This video shows the process to model a 3D sign using the create shape and two rail sweep function. Try Before You Buy. I would like to be kept up to date with information about new products and services. Download Our Fully Functional Aspire Trial Our Aspire free trial has been designed to allow you to test all the elements of the software to ensure it is the right product for you before you buy.
Try Before You Buy Try out all the features with no obligation to buy. Test Machine Compatibility There are a variety of free projects available to you to cut from within the free trial. In this quick tip, we look at how to design a vertical welcome sign very easily using the Text Within a Vector Box tool.
In this quick tip, we learn some tips and techniques for scaling objects and we also look at how to convert a design from metric to inches. In this quick tip, we learn how to evenly space objects inside of circle by using the Circular Copy tool. For this example, we learn how to create a clock face. In this quick tip, we learn how to evenly space objects inside of Vectric software.
In this quick tip, we look at how to download custom fonts to your Vectric software and we look at some free resources for fonts. Join our weekly live Vectric lessons that cover practical projects that students send in. Not only that, you can get your questions answered live and have access to past live replays and project files. As well as simple VCarving, the software supports many advanced VCarving strategies, such as 'flat bottomed' VCarving.
Or optionally using multiple tools for your engraving jobs, reducing both machining time and tool wear. The option to use vector start points lets you choose the positions the tool will enter the material. For some applications this can help reduce the load and as such potential marking of the finished part, created by tool vibration when plunging into a deep area. Another advanced capability is the support for VCarving areas wider than the tool by making multiple clearance passes to achieve the required depth.
This is done automatically by the software when the carved area is deeper than the maximum cutting depth of the tool. When using this toolpath the software drives the tool along the center of the vector giving you control over the way the tool ramps into the start and end of each selected object.
This has many interesting applications outside of just the standard uses you would expect for this type of operation.
Perfect for:. Textured panels are often specified by interior designers and architects and textures are also a very useful option for creating backgrounds on dimensional signs. Vectric has a unique approach to generate unique 'hand carved' looking textures which still machine extremely efficiently. Once you specify a tool typically a pointed or round profile then you have various settings you can set to create the characteristics of your texture toolpath.
To give these textures a more natural and less machine made look you can set different levels of randomness. The toolpath will replicate the same type of move that would be made by someone using a chisel to carve overlapping strokes into the material.
Creating this as a toolpath move rather than as a 3D model will minimize the hand-finishing and also the machining time required to cut this. Textures can also be 'trimmed' to a vector boundary allowing the creation of this type of finish in a background area of a job.
This is a look very popular with sign makers using Vectric software. The Raised Prism machining strategy is prefect for cutting high quality raised lettering and shapes on signs for restaurants, hotels and bars etc. This function generates an efficient and smooth toolpath to cut 3D shapes such as mouldings, arches and frames that have a constant cross-section. The shape is specified by selecting two vectors; the first will represent the Drive Curve of the shape and the second defines the Cross Section that will in effect be extruded along the Drive Curve to create the swept shape when machined.
The Moulding Toolpath function allows you to specify two tools, one to in effect "Rough" out the majority of material with a larger tool and then the other to do the "Finishing". The Moulding Toolpath has some clever options to further improve finish and efficiency. For the "Finish" tool you can opt to "Vary Stepover", this can be used to improve finish on shapes that have a lot of steep angles or curves on the cross-section. For the "Rough" tool you can choose to have it pre-finish any flat horizontal regions on the cross section, which are common on a lot of Moulding shapes.
Using this option also allows you to avoid creating a "Finish" toolpath in those flat areas further increasing time-savings when machining. The chamfer toolpath allows you to easily create chamfers using v-bits or ball nose tools to create decorative edges and is also a great way to create counter-sunk holes. Use the PhotoVCarving toolpath strategy to convert photographs and images into toolpaths producing stylised engraved designs. The created toolpaths engrave a series of lines at different depths to produce the desired image.
There are two toolpaths which are typically used to machine the 3D parts of a job. The areas that these toolpaths cut is governed by selecting one of the three machining limit boundary options, model boundary, material boundary or selected vector s.
Model boundary will use the outer silhouette of the composite model all the 3D components visible in the 3D View at the time of calculation. This means there is no need to create a vector boundary around them for these operations. Material boundary will create a toolpath that completely fills the entire job area. Selected vector s will use any vectors you have selected in the 2D view as the boundary for the toolpath.
To remove the majority of unwanted stock as quickly as possible most jobs require a 3D roughing toolpath to be calculated. There are two roughing strategies available z-level and 3D raster each of these has advantages depending on the type of shape being cut.
The toolpath also has an option to specify an allowance to leave a skin of protective material on the part for the finish cut to clean up. The tool parameters let you balance the quality of the surface finish with how long the part will take to cut. Depending on the shape of the part there is a choice of raster and offset cutting strategies. Detailed regions can be machined selectively using smaller cutters to ensure the finest of detail on a 3D project is accurately machined.
Rest machining is a technique which uses multiple tools to try and efficiently optimize machining time, material removal and tool lifespan. Within the 3D finish toolpath there is the option to use more than one tool, with each tool removing any remaining material that the previous tool was unable to machine. The rest machining technique can be controlled by specifying parameters which determine what areas are worth machining with the smaller tool.
This allows text or other shapes that follow the 3D contours of the part to be efficiently machined onto the 3D component model. One of the most important productivity tools available in the software is the realistic 3D toolpath preview support.
The results of each individual or the combination of all the toolpaths can be previewed cutting into a 3D preview model. This means that whether your job is a simple toolpath with one tool, or created from a complex combination of tools and strategies at different levels you can be sure that when the job is cut, it is right first time.
As well as showing that the toolpaths are correct, the high quality rendering and ability to use real world material textures and fill colors, and even preview lithophanes, is a valuable sales tool. Using the simulation you can create customer proofs and evaluate design options without actually having to cut anything!
This makes it easier when working on a job that only has vectors with 2D and 2. The software has a built in tool database to make cutter management quick and easy. Tools can be organized in any way that suits your workflow. There is automatic support for machine management and material management.
Tools can be filtered for your current material and machine settings, which makes selecting the right tool for the job simple. The tool database contains a powerful tool naming system. This allows you to have consistent tool names, and for those tool names to match the properties of your cutter.
Vectric assists with the management of your CNC machine, its capabilities for example rotary or laser add-ons , associated post-processors and default tool cutting feeds and speeds for a selection of materials. As always our software is fully customizable for those who want to have full, low-level, control but Vectric's 'Kickstarter' wizard can help you get started with a set of tools with reasonable initial settings using our constantly updated online list of the most common machine brands and models.
To help estimate how long toolpaths will take to cut the software will calculate a time based on the length of the toolpath and the specified feeds and speeds that have been entered for the selected tool. This can be tweaked by the operator by editing the 'scale factor' so over time a value can be optimized based on actual machine performance to ensure the estimate is as close as possible to the actual cutting time.
Using the Toolpath Tiling options it is possible to machine objects and designs that are many times larger than the available area of your CNC machine bed. This process is also invaluable if the maximum sizes of your material pieces are limited. In both cases, a much larger project can still be machined by breaking the toolpath down into manageable tiles or strips, each of which can fit within the machineable area of your CNC machine, or on the available material blocks.
Once cut, the tiles can then be re-assembled to form the finished piece. Toolpath templates allow you to improve the efficiency of your production processes by saving the complete toolpath settings for common operations.
These settings can then be re-used at any time on different design geometry. Frequently used strategies and tooling can thus be applied to similar jobs, quickly and easily. The software allows you to add your own custom tools shapes to the tool library and generate toolpaths and simulate the finished result! Now you can simulate the effects of complex roman ogee cutters, round over bits and any other custom tool shape you desire.
Simply draw the tool profile using the vector drawing tools or import the profile from the manufacturer and you can add your custom tool to the list. In the tool database you can specify feed rates, spindle speeds, cutting depths etc. Wrapped Rotary Axis Toolpath postprocessing allows all toolpaths created in the software to be saved and run on CNC machines fitted with rotary axis or rotary indexer setups. These setup functions also allow you to specify your rotary part setup and view the wrapped results in the 3D view.
This function can be used for designing and cutting projects such as fluted columns and barley twists or engraving text onto round projects. Note: This functionality wraps standard 3 axis toolpaths around a cylindrical axis, substituting one of the linear axis to drive the rotation of the block of material while it is being cut. Production Plate Engraving lets you merge text lists into templates for badges and industrial plates. It can be used to merge CSV and text based lists using variables that can automatically scale to fit a pre-made design layout.
The create merged toolpath function allows you to combine toolpaths that use the same tool into a single, new, toolpath that is generally more efficient than cutting the constituent toolpaths independently. This can be particularly useful if you want a complete individual part to be cut before the CNC moves onto the next piece as it can merge the toolpaths into individual components. Similarly to the area copy tool, this toolpath allows you to duplicate one or more toolpaths its children as a block, based on the dimensions you enter in its properties.
The create set-up job sheet command allows you to create a summary sheet that details all the important information you will need at your CNC machine when you come to run the toolpaths. This can be used as a reference to ensure you have the setup correct, have loaded the correct tool etc.
It can also be used to archive with an old job as a quick reference file to see what the job the looked like and the machining that was involved for that project. You can also edit this to change the logo to an image of your own choice, adjust the header, footer and border colours and even customize which sections of information to include.
Toolpaths generated in PhotoVCarve can be imported into the software to combine with other toolpath types. Multiple PhotoVCarve projects can be imported and positioned, where additional elements can then be added and machined.
All of the toolpaths can then be previewed and saved from the software. PhotoVCarve can also be purchased on its own, f or more details see the PhotoVCarve area of the web site. The contents of either the 2D or 3D view can now be printed using the Print command on the File menu. Simply select the view you wish to print 2D or 3D and then click the Print command. The standard Windows printer dialog allows you to select the printer and adjust its properties. When the OK button in this dialog is clicked, the view will be printed.
The Print Preview command on the File menu allows you to check the layout of your page before you print. The printed view is always scaled to exactly fit the currently selected page size including allowance for margins. Drawings are not, therefore, printed at actual size and are not printed across multiple pages. We give you access to the online clipart that comes free with your purchase.
The software comes with previews of the clipart you're entitled to in the clipart tab so that you can see all of the options available to you and download the items of interest,. In order to get the latest entitlements, click the refresh button. To import the clipart from the clipart tab into your job, simply drag and drop your desired model onto your part.
Files saved from the software include a thumbnail image. Windows explorer can make use of these thumbnails to show you a preview of each file when you browse a folder. The software also supports Windows drag and drop functionality to quickly add pieces of 2D or 3D clipart into an existing model directly from windows explorer. With windows explorer open, simply click and drag the 3D clipart thumbnail of the file you want from the explorer window into the 2D or 3D View.
The selected file will be imported automatically and displayed in the software. Integrated Help. Help for all forms can now be found using the handy integrated help functionality. Click on the question mark icon on the top of each form to get the help for that specific function. All of our products have in depth video tutorials and data files you need to work through the examples.
These are split into sections beginning with getting started projects to let you see the process to produce a complete part and start to understand the general workflow. Then there are videos to cover each area of use within the program. The videos are designed to take you step by step through different types of projects to explain the key methods you will use in the software and to demonstrate these on real-world examples.
You can just watch and absorb the contents or follow along pausing where necessary to complete a task. The segments can be defined using:. The Create Arc tool allows a single arc span to be created using precise values, or dynamically within the 2D View. Precise values for the start and end point positions in absolute X Y coordinates and either the radius or the height of the arc can be entered in the form directly.
Click Create to draw and arc using these values. The properties of an arc can be edited at any time by selecting the arc before choosing the Create Arc tool. This opens the form with the current properties and position of the selected arc and these values can then be edited.
Repeating texture patterns can be created using the Create Vector Texture tool. These vectors can be machined in a variety of ways to create attractive textures. To use the tool click the icon on the drawing tab. If required, select any contours that you wish the pattern to be created within.
By using the sliders and edit boxes on the form the style of the created pattern can be varied. Click Preview to see a preview your created texture as you adjust the form's parameters. When you are happy with the preview, click OK to create the pattern. The lines in the texture are created at an angle.
This value can be set to any value between degrees and 90 degree. The line spacing controls the distance between the contours created by the tool.
Use the edit box labeled Max. Spacing to enter a maximum value of line spacing. The slider underneath the edit box controls the degree of variation in the line spacing. If the slider is to the far left then this mean variation is at a minimum and so the lines are evenly spaced.
If the slider is to the far right the variation is highest and so the distance between created contours varies between zero and the maximum spacing specified. Within this section of the form the created pattern can be made to behave in a wave-like fashion.
This wave is controlled by two parameters: the amplitude and wavelength. The wavelength describes the length over which the contours shape repeats itself. A bigger wavelength gives a long wave while a small wavelength gives a short wave. The amplitude describes the height of the wave. Larger amplitude means a taller wave and smaller amplitude means a shallow wave. The noise slider controls the degree of randomness applied to the above values and can be used to create less regular patterns.
The vectors created by this function have many applications but a key one is to combine them with either a Profile Toolpath or where available the Texture Toolpath to create decorative panels and background textures, a small selection of the possible results you can derive from this combination are shown in the images below.
Text is edited in-place including Arc Text and Text on a Curve, even if it has been moved, scaled and rotated. If the form is opened with no selection, the new text is placed somewhere on the material if possible between the center of the material and the center of the view to help keep it visible. An empty box is drawn in the view which helps visualize the currently specified text height and anchor point.
Existing text has guide lines showing the height of the top line of text. Some fonts will descend below the lower line like handwriting on a note pad. Clicking selected text while editing, changes the anchor point to a box which can be dragged and dropped with snap. The view is updated shortly after the user stops changing the form properties e. Custom kerning and spacing adjusted using the Kerning and Spacing tool is maintained through the edit where possible.
Fonts that start with the character are drawn vertically downwards and are always left justified. The Single Line Radio Button changes the Fonts list to show a selection of fonts that are very quick to engrave. The Larger Edit Clicking OK accepts any text entered into the window and Cancel will throw away any changes. Positions text relative to the full body of text, this only has a noticeable effect when writing multiple lines of text.
Sets the position of your text block. Either enter values directly and click Apply , or click in the 2D View with the mouse cursor to set the position values interactively. Clicking in the 2D View will begin a new block of text, set to the new Anchor point. To edit text properties or content of previously created text: If the Create Text form is open, hold the Shift key down and click the text you wish to edit or If the Create Text form is closed, click the left mouse button on the text in the 2D View to select it before opening this form.
The form will now allow you to edit the properties of the selected text. Click the Apply button to update the changes in the 2D View. Click the Cancel button to finish or cancel the editing and close the form. This option automatically sizes a block of text to fit inside the bounding box width and height limits of a selected vector.
If no vector is selected the text is scaled to fit the size of the material. When the Text form is open, the Dimensions for the Width and Height of the selected vectors or job dimensions are shown, and these are used to constrain the font size of the text.
This example shows text in an Engraving Font drawn in an ellipse. The bounding box of the ellipse is used for the layout:. Positions text relative to the selected bounding box or material size with options for left, center and right aligned. These are the actual size of the box into which the text will be fitted. If the text is scaled interactively by left clicking twice on the text or precisely using the scale tool, the new bounding box is updated and displayed as a light gray rectangle.
When the text fits the width of the box and there is space above and below it, the text can be made to fill that vertical space using one these methods:. When the text fits the height of the box and there is space at the sides, the text can be made to fill that horizontal space using one these methods:. Select the cursor and click to select the Text to be edited. The text will be displayed as magenta lines with 2 Green handles in the middle for dragging the text into arc-text :.
The interactive letter kerning allows default text to be modified so that adjacent pairs of letters sit more naturally together. A typical example is shown above where the capital letters W A V are placed next to each other and the default space is excessive. Holding Shift and Ctrl keys together and clicking the Left mouse button moves the letters closer together in larger increments. Line spacing can be modified by placing the Edit Text cursor between lines.
It will change to the line spacing cursor:. Holding the Shift and Ctrl keys together and clicking the Left mouse button moves the lines apart in larger increments.
The interactive rotation and movement cursor is displayed when the cursor is placed over either of the Green Handles to indicate that the text can be arced either Upwards or Downwards:.
After arcing text, additional Red and Blue handles are displayed for Rotating and Moving the text. This allows the text to be positioned exactly on the horizontal or vertical quadrants, even after it may have been moved slightly.
There are two handles for moving the text, one in the middle of the text, and one in the center of the arc, though that may be off-screen for very shallow arcs:. Some fonts do occasionally include loops and problems that need fixing using the Node Editing tools before it can be utilized for other functions.
This text first has to be converted to Curves, creating lines, arcs and Bezier spans that can be interactively edited to fix the problem areas. Script style fonts that are based on overlapping characters can be VCarved or Engraved without having to first convert the characters to curves. If the individual characters contain overlapping vectors or loops these will need fixing manually using the Node editing tools.
When Profile Machining with Tabs is required the text must first be converted to curves. Opening the Tab form on the Profile machining form will show a message stating that the text must first be converted to curves and clicking the Yes button will automatically make the conversion. Text can be converted to curves at any time by selecting the icon or clicking the Right mouse button and selecting Convert Text to Curves.
It will take the text and fit it onto the selected vector to follow the curvature. Options within the tool allow position, space and location against the line to be edited. The Create Text Form can be used to edit the text on the curve even if the curve has been deleted.
The slider can be used to increase or decrease the word and character spacing. While this text is being edited the spacing scale can be increased or decreased from its original value. The position of text relative to the curve is calculated using the height of the largest letter in the selected text string.
The 3 options allow the text fitted to the curve to be aligned to the left, middle or right hand side of the selected curve. Or, when using a closed vector curve, relative to the Start Node. Characters in the text string can also be aligned 'normal' to the drive curve or left in the original vertical position. This tool automatically traces or fits vectors to image files so they can be machined.
After importing an image the Tracing option allows vector boundaries to be created automatically around colored or black and white regions in the image. You can define an area within the bitmap, such that only that part of the bitmap will be traced. This can be done by selecting the bitmap if this hasn't been done already , and then clicking and dragging the mouse over the area you want, to define a rectangular region on the bitmap.
This will be highlighted with a dashed black rectangle. Clicking on the Bitmap again will remove a selected area if one has been specified, in which case, the entire bitmap will have vectors fitted to it.
Images can be traced either in color or black and white mode and the basic process is described below:. For color images you can also reduce the number of colors you need to work with by using the slider to further simplify the trace selection process. These are the colors that will be included in the area to trace. Adjust the fitting parameters for the resulting vector and use the Preview button to trace. After vector fitting you will often need to adjust the vectors so be sure to watch the video tutorials on vector editing available for the software.
Color images are automatically reduced to 16 colors and the slider allows the visible number of colors to be set as required. Colors are merged with the closest match. Colors can be temporarily linked together by clicking the check boxes next to each of the colors displayed. This changes the color displayed in the 2D view to the selected Trace Color. This is very useful for merging similar color's together to allow complete regions to be traced.
If a new Trace Color is selected the linked colors are displayed using this color in the 2D view. When working with Black and White images the slider can be used to change the Threshold and merge the levels of gray between all white min , and all black max. When the image being displayed in the 2D view looks correct then clicking the Preview button automatically creates vector boundaries either around the selected Trace Color or the grayscale.
The Corner Fit control determines how accurately the vectors are fitted to the corner edges in an image. Loose will create smooth curves that may not follow corners very precisely, but will create smooth free-flowing vectorboundaries, with few nodes.
Tight inserts nodes to ensure the vector accurately follows the color boundary, to create sharp detail. When using the Trace Color option it's sometimes useful to link a region of color's together, fit vectors and then link a new region or color's together, un-check the replace existing vectors option and fit another set of vector boundaries. For example, if an image contains single or very small clusters of pixels that aren't needed for machining a design. Then using the noise filter slider set at 4 pixels will ignore 2 x 2 or smaller pixel clusters.
The Bitmap Fading slider controls the shading of the image in the 2D View. This is useful to see the trace vectors more clearly over high-contrast images. This will preview the result of the tracing of the bitmap. If you are not happy with the result provided, you can alter the settings and click on the Preview button again to get an updated result. When you are happy with the result of the preview you can click on the Apply button to keep it.
The text preview box will snap to to the middle of the dimension line, unless a Shift key is held down while dragging.
These two options also allow any two points to be selected, but the resulting dimension will be locked to indicate a vertical or horizontal distance respectively between the two points. This option allows any arbitrary angle to be measured. The process is similar to creating a 3 point arc. First you must pick the center of an angle you wish to measure - typically a corner point. The next 2 points clicked will set the extents of the sweep you are measuring. The next Click will determine the dashed dimension line positioning and the final click will set the position of the text annotation.
With this option selected you will only be able to select arc spans with the first click of dimension tool Bezier curve spans are not supported. The second click will set the position of the dimension annotation, which will show the radius or diameter of the selected arc span. Circles or arcs that are polygonized from an imported file or from the Curve fit vectors command using Straight lines are not recognized and cannot be dimensioned with this tool which is in line with snapping which also won't work on polylines to see if they are circular.
Circular Polylines can sometimes be dimensioned using the length dimensioning tools across their diameter. The Fit Curves to Vectors command may be useful to turn polylines or bezier curves into arcs. The text in the following example was first converted to vectors using the Convert Text to Curves command, then those vectors were converted to arcs using the Fit Curves to Vectors command:. This section of the form allows the user to change the settings for the dimension annotation, such as the font to be used, the height of the text and how many decimal places are required.
The Offset field determines the gap left between the dimension markers and the vectors that are being measured. The text is stored per dimension, so you change between calculated and custom text without losing a dimension's custom text.
When the form is first opened it defaults to calculated text. You can edit the name of the layer in the Name edit field. If a layer of this name does not exist, it will be created automatically. Note: Dimensions can be edited. The base of extension lines and the tips of arrows are snap-points allowing you to keep neighbouring linear dimension lines, lined up, for example.
The Transform Objects section contains all the icons which relate to commands for moving, sizing and manipulating objects. This reduces the time to create accurate geometry by allowing typed values while creating geometry.
This is supported for creation of circles, ellipses, rectangles, polygons, stars, polylines and when in editing nodes or transforming vectors. For example, while dragging to create a circle, typing 3 R will create a circle with a radius of 3. Input mechanism is as follows: Input the value first, and Enter to execute the default action if applicable Input the value first, and then a letter indicating the type of action required.
Input 2 values separated by a comma, and Enter to execute a specified action usually width and height or X and Y. Input format is as follows: Some actions require several input values. In that case, it will be value letter value letter The action will be performed automatically once all letters required for that action have been entered.
A full list of shortcuts can be found on the Shortcuts page. The anchor position determines the point on your selected object's bounding box that will be moved to the absolute position entered. With this option selected, the values entered in the X Position and Y Position fields will incrementally offset the object from its current position, by the distances entered.
The Anchor options are not relevant in this mode and so will be disabled. The keyboard shortcut M opens the Move form in interactive mode. The default mode is to enable selected objects to be moved interactively by clicking and dragging with the cursor.
Holding down the Alt key when dragging objects around will constrain the movement to either the X or Y axes. For moving objects with a specific amount without having to go into the form, the Quick Keys can be used while dragging the object.
Simply, activate interactive movement by clicking twice on the object, and then drag it and start typing the value as per the shortcut keys table. Then, either press Enter or the letter required to perform your action. See Quick Keys shortcut table for a list of available actions. To constrain the movement of the object in the X or Y axis, start dragging the object along that axis and a snap line will appear that represent that axis. This can be used in combination with the Quick Keys , mentioned above, to move the object by a set amount in a specific direction.
The anchor position determines the point on your selected object's bounding box that will be resized to the dimensions entered.
Leaving the Link option unchecked allows non-proportional scaling. This option sets a specific mode of scaling for 3D Components.
The default mode is to enable selected items to be scaled interactively by clicking twice with the mouse. The process is: Select the vectors Click a second time to activate the interactive options - handles on the selection box Click and drag on the white handles. The keyboard shortcut T opens the Scale form in interactive mode. For scaling objects with a specific amount without having to go into the form, the Quick Keys can be used while dragging one of the scaling handles around the object.
Dragging an edge handle, a single value is expected to determine the amount of change in that direction. This can be a relative value or an absolute value. Draggina a corner handle, two values are expected with the new width and height of the object. Alternatively, a single value followed by S to scale relatively. For precise control of the rotation, or to use a point other than the selection's center as the rotation center, you can open the rotation form from the Drawing Tab.
Selected items in the 2D View can be rotated to a new orientation using this tool. The rotation options form can be activated from the tool icon on the Drawing Tab. Alternatively you can use the interactive transform mode where the form is not required directly from the 2D View. With this form open the additional Pivot Point handle is available two concentric circles initially positioned at the center of your selection for you to click and drag in the 2D View.
The Pivot Point around which the selection will be rotated responds to the currently enabled snapping options to help you to position it precisely on significant locations within your artwork. Hold down the Shift key to temporarily disable snapping while you drag the Pivot Point. This sixth option allows you to precisely specify the position of the Pivot Point using the X and Y edit boxes.
This is also the option that will be selected by default if you drag the pivot point using your mouse directly in the 2D View. The Angle edit box allows you to specify a precise rotation angle to apply to your selection.
Click the Apply button to rotate your selection by the value in this box. Generally the most convenient way to rotate an object in the 2D View is to use interactive transform. This mode is initiated by clicking the selected object twice with the cursor.
The process is: Select the object by clicking on it in the 2D View or multiply select objects using box selection or by shift-clicking on them. Click the selection a second time to activate the interactive options rotation handles on the selection box. Click and drag on the blue handles solid squares at the far corners of the selection to rotate it. For rotating objects with a specific amount without having to go into the form, the Quick Keys can be used while dragging one of the rotation handles around the object.
Selected objects can also be mirrored about axes of symmetry relative to the bounding box of the selection, using the standard options on the Mirror Form. The Shortcut Keys page describes these and other shortcuts that are used in Aspire. This tool allows you to bend and flex a vector or component by manipulating a distortion envelope using Aspire 's standard node editing tools. You can select one or more vectors or components and then use one of the three different tool modes to create your initial distortion envelope.
If you try to use this tool to modify multiple, grouped or distorted components you will first be prompted to 'bake' your selection components into a single object.
For more information on what this means, please see the section Baking Components. Once the distortion envelope has been created, you can use Aspire 's node editing tools to add or edit its nodes and spans. As you alter the shape of the envelope the associated object will be distorted to reflect the changes. Once an object has been distorted, node editing will always relate to the object's distortion envelope.
If you wish to edit a distorted vector directly again, you will first need to permanently apply the distortion to the shape. If you select an object that already has a distortion envelope while in the Distort Object tool, the Bake Distortion button will be available. Clicking this button will permanently apply your current distortion and you will then be able to either distort the object again with new settings , or node edit the shape directly.
This option is available if you have a selection of vectors or components Note that you cannot mix vectors and components in this mode. It creates a distortion envelope based on the closest bounding box that can be drawn around your selection. Thus the resulting envelope is always initially a rectangle, comprising four line spans and a node at each corner.
Using the normal node editing tools, however, you can modify this envelope as much as you like and the shape within it will be distorted accordingly. This option is only available if the last item in your selection is an open vector that Aspire can use to define a curve, above which the other selected objects will be distorted. The distorted object can comprise one or more vectors or one or more components, but not both. Using this option, you will usually end up with your objects bent to match the curve in your original selection.
The distortion curve itself is left unchanged by this operation. This option will become available if the last two objects in the current selection are open vectors, between which the other objects can be distorted.
The other objects in the selection can comprise one or more vectors , or one or more components, but not vectors and components together. The selected objects will be stretched and squeezed between the two curves that were last in the selection. Neither of the contributing distortion curves in the selection will be altered by the operation. The Align Objects tool provides a number of options for accurately aligning the selected object to other objects in the selection, or to the available material.
The different alignment options are grouped into three sections: The first section of icons all work in relation to the material job size. The second section of icons all work with regard to the selected items. The last section provides options to evenly space the selected objects, or to align them inside the boundary of the last object in the selection. The options in this section will align one or more selected objects within the material workspace defined when you setup your job the white area in your 2D View.
This option moves the selected items to be positioned in the middle of the material. The short-cut key for this is F9.
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