembly right click on the Table Leg and select Copy.
• In the Assembly right click on the Table Leg and select Paste.
• Right click on the new Table Leg and Rename it as TableLeg-Machine.
• With the new TableLeg-Machine selected, click the Nudge Assembly icon
located to the lower left of the Project area.
• In the Nudge form, insert 90 in the Angle box, change the active angle to
Y and select the Nudge Clockwise button.
As the new item is not required until later, it will be temporarily removed by applying Hide
from the Assembly Item menu options.
• In the Assembly right click on the item, TableLeg-Machine and from the
menu options select Hide (It will no longer be displayed in the graphics
area)

Creating the table top

• In the Project Tree right click on Models, select New then Model.
The Model form will open, for the user to input the settings and sizes in the usual way.
• Input/Set the following:-
- Units mm.
- Height 800, Width 800.
- Origin at the Centre.
- Resolution 1508 x 1508.
• Create 3 Circles centred about X0 Y0 with respective Diameters of 750,

700, and 300.
• From the Relief Clipart Library, import the Round Pattern 1 from the
Architectural folder.
• Once the clipart window and preview relief vectors are visible close the
Relief Clipart Library by selecting the arrow to the lower right of the form.
• Centre the preview Relief on the model using the F9 shortcut.
• In the 3D Clipart form, set the following:-

1. Apply a suitable Scale dynamically to the Preview Relief so that it is
just within the outer circle vector (This will be a 2 stage process!).
2. Apply a new Z Range of 10 in the Size options.
3. Set the Mode to Add.
• Paste the Preview Relief to the model.

• Select the inner most circle vector, open the Shape Editor and select
Zero to remove the inner part of the relief form.
• Select the circle vector defining the inner edge of the table rim, and in the
Shape Editor, select Zero Rest to remove the outside relief form.
• Select the outer circle vector and in the Shape Editor - Add a Plane
relief of height 20 over the whole of the existing table top.

• Select both the outer and inner rim circle vectors, and in the Shape Editor -
Merge High a with a Plane relief of height 30 to produce the rim form,
• Finally select the inner most circle vector and in the Shape Editor -
Merge High wit a Plane relief of height 30 to form the centre area.
The next stage is to include the table top in the Assembly.
• Open the Create Triangle Mesh, select the option Close With A Flat
Plane.
• Click Create Triangles and when processed select Add To Project before
selecting Close.

• Under the Project under the Assembly menu, expand the Untitled assembly
right click on the untitled part and Rename it to Top.
• Under Models - right mouse click on the

(Untitled) model and Rename to Top.
• In the Assembly - Rename the table top triangle mesh as (TopMesh).
Creating the base

• In the Project Tree right click on Models, select New and then Model.

The Model form will open, for the user to input the settings and sizes in the usual way.
• Input/Set the following:-
- Units mm.
- Height 800, Width 800.
- Origin at the Centre.
- Resolution 1508 x 1508.
• Create 2 Circle vectors about X0 Y0 with Diameters of 500 and 200.
• Select the outer circle vector and in Relief Tools open the
Create 3D Blend form.
• In the Profile options select Concave.
• In 2nd Vector type in a value of 40.
• Change the Proportion to 75%.
• Select Add.
• Create Blend followed by Close.

All component parts in the Assembly are currently displayed in the 3D View.
• Select a 3D View and open the Objects To Draw form.
• De-select, Root Assembly so that the

previously stored components are no longer
displayed.
• From the Relief Clipart Library, import the Round Pattern 2 from the
Architectural folder.
• Once the clipart window and preview relief vectors are visible close the
Relief Clipart Library by selecting the arrow to the lower right of the form.
• Centre the preview Relief on the model using the F9 shortcut.
• In the 3D Clipart form, set the following:-

4. Apply a suitable Scale dynamically to the Preview Relief so that it is
just within the outer circle vector (This will be a 2 stage process!).
5. Apply a new Z Range of 10 in the Size options.
6. Set the Mode to Add.
• Paste the Preview Relief to the model.
• Select the inner most circle vector, open the Shape Editor and select
Zero to remove the inner part of the relief form.

• Select the outer most circle vector, open the Shape Editor, and Add a
Plane of height 20 to the relief form.
The next stage is to include the table base in the Assembly.
• Open the Create Triangle Mesh, select the option Close With A Flat
Plane.
• Click Create Triangles and when processed select Add To Project before
selecting Close.
• In the 3D View select the Objects to draw icon and deselect Front Relief,
this will make the Assembly to be the only visible item.

• In the Assembly tab select the bottom component

named (Untitled), right click and Rename it to
BaseMesh.
• With Base selected open the Nudge icon.
• In the Step box type in a value of 630 and select the down arrow to move
the Base component into place.

Machining the components
• In the project tree under the model branch open the first model called Top
by double clicking on it
• Under the Toolpaths tab, open the Machine Relief toolpath
• Select Automatic Boundary and type 12 in the Offset box
• Change the Strategy to Offset

• 10mm End Mill tool
• Calculate Now
• With the Machine Relief still open, Change Area to machine to Selected
Vector
• Change the tool to a 3mm Ball Nose
• Change the name to Finishing.
• Calculate Now
• Close the form.
• Simulate All Toolpaths

Next we will machine the table base
• In the project tree under the model branch open the first model called Base
by double clicking on it
• Under the Toolpaths tab open the Machine Relief toolpath
• Select Automatic Boundary and type 12 in the Offset box.
• Change the Strategy to Offset.
• 10mm End Mill tool
• Calculate Now.
• With the Machine Relief form still open, Change Area to machine to
Selected Vector.
• Change the tool to a 3mm Ball Nose
• Change the Name to Finishing
• Calculate Now.
• Close the form.
• Simulate All Toolpaths

22.11
Machining the table leg

To machine the table leg on both sides the block needs to have reference guides so once it has
been flipped over it can be machined in the correct place to create a finished 3D model.
• From the project tree, right click on the Table Leg Machine and select
Create Relief
• In the Relief layer page change the layer to Table Leg Machine and turn on
the Preview Relief Layer
• Create a new Relief Layer and set it to Merge High
Now we will add a border to the model so that we can create two block ends so that when the
model is flipped over for machining there are some reference points for correct alignment of
the material.
• From the model section on the Assistant tab select Add Border
• Deselect Symmetrical
• Select Left enter a value of 50
• Select Right enter a value of 50
• Create a new Relief Layer and name in Tabs
• Draw a box around either end of the model so that it looks like the image
below
• Select both of the boxes and Merge High to 100

• Next we will create two holes one in each end block for the alignment when
the model is flipped over
• Draw a Circle X -36 Y 0 with a diameter of 12mm
• Draw a Circle X 642 Y 0 with a diameter of 12mm
• Under the Toolpaths tab open the Machine Relief
• Select Composite Relief under Area to Machine.
• Raster in X strategy.
• Select an 12mm End Mill

• In Material Setup, set as Material Thickness 200mm,Top Offset 0 and Z

zero at top.
• Calculate Now.
• Close
• Simulate Toolpath
• Under the Toolpaths tab open the Machine Relief
• Select Composite Relief
• Raster in X strategy.
• 3mm Ball Nose
• Calculate Now
• Close
• Simulate Toolpath
• Next we will drill the holes for the guides for when turn the model over to
machine the reverse side
• Select the 2 circles and select the Drilling toolpath from the 2D Toolpaths
section
• Start Depth 0
• Finish Depth 200
• 12mm End Mill
• Calculate Now
• Close the form.
The project is now complete.

22.13
ArtCAM Font Creation
Appendix - Font Creation

Introduction.
Fonts can be created by modifying existing fonts or by generation a new font. The font
generator is a special part of ArtCAM that is accessed through the main area before a model
is opened.
Example
• Load up ArtCAM.
• Select Font Editor.
The font editor main control form appears. This

allows you select a base font to change or to
generate your own.
AutoCAD fonts can also be imported into

ArtCAM.
• Select Arial Script Western and press Create.
The assistant allows you to pick and rename and

character of the font.
In the 2D view all of the available characters appear within boxed guidelines.
Issue ArtCAM Insignia 4 1

Font Creation ArtCAM
There are 256 character spaces available shown in the 16

rows and 16 columns.
Each character can be picked for changing by clicking on

it using the mouse.
• Click on the capital W.
As well as the character being enlarged and the Font Creator page updating, the Assistant tab
has appeared. This allows the use of the vector editing tools to change the character.
• Select the Assistant tab.

• Select N for Node mode and change the vector.
2 Issue ArtCAM Insignia 4

ArtCAM Font Creation
• Select the Font Creator tab.

• Press Done.
The character has now been substituted. The font can now be saved and then used in
ArtCAM.
• Press Save Font.

• Enter the name train-test.
• Press Quit to exit the Font Editor.
The font is now available in ArtCAM.

Font Creation ArtCAM

ArtCAM Machining Inlays
Appendix - Machining Inlays

Inlays.
An inlay is text or vectors with depth that is machined out of the material. The inlays are
usually machined in pairs using the same tool, so the male inlay will fit inside the female
pocket or hole inlay.
An Inlay Wizard creates the selected type of Inlay from

the selected vector.
The Inlay Wizard page appears. This is the first

selection in generating an inlay and allows you to
define the type of inlay that you want.
There are four female inlay options and two male

options. The male inlay will fit inside the female inlay
if an identical vector and identical tool is chosen.
Text example
• Create a new model of size 50 x 50 with a resolution of 829 x 829.

• Create text of the letter ‘P’ using Arial, Western and a size of 25mm.
• Position the text in the middle of the model.
A Male and a female inlay toolpath will be calculated.
• From the toolpaths page, select Inlays.

• Select Female Pocket.

Machining Inlays ArtCAM
With a pocket inlay, the depth to machine into the model

has to be entered.
A roughing and a finishing tool can be used, which is useful

for large letters.
The ArtCAM standard machining controls are available.
• Select a Start Depth of 0, Finish Depth of 4mm.

• Select Machine Safe Z at 0 0 5.
• Set a 1.5mm End Mill for Finishing Tool and a 3mm End Mill as
Roughing Tool.
• Select an Offset strategy with a material of 5mm with Z zero at the top of
the block. Press Calculate Now.
The inlay toolpath has been generated. Note at the corners the
toolpath has become rounded. This is to ensure that it will be able
to fit the male insert inside.
The toolpath has been automatically named.
• Simulate the toolpath called Inlay Pocket.

ArtCAM Machining Inlays
If an inlay hole was produced, the depth of the inlay is calculated

form the material.
• Clear the Simulation. Select Inlay and then Male Straight.

• Select a Start Depth of 0, Finish Depth of 4mm.
• Set a 1.5mm End Mill for Finishing Tool. Press Calculate Now.
• Simulate the toolpath Male Insert
This male insert will fit perfectly inside the female pocket.
Note: When you are generating Stepped inserts, the shoulder is

offset from the vector, so with make inserts, this make the actual
vector larger.
Exercise
• Generate a stepped female inlay toolpath.

ArtCAM Insignia Multiple Plates
Appendix - Multiple Plates

Introduction.
To use Multiple Plates an Excel file must be generated and saved as a .csv file.
House Numbers Example
• Create a new model of size X900 and Y1200, with a thickness of 10mm.
• Create a rectangle of width 400, Height 150, Corner Radii of 50 at X0
Y0.
• Create centered justified style text of Font Arial, Size 30mm with the
text {{house number}} {{street}} as shown.
The text {{housenumber}} will be replaced by

the number in the .csv file, as will the text
{{streetname}}
• Select both vectors and select Create multiplates.
The multiplate page appears. This has two pages. The geometry that has been selected needs
to be stored as the master template, by pressing set emplate.
• Press Set Template.

• Press Load Data.
• Select the file house-names.csv form D:\users\training\ArtCAM Data
and press Open.
A preview of the file is displayed. To

identify the correct columns to use, the
correct filter must be chosen.

Multiple Plates ArtCAM Insignia
• Select Comma, Start at Row 2 and tick First row is column headers.
• Select OK.
The sheet layout has worked out that from the size of the sheet, and the number of columns
from the file, that it needs 2 sheets.
• On the plate layout, enter a Plate gap X as 25, Plate gap Y as 25, X
boundary as 10 and Y boundary as 10.
• Press the forward arrow.
By entering the offset values, the sheet number has increased to 3, as shown by pulling down
the matrix preview for the sheet.
• On the matrix preview sheet select plate 1.
In the variables section, the named areas are defined by

selecting either a number or a column from the .csv file.
A preview of the plate is shown in the Plate Values, to

check before creating the plates. You can also edit the
data at this stage as well. However it will not update the
.csv file.
• For House Number, select House Number.

• For Street Name, Select Streetname.
Plate No. 1 should display 32 Church Street on the page.
• Select Create Plates.

The first sheet on layer 1 is displayed. The other sheets

are on other layers.
However as the text size is fixed, the position of the

number is altered and some signs do not look central.
• Select Close on the page.

• Select Undo (Ctrl + Z). Switch on Layer 0 to display the original vectors.
• Right Mouse click on the vector text and select Edit Text block (e).
In the text form there is a constraints option, which

will fit text into a specified boxed area.
• Select Constraints as Centre justified, Method as Limit by Box,

• Select Width as 375, Height as 125.
• Move the text to the correct location and press Done.
You could select the outer vector and choose centre in vector.
• Select both vectors and select Create multiplates.
The multiplate page appears. This has two pages. The geometry that has been selected needs
to be stored as the master template.
• Press Set Template.

• Select the file housenames.csv form Examples-I and press Open.
• Select OK.

• On the matrix preview sheet select plate 1.

• For Street Name, select Streetname.
By selecting Text constraints then the text is better

spaced out in each sign or plate.

• Select Undo (Ctrl + Z). Switch on Layer 0 to display the original vectors.
• Select the vector text only.
• Create an Area Clearance toolpath with a end mill tool 2mm to a depth
of 5mm.
• Select the rectangle vector only.
• Create a profile toolpath using a 12mm end mill tool down to a depth of
10mm.
As the toolpaths are linked

to the vectors, you do not
need to store as a template.

• Select all vectors and toolpaths and select Create multiplates.
Note: select toolpaths by clicking on them so they go blue (selected).

• Select the file house-names.csv form Examples-I and press Open.
• Select OK.


• For Street Name, Select Streetname.
• Select Create Toolpaths.
Each sheet has it’s own set of toolpaths so

Areaclearance 1 and Profile 1 belong to sheet 1 as
shown here.

Exercise
• Using the file bcard.eps and businesscards.csv, create a set of business

cards similar to as shown.

ArtCAM Nesting Vectors
Appendix - Nesting Vectors

Introduction.
Nesting is an automatic procedure, which re-arranges the selected vectors within the first
vector to use as little space as possible. This is especially useful if you have expensive
material and you need to make the maximum use of it. Offsets for the tool radius and an
offset between the toolpath are used, so there is enough room to machine out the vectors.
Text Example
• Create a new model of width 150 and height 50, with the datum in the
centre.
• Create a rectangle of width 145 and height 45 at a position of X0 Y0.
• Create the text “all text to fit into this space”, using font Bookman Old
style, size 10mm.
• Select the rectangle vector. Hold shift and select the vector text.
• Select the Nesting icon.
The Nesting form appears.
This form defines, what tool will be used and the allowance
between the toolpaths, to stop them overlapping.
To allow ArtCAM insignia to find the optimum nesting, the

angle that the vectors can be rotated by can be set. If a step
angle of 10 degrees is chosen, each vector will be rotated by
10 degrees and then by another 10, until the optimum
nesting is found.
Mirror parts and parts in parts are alternative nesting

options, which if suitable may nest the vectors more tightly.

Nesting Vectors ArtCAM
There is an option to generate a single vector of the left over material, which can be used
again.
• Select a tool diameter of 4mm, a clearance of 1mm.

• Select Part Rotation and set an angle of 15 degrees.
• Select Nest.
The text has been nested in.
• Select undo (Ctrl + Z).

• Select the rectangle vector. Hold shift and select the vector text.
• Select Create Leftover material. Select Nest.
The leftover material vector is

made up of several small bits
and is therefore grouped
together.
• Select Close.
• Create the text “7”, using font Bookman Old style, size 10mm.
• Select the left over material vector and copy onto a different layer and
then select ungroup.
• Select the leftover vector on the right and the text 7.
• Select the Nesting icon.

• Untick Allow Parts in Parts and Create Leftover material Vector
• Select Nest Multiple Copies and enter a value of 7.
• Select Nest and then Close.

ArtCAM Nesting Vectors
The Nesting form appears.
• Delete the leftover material vectors.

• Select File  Save and enter my-nest in
D:\users\training\Coursework\ArtCAMPro-Jobs
Re-ordering Toolpaths
A profile toolpath, with a lot of tool lifts, around the model, will not necessarily move in the
order you require. A selected profile toolpath can be reordered where each lift appears.
Text Example…continued
• Open the model my-nest.

• Select all the vectors, apart from the outer vector.
• In the Toolpaths page, select the 2D Profiling icon.
• Select Outside, a start depth of 0, a finish depth of 10.
• Select 15mm for Machine Safe Z, with the home position at 0 0 15.
• Select an End Mill Dia 4mm tool. (you may need to create this tool)
• Press Calculate Now. Select Close.
The vectors group is

machined, but it may
not be machined in
the order you
required.

Nesting Vectors ArtCAM
• Select the profiling toolpath.

• Select the Toolpath ordering icon.
The toolpath ordering form appears and the current

ordering is displayed on the toolpath.
With the segment position set at 1 you can manually pick each sector in turn and starting
from one, renumber the segments. This can take some time if you have a lot of segments.
• Click on the numbers in turn to re-order the toolpath.

• Select Close.
• Simulate the toolpath to check the machining order.

ArtCAM Pro Shortcuts

Toolpath Panelling ArtCAM Pro
ArtCAM Cursors
Cursors:
Vector Selection mode cursor  Standard cursor when in Vector Selection mode.
Move Vector cursor  Vectors can be moved when this cursor is visible.
Node Editing mode cursor  Standard cursor when in Node Selection mode.
Span cursor  Available in Node Editing mode, when hovering over a span. It
has a specific right mouse click menu to edit spans.
Node cursor  Available in Node Editing mode, when hovering over a node. It
has a specific right mouse click menu to edit nodes.
Object Snap Cursors:
Snap to node.
Snap to midpoint of line.
Snap to center of bounding box.
Snap to X axis of start point (for polyline creation only).
Snap to Y axis of start point (for polyline creation only).
Snap to horizontal Guide Line.
Snap to vertical Guide Line.
Snap to intersection of horizontal and vertical Guide Lines.

ArtCAM Pro Toolpath Panelling
Toolpath Panelling
Toolpath panelling will split the ArtCAM toolpaths into panels sizes to suit the users machine
limits . It is important that the datum is set at the lower corner of the sheet. If the datum is
elsewhere the model has to be move, the vectors moved and the toolpaths re-calculated.
Example
• Open the model training-breadbin-lid.art from D:\users\training\ArtCAM
Data.
• Simulate the toolpaths.
• Draw the toolpaths over the simulation.
These toolpaths are going to be cut into panels

using toolpath panelling.
• From the toolpaths tab, select Toolpath Panelling.
The panelling page appears. The size of the panels are set here
and are displayed by dashed lines in the 2D view and a number
in the middle of the panel.

• Enter a Panel Width of 200 and a Height of 200.

• Press Update Panels.
The panels can be seen clearly. They can

be moved manually by dragging the lines,
for example if the panel goes through a
feature in the wrong place.
• Drag the panel borders around to miss going through the end of the side
details.
This is the best solution with reasonable

panels of approximately the same size.
• Select Include Toolpath Summary.

• Select Display Panel Info.
A html file appears with the panel information on.

This can be printed.

ArtCAM Pro Toolpath Panelling
• Select the 3D view. Select Display Selected.

• Select Panel : 2 and Select In Finished Job.
The toolpath is shown in the job with

the extended toolmoves from the left
corner datum.
• Select Panel : 2 and Select At Origin.
The toolpath is shown at the origin as if you put panel 2

in your machine.
All of the toolpaths in the panel are not displayed in the

toolpaths list as there may be lots of them.
The toolpaths are saved to disc. The original toolpath is

selected and then ArtCAM saves the panelled post
processed toolpath is a named directory.
• Press Save Toolpaths.

• Select the Area Clear toolpath, a suitable Machine option and press
Save.
• Enter the name ac and press Enter.
The 6 toolpaths called ac1 to ac6 are generated for panels 1 to 6.


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ArtCAM Pro 2008

This document is supplied as part of a Delcam Training Course. It is not intended to be

Copyright  2007 – Delcam plc. All rights reserved

UK Training Centre UK Customer Support

ArtCAM PRO 2008 Contents

Chapter Day 1 Page No.

6 3D Blend and Fade Relief 1-8

7. Extrude, Spin, Turn, and 2 Rail Sweep, Reliefs 1 - 24

10. Relief Layers 1-6

11. Relief Editing 1 - 16

13. 3D Z Level Roughing 1 - 10

14. Relief Machining & 3D Rest 1-8

15. 3D Cut Out Machining (Inc. Profile Options) 1-6

16. Feature Machining 1-8

17. Post processing Toolpaths 1-4

18. Toolpath Editing and Templates 1–2

Continued on next page:-

Issue ArtCAM Pro 2008 1

19. 2D Vector Machining 1 - 10

20. Engraving 1-6

21. Drilling 1-6

2 Issue ArtCAM Pro 2008

Starting ArtCAM Pro

Issue ArtCAM-PRO 2008 1.1

• Select the Create New Model icon.

A new model must have:- A defined

1.2 Issue ArtCAM-PRO 2008

Clicking on a menu item opens a pull-down menu that

For example the top part of the Vectors menu appears as

Issue ArtCAM-PRO 2008 1.3

Project Information - this shows the actual size of the

File – These options are applied when creating new, or

Model - This controls, the editing of the model attributes and

Bitmap Tools - These bitmap commands work with colours,

Vector Tools - Vectors are flat 2D lines, independent of

Position, Combine, Trim Vectors - These are the tools to

Tabs – Give access to other pages.

Fly - out menus

1.4 Issue ArtCAM-PRO 2008

To hide a fly-out menu reselect the pin.

• Select Window  Tile Vertically.

The 2D view is required when

The 3D view is required for a

Issue ArtCAM-PRO 2008 1.5

The Layers Assistant contains 3 different types of

If required, the Layers Assistant can be switched

1.6 Issue ArtCAM-PRO 2008

Saving and Closing Down the ArtCAM session

• Select File  Close Model.

The ArtCAM model is now closed.

ArtCAM Data Storage and Export

Issue ArtCAM-PRO 2008 1.7

1.8 Issue ArtCAM-PRO 2008

Generating Vectors Example

• Press Create New Model.

Once the model size has been set, the

Issue ArtCAM-PRO 2008 2.1

• From the Assistant or Vector toolbar, select the Create Rectangle

The rectangle creation page appears, showing the options

The rectangle can be created by clicking in the screen and dragging

Several rectangles can be created without closing down the page.

Each Assistant Page has help available, indicated by the word

• Press Show Help.