Delcam - ArtCAM JewelSmith 7.0 UserGuide EN - 2004 PDF

ArtCAM JewelSmith
User Guide
By Delcam plc
Issue: 7.1 Date: 09/11/04

Disclaimer
Delcam plc has no control over the use made of the software described in
this manual and cannot accept responsibility for any loss or damage
howsoever caused as a result of using the software. Users are advised that
all the results from the software should be checked by a competent
person, in accordance with good quality control procedures.
Information contained in this manual is subject to change without notice
and does not represent a commitment by Delcam plc. The software
described in this manual is furnished under licence agreement and may be
used or copied in accordance with the terms of such licence. No part of
this manual may be reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopying and recording,
for any purpose without the express permission of Delcam plc.
Copyright 2004 Delcam plc. All rights reserved.

Delcam plc
Talbot Way
Small Heath Business Park
Birmingham B10 0HJ
England
Tel: (UK) 0121-766-5544
(Int) +44 (0) 121-766-5544
Contents
Introduction 1
ArtCAM JewelSmith .......................................................................1
The ArtCAM Process.......................................................................1
The Image ..............................................................................1
The Relief ..............................................................................2
Rings and Cylinders...............................................................2
The JewelSmith Project Structure....................................................2
The Project Folder .................................................................3
The 3D Master Model............................................................4
The Manufacturing Process .............................................................5
CNC Machining.....................................................................5
Rapid Prototyping..................................................................6
Rendering Models..................................................................6
Copying A JewelSmith Project..............................................6
Resizing............................................................................................7
End Trimming........................................................................7
Coring ....................................................................................7
Scaling ...................................................................................7
Getting Started 9
Overview ..........................................................................................9
Creating the Project..........................................................................9
Creating a Rotary Axis Shank Component....................................10
Designing the Band........................................................................11
Creating the Drive Rails ......................................................12
Creating the Cross Section ..................................................13
Two-Rail Sweep ..................................................................13
Adding Text ...................................................................................15
Adding to the Master Model ..........................................................16
Rendering in Gold..........................................................................17
Creating an STL file for Rapid Prototype production ...................17
Defining a Tool and Creating a Toolpath ......................................18
Rotary Axis Pixel Distortion 21
Overview ........................................................................................21
Pixel Expansion..............................................................................21
Correcting a Vector For Height .....................................................22
Creating a Flat Plane ......................................................................22
Three-Stone Ring Tutorial 25

Overview ........................................................................................25
Three-Stone Ring ...........................................................................25
Creating the JewelSmith Project ....................................................26
Creating the Shank .........................................................................27
Adding the Shank to the Project ....................................................29
Creating the Centre Gem Setting ...................................................30
Decorating the Flush Setting..........................................................32
Creating a Millgrain Edge....................................................32
Adding the Grains................................................................33
Creating the Raised Band ....................................................33
Creating the Side Cuts .........................................................34
Creating the Side Flush Setting......................................................37
Decorating the Side Flush Setting..................................................38
Creating a Band of Grains ...................................................38
Repositioning the Side Flush Setting .............................................40
Duplicating and Mirroring the Side Flush Setting.........................41
Editing the Shank ...........................................................................43
Removing Unwanted Material.............................................43
Adding Detail to the Shank..................................................44
Saving the New Shank ...................................................................46
Presenting the Finished Ring .........................................................47
Zodiac Signet Ring Tutorial 49

Overview ........................................................................................49
Zodiac Signet Ring.........................................................................49
Creating the JewelSmith Project ....................................................50
Creating a Rotary Axis Shank Model ............................................50
Designing the Shank Shape............................................................51
Creating the Z Modulation Curve........................................51
Creating the Cross Sections .................................................58
Creating the Two Rail Swept Shape....................................59
Decorating the Shank Relief ..........................................................62
Adding the Relief to the Master Model .........................................64
Heart Signet Ring Tutorial 67

Overview ........................................................................................67
Heart Signet Ring...........................................................................67
Creating the JewelSmith Project....................................................68
Creating a 3-Axis Shank Model.....................................................68
Creating the Head of the Ring .......................................................69
Creating the Ellipses ............................................................69
Creating the Heart Shape.....................................................69
Creating the Blend Cross-Section .......................................71
Creating the Heart Relief .....................................................72
Converting the 3-Axis Shank to a Rotary Shank...........................74
Editing the Rotary Shank Relief ....................................................75
Creating the Cross-Section using the Relief........................77
Creating the Two Rail Sweep..............................................78
Sculpting the Relief .............................................................79
Mirroring the Relief.............................................................81
Dragonfly Brooch Tutorial 83

Overview ........................................................................................83
Dragonfly Brooch ..........................................................................83
Preparing the Model.......................................................................84
Creating the Relief .........................................................................85
Creating the Body ................................................................85
Creating the Legs.................................................................86
Creating the Wings ..............................................................87
Creating the Gem Settings .............................................................89
Creating a Base for the Gemstones .....................................89
Adding Millgrains to the Gem Settings...............................92
Adding the Gems ...........................................................................94
Creating the Gem Vectors ...................................................94
Creating the Gems ...............................................................96
Creating the Finished Relief ..........................................................97
Creating the Back Relief......................................................97
Adding the New Relief to the Master Model ......................99
Presenting the Master Model .......................................................100
JewelSmith Tools Reference 101
Getting Started .............................................................................101
Creating a New Project ......................................................101
Opening an Existing Project ..............................................102
Closing a Project................................................................103
Saving a Project .................................................................103
Using the Master Model Tree ............................................103
Working with Assemblies ............................................................104
Creating an Empty Assembly ............................................104
Creating a Component from an Empty Assembly.............104
Exporting an Assembly......................................................105
Editing an Assembly Design .............................................105
Adding a Gem to an Assembly ..........................................105
Viewing the Attributes of an Assembly ............................106
Creating a Duplicate Assembly .........................................107
Deleting an Assembly........................................................108
Importing an Assembly......................................................108
Transforming an Assembly................................................108
Working with Gem Settings.........................................................108
Editing a Gem's Size and Colour .......................................108
Deleting a Gem ..................................................................109
Transforming a Gem..........................................................109
Working with Replica Meshes .....................................................109
Exporting a Replica Mesh..................................................109
Deleting a Replica Mesh....................................................110
Reversing a Replica Mesh .................................................110
Transforming a Replica Mesh ...........................................110
Using the Nudge Tool ..................................................................111
Using the Scale Tool ....................................................................112
Creating a Movie..........................................................................113
Using the Object Viewer....................................................114
Using the Shading Tool................................................................114
Opening Existing Components ....................................................115
Displaying the Master Model Tree ..............................................116
Using the Blanks ..........................................................................116
Using the Gem Tools ...................................................................117
Creating a Gem Vector ......................................................117
Converting Vectors to Gem Vectors..................................118
Creating Gems ...................................................................119
Editing Gem Vector Properties..........................................119
Using the Pave Wizard ......................................................120
Using the General Tools...............................................................122
Merging the Master Model with the Relief .......................122
Subtracting the Master Model from the Relief..................122
Adding an Assembly to the Master Model........................122
Mirroring a Relief ..............................................................123
Viewing the Master Model ................................................123
Closing the Current Model ................................................123
Creating an Assembly Silhouette ......................................124
Using the Back Relief Tools ........................................................124
Making the Front Relief Current .......................................124
Making the Back Relief Current........................................124
Merging the Master Model with the Back Relief..............125
Inverting the Front Relief to a Back Relief .......................125
Offsetting the Front Relief to a Back Relief......................125
Toggling the Back Relief...................................................125
Using the Modelling Tools ..........................................................125
Creating a Two-Rail Swept Ring Shape............................125
Creating a Simple Swept Shape.........................................128
Unwrapping a Profile Vector.............................................129
Creating a Flat Plane..........................................................129
Correcting a Vector for Height..........................................129
Positioning Selected Vectors .............................................130
Closing the Ends of a Shank Relief ...................................130
Multi-Sided Machining 131

Introduction..................................................................................131
The Process of Multi-Sided Machining .......................................131
The Problem.......................................................................131
Flat Work .....................................................................................132
Toolpath Orientations ........................................................132
Manual Indexing................................................................133
Automatic Indexing ...........................................................133
Bridges ...............................................................................133
Summary............................................................................133
Machine Set-up..................................................................134
A Origin .............................................................................135
Z Origin .............................................................................135
Y Origin .............................................................................135
X Origin .............................................................................135
Advanced Flat Work ....................................................................135
Rings ............................................................................................136
Using the Multi-Sided Machining Wizard...................................136
Celtic Cross Pendant Tutorial 141
Overview ......................................................................................141
Celtic Cross Pendant ....................................................................141
Creating a Toolpath Template......................................................142
Preparing the Model...........................................................142
Creating the Roughing Toolpath .......................................142
Creating the Finishing Toolpath ........................................143
Saving the Toolpath Template...........................................144
Opening the JewelSmith Project ..................................................144
Calculating the Toolpaths ............................................................144
Understanding the Toolpath Calculation Process ........................146
Introduction
ArtCAM JewelSmith
ArtCAM JewelSmith is based on the tried and tested framework of ArtCAM Pro, a complete
computer-aided design and manufacturing solution. As such, it contains all the features and tools
within ArtCAM Pro. However, JewelSmith also provides a series of tools tailored specifically for
jewellery designers and manufacturers. In particular, it allows you to manage the individual
elements that comprise a single jewellery piece, such as the back and front faces of a pendant, or
the models forming the head and shank of a ring. To help manage all these elements, JewelSmith
introduces the idea of a Project. By working within a Project, JewelSmith simplifies many of the
processes involved in designing and combining the related, but independent, ArtCAM models
that form a complex 3D object. For more information about Projects, see "The JewelSmith
Project Structure" on page 2.
JewelSmith significantly simplifies many of the techniques and processes required when working
with rotary axis machining. It also provides real-time rendering of your models in a variety of
materials or precious metals, complete with gemstones set in place, throughout the design
process. Not only does this aid the designer, it also means that realistic images of the finished
design can be taken directly from the relief. JewelSmith can also produce an HTML based viewer
for inclusion in a website or email. You can be confident that designs that meet with approval can
be put into production immediately.
The ArtCAM Process

ArtCAM differs from most other 3D modelling packages that you are likely to encounter. It has
many more features in common with computer paint or drawing packages. Because it is a largely
unique process it is perhaps worth outlining the general process of model making using ArtCAM.
The Image
Nearly all ArtCAM models begin as a 2D image. This image can be made up of dots of colour,
called pixels. This type of image is known as a bitmap image. This is the sort of image
representation used for digital photographs or scans.
An alternative system for representing 2D artwork is known as vector drawing. This is the name
given to line drawing elements, or contours, in ArtCAM that are defined in terms of their
ArtCAM JewelSmith User Guide Introduction 1

geometric shape, e.g. arcs, squares or circles. This type of image is most suited to technical
drawings or designs that require precise geometry and sizing.
Both types of artwork have their particular strengths and weaknesses, and ArtCAM can import,
create and freely mix both types of artwork within the 2D View. A fuller discussion of these
techniques is available in the ArtCAM user guide.
The Relief
Once created, the 2D vector artwork is used to define the 3D shapes in the ArtCAM model. The
3D model within ArtCAM is known as the relief. 3D shapes can be applied to areas of colour, or
closed vector shapes. Alternatively the vector artwork can be used more directly to define the
desired 3D profile using tools such as the 2-Rail Sweep or the 3D Blend. As new shapes are
created they can be combined with the relief in different ways, either merging in or adding or
subtracting from it. In this way complex 3D relief can be 'built-up' using successive shape
creation processes.
Using the same 2D artwork within a single ArtCAM model you can work on two reliefs at any
one time. These are known as the Back and Front reliefs as they are generally used to represent
the back and front surfaces of a model.
Rings and Cylinders

As well as building 3D models that begin as a flat plane, JewelSmith can 'roll' a relief into a
cylinder. Building on a cylinder is an ideal way to create rings.
The JewelSmith Project Structure

A single ArtCAM model can only represent 3D shapes based on the single base plane - generally
either flat or a cylinder. This is often perfectly suited to many jewellery shapes and designs,
particularly if they are to be CNC machined (see below). However, some designs require greater
complexity and freedom to work in full 3D space. To create these more complex designs you
must begin with a JewelSmith Project, in which all the files associated with the project will be
stored during the design process. The first of these files, the 3D Master Model, is also generated
automatically when the project is first created. It has the same file name as the Project folder but
has the suffix .3DP.

The Project Folder
A JewelSmith Project comprises a conventional windows folder, referred to as the Project Folder.
When a Project is created, JewelSmith asks for a project name and then creates the Project Folder
with this name automatically. Within the Project Folder, JewelSmith also creates a 3D Master
Model file, again this file has the same name as the project, but with the file suffix 3DP.
Project Directory
3D Master Model
Component Directories
Art Files
The icon in both Windows Explorer and the Master Model Tree on the Project page identifies
the 3D Master Model. The Master Model can be thought of as a repository for finished
components of the project. Each component can be freely positioned, combined and manipulated
in 3D space. These components are called 3D Assemblies, and are created using triangle mesh
replicas of conventional ArtCAM models.
Once you have created a new JewelSmith Project, the usual steps towards creating a component
are:
Use the Project Components page on the JewelSmith tab to create a new
ArtCAM model in the appropriate orientation, or use a component from the
available Wizard Libraries.
Use conventional ArtCAM and JewelSmith specific tools to model the reliefs
representing the back and front surfaces of the shape.
Use the Add to Master button in the General Tools area to make a
single 3D Assembly of the shape and an associated replica mesh formed from the
back and front reliefs, and then add it to the Master Model.
Save and Close the ArtCAM Model.
Position, shade and render the resulting 3D Assembly within the Master Model.
Using this system, you can build a Master Model from as many components, in as many
orientations, with any material and shading properties as your design demands. If you need to
edit or alter an Assembly component, you use the following steps:
Click on the 3D Assembly within the Master Model Tree to select it.

Use the Edit Associated Model button in the Assembly Manager
area of the Project page to automatically find and re-open the ArtCAM model
used to create the selected 3D Assembly.
Alter the model using the ArtCAM modelling tools.
Use the Add to Master button in the General Tools area again to
rebuild the 3D Assembly replica of the shape and overwrite the original assembly
in the Master Model.
Save and Close the ArtCAM Model.
When your design is complete you can either manufacture the components individually from the
original ArtCAM Models or 3D Assemblies, or you can manufacture the composite Master
Model using STL output, or multi-sided machining.
The 3D Master Model

The 3D Master Model file can contain any number of 3D Assemblies. These assemblies hold
triangle mesh replicas of ArtCAM models, rendered gemstones, shading and lighting information
or other assemblies. In addition they generally hold a link to the ArtCAM Model (*.art) files that
were used to create them. The linked ArtCAM Models are stored in sub-folders of the main
Project Folder.
Assemblies have a number of uses. Firstly they are very useful for visualisation as they can show
both the back and the front surfaces combined into a single model. In addition, they can be
replicated, scaled, positioned, rotated and merged with other assemblies or ArtCAM models to
form very complex or full 3D forms. The Master Model or any of its sub-assemblies can be
exported for Rapid Prototype (RP) manufacture. Using multi-sided machining, these objects can
also be manufactured using Computer Numeric Control (CNC) machine tools in their own right.
3D Assemblies can be created in a number of ways. The most common way is to create an
ArtCAM model within a project, then design and model the shape as required, and add the result
to the project's 3D Master Model (see above). Alternatively, imported 3D files from other
software packages can be used to create 3D Assemblies.

3D Master Model (*.3DP)
3D Assembly (*.3DA) ArtCAM Model (*.art)
Front Relief
Gem
Back Relief
Mesh
3D Assembly (*.3DA)
Gem
Mesh
When an ArtCAM model is added to the Master Model, an empty assembly is created into which
a triangle replica mesh of the back and front reliefs is added. This assembly appears in the Master
Model tree as a 'branch'. Although the assembly can be manipulated in 3D space, you cannot edit
or alter the shape of the assembly mesh directly. Instead you must open and edit the ArtCAM
model that was used to create the existing Assembly and then replace it with a new one based on
the altered ArtCAM model.
The Manufacturing Process

The final stage for most ArtCAM projects is to manufacture the 3D relief as a real object.
Currently there are two major routes to production: via Computer Numeric Control (CNC)
machine tools, or Rapid Prototype (RP) machines. JewelSmith can realise its models using either
method.
CNC Machining
CNC machine tools simply move a tool under the control of a computer. The sequence of moves
needed to cut a particular shape is known as a toolpath. To use a CNC machine, therefore, you
must first create one or more toolpaths in ArtCAM. The exact finish created by your toolpaths
can be influenced by a number of factors including tool geometry and toolpath stepovers (the gap
between successive passes of the tool over the job). To ensure that you know exactly what the
finish will be, ArtCAM allows you to simulate the toolpaths and view a high quality 3D
rendering of the 'machined' job.
Once you are happy with the simulation, these toolpaths must then be 'translated' into the specific
machining language understood by your machine tool. This process is known as post-processing
and it occurs automatically when you select your machine tool from the available list during
saving. The post-processed file is then loaded by your CNC software, or sometimes directly into
the CNC machine, and the piece can then be cut.
Individual ArtCAM models can always be machined from one direction. The Master Model or
3D Assemblies will sometimes require machining from several directions. This process is known
as multi-sided machining and JewelSmith includes a number of tools and wizards to simplify this
process.

Rapid Prototyping
Rapid Prototype (RP) machines can work directly from a 3D computer model. However, they
usually require a very specific type of 3D model that is created using a large number of small
triangles. These triangles form a mesh that defines the surface shape of the model and are very
close in form to the 3D Assembly or Master Model representations of the ArtCAM Model. The
most common triangle mesh file used in RP is the stereo lithography, or STL, file. To create an
RP version of an ArtCAM model you must first convert the associated Assembly by exporting it
in the STL format. This file can then be loaded into your RP machine for manufacture. To
represent the complex surface of a 3D model faithfully, very small triangles must be used. To
represent an ArtCAM model (which are often highly detailed) exactly, the triangles would have
to be so small that the shear number needed to form the mesh would be prohibitive in terms of
file size and computing power. To avoid this problem, ArtCAM can create triangle meshes that
automatically minimise the number of triangles needed to represent the relief to within a
tolerance. In general, the larger the tolerance, the cruder the resulting mesh will be, but the
smaller the file size and demands on your computer.
Rendering Models
Another important area for many people is product visualisation. JewelSmith provides a lot of
functionality specifically devoted to visually presenting your models, just as they will look as
finished pieces. To achieve this JewelSmith uses the Master Model, which comprises a number
of 3D Assembly, or 3DA, files. These holds replicas of ArtCAM model data as a triangle mesh,
much like an STL file, but with a lot of extra information for displaying the model in a realistic
3D environment. These extras include material colours, lighting, backdrops and gem stones.
Crucially, 3DA files can hold multiple components of a model in a hierarchical form so that they
can be intuitively manipulated and edited. Again, the number of triangles needed to represent the
model is a trade-off between precision, and graphical drawing speed. This trade-off is entirely
controllable, so models that you wish to animate dynamically can be reduced in size, while those
you will use for a still image can be kept at the highest quality.
Copying A JewelSmith Project

Because a JewelSmith Project comprises a number of files within a fixed file structure, it is very
important to copy the whole contents of the project folder. To create a duplicate of a Project:
Copy the Project top folder (the one with the same name as the project) using
Windows Explorer.
Rename the top folder using Windows Explorer.
Use the Open JewelSmith Project icon on the JewelSmith Projects

area of the Assistant's Getting Started page to open the new project in the
usual way. It will now have the name you applied to the top folder.

Resizing
Resizing rings is a complex task that always requires design decisions. Should the different ring
sizes have the same metal content? Should they have the same number and/or size of stones?
These issues make it difficult to automate the process of resizing a ring design. There are,
however, several methods you can use, depending on the production criteria.
End Trimming
If you start with a large ring design it is possible to paste the same model as a piece of clipart into
increasing smaller ring projects. ArtCAM will 'trim' away areas of the clipart relief that overlap
the edges of the 2D View. This process is analogous to clipping material from the back of the
shank and re-joining the shank ends.
It is important to note that, just as in the real process, the ring model is being rolled around an
increasingly tighter diameter. This can cause problems if the design has flat planes or specific z-
modulation shapes, as these will become distorted.
Coring
An alternative method of resizing a real ring is to thin the whole ring slightly by coring out a
larger diameter finger size. The analogous procedure in JewelSmith is to first create a new blank
rotary axis model, using a different shank size from the existing Master Model. Then, use the
Combine Master tool in the General Tools area to reproduce the Master Model shape
in the current ArtCAM model. If the ArtCAM model has a larger diameter, then the areas of the
Master Model inside of this diameter are removed.
Scaling
If your design can be safely scaled (it does not have specifically sized stone settings, for
example) then the Master Model of the design can simply be scaled. The scaled model can also
be merged back into rotary shank components based on different ring sizes as above.

Getting Started
Overview
This chapter is intended to get straight into creating a simple ring as quickly as possible. We will
start by creating a simple JewelSmith Project to hold a single model of a ring shank. The shank
will be appropriate for rotary axis CNC or RP production. We will engrave the shank with some
text and generate the toolpaths for rotary axis machining. We will also create a rendered image of
the ring as it will look in gold, and export an appropriate model for rapid prototype production.
Throughout this chapter, a number of the shortcut keys available for many operations shall be
introduced. These functions are always available via other routes, such as menus and buttons.
Please refer to the general ArtCAM Pro Reference Manual for details of these alternatives.
Creating the Project

First we will create the JewelSmith Project for the ring we are creating. We will name the project
and define the location on our computer in which the project will be stored.
1. Click on the Create JewelSmith Project icon in the JewelSmith

Projects area of the Assistant's Getting Started page to display the New
Project page.
2. Type EngravedBand in the Project Name box. This is the name that we
want to give the JewelSmith Project. All projects are named NewProject by
default.
The location in which the JewelSmith Project will be created is shown on the page. If you want
to change the location:
3. First, click on the Change Directory button to display the Browse for
Folder dialog box.
4. Next, click to select the directory or folder in which you want to create the
JewelSmith Project folder.
5. Finally, click on the OK button to confirm your choice and close the Browse
for Folder dialog box. The new location is shown on the New Project page.
ArtCAM JewelSmith User Guide Getting Started 9

If this is the first project you have created, ArtCAM Jewelsmith prompts you to specify the
location in which you want to store your project files.
6. Click on the Accept button to create the new JewelSmith Project and
display the Project Components page.
You can click on the Back button if you want to return to the Assistant's Home page
without creating the JewelSmith Project.
ArtCAM JewelSmith has stored all of the information about the project and has created a
directory structure to manage any files created as part of it. In the project directory, ArtCAM
JewelSmith has also created a 3D Master Model file (*.3DP), which is initially empty. As
elements of the ring are created using conventional ArtCAM Models, matching 3D Assemblies
can be produced and stored in the Master Model. 3D Assemblies can be copied, scaled, rotated
and positioned anywhere in the Master Model. In this way very complex shapes and designs can
be created, rendered and manufactured.
In this example we will create a relatively simple model comprising just one ArtCAM Model and
one matching 3D Assembly in the Master Model.
To view the files created by ArtCAM JewelSmith, browse to the location specified on the New
Project page using Windows Explorer, and open the directory named EngravedBand. The
ArtCAM models and reliefs that will make up this project will be stored in sub-folders within this
directory.
7. Click on the Project tab to display the Project page in the Assistant window.
The icon in the Master Model Tree indicates that a JewelSmith Project file named
EngravedBand.3DP has been created and is currently open, although it is initially empty. As yet,
no ArtCAM model file has been created.
Creating a Rotary Axis Shank

Component
Next we will create the first component in our JewelSmith Project. This is a rotary-axis shank.
We will give this ring component a name and define its size and settings.
1. Click on the JewelSmith tab to display the Project Components page.
2. Click on the Rotary Shank button in the Blanks area to display the
Rotary Shank page.
In the Name box, we can see that the rotary-axis shank is named RotaryAxisShank by default.
We will use the default name for our shank.
3. Click on the Standard list box, followed by the British option to define the
national standard system for the shank that we are creating. The Size list box
now contains options for each of the available ring sizes in the selected
system.

4. Click on the Size list box, followed by the P option to define the size of the
ring.
In the Ring Diameter box, you can see that a British size P corresponds to an inner ring
diameter of 17.9 mm. Since we are using a preset sizing system (British), the Ring Diameter
box is greyed out and cannot be edited directly.
If you wish to define a specific diameter, you must first select Custom from the Standard list
box.
The Width, Border, Thickness and Resolution settings are discussed in later tutorials. We
will use the default settings on the page for the purpose of this example.
5. Click the Accept button to confirm the component settings and create
an ArtCAM model file named according to that which you defined in the
Name box.
ArtCAM JewelSmith calculates the necessary dimensions of the ArtCAM model automatically,
according to the settings defined on the Rotary Shank page. It also displays the Rotary Axis
Tools page on the JewelSmith tab. The page is made up of several tools divided into separate
areas. Some of these tools will be used to create our rotary-axis shank.
In the 2D View window, you can see the model area (the white area). This corresponds to the
'unrolled' surface of the ring. Below this area is the Reference Silhouette of the shank. This
comprises two locked circular vectors that represent the inner diameter and the outer diameter of
the ring (according to the Thickness setting specified previously). These are used for some
design and modelling techniques where the profile of the ring is a more intuitive starting point for
laying out shapes.
The model area is also divided by two locked reference guideline vectors; one marking the
vertical centreline and the other marking the horizontal centreline.
ArtCAM JewelSmith automatically manages the saving of component files during the creation
process. In this case, a folder called Shanks is created (if one does not already exist) within the
current project folder. Using the filename specified during creation, ArtCAM JewelSmith then
saves the newly created ArtCAM Model in this folder (i.e. Shanks/RotaryAxisShank.art).
In the 3D View window, ArtCAM Jewelsmith creates a relief that is rolled into a cylinder, again
matching the parameters defined during the creation process.
6. Click on the Project tab to display the Project page.
The Master Model Tree now shows two roots. The project's Master Model and the current
ArtCAM Model.
Designing the Band

To create the ring band, we will use the 2-Rail Sweep tool. This allows us to create a three-
dimensional shape by extruding a cross-section vector along a path, the edges of which are
defined by vectors (referred to as drive rails). To begin, we will create the drive rails.

Creating the Drive Rails
First we will create the vector artwork that will be used as the drive rails when creating the swept
shape.
1. Click on the Assistant tab to display the Assistant's Home page.
2. In the 2D View window, click to select the central horizontal reference vector
drawn in the model area. The reference vector is green and surrounded by a
bounding box.
This is a reference guideline that is created as part of the RotaryAxisShank ArtCAM model. By
default it is locked, which means that it cannot be moved. However, we can create a copy of this
guideline for our use.
3. Press the Ctrl + C keys on your keyboard to copy the selected guideline to the
ArtCAM clipboard.
4. Press the Ctrl + V keys on your keyboard to paste a copy of the guideline,
overlaying the original. The vector turns magenta and is surrounded by a
bounding box, indicating that it is selected.
This vector will be used as the first drive rail when creating our swept shape.
5. Hold down the key on your keyboard to nudge the selected vector upwards.
Release the key when the vector is positioned halfway from the top-edge of
the model area:
To create the second drive rail we will mirror the first drive rail about the central horizontal
guideline.
6. Click to select the central horizontal guideline. The guideline turns green,
indicating that it is selected.
7. Hold down the Shift key on your keyboard, and then click to select the first
drive rail. The drive rail turns magenta. A bounding box surrounds both the
guideline and the drive rail.
8. Click on the Mirror Vectors button in the Vector Editing area to

display the Mirror Vectors page.
9. Hold down the Ctrl key on your keyboard, and then click on the About Line
option to create a new horizontal linear vector below the guideline.
10. Click the Close button to return to the Assistant's Home page.

Creating the Cross Section
Next we will create a curved vector that we will use as the cross section to be extruded along the
two drive rails. The cross section controls the profile of the swept shape.
1. Click on the Create Polyline button in the Vector Editing area to

display the Polyline Creation page.
2. In the 2D View window, move the cursor over the left-hand end of the first
drive rail.
3. The cursor changes to when you are close to the start point (node) within
the vector.
4. Click to define the start point in the polyline, and then move the cursor over
the left hand edge of the second drive rail. When the cursor changes to
again, click to create a point in the polyline.
5. Click the right mouse button to create the polyline and return to the Assistant's
Home page.
6. Click to select the polyline you have created. The polyline turns magenta.
7. Press the N key on your keyboard to enter Node Editing mode. The cursor
changes to .
8. Move the cursor over the middle of the polyline until it changes to . The
cursor indicates that you are pointing at a span.
9. Press the A key on your keyboard to convert the span (which is currently
linear) to an arc.
By default, the arc will be to the right of the line, if we swept the shape with the profile as it is,
we would produce a negative and recessed shape, rather than a raised shape.
10. Click on the white node that defines the arc and drag it as far as it will go
to the left. This will make the arc face left so that it will produce a raised shape
when used as a profile.
In the 2D View window, the polyline should now look as shown below:
11. Press the Esc key on your keyboard to return to Select Vectors mode.
Two-Rail Sweep
Now we have the vector artwork we need to create the basic shape of the band. We will use this
artwork together with the 2-Rail Sweep tool to create the relief for the ring's shank.
1. Click on the JewelSmith tab to display the Rotary Axis Tools page.

2. Click on the 2-Rail Sweep button in the Modelling Tools area to
display the Two Rail Ring Sweep page.
This is one of the most powerful modelling tools in ArtCAM JewelSmith and may seem a little
daunting at first. However, the Status area of the page is designed to help you select the
minimum number of vectors in the correct order. If you are familiar with ArtCAM Pro, you will
also notice that this ring specific version of the 2-Rail Sweep tool is slightly different from the
conventional one. These differences will be discussed later.
3. Click to select the first drive rail vector from the 2D View window. The vector
turns magenta.
4. In the Select Control Vectors area, click on the Top Drive Rail's Select
button.
In the Status area, you can see that the comment next to First Drive Rail changes to Valid. A
red letter A also appears beside the drive rail vector in the 2D View window.
5. Click to select the second drive rail vector. The vector turns magenta.
6. Click on the Bottom Drive Rail's Select button.
In the Status area, you can see that the comment next to Second Drive Rail changes to Valid. A
red letter B also appears beside the drive rail vector in the 2D View window.
7. Click to select the cross-section vector in the 2D View. The vector turns
magenta.
8. Click on the Add Cross Section button in the Status area.
In the Status area, the cross-section vector is listed as Cross Section 1. A red number 1 appears
to mark its position on the first drive rail, and a blue number 1 appears to mark its position on the
second drive rail
9. Click to select the Scale Final Height option, and then type 2 in its
associated box.
10. Click the Calculate button.
12. Press the F3 key on your keyboard to display the 3D View window.
You can see that the cross section has been extruded along the two drive rails to create a rounded
shank.
You can also see the base cylinder around which our shank shape has been created. This is
referred to as the zero plane.

13. You can click on the Draw Zero Plane button in the 3D View toolbar to
hide the zero plane, the area of the relief with zero height. This is generally
preferable when viewing components.
The basic ring band appears as shown below:
Depending on the resolution of the ArtCAM model, there may be a small gap in the shank at the
point at which the two ends of the wrapped shape meet. If there is a gap, copy and paste an area
of the existing relief to close it. For details, see "Copying and Pasting Reliefs" in the Working
with Reliefs chapter of the ArtCAM Pro Reference Manual.
Adding Text
We will now add some text to the ring band.
2. Click on the Create Vector Text button in the Vector Editing area to
display the Text Tool page.
3. In the Style area, click on the Bold button.

4. Click on the Font list box, and then on the Arial option to select it.
5. Click on the Script list box, and then on the Western option to select it.
6. Click on the Size list box, and then on the Points option to select it.

7. Type 11 in the Size box.
8. Click anywhere in the model area (the white area in the 2D View window),
and then type JewelSmith.
9. Click the Done button to return to the Assistant's Home page.
10. The vector text is purple and surrounded by a bounding box indicating that it
is selected. If it is shown in black, click to select the vector text.
11. Press the F9 key on your keyboard to move the selected vector text to the
centre of the model.
12. Press the F12 key on your keyboard to display the Shape Editor.
13. Click on the Angled button.

14. Using the default settings for this shape, click on the Subtract button.
15. Click the Close button.
16. Press the F3 key on your keyboard to display the 3D View window. You can
see the Jewelsmith text in the shank relief.
17. Press the Ctrl + S keys to save the current ArtCAM Model.
Adding to the Master Model

We now have a finished ArtCAM Model for the one and only component of this example, the
engraved shank. We now want to add a replica mesh of this model into the JewelSmith Project's
Master Model Tree. This replica mesh takes the form of a triangle mesh and serves a number of
useful purposes. Generally the replica mesh will be slightly less accurate than the originating
model (depending on the selected tolerance of the triangulation), but this often makes it better
suited for visualisation because of the associated reduction in rendering time. In addition, other
visualisation tools, such as gem settings, can be added to an assembly alongside its associated
replica mesh. Although in this example we have only created a single rotary component, the
Master Model allows lots of assemblies to be combined in 3D space in any orientation. Complex
Master Models, comprising many assemblies, can be converted to a single STL file for Rapid
Prototype production, or machined from different directions to allow the CNC manufacture of
previously impossible shapes.
1. Click on the Jewelsmith tab to display the Rotary Axis Tools page in the
Assistant window.
2. Click on the Add To Master button in the General Tools area to

display the Add To Master page.
3. Type 0.002 in the Tolerance box.
The tolerance defines how closely the replica mesh preserves the shape of the original relief. The
smaller the number, the better the representation. However, the resulting file will be larger and
more memory intensive for your computer.

4. Click on the Next button to begin creating the replica mesh at the
defined tolerance.
A progress bar appears beneath the 2D View window to indicate the progress ArtCAM
JewelSmith is making in creating a replica mesh of the shank relief.
5. Click on the Accept button to add the replica mesh of the shank relief
to the current JewelSmith project.
JewelSmith is making in creating a replica mesh of the shank relief.
6. Click on the Close Current File button in the General Tools area to
return to the Project page.
In the Master Model Tree, a new assembly has been created represented by the icon. It is
called RotaryAxisShank, the name specified when the assembly was created and added to the
Master Model. Associated with the assembly are several other elements. The icon indicates
properties of the component, including the size and national standard system of the shank. The
icon indicates the replica mesh representing the shape of the ring component.
Rendering in Gold
To view our ring in a more realistic material, we need to choose a new shading set-up for the
shank relief shown in the 3D View window.
1. From the Master Model Tree, click to select the RotaryAxisShank assembly.
Its name turns bold.
When the assembly is selected, its associated toolset is displayed in the lower half of the Project
page. At the top of these tool areas is the title of the currently selected object, in this case
RotaryAxisShank.
2. Click on the Shading button in the Assembly Manager area to

display the shading settings.
3. Click on the Shading Set list box, followed by the 24ct Satin Finish option.
4. Click on the Accept button to render the flush setting as if it were cast
in satin finished gold.
Creating an STL file for Rapid

Prototype production
The first method of manufacture we are going to consider is Rapid Prototype (RP) production of
the Master Model. The Master Model is already represented in the form of a replica mesh, so we
simply need to export it in the STL format required for the RP machine to read.

1. From the Master Model Tree, click to select the EngravedBand Master Model.
Its name turns bold and its associated tools appear in the lower half of the page
under the heading EngravedBand.
2. Click on the Export button in the Edit area to display the Save File
dialog box.
3. Type a name for the STL file in the File name box.
4. Click on the Save As Type list box, and then on the STL Files (*.stl) option
to select it.
5. Click on the Save button to create the triangle model and close the dialog
box.
The resulting STL file can be loaded into your RP machine or software supplied with your
machine.
Defining a Tool and Creating a

Toolpath
In the final section of this chapter we will consider CNC machining of the model. For this
example we will create a very basic raster toolpath using a new tool that we will define and add
to the database. Within your production process it is likely that you will only use a few tool
types. Editing the tool database to include your own tooling options will simplify toolpath
generation in the longer term.
The first thing we need to do is select the shank assembly in the Master Model in order to open
the associated ArtCAM Model.
1. Click to select the RotaryAxisShank assembly in the Master Model Tree to
display its associated toolset.
2. Click the Edit Associated Model button in the Assembly Manager

area to open the ArtCAM Model used to create this assembly.
When creating toolpaths it is generally better to view the ring model in an unrolled form, even if
the toolpaths will ultimately be post-processed for a rotary axis machine.
3. When the model is open, click on the Toolpaths tab to display the
Toolpaths Home page.
4. In the 3D Toolpaths area, click on the Machine Relief button to

display the Machine Relief page.
5. Type 45 in the Raster Angle box. By using this angled strategy we reduce
the strain on the tool in the initial machining passes, since they each are of a
very short length.
6. Click the Select button in the Tool area to display the Tool Groups
Database.

The very fine Ball Nose tool that we wish to use is not in the database by default. Instead, be will
copy and modify an existing tool in order to add our tool to the database.
To navigate thorough the database, we can click on the and symbols next to each group in
the Tools and Groups tree view. These symbols expand and hide the groups, respectively.
Expand the Metric Tools, Wood or Plastic and 3D Finishing groups
7. Click to select the Ball Nose 1.5 mm tool.
8. Click the Copy button in the Tool Groups Database.

9. Click the Edit button to display the Edit Tool dialog box.
10. Type Ball Nose 0.5 in the Description box.
11. Type 0.5 in the Diameter (D) box.
12. Type 1 in the Stepdown box.
13. Click OK. This adds our new tool to the database and closes the Edit Tool
dialog box.
14. Click the Select button in the Tool Groups Database to select our new
tool. The Tool Groups Database window closes and our selected tool
appears in the Tool area of the page.
15. Press the F3 key to display the 3D View so we can see the toolpath generation
process.
16. Click the Now button in the Calculate area to begin calculating the toolpath.
17. When the calculation is complete, click the Close button at the bottom of the
page to return to the Toolpaths page.
Our new toolpath now appears in the toolpath list at the top of the page.
To see exactly what our toolpath will produce we can simulate the cutting process. This is a very
powerful feature of ArtCAM and should allow any problems to be identified before
manufacturing begins.
18. Click on the Simulate Toolpaths button in the Toolpath

Simulation area to display the Toolpath Simulation - Block Definition
dialog box.

19. Click on the Simulate Toolpath button to accept the default settings and
display the Simulation Control panel.
20. Click on the Run Simulation at Maximum Speed button.

When the simulation process is complete you can view the simulation in exactly the same way as
the normal ArtCAM relief. You will notice that there are cusps at the base of each letter.
These cusps you see are a result of the tool geometry that we have specified. These are exactly
the sort of finish details you can check using the simulation tool.
21. Click on the Delete Simulation button to delete the toolpath

simulation from the 3D View window.
22. Click on the Save Toolpaths button to display the Save Toolpaths
dialog box.
Since we have only created one toolpath, it automatically appears in the Toolpaths to save to
a single file window.
23. Click on the Machine output file is formatted for list box, followed by
the option for your machine tool type, and then on the Save button.
The output file is specific to your machine and can be loaded directly into your machine, or via
the CNC software provided by your machine dealer.

Rotary Axis Pixel
Distortion
Overview
In this chapter we will look at some of the modelling issues associated with rotary axis
machining. In particular we will examine the potential for pixel distortion when shapes created in
the 2D View are used to model 3D forms at different heights above the base of the model. We
will then discuss the tools available in JewelSmith to minimise and correct any potential
distortion.
Pixel Expansion
When JewelSmith creates a Rotary Shank model, the circumference of the ring determines the
width of the associated 2D View. This is analogous to unrolling a tube of paper. The larger the
diameter of the tube, the longer the unrolled piece of paper. However, it is important to note that
the piece of paper can only match a single, fixed, diameter tube. Now if we consider a real ring,
instead of a wafer thin piece of paper, it has a certain thickness. This means that the inner and the
outer circumferences of a ring are different. So which circumference should JewelSmith use to
create the 2D View? The answer is that the 2D View matches the outer circumference of the ring,
which is the circumference given by the radius of the ring plus the Rotary Shank's Thickness
specified during the ring component set-up. To understand why this is the case, and some of its
implications, it is important to consider the rotary axis machining process.
When a rotary axis machine tool rotates the wax that it is cutting by a fixed angular step, the
actual distance moved by the tip of the tool is dependent on the distance the tool is from the
centre of rotation. In ArtCAM terms, the distance represented by a single machining step is
therefore bigger, the higher it is above the base of the relief. The relief 'rolling' system used to
show the ArtCAM relief as a ring exactly mimics this process. As a result, the rotary axis
ArtCAM model gives a faithful representation of the final machined model, but this includes the
problem of expanding step sizes above the base plane of the model.
The figure below shows the 3D shapes resulting from the same size circle in the 2D View. When
the circle is created at different heights (and therefore different distances from the centre of
ArtCAM JewelSmith User Guide Rotary Axis Pixel Distortion 21

rotation) the circle becomes elongated or compressed as the distance represented by a fixed step
size varies.
Another way to imagine this is that pixels in the 2D View can only be considered as square at a
single height above the base plane. Below this height they will appear compressed and above this
height they will appear stretched.
JewelSmith provides tools to compensate for the rotary axis distortion that can occur in this way
and we shall consider these below. Often, however, a ring has a fairly constant thickness, and
(because the majority of detail is on the surface of the ring) the 2D design represents shapes that
will be created at a fairly constant height. Because of this, if the shank's Thickness is chosen
judiciously, many ring designs can be laid out in the 2D View with little, or no, shape correction.
If the design allows it, this is the preferable arrangement.
Correcting a Vector For Height

A useful tool for correcting the distortion of shapes when building on a cylinder above or below
the shank's Thickness is the Correct Vector For Height tool, found in the Modelling
Tools area of the Rotary Axis Tool page. If you are intending to use a vector outline to create
a 3D shape using the Shape Editor that is not on the shank's Thickness, you should first use
this tool. It will stretch or compress the vector shape, so as to compensate for any pixel expansion
or compression in the subsequent 3D shape.
For example, if you wish to create a plane at a height above the shank's Thickness, it will be
stretched due to the rotary pixel expansion. By selecting the vector and entering the height into to
the Correct Vector For Height tool first, JewelSmith will slightly compress the vector outline.
This compressed oval will produce an expanded 3D shape at the required height that will exactly
match the original shape thus perfectly counteracting the expansion problem.
Creating a Flat Plane

When using the simple flat plane option in the Shape Editor on a cylinder, the resulting shape
is curved just like the underlying base. Sometimes you need to create a genuinely flat plane,

despite building on the base cylinder. This is achieved using the Create Flat Plane tool found
in the Modelling Tools area of the Rotary Axis Tool page.
This tool corrects both the initial vector boundary (for pixel distortion, as described above) and
creates an underlying 3D shape that produces a flat plane, despite being built on an underlying
cylinder. If you were to view this shape in its 'unrolled' form, you would see it is actually curved
surface along the X-axis of the model. Because the curve is produced by smoothly changing the
Z height, or thickness, of the shape to counter the bending of the model when it is 'rolled' into a
cylinder, the pixel distortion associated with the shape also changes accordingly. For this reason
the vector correction will not be entirely the same as for a shape whose thickness is constant.
Don't be surprised, therefore, if the vector outlines produced by the Correct Vector For
Height tool and the Create Flat Plane tool, do not match.

Three-Stone Ring
Tutorial
Overview
The following tutorial demonstrates how to create a relief and a triangle replica mesh of a shank,
a flush setting to house a principal gemstone, and two further flush settings to house smaller
gemstones on either side. We will use the Shank Library and tools available in the Project
Components page.
Three-Stone Ring
The stages that you will cover during the course of this tutorial are:
Creating the JewelSmith Project.
Adding the Shank to the Project.
ArtCAM JewelSmith User Guide Three-Stone Ring Tutorial 25

Creating the Centre Gem Setting.
Decorating the Flush Setting.
Creating the Side Flush Setting.
Decorating the Side Flush Setting.
Repositioning the Side Flush Setting.
Duplicating and Mirroring the Side Flush Setting.
Editing the Shank.
Saving the New Shank.
Presenting the Finished Ring.
Creating the JewelSmith Project

First we will create the JewelSmith Project for the ring we are creating. We will name the project
and define the location on our computer in which the project will be stored.

Project page.
All projects are named NewProject by default. This is the name that we will use for this
particular JewelSmith Project.
The location in which the JewelSmith Project will be created is shown on the page. If you want
to change the location:
First, click on the Change Directory button to display the Browse
for Folder dialog box.
Next, click to select the directory or folder in which you want to create
the JewelSmith Project folder.
Finally, click on the OK button to confirm your choice and close the
Browse for Folder dialog box. The new location is shown on the
New Project page.
2. Click on the Accept button to create the new JewelSmith Project and
display the Project page.
directory structure to manage any files created as part of it. In the project directory, ArtCAM
JewelSmith has already created a 3D Project file (*.3DP), which is needed to link the 3D
Assembly (*.3DA) and ArtCAM Model (*.art) files that will be created for the individual
components in your design.

To view the files created by ArtCAM JewelSmith, browse to the location specified in the New
Project page using Windows Explorer, and open the directory named NewProject. The ArtCAM
models and reliefs that will make up this project will be stored in sub-folders within this
directory.
The icon in the Master Model Tree indicates that a JewelSmith Project file named
NewProject.3DP has been created and is currently open. As yet, no ArtCAM model file has been
created.
Creating the Shank

In this section we will create a standard shank using the Shank Library. During this process,
ArtCAM JewelSmith generates the vector artwork needed to produce the shank. We will edit the
vector artwork in order to customise the design of our shank.
1. Click on the JewelSmith tab to display to the Project Components page.
2. Click on the Shank Library button in the Libraries area to display

the Shank Library page.
3. Click on the Tapered Round button in the Bands area to display

the Tapered Round page.
4. Click on the Standard list box, followed by the American option to set the
national standard system for the shank we want to create. The Size list box
now contains options for each of the available ring sizes in the selected
standard.
5. Click on the Size list box, followed by the 5 option to set the size of the
shank.
We will use the remaining default settings on the page for our shank.
6. Click on the Next button to display further shank settings allowing you
to define its width and thickness. We will use the default settings on the page
for our shank.
This means that our shank has a top thickness of 3 mm, a bottom thickness of 1.5 mm, a top width
of 4 mm and a bottom width of 2 mm.
7. Click on the Next button. ArtCAM JewelSmith creates a tapered round

shank according to the default settings.
In the 2D View window, we can see that ArtCAM JewelSmith has generated the vector artwork
required to produce our tapered round shank:

The artwork comprises four vectors: a pair of drive rails and two profiles. The profile on the left
is the cross-section of the shank at the back, whilst the profile in the centre is the cross-section of
the shank at the front.
8. Press the F3 key on your keyboard to display the shank relief in the 3D View
window:
Still using the wizard, you can now make changes to the shank. You can either adjust the
parameters on the Tapered Round page or edit the artwork shown in the 2D View directly.
You cannot add to or delete the existing vector artwork, only alter it. In this example we will use
the Node Editing tools to adjust the shape of the shank at the back to a knife-edge, or 'V' cross-
section.
9. Press the F2 key on your keyboard to return to the 2D View window.
10. Make sure that the curved profile vector on the left of the model area is
selected by clicking on it. It is magenta and surrounded by a bounding box.
11. Press the N key on your keyboard to enter Node Editing mode.
12. Move the cursor over the left bezier span in the curved profile on the left-hand
side of the 2D View. You can see the points (nodes) and spans that make up
the curved profile vector.
13. Press the L key on your keyboard to convert the span from a curve to a line.
14. Repeat the previous step for the bezier span on the right of the curved profile
to produce a knife-edge profile.

15. Click on the Rebuild button to regenerate the shank relief using the
modified vector artwork.
16. Click on the Accept button.

When a shank is created using an ArtCAM JewelSmith wizard, a folder named Shank is
automatically created (if it does not already exist) within the current project directory. The
ArtCAM Model (*.art) is then saved in this folder using the filename specified in the wizard. In
this tutorial, it is named TaperedRound.
Adding the Shank to the Project

In this section we will combine the new shank relief with the JewelSmith Project.

display the Add to Master page.
2. Make sure that the tolerance is set as 0.002 in the Tolerance box. This
tolerance is used to preserve the detail of the shank relief.
3. Click on the Next button to create a replica mesh of the shank.

JewelSmith is making in creating a replica mesh of the shank. ArtCAM JewelSmith shows that
the shank has a volume of 278.232 mm when cast in 9 carat gold and no shrinkage is used. Its
overall weight is calculated as 3.283 metric (g). You can set the material in which you would
prefer to cast the shank, define the shrinkage and adjust the units of measurement used for the
weight.
4. Click on the Accept button to add the replica mesh of the shank to the
current JewelSmith project.

The icon in the Master Model Tree indicates that an assembly component named
TaperedRound has now been added to the JewelSmith project.
6. Click on the JewelSmith tab to return to the Rotary Axis Tools page.
8. Click on the Save button in the Project Tools area to save the
JewelSmith Project.
Creating the Centre Gem Setting

To create the centre gem setting we will also use another wizard-based component. Just as for the
shank, however, you can use the wizard to provide a starting point for your design. You are free
to edit and add to this initial model to make it unique.
2. Click on the Rotary Flush button in the Blanks area to display the
Rotary Flush page.
This opens the Rotary Flush wizard that guides us through each of the steps we need to define
a setting of this type. This process starts by defining the shape and size of the gem.
3. Click on the Box Radiant button to select the shape of gemstone we

want to sit in the flush setting, and display the next group of settings.
4. Click on the Standard list box, and then on the Carat option so that we can
define the size according to standard diamond carat weights for this shape of
stone.
5. Click on the Size list box, and then on the 1.00 option to choose a 1 Carat
stone.
6. Click on the Next button to display the final group of settings.
7. Click on the Ruby button to set the colour of the gemstone that will
sit in the flush setting.
8. Type 70 in the Wall Angle (D) box to set a slightly shallower wall angle than
normal. We will use the remaining default settings on the page for our flush
setting.
9. Click on the Next button to create the flush setting.

JewelSmith is making in generating the relief for the flush setting.
In the 2D View window, we can see the vector artwork that ArtCAM JewelSmith has generated
to produce the flush setting relief.
see the box radiant flush setting relief positioned on the shank relief, shown as
follows:
Since we will be decorating the flush setting, do not click on the Accept button at this
time.

Decorating the Flush Setting
We are now ready to create additional vector artwork in the ArtCAM model file associated with
the box radiant flush setting. We will use this vector artwork to create three-dimensional shapes
that we will then combine with the existing flush setting relief.
Creating a Millgrain Edge

First, we will create a band of millgrains around the flush setting. This is made up of a strip of
small circular domes on a raised plane.
1. Press the F2 key on your keyboard to return to the 2D View window. You can
see the vector artwork that has been used to calculate the rotary flush setting
relief.
2. Click on the Assistant tab to display the Assistant's home page.

display the Poly Line Creation page.
4. In the Next Point area, type -12.58 in the X box, 1.35 in the Y box, and then
click on the Add button.
5. In the Next Point area, type 12.58 in the X box, 1.35 in the Y box, and then
6. Click on the Close button to create the polyline and return to the Assistant's
Home page.
7. Click on the Create Circles button to display the Circle Creation

page.
8. In the Circle Centre area, type -11.7 in the X box and 2.1 in the Y box.
9. In the Circle Size area, click to select the Diameter radio button and then
type 0.4 in the box below.
10. Click on the Create button to create the circle.
11. Click on the Close button to return to the Assistant's Home page.
12. With the circle selected, hold the Shift key down on your keyboard to allow
for multiple selections, and then click to select the polyline that you created.

13. Click on the Paste Along a Curve button in the Vector Editing area.
14. Type 50 in the Number of Copies box, and then click on the Paste button
to create fifty copies of the circle along the copy of the polyline.
Adding the Grains

We are now ready to create the series of small dome shapes that make up the millgrains.
1. Click to select any one of the circles created along the polyline. Since the
Paste Along a Curve tool creates the copies as a single group, all the
circles are now selected.
2. Press the F12 button on your keyboard to display the Shape Editor.
3. Click on the Round button.

4. Type 60 in the Angle box.
5. Click on the Add button to add the round shapes to the relief.
6. Click on the Close button to exit the Shape Editor.
Creating the Raised Band

We will now create the raised plane base shape on which the band of millgrains shall lie.
1. Click on the Create Rectangle button in the Vector Editing area of

the Assistant's Home page to display the Rectangle Creation page.
2. Type 25.152 in the Width box.
3. Type 0.54 in the Height box.

4. Type 1.36 in the Y box.
5. Click on the Create button to create the rectangle, followed by the Close
button to return to the Assistant's Home page.
7. Type 0.2 in the Start Height box. We will use the remaining default settings
(a flat plane) to create a raised plane of 0.2 mm under the millgrains.
8. Click on the Add button to add the flat shape to the relief.
9. Click on the Close button.
Creating the Side Cuts

Next, we will create some diamond shaped cuts in the front and back face of the flush setting.

2. Click on the Square radio button to select it. The Width box is greyed out.
4. In the Centre Point area, type -6.3 in the X box.
5. In the Centre Point area, type -0.4 in the Y box.
7. Click on the Create button to create a diamond shape.
9. With the diamond vector selected, hold the Shift key down on your keyboard
and then click to select the horizontal guide vector that divides the model area.
10. Click on the Paste Along a Curve button in the Vector Editing area
to display the Paste Along a Curve page.

11. Type 5 in the Number of Copies box, and then click on the Paste button to
create five copies of the diamond shape vector (the first vector in the current
selection) along the horizontal guide vector (the second and last vector in the
current selection).
12. Click on the Close button to return to the Assistant's Home page. Both the
horizontal guide vector and the original diamond shape vector remain selected.
13. Press the Delete key on your keyboard. A message box appears indicating that
one or more of the selected vectors are locked, this being the horizontal guide
vector. Click on the No button to close the message box and delete only the
original diamond shape vector from which the five copies were created.
14. Click to select any of the five new copies of the diamond shape. All of the
diamond shape vectors turn purple, indicating that they are grouped together
and selected.
15. Press the key on your keyboard until the grouped diamond shapes are
positioned as shown below:
16. Press the Ctrl + U keys on your keyboard to ungroup the five diamond shape
vectors. The diamond shape vectors turn magenta, indicating that they are now
ungrouped.
17. Click anywhere in the grey area of the 2D View to deselect the diamond shape
vectors.
18. Click to select the second diamond shape vector from the left-edge of the
model area.
19. Press the Delete key on your keyboard to delete the diamond shape vector.
20. Click to select the second diamond shape vector from the right-edge of the
model area.
21. Press the Delete key on your keyboard to delete the diamond shape vector.
The remaining diamond shape vectors will be used to create cuts in both the front and back face
of our setting.

22. Hold down the Shift key on your keyboard and then click to select all three of
the remaining diamond shape vectors. The vectors turn magenta and are
surrounded by a bounding box.
24. Click on the Zero button to reset the areas of the relief within the area of the
three diamond shape vectors to zero.

26. Click on the JewelSmith tab to display the Rotary Flush page.
27. Click on the Rebuild button to regenerate the replica mesh of the rotary
flush setting relief using the modified relief.
see the new decorative rotary flush setting as shown on the following page:
29. Click on the Accept button to add the replica mesh of the modified
rotary flush setting to the current JewelSmith project and save its associated
ArtCAM model file.
Since everything is saved, we are free to close this file and return to the Master Model Tree.

JewelSmith Project.
You will see that a new icon in the Master Model indicates that a second 3D Assembly
component named BoxRadiantFlushSetting has now been added. This Assembly comprises two
elements. The new icon indicates the replica mesh of the setting shape and the icon
indicates the gemstone that is used simply for visualisation.
Creating the Side Flush Setting

We are now going to create an additional flush setting that we will eventually position on either
side of the flush setting that holds the principal gemstone in our ring.
2. Click on the Rotary Flush button in the Blanks area.
3. Click on the Round button on the first page of the Rotary Flush
wizard to define the shape of gemstone, and display the next group of settings.
4. Click on the Standard list box, and then on the Carat option so that we can
define the size according to the standard diamond carat weights for this shape
of stone.
5. Click on the Size list box, and then on the 0.30 option to select it.
6. Click on the Next button to display the final group of settings.
7. Click on the Diamond button to set the colour of the gemstone that
will sit in the rotary flush setting.
8. Click on the Next button to create the round flush setting.

JewelSmith is making in generating the vector artwork and the relief for the rotary flush setting.
Since we will be decorating the flush setting, do not click on the Accept button at this
time.
Initially the new setting will be obscured by the existing components. In order to view it, we
must first hide the TaperedRound and the BoxRadiantFlushSetting assemblies.

11. From the Master Model Tree, click to select the TaperedRound assembly. Its
name appears in bold.
12. Right-click to display its context menu, and then click on the Hide option to
hide it from view in the 3D View window.
13. Repeat the previous two steps for the BoxRadiantFlushSetting assembly in the
Master Model Tree. Only the new RoundFlushSetting can now be seen in the
3D View window.
Decorating the Side Flush Setting

As with the centre setting, we are going to decorate the edge of the setting with millgrains.
Creating a Band of Grains

First, we will create a band of grains around the flush setting. This is made up of small dome
shapes on a slightly raised platform.

display the Poly Line Creation page.
4. In the Next Point area, type -8.247 in the X box, 0.981 in the Y box, and then
5. In the Next Point area, type 8.247 in the X box, 0.981 in the Y box, and then
6. Click on the Close button to create the polyline and return to the Assistant's
Home page.

7. Click on the Create Circles button in the Vector Editing area of the
Assistant's Home page.
8. In the Circle Creation page, type -7.5 in the X box and 2 in the Y box
Circle Centre area.
9. Click to select the Diameter radio button, type 0.4 in the box below, and then
click on the Create button.
11. With the circle vector selected, hold down the Shift key on your keyboard, and
then click to select the copy of the horizontal guide vector.
12. Click on the Paste Along a Curve button in the Vector Editing area
to display the Paste Along a Curve page.
13. Type 40 in the Number of Copies box, and then click on the Paste button
to create forty copies of the circle along the copy of the horizontal guide
vector.
15. Click to select any one of the circles to select the entire group.
17. Click on the Round button.

19. Click on the Add button to add the round shapes to the existing relief.
22. Type 16.492 in the Width box.
24. Type 0.982 in the Y box.
25. Click on the Create button to create the rectangle around the row of circle
vectors, followed by the Close button to return to the Assistant's Home page.

27. Type 0.2 in the Start Height box. We will use the remaining default settings
(a flat plane) to create a raised plane of 0.2 mm beneath the millgrains.
28. Click on the Add button to add the flat shape to the relief.
30. Click on the JewelSmith tab to display the Rotary Flush page.
31. Click on the Rebuild button to regenerate the replica mesh of the flush
setting using the modified relief.
33. Click on the Accept button to add the replica mesh of the modified
flush setting to the current JewelSmith project and save its associated ArtCAM
model file.
JewelSmith Project.
The third icon in the project tree indicates that the new assembly named RoundFlushSetting
has been added to the Master Model Tree.
Repositioning the Side Flush Setting

By default the new 3D Assembly of the flush setting has been positioned top-centre on the ring
shank and it needs to be repositioned to the right of the BoxRadiantFlushSetting that holds the
principal gemstone.

1. From the Master Model Tree, click to select the BoxRadiantFlushSetting
assembly. Its name is shown in bold text.
2. Right-click to display its context menu, and then click on the Show option to
view the assembly in the 3D View window.
3. From the Master Model Tree, click to select the RoundFlushSetting assembly.
4. Click on the Nudge button in the Positioning area to display its

settings.
Ensure that the origin markers visible in the 3D View window using the Origin button on
the 3D View toolbar. You should see that there are two origin markers visible. The model's world
centre origin is shown in wireframe only, while the currently selected assembly's component
origin is solid. Using the nudge tools we can work relative to either of these origins. In this case,
we will work using the world centre origin.
5. In the Transform Relative To area, click to select the World Centre radio
button.
6. Click to select the X radio button, and then type 30 in the Angle box.
7. Click on the icon once to rotate the RoundFlushSetting assembly anti-

clockwise around the X-axis of the world centre by 30 degrees.
8. Click on the Back button to return to the previous page.
Duplicating and Mirroring the Side

Flush Setting
Since we want to produce a ring with a setting on either side of the central setting, we can now
create a copy of the existing RoundFlushSetting and then reposition it on the other side of the
shank.
1. Make sure that the RoundFlushSetting assembly is selected in the Master
Model. The name of the currently selected object is always indicated in the
title of the toolset available below the Master Model Tree.
2. Click on the Copy button in the Edit area to create a copy of the
RoundFlushSetting assembly.

3. Click to select the Master Model, named NewProject.3DP, in the Master
Model Tree. Its name is now shown in bold text.
If we pasted the object with a sub-assembly selected, it would be added beneath the selected
assembly in the tree. By selecting the Master Model before pasting, we ensure that the new
assembly will be added to the top level.
4. Click on the Paste button in the Edit area and a second

RoundFlushSetting assembly is created in the Master Model.
To avoid confusion later, we will now change the name of the new setting.
5. Click to select the second and last RoundFlushSetting assembly in the Master
Model Tree. Its name is now shown in bold text.
6. Click on the Attributes button in the Assembly Manager area to

display its settings.
7. Type RoundFlushSetting2 in the Name box.
8. Click on the Accept button.

The new assembly has now been renamed as RoundFlushSetting2 in the Master Model Tree.
There are now four assemblies in total. Finally, to complete the three-stone head, we need to
position the new flush setting on the other side of the central gem.
9. With RoundFlushSetting2 selected, click on the Nudge button in the

Positioning area to display its settings.
10. In the Transform Relative To area, click to select the World Centre radio
button.
11. Click to select the Z radio button, and then type 180 in the Angle box.
12. Click on the button once to rotate the RoundFlush2 assembly anti-
clockwise around the Z-axis.
13. In the 3D View, the RoundFlushSetting2 setting can now be seen to the left of
the BoxRadiantFlushSetting as follows:

14. Click on the Back button to return to the previous page.
Editing the Shank

We will now edit our existing shank. First, we shall remove the areas of the shank relief that are
no longer needed now that the flush settings have been created. This ensures that the minimum
amount of materials are used when casting the ring, that it is not unnecessarily heavy and it is as
cost effective as possible.
Removing Unwanted Material

We are now ready to remove the unnecessary areas of the shank. We will do this by subtracting
the shape of all three of our flush settings from the shank, and then resetting the area to zero.
1. Make sure that only the BoxRadiantFlushSetting, RoundFlushSetting and
RoundFlushSetting2 assemblies are currently shown in the 3D View window.
2. Click to select the TaperedRound assembly from the Master Model Tree. Its
name is now shown in bold text.
3. Click on the Edit Associated Model button in the Assembly

Manager area to open the ArtCAM model file that was used to create the
TaperedRound assembly.
4. Click on the Subtract Master button in the General Tools area to

subtract the shape of the BoxRadiantFlushSetting, RoundFlushSetting and
RoundFlushSetting2 assemblies from that of the TaperedRound assembly.
now see the new shape of the TaperedRoundShank relief, as shown below:
7. Click on the Greyscale button in the 2D View toolbar to display a

greyscale view of the new unwrapped shank relief in the 2D View window.

9. Click on the Create Ellipse button in the Vector Editing area to

display the Ellipse Creation page.
10. Type -6.734 in the Ellipse Height box.
11. Type -15.13 in the Ellipse Width box.
12. Click on the Create button.
14. Make sure that the ellipse is selected by clicking on it. The ellipse is magenta
and surrounded by a bounding box.
16. Click on the Zero button. This instructs ArtCAM JewelSmith to reset the area
of the TaperedRound relief within the boundary of the ellipse to zero.
All unwanted areas of the shank relief have now been removed, as shown below:
Adding Detail to the Shank

We are now ready to add some detail to the shank relief. We will combine a relief in the shape of
a lizard with the left side of the shank, and then mirror the existing relief so that a lizard
eventually sits on either side.
1. From the Main menu bar, click on the Relief drop-down menu, followed by
the Load option, and finally the Paste option to display the Open dialog
box.
2. Click on the Look in list box, and then browse to the 3dClipArt\CREATURE
folder on your Installation CD.
3. Click to select the LIZARD.RLF file. Its name appears in the File name box.
4. Click on the Open button to display the 3D Clipart dialog box.
In the 2D View window, a red vector outline indicates the current size and position of the lizard
relief in the model:

5. Click on the Scale tab to display its settings, and then type 35 in the New
scale % box.
6. Click on the Rotate tab, and then type 20 in the Rotate by angle box.
7. Click on the Move tab, and then type 10.1 in the Move Y origin by box,
followed by 12 in the Move X origin by box.
8. Click on the Apply button. The vector outline turns purple and represents the
new size and position of the lizard relief in relation to the shank relief:
9. Click on the Mode tab and make sure that the Add radio button is selected in
the Paste Mode area by clicking on it.
10. Click on the Paste button to combine the lizard relief with the existing
TaperedRound relief.
13. Click on the Mirror Relief button in the General Tools area to display
the Mirror Relief page.
14. Make sure that the Left/Right option is selected in the Mirror Options list
box. This allows us to mirror the left side of the shank onto the right, thus
producing a lizard on both sides of the shank.
15. Click on the Next button to mirror the relief.


Saving the New Shank
Since we have finished modifying the shank relief, we are now ready to add its new assembly to
the JewelSmith Project. In doing so, we will replace the previous TaperedRound assembly and
the ArtCAM model file from which it was created.

2. Click on the Next button to add the modified TaperedRound assembly

to the JewelSmith Project.
3. Click on the Accept button. A message box appears requesting if you

want to replace the existing TaperedRound assembly.
4. Click on the Yes button to replace the existing assembly. A message box
appears requesting if you want to save the current ArtCAM model.
5. Click on the Yes button to replace the existing ArtCAM model file used to
create the TaperedRound assembly.
In the NewProject directory, the modified ArtCAM Model file named TaperedRound is saved in
the Shank folder.
display the Project page.

Presenting the Finished Ring
Finally we will shade the different assemblies that make up the JewelSmith Project so that they
each appear as if they were cast in 24 carat polished gold. This allows prospective customers to
visualise the finished ring prior to manufacture.
1. Make sure that the NewProject.3DP project is selected in the Master Model
Tree. Its name is now shown in bold text.

3. Click on the Shading Set list box, and then on the 24ct Polished Gold option
to select it.
4. Click on the Background list box, and then on the ArtCAM option to select
it.
5. Click on the Accept button to render the JewelSmith Project as if it

were cast in 24 carat polished gold.
The rendered assemblies are now shown as follows in the 3D View window:

JewelSmith Project.
7. Click on the Close Project button to return to the Assistant's Getting

Started page.

Zodiac Signet Ring
Tutorial
Overview
In this tutorial, we will create a signet style ring and decorate it using relief clipart on the
Installation CD. The important design features of the shank are the flat top, with a square cross
section, which blends smoothly into the rounded 'D' shaped shank.
Zodiac Signet Ring

ArtCAM JewelSmith User Guide Zodiac Signet Ring Tutorial 49

Creating a Rotary Axis Shank Model.
Designing the Shank Shape.
Decorating the Shank Relief.
Adding the Relief to the Master Model.

As usual, our first step is to create a new JewelSmith Project to manage the component models
needed to produce the ring. In this example, there will only be one component; the shank.

Project page.
2. Type ZodiacSignet in the Project Name box.
3. Click on the Accept button to create the JewelSmith Project.
Creating a Rotary Axis Shank Model

2. Click on the Rotary Shank button in the Blanks area of the page to
display the Rotary Shank page.
3. Click on the Standard list box, and then on the Custom option to select it.
4. Type 20 in both the Diameter and Width boxes.
5. Type 5 in the Border box, 2 in the Thickness box and 30 in the
Resolution box.
6. Click on the Accept button to create an ArtCAM model file according

to these settings. This ArtCAM model file is named RotaryAxisShank by
default.
When the creation process has finished you will see that the 2D View of the model has some
reference geometry already within it. This includes horizontal and vertical guidelines and two
concentric circles below the model area. The circles correspond to the inner and outer (as defined
by the thickness setting) diameters of the shank. This artwork is known as the Reference
Silhouette, and by default the artwork is created on a locked layer. However, you can copy and
paste the artwork to provide a starting point for your design. You can also use this area of the 2D
View for laying out design features on the shank, in profile form. This can often be a useful
addition to the conventional 'unwrapped' view, as this tutorial will demonstrate.

Designing the Shank Shape
The zodiac signet shank will be created from a two rail swept shape combined with relief clipart
on the ArtCAM JewelSmith Installation CD. Before we can create a two rail swept shape we
must first create the necessary vector artwork.
Creating the Z Modulation Curve

Because JewelSmith provides mirror tools for both vector artwork and the relief, we only need to
design a partial section of the ring.
1. Click to select the outer circle of the reference silhouette.
2. Press the Ctrl + C keys on your keyboard to create a copy of the reference
silhouette on the ArtCAM clipboard.
3. Press the Ctrl + V keys to paste a duplicate copy of the reference silhouette
overlaying the original.
4. Press the N key to enter Node Editing mode.
5. Move the cursor over the top-right segment, or span, of the circle. When the
cursor changes to , press the R key to remove the span.
6. Repeat this process to remove the bottom-right span of the circle.
We are now left with a semi-circle, representing the left side of the shank.
7. Move the cursor to the point on the semi-circle that is about one third of
the way along the first span from the top:

8. Press the I key to insert a new node in the span.
9. Move the cursor to a position over the span between the new node and the
top node.
10. Press the L key to convert the span to a linear span.
11. Click and drag to create a bounding box around the node that you have just
inserted and the top node. Both nodes turn red to indicate that they are now
selected.
12. Press the Y key to align the two selected nodes in the Y-axis.

This shortcut allows us to align all nodes currently selected, with the position of the last selected
node. As you might expect, the X key performs a similar operation along the X-axis. In this
example we have aligned the new node with the top node, along the Y-axis.
13. Press the Esc key to return to Select Vectors mode.
15.Click on the Mirror Vectors button in the Vector Editing area to

16. Hold down the Ctrl key, and then click on the Right option to create a
mirrored copy of the vector artwork from left to right.
18. With the vector on the right selected, hold the Shift key down and then click to
select the vector on the left. Both the original and the mirrored vector should
now be selected.
19. Click on the Join Vectors with a Curve button in the Group Merge
Join Trim Vectors area to create a single curved vector.

20. Press the key to nudge the selected vector upwards to the exact position
shown below. This has the effect of tapering the shank's thickness towards the
back of the ring when using the vector to create a swept shape.
The vector we have created using the Reference Silhouette shall be used to control the overall
height of the swept shape that forms the shank relief. This vector is referred to as the Z
modulation curve.

Our next step is to produce two drive rails to match the z-modulation curve. We can use the node
snapping tools to help in this process.

2. Move the cursor over the top-left corner of the vector. When the cursor
changes to , click to create the start point in the polyline.
3. Move the cursor over the top-right corner of the vector. When the cursor
changes to , click to create a point in the polyline. A linear span joins this
and the start point.
4. Right-click to close the polyline and return to the Assistant's Home page.
5. Click to select the polyline that you have just created, as shown below:

7. Click on the Unwrap Profile button to create a vector in the model

area.
8. Click to select the unwrapped profile vector in the model area.
9. Press the key to nudge the selected vector upwards to the exact position
shown below:
10. Click to select the horizontal guideline.

11. Press the Ctrl + C keys to create a copy of the horizontal guideline.
12. Press the Ctrl + V keys to paste a copy of the horizontal guideline overlaying
the original.
13. Press the key to nudge the selected vector upwards by approximately 2.5
mm. You can use the ruler on the left-edge of the design window for guidance.

15. Move the cursor over the position where the left edge of the unwrapped
profile vector intersects with the copy of the horizontal guideline.
16. Press the I key to insert a node at this location.

17. Move the cursor over the position where the right edge of the unwrapped
profile vector intersects with the copy of the horizontal guideline.
18. Press the I key to insert a node at this location.
19. Move the cursor over the span on the left side of the model area, anywhere
between the start node and the left node you have just inserted.
20. Press the B key to convert the span to a bezier.

21. Move the cursor over the span on the right side of the model area,
anywhere between the end node and the right node you have just inserted, and
then press the B key to convert the span to a bezier.
22. Click to select the left node that you recently inserted. The node turns red.
23. Click and drag the node upwards. When the cursor changes to , indicating
that it has snapped to the top-left node in the unwrapped profile vector release
the mouse button to reposition the node.
24. Click to select the right node that you recently inserted. The node turns red.
25. Click and drag the node upwards. When the cursor changes to , indicating
that it has snapped to the top-right node in the unwrapped profile vector
release the mouse button to reposition the node.

27. Hold the Shift key down, and then click to select the horizontal guideline.
30. Hold the Ctrl key down, and then click on the About Line option.

Creating the Cross Sections

The final parts of the vector artwork that we need to create are the cross-sections. In this tutorial,
we want to sweep smoothly from a 'D' shaped shank, up to the square shaped flat plane forming
the head of the signet ring.
1. Click on the Create Circles button in the Vector Editing area to

display the Circle Creation page.
2. In the Circle Centre area, type -20.5 in the X box and -13 in the Y box.
3. In the Circle Size area, make sure that the Diameter option is selected by
clicking on its radio button.
4. Type 8 in the Diameter box.
5. Make sure that the Create with arcs option is selected.
9. Move the cursor over the bottom-right span of the circle. When the cursor
changes to , press the R key to delete the span.
10. Move the cursor over the bottom-left span of the circle. When the cursor
changes to , press the R key to delete the span. Only a semi-circle now
remains.
12. Click on the Create Rectangle button in the Vector Editing area to
display the Rectangle Creation page.
13. In the Square or Rectangle area, make sure that the Rectangle option is
selected by clicking on its radio button. This option is selected by default.
14. Type 8 in the Width box.
15. Type 5 in the Height box.
16. In the Centre Point area, type -30.5 in the X box and -11 in the Y box.

20. Move the cursor over the bottom span in the rectangle. When the cursor
changes to , press the R key to delete the span.
Creating the Two Rail Swept Shape

Now that we have created all the necessary vector artwork, we can use it to generate the three-
dimensional shape needed to form the basis of the shank relief. We will use the Two Rail
Sweep tool to calculate our swept shape.
This process uses most of the available Two-Rail Sweep settings, so lets take a moment to
consider what each of them do.
Firstly we will control our swept shape principally using a z-modulation curve. This is the vector
we created using the Reference Silhouette. This means that the two cross-section shapes will be
scaled up, and down, in z height during the sweep, so that the resulting profile of our swept shape
exactly matches the vector we have drawn relative to the reference silhouette.
Next we will select our vectors so that we sweep between the drive rails, from a round cross-
section on the left to a square cross-section on the right. Finally, the highest point of the swept
shape in Z at each stage will be determined by the height of the selected z-modulation curve.
1. Click on the Layers tab to display the Layers page.
2. Click on the button beside the Reference Silhouette and Reference Lines
layers to hide these layers. This is because we no longer require these layers.


5. Click to select the top curved vector in the model area.
6. Click on the Select button in the Top Drive Rail area to confirm the
selected vector as the top drive rail. Direction arrows appear along the selected
vector and a red letter A appears beside it. In the Status area, the First Drive
Rail is shown as Valid.
7. Click to select the bottom, curved vector.
8. Click on the Select button in the Bottom Drive Rail area to confirm the
selected vector as the bottom drive rail. Direction arrows appear along the
selected vector and a red letter B appears beside it. In the Status area, the
Second Drive Rail is shown as Valid.
9. Click to select the vector we had drawn using the Reference Silhouette. This is
the vector in the grey area of the 2D View window beneath the model area.
10. Click on the Select button in the Ring Silhouette area. A red letter Z
appears beside the selected vector. In the Status area, the Ring Silhouette is
shown as Valid.
11. Click to select the semi-circle vector.
12. Hold the Shift key down, and then click to select the rectangle vector.
13. Click on the Add Cross Section button. A number 1 appears beside the
semi-circle, and a number 2 beside the rectangle. You can also see a number 1
and 2 along the drive rails. This indicates the current position of each cross-
section relative to each of the drive rails.
14. In the Cross Section area, click on the Smooth Blend button to
change it to the Linear Blend button.
15. Make sure that the Ring is symmetrical option is selected. This option is
selected by default.
16. In the Cross Section area, click on the Set Position button associated
with the second cross-section.

17. Click on the top-left corner of the Z modulation vector drawn about the
Reference Silhouette. This defines the new position of the second cross-
section relative to the first and second drive rails. You can see that the number
2 shown on each of the drive rails has now changed position.
18. Make sure that the Silhouette Vector Controls Z option is selected. This
option is selected by default.
19. In the Combine area, click to select the Highest option.
20. Click on the Calculate button to create the two rail swept shape.
22. Click on the Smooth Relief button in the Relief Editing area to
display the Smooth Relief dialog box.
23. Makse sure that the Whole Relief option is selected by clicking on its radio
buttton.
24. Type 3 in the Smoothing Passes box, and then click on the Apply button
to smooth the relief.
25. Click on the Cancel button to close the dialog box.
26. Press the F3 key to display the blank signet ring relief in the 3D View
window, as shown below:

Decorating the Shank Relief
Now that we have created the shape that forms the basis of the shank, we are ready to add some
detail in order to produce the finished ring design. We will combine two reliefs with the flat area
of the shank to create a Scorpio motif.
1. Press the F2 key to display the 2D View window.

greyscale view of the current shank relief in the 2D View window.
3. Click on the Load Relief button in the Relief Operations area to

display the Open dialog box.
4. Click on the Look in list box, and then browse to the 3dClipArt\CREATURE
folder on your Installation CD.
5. Click to select the SCORPION.RLF file. Its name appears in the File name
box.
6. Click the Open button to display the Load Relief dialog box.
7. Select the Pasting option by clicking on its radio button.
8. Click the OK button to load the clipart relief into the model. A vector outline
of the Scorpion relief is shown in red. The 3D Clipart dialog box is
displayed, and a red vector outline of the Scorpion relief is shown.
9. Click on the Rotate tab to display its settings, and then type 25 in the Rotate
by angle box.
scale % box.
11. Click on the Move tab to display its settings, and then type 24.5 in the Move
Y origin by box and -0.75 in the Move X origin by box.

12. Click on the Apply button to resize and reposition the vector outline of the
Scorpion relief.
13. Click on the Wrap tab, and then select the Wrap X option by clicking on its
radio button.
Since the underlying relief that forms the flat face of the ring's shank is actually a curved surface
(to compensate for the rotary axis wrapping), this option will stop the clipart from being
distorted.
14. Click on the Paste button to combine the Scorpion relief with the existing
shank relief.
16. Click on the Load Relief button in the Relief Operations area to
display the Open dialog box.
17. Use the File Open window to browse to the 3dClipArt\ZODIAC folder on
your Installation CD.
18. Click to select the SCORPIO.RLF file. Its name appears in the File name
box.
19. Click the Open button to display the Load Relief dialog box.
20. Select the Pasting option by clicking on its radio button.
21. Click the OK button to load the clipart relief into the model. A vector outline
of the Scorpio relief is shown in red. The 3D Clipart dialog box is displayed,
and a red vector outline of the Scorpio relief is shown.
scale % box.
23. Click on the Move tab to display its settings, and then type 26.3 in the Move
X origin by box and 5.7 in the Move Y origin by box. The Scorpio relief is
now positioned between the claws of the Scorpion.

24. Click on the Wrap tab, and then select the Wrap X option by clicking on its
radio button.
25. Click on the Paste button to combine the Scorpio relief with the existing
shank relief.

27. Press the F3 key to display the finished zodiac signet ring relief in the 3D
View window, as shown below:
Adding the Relief to the Master Model

Now that we have created the finished relief for the ring, we are ready to add it to our Master
Model as an assembly. During this process a replica mesh of the relief is created.
2. Click on the Add to Master button in the General Tools area to

3. Type ZodiacSignet in the Assembly Name box.
4. Make sure that the Tolerance is set as 0.002.
5. Click on the Next button to create a replica mesh of the finished

ZodiacSignet ring relief.

6. Click on the Accept button to add the assembly to the Master Model. A
message box is displayed requesting if you also want to save the ArtCAM
model associated with the assembly.
7. Click on the Yes button to save the ArtCAM model file.
close the RotaryAxisShank ArtCAM model file. The Master Model Tree is
displayed on the Project tab.

Finally we will shade the assembly so that it appears as though it were cast in 24 carat gold with
a satin finish. This allows prospective customers to visualise the finished ring prior to
manufacture.
1. Click to select the ZodiacSignet.3DP Master Model listed in the Master

Model Tree. Its name turns bold and the tools available for it are shown on the
page.

3. Click on the Shading Set list box, and then click on the 24ct Satin Finish
option.
4. Click on the Background list box, and then on the ArtCAM option.
5. Click on the Accept button to apply the selected shading settings to the
assembly. The assembly now appears as if it were cast in 24 carat gold with a
satin finish. The background compliments the assembly.
JewelSmith Project.
7. Click on the Close Project button to close the JewelSmith Project and
return to the Assistant's Getting Started page.

Heart Signet Ring
Tutorial
Overview
In this tutorial, we will create a rotary-axis signet-style ring. Initially we will create the head of
the ring using a vertical three-axis approach. In this way we can precisely specify any shape of
head that can be blended smoothly into a shank. In this tutorial we will use a heart shaped head
and a rounded shank, but the principle is the same for many other shapes, from simple circles and
ovals, to more complex stars or shields.
Heart Signet Ring

ArtCAM JewelSmith User Guide Heart Signet Ring Tutorial 67

Creating a 3-Axis Shank Model.
Creating the Head of the Ring.
Converting the 3-Axis Shank to a Rotary Shank.
Editing the Rotary Shank Relief.

As usual, our first step is to create a new JewelSmith Project to manage the component models
needed to produce the ring. In this example, there will only be one component; the shank.

Project page.
2. Type HeartSignet in the Project Name box.
3. Click on the Accept button to create the JewelSmith Project.
Creating a 3-Axis Shank Model

Our next step is to create a shank model. For this design, it is easier to lay the ring design in a
conventional three-axis relief, with the face of the ring pointing up in Z. To do this we will use a
vertical three-axis shank model.
2. Click on the 3-Axis Shank (Vertical) button in the Blanks area of

the page to display the 3-Axis Shank (Vertical) page.
3. Click on the Standard list box, and then on the Custom option to select it.
4. Type 20 in both the Diameter and Width boxes.
5. Type 2 in the Thickness box, 5 in the Border box and 30 in the
Resolution box.
6. Click on the Accept button to create an ArtCAM model file according

to these settings. This ArtCAM model file is named ThreeAxisShankV by
default.
The General Tools page is now displayed. The 2D View has a Reference Silhouette, similar to
Rotary Axis models, but Three Axis models require virtually no specific tools. As a result we

will create most of our model using conventional ArtCAM tools. We are aiming to create the top
of the ring oriented with the face of the ring pointing up in Z.
Creating the Head of the Ring

We are now ready to create the vector artwork needed to produce the head of the ring.
Creating the Ellipses

We will begin by creating two ellipses. The first ellipse will be used later when creating the heart
shape relief. The second ellipse will be used to create a heart shape vector.
2. Click on the Create Ellipse button in the Vector Editing area to

display the Ellipse Creation page.
3. Type 16 in the Ellipse Height and 24 in the Ellipse Width box.
4. Click on the Create button to create the ellipse.
5. Type 12 in the Ellipse Height and 15 in the Ellipse Width box.
6. Click on the Create button to create a second ellipse positioned inside the
first.
Creating the Heart Shape

Now we will use the Node Editing tools to manipulate the central ellipse to form the required
heart shape.
1. In the 2D View window, make sure that the innermost ellipse is selected by
clicking on it.

3. Move the cursor so that it is positioned above and to the right of the top node
in the central ellipse.
4. Click and hold down the left mouse button, and then drag to form a bounding
box that surrounds both the top and bottom nodes in the central ellipse:
5. Release the mouse button. Both nodes turn red, indicating they are selected.
6. Press the arrow key to nudge the selected nodes downwards to produce a
heart-shaped vector.
8. Press the F9 key to position the heart-shaped vector in the centre of the model
area.

The resulting artwork will be used to define the ring shape as if we were looking down upon it
from above the face.
Creating the Blend Cross-Section

The final piece of vector artwork we need to create is the cross-section that will be used to form
the head of the ring.
1. Click on the Create Rectangle button to display the Rectangle

Creation page.
2. Type 5 in the Width box and 10 in the Height box.
3. Click on the Create button to create the rectangle in the model area.

6. Move the Node Editing cursor over the node at the top-left corner of the
rectangle. When the cursor indicates that it is over the node , press the D
key to delete it.
7. Move the cursor over the span that connects the remaining top node to the
bottom-left node. When the cursor indicates that it is over the span , press
the B key to convert it to a bezier curve. Two control points appear.
8. Click and drag the lower control point left until it is vertically aligned with the
start node .
9. Click and drag the other control point upwards diagonally, until it produces a
pleasing curve in the span.
10. Finally, move the cursor over the bottom span in what was the rectangle.
When the cursor indicates that it is over the span , press the R key to
remove it.
The resulting cross-section should look as follows:
Creating the Heart Relief

Now that we have created all the vector artwork that we require, we can create the heart shape
relief using the 3D Blend tool.
2. Click on the Create 3D Blend button in the Relief Editing area of the
Assistant page to display the 3D Blend page.
3. Hold down the Shift key (to allow for multiple vector selection), and then click
on the outer ellipse, the heart, and the cross-section in turn.

4. In the Profile area, select the Selected Vector option by clicking on its
radio button.
5. In the Heights area, leave the Border set to the default value of 0 and type
12 in the Inner box.
This sets the height of the flat plane under the heart shape (the inner vector in our selection). We
have chosen 12 mm because the inner radius of the ring is 10 mm (a diameter of 20 mm) and we
require the face of the ring to be 2 mm above this.
6. In the Blend from Border to area, select the Inner Vector Edge option
by clicking on its radio button.
7. Make sure that the Fill Inner Vector option is selected and the Proportion
is set to 100%.
8. In the Combine area, make sure that the Add option is selected by clicking
on its radio button.
9. Click on the Create Blend button.
11. Press the F3 key to display the relief in the 3D View window. We can now see
the three-dimensional heart shape that will be used in our ring.

Converting the 3-Axis Shank to a
Rotary Shank
To achieve the desired shape of the ring's shank we need to reproduce the 3-Axis Shank
(Vertical) heart shape component as a Rotary Shank component. First we need to add the 3-
Axis Shank (Vertical) heart shape to the Master Model. We then need to create a new Rotary
Shank component and combine the heart shape that is now part of the Master Model with it.

2. Type HeartSignet in the Assembly Name box.
3. Type 0.001 in the Tolerance box.
4. Click on the Next button to create a replica triangle mesh of the heart-
shaped relief.
5. Click on the Accept button to add the heart-shape replica mesh to the
Master Model. A message box appears asking if you want to save the ArtCAM
model associated with the assembly.
6. Click on the Yes button to save the ArtCAM model.
7. Click on the Project tab to display the Master Model Tree. You can see that
the HeartSignet assembly has been added to the Master Model. If you
click on the icon, you can see that a replica mesh is associated with this
assembly.
9. Click on the JewelSmith tab to return to the General Tools page.
10. Click on the Close Current File button to close the ThreeAxisShankV
ArtCAM model file associated with the HeartSignet assembly, and return to
the Master Model Tree on the Project tab.
12. Click on the Rotary Shank button in the Blanks area to display the
Rotary Shank page.
13. Make sure that the Custom option is selected in the Standard list box, both
the Diameter and Width are both set as 20, the Thickness is set as 2, the
Border as 5 and the Resolution as 30.
14. Click on the Accept button to create the RotaryAxisShank ArtCAM

model file. The Rotary Axis Tools page is displayed on the JewelSmith
tab.

15. Click on the Combine Master button in the General Tools area to
combine the replica mesh associated with the HeartSignet assembly with the
RotaryAxisShank ArtCAM model.
Editing the Rotary Shank Relief

We will now edit the relief in the RotaryAxisShank model to complete the shank we require for
the ring. To give us a starting point for editing, we first need to see the relief we have created in
the 2D View.

greyscale image of the relief in the 2D View window.
In this view, the highest points are represented by lighter shades, and the lower points by darker
shades. The zero plane is coloured so to provide a high contrast edge to the model in the 2D
View window.
At the edges of the relief, you will notice that the sides of the shank are parallel. This is a
necessary consequence of the three-axis model used to generate the replica mesh. To complete
our ring we need to taper the shank towards the back. To achieve this we first need to identify the
area of the relief that we will replace with a new tapered shape.
3. Click on the Create Rectangle button in the Vector Editing area to

display the Rectangle Creation page.
4. Type 6 in the Width box, 12 in the Height box and -19 in the Centre
Point's X box.
5. Click on the Create button to create a rectangle over the left-hand side of the
shank model area. The rectangle identifies the region in the existing relief
where its desired taper is lost.


We will now create the vector artwork that will be used as the drive rails when creating the two-
rail swept shape needed to complete the ring's shank.

2. Move the cursor over the position where the horizontal reference line meets
the left-edge of the model area. When the cursor changes to , left-click to
define this position as the start point in our polyline.
3. Move the cursor over the position where the rectangle intersects the edge of
the existing shank relief, and then click to create a point. A linear span joins
this and the previous point in the polyline.
4. Right-click to finish the polyline and return to the Assistant's Home page.
5. Click to select the polyline.

7. Click on the green start point in the polyline. The start point turns red.
8. Press the key to nudge the point upwards by approximately 2 mm. You can
use the ruler on the left-edge of the design window for guidance.
9. Move the cursor over the span. When the cursor changes to , press the B
key to convert the span to a bezier. Two control points appear.
10. Click and drag the left control point downwards until it is aligned with the
polyline's start point. The cursor changes to to indicate a horizontal
alignment.

11. If necessary, adjust the other control point so that the curved vector continues
the taper of the existing relief.

13. Click to select the horizontal guideline, and then, holding down the Shift key,
click to select the curved vector.
15. Hold down the Ctrl key and click on the About Line option to mirror the
curved vector about the horizontal guideline.
18. Click to select the node on the bottom right. The node turns red.
19. Press the key nudge the point upwards by approximately 2 mm. You can
use the ruler on the left-edge of the design window for guidance.
If necessary, adjust the other control point so that curve continues the taper of the current relief in
a pleasing fashion.
Creating the Cross-Section using the Relief

In order for our new shape to continue the profile of the existing relief, we will first create a
cross-section of the ring shank directly from the relief.
1. Click on the Create Cross-Section button in the Relief Operations

area to display the Create Relief Cross Section page.

2. Click on the Greyscale button in the 2D View toolbar to hide the
greyscale image of the relief. This makes it easier to see the vectors we need to
use to create the cross section.
3. Move the cursor over the right-hand end of the top vector. When the cursor
changes to , click to select this position as the start of the cross section.
4. Move the cursor over the right-hand end of the bottom vector. When the
cursor changes to , click to select this position as the end of the cross
section.
5. Click on the Create button to create the cross section vector, as shown below:
ArtCAM JewelSmith creates a vector that matches the profile of the underlying relief between
the right-hand ends of the two curved vectors.
7. Click to select the cross section vector.
8. Click on the Arc Fit Vectors button in the Vector Editing area to
display the Fit Arcs To Vectors page.
9. Type 0.01 in the Tolerance box, and then click on the Fit Arcs button to
convert the spans that make up the cross section to arcs. This reduces the
number of spans in the cross section and adds curvature.
11. Click to select the rectangle vector.
12. Press the F12 key to display the Shape Editor.
13. Click on the Zero button to reset the relief within the area defined by the
rectangle to zero, and then click on the Close button.
Creating the Two Rail Sweep

We will now create a three-dimensional shape from the vector artwork that we have drawn in the
2D View. This shape will be combined with the existing relief to form one side of the finished
shank.
1. Click on the Two Rail Sweep button in the Vector Based Relief
Creation area to display the Two Rail Sweep page.

2. Click to select the top curved vector, and then click on the Top Drive Rail
button to select the vector as the top drive rail.
3. Click to select the bottom curved vector, and then click on the Bottom Drive
Rail button to select the vector as the bottom drive rail.
4. Click to select the cross section vector, and then on the Add Cross Section
button to define the vector as the cross section in our two-rail swept shape.
5. Make sure that the Scale Height and Width option is selected.
6. In the Combine area, select the Highest option by clicking on its radio
button.
7. Click on the Calculate button to create the two-rail swept shape.
9. Press the F3 key to display the relief in the 3D View window. We can see that
the two rail swept shape has been merged with the existing heart shape relief,
but only one side of the shank is now complete.
Sculpting the Relief

You will probably detect a slight seam where the new swept shape has been blended into the
existing relief. To smooth away this seam we will use the Sculpting tools available in ArtCAM
JewelSmith.
1. Press the F2 key to return to the 2D View window.

3. Click on the Greyscale From Relief button in the Model area to

display a conventional greyscale image of the relief in the 2D View window.
4. Click on the Sculpting button in the Relief Editing area to display the
Interactive Sculpting page. The shank is displayed in the 3D View in
unwrapped form, as this is the best view to use when sculpting a relief.
You can use the Twiddle Tool and Zoom buttons in the 3D View toolbar to focus on the area
of the relief where the seam is situated.
5. Make sure that the Smooth tool is selected by pressing the number 1 key.
6. The default settings for the Smooth tool are a Diameter of 30, a Strength
of 50% and a Smoothness of 100%. Make sure that you are using these
exact settings when smoothing the relief.
7. In the Colour Usage area, click to select the Sculpt Excluding Colour
option.
8. Click and drag the light-bulb icon to anywhere in the 3D View window
outside of the shank shape. Release the mouse button to set the colour in the
Colour Usage box to yellow. This means we now cannot smooth any area of
our model marked in this colour, which in this instance identifies the zero
plane.
9. Position the cursor over the seam in the relief, and then click and drag the
mouse along the line of the seam to smooth over it.
10. When you are happy that the seam is no longer visible, click on the Apply
button.

11. Click on the Finish button to return to the Assistant's Home page.
Mirroring the Relief

Since the ring is symmetrical, we can finish the piece by mirroring the existing relief onto the
right side of the model.
2. Click on the Mirror Relief button in the General Tools area to display
the Mirror Relief page.
3. Make sure that the Left/Right option is selected in the Mirror Options list
box.
4. Click on the Next button to mirror the existing relief onto the right side
of the model, and return to the Rotary Axis Tools page.
The finished ring relief is shown below:

Now that we have created the finished relief for the ring, we are ready to add it to our Master
Model as an assembly. Since we no longer need the original assembly that contains only the heart
shape relief, we will replace this with a new assembly of the finished ring. During this process a
replica mesh of the relief is created.
1. Click on the Add to Master button in the General Tools area to

2. Type HeartSignet in the Assembly Name box.

4. Click to deselect the Use Back Relief option. We do this because the flat
back of the model is created as part of the back relief, and we do not require it
in this tutorial.
5. Click on the Next button to create a replica mesh of the finished

HeartSignet ring relief.
6. Click on the Accept button. A message box appears requesting if you

want to replace the existing HeartSignet assembly.
7. Click on the Yes button to add the assembly to the Master Model.
close the RotaryAxisShank ArtCAM model file. The Master Model Tree is

manufacture.
1. Click to select the HeartSignet.3DP Master Model listed in the Master

page.

option.
JewelSmith Project.
7. Click on the Close Project button. A message box appears requesting

if you want to save the JewelSmith Project before closing it.
8. Click on the Yes button to save the JewelSmith Project and return to the
Assistant's Getting Started page.

Dragonfly Brooch
Tutorial
Overview
This tutorial uses many of the non-ring specific ArtCAM JewelSmith functions to create a flat
3D brooch item of jewellery. After the brooch relief is built, we will use the Gem Tools to add
gemstones to this piece for rendering purposes. Finally, we will use conventional ArtCAM tools
to create the additional parts required to assemble and present the finished brooch to the
customer.
Dragonfly Brooch
Preparing the Model.
Creating the Relief.
ArtCAM JewelSmith User Guide Dragonfly Brooch Tutorial 83

Creating the Gem Settings.
Adding the Gems.
Creating the Finished Relief.
Presenting the Master Model.
Preparing the Model

First, we will open the ArtCAM model containing the vector artwork that you will require to
build the Dragonfly brooch relief.
1. Click on the Open JewelSmith Project icon in the JewelSmith

Projects area of the Assistant's Getting Started page to display the Load
JewelSmith Master Model dialog box.
2. Click on the Look in list box, and then browse to the
JewelSmithProjects\Dragonfly folder on your Tutorials CD.
3. Click to select the Dragonfly.3DP file. Its name is displayed in the File Name
box.
4. Click on the Open button to open the JewelSmith Project in ArtCAM
JewelSmith. The Project page is displayed and you can see the Master Model
Tree for the Dragonfly project.
5. Click on the Browse Project button in the Project Tools area of the
page to display the Browse Project Folder page.
6. Click on the Dragonfly button to open the file named Dragonfly.art. This
ArtCAM model file was previously created as a Flat 3-Axis component, and is
saved in the Flat folder within the Dragonfly Project directory.
The following vector artwork is shown in the 2D View window:

This vector artwork will be used to create the finished Dragonfly brooch.
Creating the Relief

The vector artwork for the different areas of the Dragonfly design has been created across a
number of different layers within this ArtCAM model file. We will deal with each different
element of vector artwork in turn, using the Layers tab to manage and organise the artwork to
create the finished Dragonfly relief. Each layer in this model has been named according to the
artwork it contains relative to the overall Dragonfly design. The Visibility toggle button
beside each layer name allows us to control whether the vector artwork on a layer is either hidden
or visible in the 2D View at any given time. Only the relevant artwork for each modelling stage
need be visible. Initially we will only use the Body, Wings and Legs layers.
Creating the Body

First we will create the body shape using the Turn Wizard and vectors selected from the
Dragonfly artwork.
1. Click on the Turn button in the Vector Based Relief Creation area
of the Assistant's Home page to display the Turn Wizard.
The Turn button can also be found on the Relief tab on the Main toolbar.
2. Click to select the vector representing the left side of the Dragonfly's body
shown as follows, and then click on the Select button. A bounding box
appears around the selected vector, and direction arrows are displayed along
its outside edge.

3. Type 0.75 in the Z Scaling Factor box, and then click on the Next button.
The selected vector turns blue.
4. Make sure that the Add option is selected by clicking on its radio button.
5. Click on the Turn button to create the turned shape.
6. Click on the Close button. The previously selected vector is now deselected.
7. Press the F3 key on your keyboard to display the relief in the 3D View
window, shown as follows:
Creating the Legs

Next we will create the legs using the Shape Editor and vectors selected from the Dragonfly
artwork, and merge them with the body shape.
2. Click on a vector representing any of the four legs to select them all. The
vectors representing each of the Dragonfly's legs are selected simultaneously
as they are grouped together.

4. Click on the Round button. This allows us to create a rounded shape.

5. Type 45 in the Angle box, and 0.5 in the Start Height box.
6. Click on the Merge High button. This instructs ArtCAM JewelSmith to
merge the points in the leg shapes with the existing body relief.
8. Press the F3 key to display the relief in the 3D View window. The Dragonfly
relief currently appears as follows:
Creating the Wings

Next we will create the wings using the Shape Editor and vectors selected from the Dragonfly
artwork, and merge them with the body shape.
2. Click on any of the vectors representing the wings to select all of them. The
vectors representing each of the Dragonfly's wings are selected simultaneously


5. Type 40 in the Angle box and 1 in the Start Height box.
6. Select the Constant Height (Vectors Only) option by clicking on its radio
button, and then type 0.15 in its associated Height box.
merge the points in the wing shapes with the existing body relief.
9. Press the F3 key to display the relief in the 3D View window. The Dragonfly
relief currently appears as shown below:
The relief representing the Dragonfly's frame is now complete.

Creating the Gem Settings
In the finished brooch, the gemstones are set in a pav style between the veins of the Dragonfly's
wings. The gems are a combination of 2 mm and 1.5 mm diameter stones, and so are based on
simple circles of equal diameters.
The layout of the stones was originally created using the Pave Wizard tool. These simple
layouts were then rotated, moved and trimmed manually to produce a pleasing arrangement of
stones within specific regions. For the purposes of this tutorial, the settings for each of the
required types of gemstones are contained on separate layers. The Shape Editor tool in
ArtCAM JewelSmith makes it simple to convert these circular vectors into settings for the
gemstones.
Creating a Base for the Gemstones

First we will create a shape that will act as a bed for the gemstones, and combine this with the
existing relief.
2. Click on the Layers tab to display the Layers page. Here we can see all of
the layers that make up the ArtCAM model.
3. Make sure that all of the layers are hidden, except: Diamonds, Rubies,
Emeralds, Amethyst and Sapphires/Eyes.
4. Click on the Create button to create a new layer. It is named Layer 11 by

default. The layer is also selected by default.
5. Click on the Rename button, and then type Offsets as the new layer name.
6. Click on the button to apply the new name to the layer.
7. Make sure that the Offsets layer is selected. Its name should be highlighted in
blue on the Layers page. All new vectors are created on the layer currently
selected.

8. Press the Ctrl + A keys to select all of the vectors shown in the 2D View
window.
9. Click on the Assistant tab to return to the Assistant's Home page.
10. Click on the Offset Vector(s) button in the Vector Editing area to
display the Offset Vector(s) page.
11. Type 0.5 in the Offset Distance box.
12. Make sure that the Outwards/Right option is selected in the Offset
Direction area by clicking on its radio button, that the Radiused option is
selected in the Offset Corners area, and the Delete Original Vectors
option is deselected.
13. Click on the Offset button to create the offset vectors, and then click on the
Close button.
15. Hide all of the layers, other than the Offsets layer. Only the offset vectors we
have just created can now be seen in the 2D View window.
16. Click to select the offset vector associated with the Dragonfly's eyes.
18. Click on the Zero button to reset the area of the relief within the selected
offset vector to zero.
window.

20. Press the F12 key again to ensure that the Shape Editor is applicable to all
of the vectors currently selected.
21. Click on the Plane button. This allows us to create a flat plane.
22. Type 1 in the Start Height box.
merge a flat plane with the existing body relief.
the base for the gem settings along with the Dragonfly's frame as follows:

27. On the Layers page, make sure that all of the layers are hidden, other than
Diamonds, Rubies, Emeralds, Amethysts and Sapphires/Eyes.
window.
30. Click on the Angled button. This allows us to create an angled shape.
31. Type -65 in the Angle box, and 0 in the Start Height box.
32. Click on the Add button. This instructs ArtCAM JewelSmith to add the
angled shapes to the existing body relief.

We now need to remove the centres of the gem settings. We could create individual circles at the
centre of each gem setting and then reset the area of the relief within each of them to zero,
however a much faster alternative is available.
33. Double-click anywhere in the model area (the white area) of the 2D View
window to select white as the current Primary Colour. This colour appears in
the Shape Editor.
34. Make sure that the Plane button is selected and its Start Height is set
as 0.
merge a flat plane equal to the size of the model with the existing body relief.
Since the white colour covers the whole model area, this process effectively removes all negative
areas within the relief. The tips of the cone shapes created for the gemstones (which protrude
beneath the zero plane) are therefore removed, thus resulting in azures beneath each of the gem
settings.
the gem settings on the Dragonfly's frame as shown below:
Adding Millgrains to the Gem Settings

We will now add millgrains to the gemstone bed. Millgrains are used to help support and secure
the gems embedded in the Dragonfly brooch. The Shape Editor tool in ArtCAM JewelSmith
allows us to quickly build these millgrains. It is easy to add this feature to any item of jewellery.
2. On the Layers page, make sure that all of the layers are hidden, other than the
Millgrains layer.
window.

5. Click on the Round button. This allows us to create an angled shape.

6. Type 90 in the Angle box and 1.2 in the Start Height box.
merge the rounded shapes with the existing relief.
the millgrains that have been added to the gem settings to create the Dragonfly
brooch relief, as shown below:

Now that we have calculated the relief for the Dragonfly brooch, we are ready to add it to our
Master Model as an assembly. During this process a replica mesh of the relief is created.
2. Click on the JewelSmith tab to display the General Tools page.


5. Make sure that the Use Back Relief option is deselected by clicking on it.
6. Click on the Next button to create a replica mesh of the Dragonfly

brooch relief.
7. Click on the Accept button to add the Dragonfly brooch replica mesh
to the Master Model. A message box appears asking if you want to save the
ArtCAM model associated with the assembly.
8. Click on the Yes button to save the ArtCAM model.
9. Click on the Project tab to display the Master Model Tree. You can see that
the Dragonfly assembly has been added to the Master Model. If you click
on the icon, you can see that a replica mesh is associated with this
assembly.
Adding the Gems

At present the relief is already suitable for manufacturing. However, for visualisation and
customer presentation purposes, we will add to the relief the gems that resemble those we intend
to set in the finished Dragonfly brooch. First we will convert vector artwork representing the
layout of the gemstones to gem vectors. When creating the gem vectors, we will define specific
properties such as the shape and colour of the gemstones that we want to position within them.
Creating the Gem Vectors

First we will convert the vector artwork representing the layout of the gemstones to gem vectors,
defining the properties of the gemstones as we do so.
2. Make sure that all of the layers are hidden, other than the Diamonds layer.
window.
5. Click on the Vectors To Gem Vectors button to display the Vectors

To Gem Vectors page.

6. Click on the Round button to display the next page of settings.
7. Make sure that the Get Gem Sizes from Vectors option is selected in the
Standard list box. All remaining options on the page are then greyed-out.
8. Click on the Next button to display the colour settings.
9. Click on the Diamond button to set the colour of the gems.

10. Make sure that the Create New Gem Vectors and Remove Original
Vectors options are both selected. This instructs ArtCAM JewelSmith to
create gem vectors from the selected vector artwork and then delete the vector
artwork, leaving only the gem vectors.
11. Type Diamonds in the Gems Name box.
12. Click on the Next button to create the gems. The gem vectors are created on a
new layer named Gem Vectors.
14. Press the Ctrl + A keys to select all of the gem vectors shown in the 2D View
window.
15. On the Layers page, click on the Selected Vectors, move to list box at
the bottom of the page, and then on the Diamonds option to send all of the
gem vectors on the Gem Vectors layer to the Diamonds layer. The Gem
Vectors layer is now empty.
16. Make sure that all of the layers are hidden, other than the Rubies and Gem
Vectors layers.
window.
19. Click on the Vectors To Gem Vectors button in the Gem Tools
area to display the Vectors To Gem Vectors page.
20. Click on the Round button to display the next page of settings.
21. Make sure that the Get Gem Sizes from Vectors option is selected in the
Standard list box. All remaining options on the page are then greyed-out.

22. Click on the Next button to display the colour settings.
23. Click on the Ruby button to set the colour of the gems.
24. Make sure that the Create New Gem Vectors and Remove Original
Vectors options are both selected.
25. Type Rubies in the Gems Name box.
26. Click on the Next button to create the gems. The gem vectors are
created on the Gem Vectors layer.
28. Press the Ctrl + A keys to select all of the gem vectors shown in the 2D View
window.
29. On the Layers page, click on the Selected Vectors, move to list box, and
then on the Rubies option to send all of the gem vectors on the Gem Vectors
layer to the Rubies layer. The Gem Vectors layer is now empty.
30. Repeat steps 16 to 29 for the vectors on the Emeralds, Amethysts and
Sapphires/Eyes layers using the appropriate gem colours.
Creating the Gems

Now that we have converted all of the necessary vector artwork to gem vectors and defined the
properties of the gemstones that we want within them, we are now ready to create the gems.
1. On the Layers page, make sure that all of the layers are hidden, other than
Diamonds, Rubies, Emeralds, Amethysts and Sapphires/Eyes.
3. Click on the Create Gems button in the Gem Tools area of the page.
4. Click to deselect the Create Only Selected Gem Vectors option. This
instructs ArtCAM JewelSmith to create gems from all of the gem vectors on
all visible layers.
5. Type DragonflyGems in the Gem Set Name box. This is the name that will
be given to the assembly containing the gems once they have been added to
the Master Model.
6. Type 1 in the Start Height box.
7. Make sure that the Lay on relief option is selected and the Position
Around Ring option is deselected.
8. Click on the Next button to create the gems.

that the gems have been added to the relief as follows:

11. Click on the Accept button to add the gems to the Master Model.
12. Click on the Project tab to display the Master Model Tree. You can see that a
DragonflyGems assembly has been added to the Master Model . If you
click on the icon, you can see all of the gems associated with this
assembly.
Creating the Finished Relief

If we were to manufacture the Dragonfly brooch relief in its current state, we would produce a
solid item of jewellery. We can, however, design the back of the brooch to produce a more
practical and cost-effective piece. We will complete the Dragonfly brooch by hollowing out the
existing relief to a defined wall thickness. This will reduce the overall weight of the finished
piece, and ultimately production costs.
We can generate the back relief from the existing Dragonfly brooch relief using the Back Relief
tools. Once we have created our back relief, this then co-exists with the previous brooch relief in
the same ArtCAM model file. You can easily toggle between the reliefs using the Back Relief
tools. These two reliefs will be added to our Master Model as a single assembly, replacing the
existing Dragonfly assembly that currently contains only the original brooch relief. During this
process, ArtCAM JewelSmith creates a replica mesh of the finished Dragonfly brooch from both
of the reliefs.
Creating the Back Relief

First we will create the back relief directly from the existing Dragonfly brooch relief.
2. Click on the Offset Front To Back button in the Back Relief area to
display the Offset Front To Back page.

3. Type 1 in the Offset box.
4. Click on the Next button to create the offset relief.

5. Press the F3 key to display the offset relief in the 3D View window as shown
below:
To complete the back relief we will rebuild the Dragonfly's legs to give them a fuller 3D shape
and thus strengthen the finished brooch.
8. Make sure that all of the layers are hidden, other than the Legs layer.
9. Click on a vector representing any of the four legs to select them all. The
vectors representing each of the Dragonfly's legs are selected simultaneously
11. Type -45 in the Angle box and 0 in the Start Height box.
12. Click on the Merge Low button.
14. Press the F3 key to display the finished back relief in the 3D View window as
follows:

Adding the New Relief to the Master Model
Now that we have created the back relief for the Dragonfly brooch, we are ready to save the two
reliefs that co-exist in our model as an assembly. During this process, ArtCAM JewelSmith
creates a single replica mesh from both of the reliefs.

4. Make sure that the Use Back Relief option is selected, and that the
Tolerance is set as 0.002.
5. Click on the Next button to create a replica mesh of the complete

Dragonfly brooch relief. This replica mesh is created using both the previous
brooch relief and the new back relief we have just created.
6. Click on the Accept button. A message box requesting if you want to

replace the existing assembly appears.
7. Click on the Yes button. A second message box requesting if you want to
save the ArtCAM model appears.
8. Click on the Yes button to save the modified Dragonfly assembly in the
Master Model along with its associated Dragonfly ArtCAM model file.
You can see that the Dragonfly assembly has moved to the bottom of the Master Model Tree.
This is because its associated replica mesh has been modified since the original assembly was
added to the Master Model.
close the Dragonfly ArtCAM model file. The Master Model Tree is displayed
on the Project tab.

Presenting the Master Model
manufacture.
1. Click to select the Dragonfly.3DP Master Model listed in the Master

page.

option.
JewelSmith Project.

JewelSmith Tools
Reference
Getting Started
When you start ArtCAM JewelSmith, there are two buttons on the Assistant's Getting Started
page in addition to those normally found in ArtCAM Pro. These two buttons enable you to create
a new, or open an existing, JewelSmith Project. JewelSmith can still be used to create
conventional ArtCAM models. However, if you want to make use of many of the additional
features available for managing related files, combining 3D Assemblies, or working on back and
front reliefs within a single model, you should start by creating a JewelSmith Project.
Creating a New Project

You can create a JewelSmith Project in two ways. You can create an entirely new project from
nothing, or you can create a project from an existing 3D model.
To create a new JewelSmith Project:

Project page.
2. Type the name that you want to give to the project in the Project Name box.
All projects are named NewProject by default.
3. Make sure that the path shown in the Location area of the page reflects where
you want to save the project on your computer.
If you want to change the location:
First, click on the Change Directory button to display the Browse for
Folder dialog box.
Next, click to select the directory or folder in which you want to create the
JewelSmith Project folder.
ArtCAM JewelSmith User Guide JewelSmith Tools Reference 101

Finally, click on the OK button to confirm your choice and close the
Browse for Folder dialog box. The new location is shown on the New
Project page.
4. Click on the Accept button to create the JewelSmith Project and display
the Project page.
You can click on the Back button if you want to return to the Assistant's
Home page without creating the JewelSmith Project.
To create a JewelSmith Project from a 3D model saved as a *.3DS or *.STL file:
1. Make sure that the 3D model in the file is orientated with the head of the ring
pointing upwards in the Z direction and with the Y-axis 'through the finger'.
2. Click on the Import 3D Model button to display the Import 3D Model File
dialog box.
3. Click on the Look in list box and select the directory in which the 3D model that
you want to open is stored.
4. Once you have found the 3D model file, click on its file name. Its name appears
in the File name box.
5. Click on the Open button to open the 3D model and display the Project page.
The name of the 3D model file is given to the JewelSmith Project.
directory structure to manage any files created as part of it.
To view the files created by ArtCAM JewelSmith, browse to the location specified on the New
Project page using Windows Explorer, and open the directory. The ArtCAM models and reliefs
that will make up this project will be stored in sub-folders within this directory.
Opening an Existing Project

To open an existing JewelSmith Project, you begin by opening the project's Master Model file
(*.3DP), contained within a project folder. The Master Model contains links to the other files
contained within the project folder, so to copy or move a JewelSmith Project, you should always
select the whole Project folder, not just the Master Model file contained within it.
To open an existing JewelSmith Project:

If you have Ring Projects from previous versions of ArtCAM JewelSmith (version 6 or earlier)
then you can also open 3D Assembly files (*.3DA) or the Ring Information (Ring.info) files
associated with the original project. Use the Files of type list box in the Load JewelSmith
Master Model dialog box to select the appropriate file type. You should be aware that older

JewelSmith files might not contain all of the information required to utilise some of the new tools
(such as Edit Associated Model).
2. Click on the Files of type list box, and then click on the file type of the project
that you want to open.
3. Click on the Look in list box and select the directory in which the project that
you want to open is stored.
4. Once you have found the project file, click on its file name. Its name appears in
the File name box.
5. Click on the Open button to open the project and display the Project page.
The Project page contains the Master Model Tree and a range of tools that can be used to
manage the Master Model.
Closing a Project
To close the JewelSmith Project that you are currently working on:
1. Click on the Close Project button in the Project Tools area of the
Master Model Project page.
If you click on the Close Project button before saving a new project, or any changes that you
may have made to an existing project, a message box appears requesting if you want to save the
project or not.
If you want to save the project:
Click on the Yes button to save the project and return to the Assistant's
Getting Started page.
If you do not want to save the project
Click on the No button to close the message box and return to the
Assistant's Getting Started page.
Saving a Project
To save the JewelSmith Project that you are currently working on:
1. Click on the Save Project button in the Project Tools area of the
Master Model Project page.
Using the Master Model Tree

You can use the Master Model Tree to manage your JewelSmith Project.
The icon indicates the 3D Project file you have created, commonly referred to as the Master
Model.
The icon indicates each of the 3D Assembly files that you have created as components within
your project.

The icon indicates that a replica triangle mesh has been created as part of the assembly.
The icon indicates that a gem setting has been created as part of the assembly.
The icon indicates the size and national standard system used for the assembly.
Working with Assemblies

You can work directly from the Master Model Tree to build and edit the assemblies that make up
your complete jewellery design.
Creating an Empty Assembly

You can add an empty assembly to the Master Model Tree. No associated ArtCAM model file is
created along with the empty assembly, although you can make a new component from it.
To create an empty assembly in the Master Model Tree:
1. Click to select the Master Model . Its name is now shown in bold text, and
its options are displayed on the page.
2. Click on the Add Empty Assembly button in the Assembly

Manager area to add the new assembly to the Master Model Tree. It is
named New Assembly by default. To change its name, see "Viewing the
Attributes of an Assembly" on page 106 for details.
You can now create a component from the empty assembly. See "Creating a Component from an
Empty Assembly" on page 104 for details.
Creating a Component from an Empty Assembly

You can create a component from an empty assembly already added to the Master Model Tree.
An empty assembly has no associated ArtCAM model file, replica mesh or gem setting. An
empty assembly is easily identified in the Master Model Tree as having no or icon beside
it.
To create a component from an empty assembly:
1. Click on the blank assembly from which you want to create a component.
Its name is now shown in bold text, and its options are displayed on the page.
A blank assembly is named NewAssembly by default, although you may have already changed its
name. See "Viewing the Attributes of an Assembly" on page 106 for details.
2. Click on the Add New Component button in the Project Tools

area to display the Project Components page.
You can now use the tools in the Blanks or Libraries area to create a component from the
empty assembly. For details, see "Using the Blanks" on page 116 for details.

Exporting an Assembly
You can export an assembly as a 3D Assembly (*3DA), STL model (*.STL) or ASCII STL
(*.STL) file.
To export an assembly:
1. Click to select the assembly that you want to export. Its name is now
shown in bold text, and its options are displayed on the page.
2. Click on the Export button in the Edit area to display the Save File
dialog box.
3. Click on the Save in list box and select the directory in which you want to
save the assembly.
4. Define a name for the assembly in the File name box.
5. Click on the Files of type list box, and then on the file type in which you
want to save the assembly.
You can export an assembly as a 3D Assembly (*.3DA) , STL model (*.STL) or ASCII
STL (*.STL) file only.
6. Click on the Save button to save the assembly file.
The assembly file can then be imported into any Master Model. For further details, see
"Importing an Assembly" on page 108.
Editing an Assembly Design

You can edit the design of an assembly, and in turn reconstruct its associated replica mesh and
gem settings.
To edit an existing assembly:
1. Click to select the assembly that you want to reconstruct. Its name is now
2. Click on the Edit Associated Model button in the Assembly

Manager area to open the ArtCAM model associated with the assembly.
A page of tools is displayed on the JewelSmith tab relating to the assembly when it was first
created. For example, if you are editing a Rotary Flush setting, the Rotary Axis Tools page is
displayed. You can use the available tools to reconstruct the assembly.
If you attempt to edit an empty assembly, a message box appears warning you that there is no
associated ArtCAM model for the assembly. Click on the OK button to close the message box.
Adding a Gem to an Assembly

You can add a gem to an existing assembly.
To add a gem to an assembly:

1. Click to select the assembly in which you want to add a gem setting. Its
name is now shown in bold text, and its options are displayed on the page.
2. Click on the Add Gem button in the Assembly Manager area to

display options for each available shape of gemstone.
3. Define the shape of the gemstone you want to add to the assembly by clicking
on the appropriate button.
4. Click on the Standard list box, and then on the standard that you want to
use.
Hexagon, Triangle and Trillion shapes do not have a Standard size setting. You must define
the Length, Width and Depth for each of these particular gemstones.
If you select the Custom option, the Size list box is greyed-out. You must define the Length,
Width and Depth of the gemstone using the boxes on the page.
If you select the Carat option, the Length, Width and Depth boxes are updated according to
the size of the gemstone you define using the Size list box.
5. Click on the Next button to display the colour options available for the
gemstone.
6. Set the colour of the gemstone you want to add to the assembly by clicking on
the appropriate button.
7. Type a name for the gem in the Gem name box.
8. Click on the Next button to add the gem to the assembly.
Viewing the Attributes of an Assembly

You can view details about an assembly including its name, visibility, associated ArtCAM model
files, ring properties, volume, material and weight. You can also edit many of these attributes.
To display the attributes of an assembly:
1. Click to select the assembly for which you want to view its attributes. Its
2. Click on the Attributes button in the Assembly Manager area to display
its current attributes. All of the attributes shown on the page can be edited,
except for the following:
The units of measurement used of the volume of the assembly, as shown
in mm.
The location of the ArtCAM model file (*.art) within the JewelSmith
Project folder, from which the assembly was created. For further
information, see "Creating a New Project" on page 101.
The ring properties of the assembly. If the assembly is not a ring, this will
be shown as None.

3. The current name of the assembly is shown in the Name box. If you want to
change its name, type the new name in this box.
4. If you want to hide the assembly from view, click to deselect the Visible
option. Each assembly is visible by default. If you want to restore the hidden
assembly, click to select the Visible option again.
5. The given weight of the assembly is controlled by the material and units of
measurement currently selected. This value is updated if either the material or
units of measurement are changed. If you want to change the material used
for the assembly:
Click on the Material list box, followed by the material in which it will
eventually be cast. Silver (Sterling) is selected by default.
If you want to calculate the volume of the assembly whilst compensating for
any shrinkage that you would expect to occur during the casting process:
Define the percentage of the assembly's original volume by which you
expect it to reduce during the casting process in the Shrinkage box. No
shrinkage value is applied by default.
If you want to change the units of measurement in which the assembly is
weighed:
Click on the Weight list box, followed by the unit of measurement that
you want to use. Metric (g) is selected by default.
6. Click on the Accept button to apply any changes that you have made to
the attributes.
Creating a Duplicate Assembly

You can create a duplicate copy of an existing assembly in the Master Model Tree.
To create a duplicate assembly:
1. Click to select the assembly that you want to copy. Its name is now shown
in bold text, and its options are displayed on the page.
2. Click on the Copy button in the Edit area to place a copy of the
assembly on the ArtCAM JewelSmith clipboard.
4. Click on the Paste button in the Edit area to create a duplicate copy of
the assembly as part of the Master Model. The copy shares the name of the
original assembly from which it was copied.
You might want to change the name of the copy so that it can easily be distinguished from the
original. For further details, see "Viewing the Attributes of an Assembly" on page 106.

Deleting an Assembly
You can delete an existing assembly from the Master Model Tree.
To delete an assembly:
1. Click to select the assembly that you want to delete. Its name is now
2. Click on the Delete button in the Edit area. The assembly is deleted
from the Master Model Tree.
The ArtCAM model file and any replica mesh or gem setting associated with the
assembly is deleted from the Master Model Tree along with it.
Importing an Assembly
You can import a 3D Assembly file (*.3DA) into the Master Model Tree.
To import an assembly:
2. Click on the Import button in the Edit area to display the Select File
dialog box.
3. Click on the Look in list box and select the directory in which the assembly
that you want to import is stored.
4. Click on the name of the assembly that you want to import. Its name appears
5. Click on the Open button to import the assembly into the Master Model Tree.
Transforming an Assembly
You can move, rotate and scale an existing assembly. For details, see "Using the Nudge Tool" on
page 111 and "Using the Scale Tool" on page 112.
Working with Gem Settings

You can change the size, position and colour of the gem settings associated with an assembly
directly from the Master Model Tree.
Editing a Gem's Size and Colour

You can change the dimensions and colour of an existing gem.
To edit the size and/or colour of a gem:

1. Click to select the icon beside the assembly associated with the gem
setting that you want to edit. The gem settings associated with the
assembly are now shown in the Master Model Tree.
2. Click to select the name of the gem that you want to edit. Its name is now
3. Click on the Gem Properties button to display its setting options on

the page.
4. If you want to adjust the size of the gem, click on the Standard list box, and
then on the standard that you want to use:
If you select the Custom option, the Size list box is greyed-out. You
must define the Length, Width and Depth of the gem using the boxes
on the page.
If you select the Carat option, the Length, Width and Depth boxes are
updated according to the size of the gem you define using the Size list
box.
5. If you want to change the colour of the gem, click on the Edit Colour button
to display its colour options, and then click on the button for the new colour
that you want to use.
Deleting a Gem
You can delete an existing gem from the Master Model Tree.
To delete a gem:
1. Click to select the name of the gem that you want to delete. Its name is
now shown in bold text, and its options are displayed on the page.
2. Click on the Delete Gem button. The gem is deleted from the
Master Model Tree.
Transforming a Gem
You can move, rotate and scale an existing gem. For details, see "Using the Nudge Tool" on page
111 and "Using the Scale Tool" on page 112.
Working with Replica Meshes

You can export a replica mesh in the Master Model Tree as a 3D Assembly (*3DA) or STL
model file (*.STL), reverse the direction of its triangles or delete it.
Exporting a Replica Mesh

You can export a replica mesh as a 3D Assembly (*3DA) or STL model file (*.STL).

To export a replica mesh:
1. Click to select the icon beside the assembly associated with the replica
mesh that you want to export. The replica mesh associated with the
assembly is now shown in the Master Model Tree.
2. Click to select the name of the replica mesh that you want to export. Its
3. Click on the Export Mesh button to display the Export Mesh dialog
box.
4. Click on the Save in list box and select the directory in which you want to
save the replica mesh.
5. Define a name for the replica mesh in the File name box.
6. Click on the Files of type list box, and then on the file type in which you
want to save the replica mesh.
You can export a replica mesh as an Assembly file (*.3DA) or STL file (*.STL) only.
7. Click on the Save button to save the replica mesh.
Deleting a Replica Mesh

You can delete an existing replica mesh from the Master Model Tree.
To delete a replica mesh:
1. Click to select the name of the replica mesh that you want to delete. Its
2. Click on the Delete Mesh button. The replica mesh is deleted

from the Master Model Tree.
Reversing a Replica Mesh

You can reverse the direction of the triangles within an existing replica mesh in the Master
Model Tree.
To reverse the direction of the triangles within a replica mesh:
1. Click to select the name of the replica mesh that you want to reverse. Its
2. Click on the Reverse Mesh button.
Transforming a Replica Mesh

You can move, rotate and scale an existing replica mesh. For details, see "Using the Nudge Tool"
on page 111 and "Using the Scale Tool" on page 112.

Using the Nudge Tool
You can adjust the position and angle of any Master Model, assembly, replica mesh or gem
setting currently in the Master Model Tree. You can either move the item along any of the three
axes, or rotate the item around a defined origin.
To reposition an item:
1. Click to select the item in the Master Model Tree that you want to reposition.
Its name is now shown in bold text, and its options are displayed on the page.
2. Click on the Nudge button in the Positioning area to display its

settings.
3. In the Transform Relative To area, select the origin you want to use when
repositioning the item:
If you want to transform the item relative to the origin of the Master
Model, select the World Centre option by clicking on its radio button.
This method is selected by default.
If you want to transform the item relative to the origin of the item itself,
select the Component Centre by clicking on its radio button.
4. Type the distance by which you want to move the item in the Step box.
5. Use the arrows on the diagram to move the item around the specified origin
along any of the three axes:
Each click on the arrow moves the item up along the Z- axis by the
increment specified in the Step box.
Each click on the arrow moves the item down along the Z- axis by the
Each click on the arrow moves the item up along the Y- axis by the
Each click on the arrow moves the item down along the Y-axis by
the increment specified in the Step box.
Each click on the arrow moves the item left along the X- axis by the
Each click on the arrow moves the item right along the X- axis by
the increment specified in the Step box.
You can see that the arrows are colour co-ordinated with the origin displayed in the view. This
makes it easy to visualise exactly how you want to move the item.
6. Select the X, Y or Z option by clicking on its radio button to define the axis
around which you want to rotate the item.

You can see that the X, Y and Z options are colour co-ordinated with the origin displayed in the
view. This makes it easy to visualise exactly how you want to rotate the item.
7. Type the angle by which you want to rotate the item in the Angle box.
8. Use either of the arrows to rotate the item around the specified origin:
Each click on the arrow rotates the item clockwise by the increment
specified in the Angle box.
Each click on the arrow rotates the item anti-clockwise by the

increment specified in the Angle box.
9. Now that you have repositioned the item for machining, you can apply or
cancel its new position using the following methods in the Advanced area:
If you want to save the current position of the item as its machining
position, click on the Set Machining Position button.
If you want to reset the item to its previous machining position, click on
the Return To Machining Position button. The default machining
position is set equal to the World Centre origin.
10. Click on the Back button to return to the Master Model Project page.
Using the Scale Tool

You can adjust the size of any assembly, replica mesh or gem setting currently in the Master
Model Tree. You can either scale the item in any of the three axes individually, or in all three
axes at once.
To scale an item:
1. Click to select the item in the Master Model Tree that you want to scale. Its
2. Click on the Scale button in the Positioning area to display its

settings.
3. If you want to scale the item in only the X, Y or Z axis, you can do so using
either of the following methods:
Define the new size of the item; or
Define the percentage by which you want to scale the item.
For example, to increase the size of an item by twenty per cent in the Y-axis only, type 120 in the
% box beside the green letter Y.
4. If you want to scale the item in all three axes at once, type the percentage by
which you want to scale the item in the All box.
You can see that the X, Y and Z options are colour co-ordinated with the origin displayed in the
view. This makes it easy to visualise exactly how you want to scale the item.

5. Click on the Accept button to scale the item in the selected axes.
6. Click on the Back button to return to the Master Model Project page.
Creating a Movie
You can capture a sequence of images of the finished jewellery design. Prospective customers
prior to manufacture can either view these images individually or as a movie.
To create a movie:
1. Click on the Movie button in the Project Tools area to display its
settings on the page.
2. Type the name you want to give to the movie in the Name box.
3. If you do not want to compress the size of the image files that make up the
movie, click to deselect the Compress Images option. This option is
selected by default.
4. Select how you want to use the captured images of your jewellery design. If
you want to be able to present the images in sequence:
First, click on the Viewer radio button to display its settings.
Next, define the number of images of the design that you want to capture
on each of the three axes in the Frames box. The total number of images
is shown below.
5. If you want to view the images in sequence after they have been captured,
select the Display Once Created option by clicking on its radio button.
This option is deselected by default.
6. If you want to capture a sequence of images only:
First, click to select the Images Only radio button to display its settings.
Next, define the number of images of the design that you want to capture
on an axis in the Frames box.
7. Click to select or deselect the option for each of the three axes you want to
capture images from. Only the Z-axis option is selected by default.
8. Make sure that nothing is obstructing the 3D View window; otherwise
unwanted objects will appear in your movie. The size of the captured frames
is equal to the current size of the 3D View window, so adjust its size
accordingly before moving to the next step.
9. Click on the Accept button to capture the images.

A folder named Movie is created in the JewelSmith Project directory. The Movie folder contains
another folder named according to that which you have given your movie. In this folder is yet
another folder named Images. This contains a sequence of jpeg image files numbered
sequentially. For example, NewProject_0.jpg and so on.

Using the Object Viewer
If you have selected the Viewer option when creating a movie, an HTML file is created in the
folder named according to that which you have given the movie. The HTML file also assumes
the name that you have given the movie.
Double-clicking on this HTML file displays the ArtCAM JewelSmith Object Viewer
window, which allows you to view the jpeg image files located within the Images folder either
individually or in sequence.
You can use the arrow diagram at the bottom of the page to view your design at specific
positions:
Each click on the arrow moves the design up along the Y-axis by 45
degrees.
Each click on the arrow moves the design down along the Y-axis by
45 degrees.
Each click on the arrow moves the design left along the X-axis by
45 degrees.
Each click on the arrow moves the design right along the X-axis by
45 degrees.
If you want to view all of the captured images of your design in sequence, click on the Spin
button.
If you want to cancel the sequence at any time, click on the Stop button.
You can compress the HTML file and its associated jpeg image files that make up your movie
into a single file, so that it is ready to be sent to a prospective customer via e-mail:
1. Click on the File > Save As option to display the Save Web Page dialog
box.
2. Click on the Save in list box and then select the location in which you want
to save the compressed movie.
3. If you want to change the name given to the compressed movie, type its new
name in the File name box.
4. Click on the Save as type list box, and then on the Web Archive, single
file (*.mht) option.
5. Click on the Save button to save the compressed movie and close the dialog
box.
The compressed movie is saved as an .mht file, and this is the single file that should be sent to the
prospective customer via e-mail.
Using the Shading Tool

You can shade a Master Model or an individual assembly. When shading the Master Model, you
can render the model in the material in which you intend for it to be cast, apply a background

image to the 3D View window, and adjust the light settings. When shading an assembly, you can
adopt the shading settings applied to the Master Model or choose to render it in a different
material altogether. However, you cannot adjust the background or light settings.
To shade a Master Model or an assembly:
1. Click to select the item in the Master Model Tree that you want to shade. Its

display its settings.
3. Click on the Shading Set list box, and then on the option for the material in
which you intend to cast your design.
4. If you are shading an assembly and want to use the same settings currently
applied to the Master Model, click to select the From Parent option.
5. Click on the Background list box, and then on the option for the
background image that you want to apply to the 3D View window.
If you are shading an assembly, this setting is not displayed on the page.
6. If you want to adjust the level of ambient light applied to the model view, you
can either:
Click and drag on the slider. Drag to the left to reduce the light, and drag
to the right to increase the light; or
Define the strength in the box to the right of the slider.
If you are shading an assembly, this setting is not displayed on the page.
7. Click on the Accept button to apply the new shading settings.
Opening Existing Components

You can open any component as part of the current Master Model, so long as an associated
ArtCAM model file has been previously created as part of a component and it is within the
current JewelSmith Project folder. A button is created for each of the ArtCAM model files
associated with the various components, so that you can open them quickly.
To open an existing component:
1. Use one of following two methods to display the Browse Project Folder
page. You can:
First, click on the JewelSmith tab to display the Project
Components page.
Next, click on the Browse Project button in the Existing

Components area to display the Browse Project Folder page.
Alternatively, you can:

First, click on the Project tab to display the Project page.
Next, click on the Browse Project button in the Project

Tools area to display the Browse Project Folder page.
All of the ArtCAM model files associated with the different components in the Head and Shank
directories within the JewelSmith Project folder are shown on the page.
An icon represents each of the ArtCAM model files within the current JewelSmith Project.
2. Click on the button representing the component that you want to open. The
ArtCAM model file is opened in ArtCAM JewelSmith.
Details of the chosen component are added to the Master Model Tree.
Displaying the Master Model Tree

You can display the Master Model Tree using any of the following methods:
Click on the Master Model Tree button in the Project

Manager area of the Project Components page.
Click on the Project tab.
Press the F4 key on your keyboard to toggle between the Project and
JewelSmith tabs.
Using the Blanks

When creating a blank, otherwise known as an empty component, an ArtCAM model file is
created according to the settings you define. This ArtCAM model does not contain any vector
artwork, other than a reference silhouette and reference guidelines.
2. Click on the button in the Blanks area for the empty component that you
want to create to display its settings.
3. Type the name you want to give the empty component in the Name box.
4. Click on the Standard list box, and then on the national standard system that
you want to use for the empty component.
The Rotary Setting, Rotary Flush and Flat 3-Axis blanks cannot be created according to a
national standard system.
5. Click on the Size list box, and then on the size of the empty component that
you want to create. If you have selected the Custom option in the previous
step, this option is greyed-out.
Since you cannot create a Rotary Setting, Rotary Flush or Flat 3-Axis blank according to a
national standard system, this option is not available.

6. If you have selected the Custom option as the national standard or are
creating a Rotary Setting or Flat 3-Axis blank, define its diameter in the
Diameter box.
7. Define the width of the empty component in the Width box.
8. Define the border of the empty component in the Border box.
9. Define the thickness of the empty component in the Thickness box.
10. Define the number of pixels in the empty component in the Resolution box.
11. Click on the Accept button to create the ArtCAM model for the empty
component.
If you create a 3-Axis Shank, Flat 3-Axis or 3-Axis Shank (Vertical) blank, then the
General Tools page is displayed. If you create a Rotary Shank, Rotary Setting or Rotary
Flush blank, then the Rotary Axis Tools page is displayed.
Using the Gem Tools

The tools in the Gem Tools area are displayed when you create any of the 3-Axis or Rotary
Axis blanks or use any of the components in the Shank Library.
The tools can be used to create gem vectors, convert existing vectors into gem vectors, assign
specific gem properties to gem vectors, create pave gem settings and create gems in a design.
Creating a Gem Vector

A gem vector must be used to add gems to your item. You can create a gem vector with or
without an existing vector. When creating a gem vector without using an existing vector, it is
created in the origin of the model area according to defined gem properties. When creating a gem
vector using a selected vector, the gem vector adopts the size, shape and position of the vector as
its gem properties.
To create a gem vector:
1. Click on the Create Gem Vector button in the Gem Tools area to
display the Create Gem Vector page.
2. Click on the button representing the shape of the gem you want to associate
with the gem vector to display its settings.
3. Click on the Standard list box, and then on the standard that you want to use
for the gemstone. If you select the Custom option, the Size list box is
greyed-out. If you select the Carat option, the Size list box is active. In this
instance, click on the Size list box, followed by the size of the gemstone that
you want to associate with the gem vector.
4. If you have selected a gemstone of a specific Carat size, its Length, Width
and Depth is already defined. If you have selected the Custom option, you
must now define the Length, Width and Depth of the gemstone that you
want to associate with the gem vector using the three boxes.

5. Click on the Next button to display the colour options for the gem that
are associated with the gem vector.
6. Click on the button representing the colour of the gem you want to create.
7. Click on the Next button to display the name settings for the gem
setting.
8. Type the name for the gem setting in the Gem Name box.
9. Click on the Next button to create the gem vector. You are now able to
create a gem from this vector. For details, see "Creating Gems" on page 119.
Converting Vectors to Gem Vectors

You can create a vector representing the size and shape of a custom gem using the tools in the
Vector Editing area of the Assistant's Home page, and then convert it to a gem vector.
To convert a vector to a gem vector:
1. Draw the vector representing the size and shape of the custom gem. For
details, see the Working with Vectors chapter of the ArtCAM Pro Reference
Manual.
2. Click to select the vector representing the custom gem. It turns magenta and is
surrounded by a bounding box.
3. Click on the Vectors to Gem Vectors button in the Gem Tools area
to display the Vectors to Gem Vectors page.
4. Click on the button representing the shape of the gem you want to associate
with the gem vector to display its settings.
5. If you select the Get Gem sizes from vectors option, all of the settings on
the page are greyed-out.
6. Click on the Next button to display the colour option for the gem that is
associated with the gem vector.
7. Click on the button representing the colour of the gem that is associated with
the gem vector.
8. If you do not want to create the gem vectors on a new layer, click to deselect
the Create New Gem Vectors option. This option is selected by default.
9. If you do not want to delete the original vectors from which the gem vectors
are being created, click to deselect the Remove original vectors option.
This option is selected by default.
10. Type the name that you want to give to the gem in the Gems Name box.

11. Click on the Next button to convert the selected vector into a gem
vector and create the gem setting within it. The gem vector is shown in red
when deselected.
Creating Gems
You can create a gem setting providing that you have already created gem vectors for each of the
gemstones you want to create.
To create a gem setting:
1. Click to select the gem vector for which you want to create a gem setting. For
details, see "Creating a Gem Vector" on page 117. The selected gem vector
turns magenta and is surrounded by a bounding box.
2. Click on the Create Gems button in the Gem Tools area to display
the Create Gems page.
3. Type a name for the gem setting in the Gem Set Name box.
4. Define the height at which you want to create the gem setting in the Start
Height box.
5. If you do not want to wrap the gem setting around the relief, click to deselect
the Position Around Ring option. This option is selected by default.
6. If you want to orientate the gem setting equal to the underlying relief, click to
select the Lay On Relief option. This option is deselected by default.
7. Click on the Next button to create the gem setting.

8. If you want to adjust any of the settings, define the new settings and then click
on the Rebuild button.
9. Click on the Accept button to create the gem setting.

10. Press the F3 key on your keyboard to view the gem setting in the 3D View
window.
Editing Gem Vector Properties

You can edit the dimensions and the colour of the gemstones associated with a gem vector.
You cannot edit both the dimensions and the colour of the gem associated with a gem vector at
once.
If you edit the properties of a gem vector for which its associated gem has already been created,
you must recreate the gem after you have finished editing the gem vector's properties. For details,
see "Creating Gems" on page 119.
If you want to edit the overall shape of a gem vector, see the Working with Vectors chapter of the
ArtCAM Pro Reference Manual.

To edit the properties of a gem vector:
1. Click to select the gem vector for which you want to edit its properties. It
turns magenta and is surrounded by a bounding box.
2. Click on the Gem Vector Properties button in the Gem Tools area
to display the Gem Vector Properties page. You can either adjust the
dimensions or the colour of the gem associated with the selected gem vector.
3. If you want to change the dimensions of the gem associated with the selected
gem vector:
First, click on the Standard list box, followed by the option that you
want to use to decide the dimensions of the gem associated with the gem
vector.
If you select the Carat option, click on the Size list box followed by the
carat size that you want to use. Its associated Length, Width and Depth
values are displayed in the appropriate boxes.
If you select the Custom option, define the new Length, Width and
Depth of the gem vector in the appropriate boxes.
If you select the Get Gem sizes from vectors option, the dimensions
of the gem shall equal those of the selected gem vector. All of the settings
on the page are greyed-out.
Finally, click on the Next button to apply the new gem dimensions
and close the Gem Vector Properties page.
4. If you want to change the colour of the gem associated with the selected gem
vector:
First, click on the Edit Colour button to display the colour options.
Next, click on the button representing your chosen gem colour to apply
the new colour and close the Gem Vector Properties page.
Using the Pave Wizard

A Pave gem setting is made up of beads and gemstones in a grid format. ArtCAM JewelSmith
generates the vector artwork needed to add the gems and create the beads in a Pave setting
design.
You can control the layout, the number of gems and beads and their respective dimensions, and
the overall area of the Pave setting.
To create a Pave setting:
1. Click on the Pave Wizard button in the Gem Tools area to display the
Pave Wizard page.
2. In the Pave Type area, click to select the style of Pave gem setting that you
want to create:

If you want to create a linear block pattern of gems, click on the Linear
radio button.
If you want to create a honeycomb matrix pattern of gems, click on the
Honeycomb radio button.
3. In the Spacing area, define the dimensions of the gems and the beads:
First, type the diameter of each gem in the Stone Diameter box.
Next, set the size of the beads using either of the following methods:
Click to select the Bead Diameter radio button, and then define their
diameter in the adjacent box; or
Click to select the Gap Between Stones radio button, and then define
the distance you want to set between each gem in the adjacent box.
4. In the Pave Area area, set the overall size of the Pave setting. If you want to
use an existing vector to define its area:
First, click to select the Selected Vector radio button.
Next, click to select the vector that you want to use to define the area of
the Pave setting. It turns magenta, and is surrounded by a bounding box.
If you want to specify an exact number of gems:
First, click on the Number of rows radio button.
Next, define the number of rows and columns of gems in the boxes.
Finally, click on the Create button to create the vector artwork
representing the Pave setting.
5. If you want to delete the vector artwork created for the Pave setting outside of
the selected vector, click on the Trim button.
This option is only available if you used the Selected Vector option when creating the vector
artwork.
6. If you want to delete the Pave setting, click on the Delete button.
7. In the Select Vectors area, you can control which of the vectors that make
up the Pave setting artwork are selected:
If you want to select only the circular vectors representing each of the
gems in the Pave setting, click on the Stones button. They turn magenta,
and are surrounded by a bounding box.
If you want to select only the circular vectors representing each of the
beads in the Pave setting, click on the Beads button. They turn magenta,
and are surrounded by a bounding box.
If you want to select all of the vectors that make up the Pave setting, click
on the All button. They turn magenta, and are surrounded by a bounding
box.
At this stage, you might want to transform the shape of the vectors representing the gems to
match that of a custom gem. For details, see" Transforming Vectors" in the Working with
Vectors chapter of the ArtCAM Pro Reference Manual.

You might also want to apply a specific shape to the vectors representing the beads and then
combine them with the existing relief. For details, see "Shape Editor" in the Working with
Reliefs chapter of the ArtCAM Pro Reference Manual.
8. Click on the Accept button to create the Pave gem setting.

The circular vectors representing each of the gems in the Pave setting turn red, indicating that
they are now gem vectors. You are now able to create gems from these vectors. For details, see
"Creating Gems" on page 119.
The default colour of Diamond is applied to all gem vectors that make up a Pave setting. To
change their colour, see "Editing Gem Vector Properties" on page 119.
Using the General Tools

The tools in the General Tools area are displayed when you create any of the 3-Axis or Rotary
The tools can be used to combine the Master Model with the existing relief or subtract it from the
existing relief, add an assembly of the existing relief to the Master Model, mirror the existing
relief, show or hide the Master Model and close the model you are currently working on.
Merging the Master Model with the Relief

You can merge a replica mesh of the Master Model with the existing relief within the current
ArtCAM model. The top of the replica mesh is merged with the existing front relief, whilst the
bottom of the replica mesh is merged with the existing back relief.
To combine the Master Model with the relief:
1. Click on the Combine Master button in the General Tools area to

merge the replica mesh of the Master Model with the existing relief.
Subtracting the Master Model from the Relief

You can subtract a replica mesh of the Master Model from the existing relief within the current
ArtCAM model. The top of the replica mesh is subtracted from the existing front relief.
To subtract the Master Model from the relief:
1. Click on the Subtract Master button in the General Tools area to

subtract a replica mesh of the Master Model from the existing front relief.
Adding an Assembly to the Master Model

To add an assembly of the existing relief to the Master Model:

1. Click on the Add To Master button in the General Tools area to add
an assembly of the existing relief within the current ArtCAM model to the
Master Model. A replica mesh of the relief is associated with the assembly.
Mirroring a Relief
If your item of jewellery is symmetrical, you can take an existing half relief on either side or
either half of the model area (the white area) shown in the 2D View window, and then mirror it to
create a complete relief. The existing half relief can either be mirrored about the vertical or
horizontal guideline shown in the model area by default.
To mirror the existing relief:
1. Click on the Greyscale button in the 3D View toolbar to show a

greyscale view of the existing relief in the 2D View window. This makes it
easy for you to visualise how the relief should be mirrored.
2. Click on the Mirror Relief button in the General Tools area to

display the Mirror Relief page.
3. Click on the Mirror Options list box, and then on the direction in which you
want to mirror the existing relief:
If you want to mirror the relief to the left of the vertical guideline onto the
right, click to select the Left/Right option.
If you want to mirror the relief to the right of the vertical guideline onto
the left, click to select the Right/Left option.
If you want to mirror the relief above the horizontal guideline below it,
click to select the Top/Bottom option.
If you want to mirror the relief below the horizontal guideline above it,
click to select the Bottom/Top option.
Viewing the Master Model

You can show or hide the Master Model from view in the 3D View window using either of the
following methods:
Right-click on the name of the Master Model in the Master Model

Tree shown on the Project page to display its context menu, and then
click on the Show or Hide option depending on whether it is currently
visible or not; or
Click on the Toggle Master Visibility button in the General

Tools area.
Closing the Current Model

To close the ArtCAM model file associated with the assembly that you are currently working on:

close the component model.
The Project page is displayed, where you can see the assembly in the Master Model Tree.
Creating an Assembly Silhouette

You can create a vector outline of all assemblies currently visible in the 3D View window. This
vector outline, referred to as an Assembly Silhouette, is drawn in the model area (the white area)
and around the Reference Silhouette. This Assembly Silhouette can be used to create a shank
relief that meets gem settings exactly.
To create an Assembly Silhouette:
1. Make sure that all of the assemblies around which you want to create a vector
outline are shown in the 3D View window.
2. Click on the Create Assembly Silhouette button in the General

Tools area to create a vector outline of the visible assemblies.
Using the Back Relief Tools

The tools in the Back Relief area are displayed when you create any of the 3-Axis or Rotary
The tools within the Back Relief area can be used to create and control the relief representing
the back face of your jewellery design.
Making the Front Relief Current

You can either work on modelling the front or back relief in an ArtCAM model file associated
with an assembly. The default relief in an ArtCAM model file is the front relief.
1. Click on the Make Front Current button in the Back Relief area to
display the front relief in the 3D View window.
Making the Back Relief Current

You can either work on modelling the front or back relief in an ArtCAM model file associated
with an assembly. The back relief in an ArtCAM model file is hidden by default.
1. Click on the Make Back Current button in the Back Relief area to
display the back relief in the 3D View window.

Merging the Master Model with the Back Relief
You can combine a replica mesh of the Master Model with the existing back relief within the
current ArtCAM model. The top of the replica mesh is merged with the existing back relief,
which has the effect of pushing the back relief upwards and outwards.
To combine the Master Model with the back relief:
1. Click on the Merge Master button in the Back Relief area to merge
the replica mesh of the Master Model with the existing back relief.
Inverting the Front Relief to a Back Relief

You can invert the front relief to create a back relief. The front relief must be displayed in the 3D
View window.
1. Click on the Invert Front to Back button in the Back Relief area to
invert the front relief onto the back relief.
Offsetting the Front Relief to a Back Relief

You can offset the front relief to create a back relief. The front relief must be displayed in the 3D
View window.
1. Click on the Offset Front to Back button in the Back Relief area to
offset the front relief to create a back relief.
Toggling the Back Relief

You can toggle the back relief. The back relief must be displayed in the 3D View window.
1. Click on the Toggle Back for Machining button in the Back Relief
area to toggle the back relief.
Using the Modelling Tools

The tools in the Modelling Tools area are only displayed when you create a Rotary Shank, a
Rotary Setting or use a shank from the Shank Library.
The tools can be used to combine additional shapes with the existing relief and manipulate the
vector artwork that you will use to create the design details and gem settings in your finished
piece.
Creating a Two-Rail Swept Ring Shape

You can create a two-rail swept ring shape using multiple vector objects. The first two vector
objects define the lines along which the shape is extruded. They are referred to as the drive rails.

You can use any number of vectors as cross-sections in the shape. Each of the vectors that you
select as cross-sections can be associated to a specific position along each of the drive rails (the
vectors along which the swept ring shape is extruded). You can also use a vector created around
the reference silhouette to determine the height of the shape in the Z direction.
To create a two-rail swept ring shape:

2. Click to select the first vector along which you want the cross-section to be
swept, and then click on the Select button for the Top Drive Rail in the
Select Control Vectors area. The selected vector is referred as the first
drive rail.
In the Status area, the First Drive Rail status changes from Not Selected to Valid. A red letter A
also appears beside the first drive rail in the 2D View window.
3. Click to select the second vector along which you want the cross-section to be
swept, and then click on the Select button for the Bottom Drive Rail in the
Select Control Vectors area. The selected vector is referred to as the
second drive rail.
In the Status area, the Second Drive Rail status changes from Not Selected to Valid. A red letter
B also appears beside the second drive rail in the 2D View window.
Arrows appear on the two vectors selected as the drive rails to indicate their direction.
4. Click to select the open, ungrouped vector that you want to use as the cross-
section in the swept ring shape, and then click on the Add Cross Section
button in the Status area.
In the Status area, Cross Section 1 is now listed with its status as Valid. The number of spans
that make up the cross-section are also shown. A red number 1 also appears beside the cross-
section in the 2D View window.
If you have selected a closed or grouped vector as a cross-section, a message box appears
indicating that you have selected an invalid vector and instructs you to select a single ungrouped
vector. Click on the OK button to close the message box, and then repeat this step using an open
and ungrouped vector.
If you want to use multiple cross-sections in the swept ring shape, hold the Shift key down on
your keyboard, click to select each of the open, ungrouped vectors that you want to use, and then
click on the Add Cross Section button. In the Cross Section area, each of the selected
cross-sections is numbered sequentially and its status is shown as Valid. Each of the cross-
sections selected in the 2D View window is also numbered sequentially in red.
When selecting two or more cross-sections, each of the selected open vectors you use should
ideally contain the same number of spans. This will make for a smooth transition in the shape
between each cross-section.
A red number marks the position of each cross section along the first drive rail in the 2D View
window. The position of each cross section along the first drive rail is numbered sequentially.
A blue number marks the position of each cross section along the second drive rail in the 2D
View window. The position of each cross-section along the second drive rail is numbered
sequentially.

If you want to adjust the position of any of the cross-sections along either of the drive rails, for
each of them:
Click on the Set Position button. The Set Position button

changes to and the Position label changes to 1st Rail.
Click on the position along the first drive rail that you want to use for the
cross-section. The 1st Rail label changes to 2nd Rail.
Click on the position along the second drive rail that you want to use for
the cross-section. The Set Position button changes to and the 2nd
Rail label changes to Position.
By default, ArtCAM JewelSmith creates a smooth blended shape between each cross-section
made up of an equal number of spans. If you would rather a linear blended shape is used, click on
the Smooth Blend button. The Linear Blend button is displayed in its place.
If you want to cancel the use of any of the selected cross-sections, click on the Delete button
for each of the cross-sections that you do not want to use.
If all of the vectors selected as cross-sections contain the same number of spans, the Sweep
between spans option is activated and selected by default. This instructs ArtCAM JewelSmith
to sweep between matching spans.
If you do not want to sweep between matching spans, click to deselect the Sweep between
spans option.
If you do not want to duplicate the selected cross-sections on the opposite side of the swept ring
shape, click to deselect the Ring is symmetrical option. This option is selected by default.
5. You are now ready to decide how you want to scale the swept ring shape. If
you want to scale the two-rail swept profile in the Z-axis along its length:
Click to select the closed vector that you want to use to control the Z
height of the swept ring shape, and then click on the Select button for the
Ring Silhouette in the Select Control Vectors area. The selected
vector is typically that which is drawn using the reference silhouette. The
selected vector is referred to as the ring silhouette.
In the Status area, the Ring Silhouette status changes from Not Selected to Valid. A red letter Z
also appears beside the ring silhouette in the 2D View window.
Next, make sure that the Silhouette Vector Controls Z option is
selected. This option is selected by default whenever a ring silhouette
vector is selected. The Scale Height with Width and Scale Final
Height options are greyed-out.
If you do not want to use the ring silhouette to determine the height of the swept ring shape, you
can select an alternative scaling option:
First, click to deselect the Silhouette Vector Controls Z option. The
Scale Height with Width and Scale Final Height options are
activated, and the red letter Z beside the ring silhouette disappears.

To scale the height of the cross-section across the two drive rails in
proportion with its width, make sure that the Scale Height with Width
option is selected.
If you want the height of the cross-section across the two drive rails to remain constant, click to
deselect the Scale Height with Width option.
Narrow sections in the swept shape appear low, while wide sections appear high when the Scale
Height with Width option is selected.
To define the final height of the swept ring shape before it is combined
with any existing relief, click to select the Scale Final Height option,
and then define its height in the adjacent box.
If you have selected the Silhouette Vector Controls Z option, then the Scale Height with
Width and Scale Final Height options are greyed-out.
6. In the Combine area, select the relief combination method that you want to
use:
Click on the Add radio button if you want to add the two-rail swept ring
shape to the existing relief.
Click on the Subtract radio button if you want to subtract the two-rail
swept ring shape from the existing relief.
Click on the Highest radio button if you want to merge the two-rail
swept ring shape with the existing relief, so that only the highest points of
the two show.
Click on the Lowest radio button if you want to merge the two-rail swept
ring shape with the existing relief, so that only the lowest points of the
two show.
7. Click on the Calculate button to combine the two-rail swept ring shape with
the existing relief.
Creating a Simple Swept Shape

You can create a simple swept shape and combine this with the existing relief. The swept shape
is extruded along two curved vectors, referred to as drive rails. A third vector, referred to as a
cross-section, controls the profile of the swept shape. The shape is merged with the existing
relief.
This process is similar to that used when creating a two-rail swept shape, although here you
cannot use multiple cross sections or the Reference Silhouette to control the profile and height of
the resulting shape. For details, see "Creating a Two-Rail Swept Ring Shape" on page 125.
To create a simple swept shape:
1. Click to select the first vector along which you want the cross-section to be
swept. The selected vector is referred to as the first drive rail.
2. Hold the Shift key down, and then click to select the second vector along
which you want the cross-section to be swept. The selected vector is referred
to as the second drive rail.

3. Still holding down the Shift key, click to select the open, ungrouped vector
that you want to use as the cross-section in the swept shape.
4. Click on the Sweep Profile button in the Modelling Tools area to

create the swept shape.
Unwrapping a Profile Vector

You can unwrap a selected vector. Typically, you would unwrap a vector drawn about the
Reference Silhouette. The resulting unwrapped vector is most often used as a drive rail when
creating a two-rail swept shape. For details, see "Creating a Two-Rail Swept Ring Shape" on
page 125.
1. Select the vector that you want to unwrap.
2. Click on the Unwrap Profile button in the Modelling Tools area to

unwrap the selected vector. A new unwrapped form of the selected vector is
created in the model area.
Creating a Flat Plane

You can create a flat plane at a specified height in the existing relief. You can control the height
at which the plane is created and decide whether it has vertical or tapered sides. A flat plane is
often used in the construction of Class rings.
To create a flat plane in the existing relief:
1. Click on the Create Flat Plane button in the Modelling Tools area
to display the Create Flat Plane page.
2. Define the height at which you want to create the centre of the flat plane
within the existing relief in the Height box.
3. If you want to create the flat plane from the edge of the relief, click to select
the From Edge option.
4. If you want to create a flat plane with vertical, rather than tapered, edges, click
to select the Vertical Sides option.
5. If you want to merge the lowest points in the plane with the relief rather than
high, click to select the Cut Out option. This has the effect of removing a
plane area from the existing relief.
6. Click on the Accept button to create the flat plane.
Correcting a Vector for Height

You can correct the shape of vectors drawn above and below the defined thickness of the model,
so that they maintain their integrity in the finished item.
To correct a vector for height:

1. Click to select the vector that you want to correct for height. It turns magenta
and is surrounded by a bounding box.
2. Click on the Correct Vector For Height button in the Modelling

Tools area to display the Correct Vector For Height page.
3. Define the height at which you want to position the vector relative to the
existing relief in the Height box.
4. If you want to define the height at which you want to position the selected
vector from its centre point relative to the existing relief, click to select the
Get Height From Relief option. This option is deselected by default.
5. If you want to keep a copy of the original vector, click to select the Preserve
Original Vectors option. This option is deselected by default.
6. Click on the Accept button to modify the shape of the selected vector
so that its original shape is preserved in the finished item.
Positioning Selected Vectors

You can produce the vector artwork representing the gem settings or design details in the model
area, according to its exact layout on the finished piece from vectors drawn about the Reference
Silhouette. Vectors drawn about the Reference Silhouette initially make it easier to visualise the
exact position of design details and gem settings in the finished piece.
To position a selection of vectors:
1. Select the vector objects drawn about the Reference Silhouette that you want
to recreate in the model area.
2. Hold the Shift key down, and then click to select the horizontal guideline in
the model area or the vector representing the top edge of the shank.
3. Click on the Position Selection button in the Modelling Tools area

to position the selected vectors. The selected vectors around the Reference
Silhouette are drawn in the model area according to their exact position on the
Reference Silhouette.
Closing the Ends of a Shank Relief

You can quickly close any gap that exists between the two ends of a shank relief when the relief
is wrapped.
To close the gap between the ends of a shank relief:
1. Click on the Close Ends button in the Modelling Tools area to add
relief between each end of the shank relief, joining them together.

Multi-Sided Machining
Introduction
ArtCAM JewelSmith is able to output the Master Model from a project for Rapid Prototype (RP)
production by simply exporting it as an STL file. For details, see "Exporting a Replica Mesh" in
the JewelSmith Tools Reference chapter. However, since RP production may not be available or
appropriate for many designs, the same Master Model can also be used to produce the toolpaths
required to cut the model on a CNC machine.
This approach also allows you to machine stereolithography (*.STL) files or 3D Studio Max
(*.3DS) models produced in other modelling packages or downloaded from the Internet.
The complexity of this machining process is entirely dependent upon the capabilities of your
CNC machine and the actual shape of your Master Model. In this chapter we will discuss the
steps needed to machine a model containing design detail that is inaccessible from a single
machining direction. We will then use the Multi-Sided Machining Wizard to automate the
process for you.
The Process of Multi-Sided Machining

Although ArtCAM JewelSmith provides the Multi-Sided Machining Wizard to automatically
perform all the steps needed to machine the majority of models you are likely to make, it is
important to understand the process it uses. The Wizard simply automates a series of operations
that are available to you manually, but it has been optimised for the general case. On occasions
you may wish to make changes to the ArtCAM reliefs or toolpaths generated by the Wizard to
produce advanced effects, or to improve either machining efficiency or quality. By understanding
the overall process, you will be free to work in this way.
The Problem
Essentially the problem that is often encountered in CNC machining is that some parts of the
model are inaccessible to the cutting tool. However, by re-positioning the model and re-
machining the area from a different direction, it is possible to overcome this limitation quite
easily. We call this process Multi-Sided Machining. However, although the theory is simple, to
put it into practice we must overcome three principal problems. We must be able to:
ArtCAM JewelSmith User Guide Multi-Sided Machining 131

Generate compatible toolpaths from different directions, and to preserve as much of the
detail on the model as possible.
Reposition the model precisely between toolpaths, so as not to introduce any positioning
errors.
Support the model while it is being machined, so that it does not move or break.
In general, most jewellery designs also fall into two categories: flat work (pendants, brooches,
earrings etc) and rings. We will now look at each of the above issues, in the context of these two
classes of design.
Flat Work
Toolpath Orientations
For the vast majority of these models we need to represent detail from two directions: the back
and the front. By now you should be familiar with the fact that ArtCAM JewelSmith holds two
reliefs within each model. For details, see "The Relief" in the Introduction chapter. These two
reliefs are used to represent the back and front faces of the design. When these reliefs are added
to the Master Model, the two faces are combined to produce a single 3D Assembly (*.3DA).
It is possible to produce toolpaths for each of these reliefs using the Toolpath tools available in
ArtCAM JewelSmith. However, when we consider the manufacturing process it soon becomes
apparent that some additional steps are required before the correctly orientated toolpaths can be
calculated.
In order to cut both sides of a flat model, we must first cut the top surface, turn the material and
then finally reposition it precisely so that the bottom surface can be cut in exact registration with
the top.
Currently ArtCAM JewelSmith supports two approaches to this problem: manual indexing (or
'turning') and automatic rotary indexing. These methods are discussed in more detail below.
Before looking at the physical indexing process, we must first consider how the back relief
should be orientated for indexed machining. By convention, the back and front reliefs in
ArtCAM JewelSmith are positioned ready to stitch into a single replica triangle mesh. This is not
appropriate for indexed machining since the material block needs to be turned halfway during the
machining process. Therefore we must duplicate this change in the back relief before calculating
the back toolpath. This is achieved using the Toggle Back for Machining tool located in the
Back Relief area of the page of settings shown on the JewelSmith tab. This tool inverts the
back relief in Z only, and mirrors it vertically, thus positioning it appropriately for calculating the
toolpath on the back of the indexed material.
When calculating toolpaths for indexing, it is often better that you leave the Material area of the
page relating to your selected toolpath strategy as 'undefined'. However, you must ensure that
both your Safe Z and Home positions are defined appropriately for the material block that you
are using.

Manual Indexing
To achieve registration manually the recommended approach is that you pre-drill your material
block with two alignment holes corresponding to position of the dowels or pins on the base of
your machining bed.
The back and front toolpaths must also share a common origin, even after the material block has
been turned. To achieve this we conventionally set the model origin to the centre. Also by
convention, we always assume the material will be turned around its horizontal axis. Therefore,
the back of the model must be mirrored vertically before calculating the back toolpath so that it
appropriately orientated.
Now we can output the two toolpaths using a standard, non-indexing, post processor. The first
toolpath cuts the top of the block, and then the material is turned and remounted using the
alignment holes. The second toolpath can then be run to cut the back of the model.
Automatic Indexing
If your CNC machine has a rotary axis with a four-jaw chuck, it is possible to let the machine
turn the model for you. This system has two main advantages over the manual process. Firstly,
the machine will keep the material in alignment without the need for holes or pegs. Secondly,
ArtCAM JewelSmith can output a single toolpath containing both the front and back toolpaths
together. The back toolpath is preceded by a rotary move that turns the material into position
before cutting.
To use automatic indexing you must create rotated toolpaths (using the A Axis Angle option in
the Parameters settings on the Toolpaths Home page) and output the toolpaths together using
a post processor that supports indexing. For example, the Model Master Indexer.
Bridges
The final thing to consider in multi-sided machining is how to hold the piece firmly in place
whilst it is being cut. For this we need some supports, or bridges, which will remain in place
during the machining process and can be removed afterwards, much like a sprue.
Bridges are very simple to produce manually as they are simply modelled conventionally and
merged into either the front or the back relief before calculating the toolpath. Their exact shape is
not too important provided that they extend from the models edge to a point outside of the
machining boundary.
Summary
In summary, the initial steps towards manually producing a model machined on both the back
and front are as follows:
1. Model the back and front reliefs of the piece as usual, perhaps creating a replica
mesh to preview the finished piece or to calculate volumes and weights. For
details, see "Adding an Assembly to the Master Model" in the JewelSmith Tools
Reference chapter.

2. Click on the Toggle Back for Machining button in the Back Relief
area of the page of settings shown on the JewelSmith tab to effectively 'turn'
the back relief over. For details, see "Toggling the Back Relief" in the
JewelSmith Tools Reference chapter.
3. Merge some simple bridges around the edge of the model in the back and front
reliefs to bridge the gap between the model edge and the machining boundary.
4. Ensure that the front relief is current, and then create and calculate your first
toolpath as normal. See "Making the Front Current" in the JewelSmith Tools
Reference chapter for details.
5. Make the back relief current, and then create and calculate the second toolpath.
See "Making the Back Current" in the JewelSmith Tools Reference chapter for
details.
6. After the second (back) toolpath has been calculated, click to select the name of
the actual tool used in the toolpath, as listed beneath its toolpath name on the
Toolpaths Home page.
7. Click the Edit Parameters button at the bottom of the Toolpaths Home page
to display the Parameters options.
8. Type 180 in the A-Axis Angle box, and then click on the Apply button.
Two calculated toolpaths are listed on the Toolpaths Home page, one for the front relief and
another for the back. The back toolpath has been rotated in the 3D View window to reflect the
180-degree rotation. You can now check that the two toolpaths align in the 3D View window as
expected.
9. Click on the Save Toolpaths button in the Toolpath Operations area

to display the Save Toolpaths dialog box.
In the Save Toolpaths dialog box, you can see that the front and back toolpaths are listed
across separate windows. Their names have been prefixed with the specified A-axis rotation that
precedes the toolpath: {000} and {180} for the front and back respectively.
10. Make sure that both of the calculated toolpaths are listed within the Toolpaths
to save to a single file window. For details, see "Saving Toolpaths" in the
Machining Models chapter of the ArtCAM Pro Reference Manual.
The order of the toolpaths is not critical, as the indicated A-axis rotary moves before each
toolpath are specified in absolute rather than relative terms.
11. Click on the Machine output file is formatted for list box, followed by an
appropriate post processor that is suitable for your CNC machine and that also
supports indexing.
12. Click on the Save button to save the toolpath file and close the dialog box.
Machine Set-up
For automatic indexing you will need a suitably equipped CNC machine. The key features
include a true 4-axis controller. This means that it is able to control all four axes simultaneously,
and does not require the exchange of one of the conventional axes in order to work in rotary

'mode'. The rotary chuck must also be able to hold a flat material block centrally around the axis
of rotation. Generally this means that a four, not three, jaw chuck is required. Finally, the CNC
machine must have an index-enabled post processor available in ArtCAM JewelSmith to produce
the required output file format.
Before machining it is vital to set up the machining origin accurately.
A Origin
The A origin (A=0) is set to the position in which the material block is held exactly flat in the
rotary chuck with reference to the machine bed. Finding when the material is exactly flat is
difficult; so one way to achieve this is indirectly. First, find the position when the material is held
exactly perpendicular (e.g. vertical) with reference to the machine bed. This can be found using
precisely flat material block in the rotary chuck, and using a setsquare set against the machine
bed and the block. Once the block is exactly vertical, you can set the A origin to 90-degrees,
rather than 0.
Z Origin
You need to set the machining Z origin to the centre of rotation of the A-axis and again this is not
always easy to find directly. A simple alternative is to grip a piece of material of an exact
thickness (say 5 mm) horizontally in the rotary chuck. Next, bring the tool tip down onto the
surface of the material, and then and set the Z origin value equal to half of the material thickness
(i.e. we tell the machine that this position is 2.5 mm above Z0, the centre of rotation).
Y Origin
ArtCAM JewelSmith generally assumes that the axis of rotation lies along the Y axis of the
machine (this arrangement is conventionally referred to as an A axis of rotation). The Y origin
(e.g. Y=0) must be set exactly to the centre of the axis of rotation. It is possible to find this origin
in a similar way to Z. Hold the reference material vertically in the rotary chuck and bring the tool
shank alongside the material face. The Y position at this point can now be set to the radius of the
tool shank, plus half the thickness of the reference material.
X Origin
For flat work, the X origin will often vary between jobs. Remember that if the ArtCAM model
had its origin set to the centre when the toolpaths were calculated (a common set-up in ArtCAM
JewelSmith), then you must allow for the tool to move negatively in X (e.g. towards the rotary
chuck) when it cuts areas to the left of the model origin. Therefore, it is necessary to ensure that
X0 is set to a distance away from the rotary chuck equal to more than half of the model's width to
avoid any problems.
Advanced Flat Work

In the preceding discussion, we assumed that the model to be machined was held in a single
ArtCAM model file and comprised a front and a back relief. Using the Master Model in ArtCAM
JewelSmith, however, it is possible to create or import new models that do not originate from, or

cannot be well represented by, a single ArtCAM model file (*.art). To machine these models
manually, we must generate several ArtCAM model files, each containing copies of the same
model at different orientations.
To generate toolpaths from a Master Model, we can first add a new, blank, Flat 3-Axis
component to our project. We can then use the Combine Master tool to create a back and front
relief in our new component directly from the surfaces of the existing Master Model. By rotating
the Master Model and the resulting toolpaths appropriately, it is possible to generate as many
rotated toolpaths as required. You are not limited to simple 180-degree indexing as described
above. For example, in some designs, four incremental 90-degree indexes may be more
appropriate.
Rings
All of the points discussed previously apply to machining rings.
Using the Multi-Sided Machining

Wizard
Prior to using the Multi-Sided Machining Wizard, you must first create the toolpaths you want
to use to machine your piece, and then save each of them as a toolpath template. For details, see
"Creating a Toolpath Template" in the Machining Models chapter of the ArtCAM Pro Reference
Manual.
To use the Multi-Sided Machining Wizard:
1. Open the JewelSmith Project that you want to machine. For details, see "Opening
an Existing Project" in the JewelSmith Tools Reference chapter.
3. From the Master Model Tree, click to select the Master Model (*.3DP) that
you want to machine. Its name is now shown in bold text, and its options are
displayed on the page.
4. Click on the Multi-Sided Machining button in the Project Tools area

of the page to display the Multi-Sided Machining Wizard.
You can see details of the model dimensions, toolpath template and post-processor that will
currently be used, as well as both the number and dimensions of the bridges used to hold the
piece in position, during the machining process. Six bridges, each with a thickness of 0.5 mm and
a width of 2 mm, are used by default.
Whether the Flat Model or Ring Model settings page is displayed depends on if this is your
first time using the Multi-Sided Machining Wizard, or, if not, the type of model that was
previously defined when it was used last.
If this is your first time using the Multi-Sided Machining Wizard, a Flat model type, the 2D
HPGL (*.plt) post-processor and the MMBlue.tpl toolpath template, based on the use of a 10
degree Conical tool, are selected as the default machining settings.

If you have used the Multi-Sided Machining Wizard before, ArtCAM JewelSmith recalls the
specific machining settings that were defined for your previous Flat or Ring Model job, including
your chosen post-processor(s) and toolpath template file(s).
You can either accept or modify the settings shown on the first page of the Multi-Sided
Machining Wizard.
5. If you do not want to modify the machining settings shown on the page, go
straight to the next step.
If you want to edit the machining settings currently shown on the page, click on
the Edit Settings button to display the Model Type page.
Flat Models
If you are machining a flat item of jewellery, follow these instructions:
First, click to select the Flat radio button.
Next, click on the Next button to display the Model Size page.
Define the relief dimensions you want to use in the Width and Height
boxes. Setting the size of the model does not physically alter the size of
the Master Model you want to machine; it only adjusts the area of the
base relief in which it is contained.
Define the resolution of the model in the Resolution box. A resolution
of 30 pix/mm is used by default.
Click on the Next button to display the Templates & Supports

page.
The MMBlue.tpl toolpath template is selected by default. To select an alternative
toolpath template:
Click on the Select button to display the Select Toolpath Template
dialog box.
Click on the Look in list box and then select the directory in which the
toolpath template file (*.tpl) that you want to use is stored.
Once you have found the appropriate template file, click on its file name.
Its name appears in the File name box.
Click on the Open button to import the template file and close the dialog
box.
The 2D HPGL (*.plt) post-processor is selected by default. To select an
alternative post-processor:
Click on the Post Processor list box, followed by the type of post-
processor that you want to use for your CNC machine.
To use supports during the machining process:
In the Bridges area, define the number of bridges that you want to create
to hold the piece in position during the machining process in the Number

box, and then define the dimensions of each bridge in the Width and
Thickness boxes.
Ring Models
If you are machining a ring, follow these instructions:
First, click to select the Ring radio button.
Next, click on the Next button to display the Model Size settings
page.
Define the diameter of the ring in the Diameter box and the resolution of
the model in the Resolution box. A default resolution of 30 pix/mm is
used, and this is suitable for almost any ring design.
Click on the Next button to display the Machining Orientations

settings page.
Click to select the machining orientation option(s) that you want to use
when machining the ring: Three Axis, Rotary Axis and/or Inside.
Click on the Next button to display the Templates & Supports

settings page. The settings shown on the page depend on the machining
orientation(s) that you have chosen.
If you are using a Rotary Axis Template:
Define the diameter of the jig you are using in the Jig Diameter box to
prevent the tool from colliding with the machining jig.
The Boss.3da boss file is selected by default. This file is located in the
Custom\HTML\Machining\Supports folder within your install directory.
If you want to change the boss file used during the machining process:
Click on the Select button in the Boss File area to display the Select
Boss Assembly dialog box.
Click on the Look in list box and select the directory in which the boss
file (*.3da) that you want to use is stored.
Once you have found the boss file, click on its file name. Its name appears
Click on the Open button to import the boss file and close the dialog box.
If you are using a Three Axis Template:
Click to deselect the Remove Negative Points option if you do not
want ArtCAM JewelSmith to remove the negative points contained in the
relief. This option is selected by default.
Whether you choose Three Axis, Rotary Axis and/or Inside machining
orientation(s), for each selected orientation you must assign a toolpath template.
Typically, both a Three Axis and Rotary Axis orientation are used to machine a
ring.

The MMBlue.tpl toolpath template is selected by default if you are using a Three-
Axis orientation for the first time.
The MMBlue-Pockets.tpl toolpath template is selected by default if you are using
a Rotary Axis orientation for the first time.
The Internal.tpl toolpath template is selected by default if you are using an Inside
orientation for the first time.
The default toolpath template files are located in the
Custom\HTML\Machining\Templates folder within your install directory.
To associate a different toolpath template with a particular machining orientation:
Click on the Select button to display the Select Toolpath Template
dialog box.
Once you have found the template file, click on its file name. Its name
appears in the File name box.
Click on the Open button to import the template file and close the dialog
box.
The 2D HPGL (*.plt) post-processor is selected by default for each orientation.
To select an alternative post-processor for a particular machining orientation:
Click on the Post Processor list box, followed by the type of post-
processor that you want to use for your CNC machine.
To use supports during the machining process:
In the Bridges area, define the number of bridges in the Number box
that you want to create to hold the piece in position during the machining
process, and then define the dimensions of each bridge in the Width and
Thickness boxes.
6. Click on the Accept button to calculate the machining toolpaths using the
settings shown on the page.
Once the toolpaths have been calculated, a message box appears advising you
that a new folder named Machining has been created in the JewelSmith Project
directory. In this Machining folder, ArtCAM model files containing your
calculated toolpaths are saved alongside post-processed toolpath files that are
ready to be sent directly to your CNC machine.
Click on the OK button to close the message box and return to the Browse
Project Folder page. Listed on the page are all of the new ArtCAM model files
that have been created by the Multi-Sided Machining Wizard during the
toolpath calculation process. If you want to open any of these model files, see
"Opening Existing Components" in the JewelSmith Tools Reference chapter.

Celtic Cross Pendant
Tutorial
Overview
In this tutorial we will calculate the toolpaths that can be used to manufacture a Celtic Cross
pendant on a CNC machine tool that supports indexing. Initially we will create toolpaths
containing both roughing and finishing passes. We will save these toolpaths as a single toolpath
template. We will then open a previously created JewelSmith Project containing a model of a
Celtic Cross pendant. We shall use the Multi-Sided Machining Wizard alongside our toolpath
template to calculate the toolpaths required to machine the pendant.
Celtic Cross Pendant

Creating a Toolpath Template.
Opening the JewelSmith Project.
ArtCAM JewelSmith User Guide Celtic Cross Pendant Tutorial 141

Calculating the Toolpaths.
Understanding the Toolpath Calculation Process.
Creating a Toolpath Template

We shall now create the toolpath template that we will use during the multi-sided machining
process. Our toolpath template shall consist of two toolpaths; a roughing and a finishing pass.
The toolpaths shall be based on a selected vector. Each of these toolpaths will be created
separately, but saved as a single toolpath template.
Preparing the Model

We shall begin by creating an ArtCAM model file in which we shall create a vector that can be
used as the basis for our toolpath template.
1. Click on the Create New Model icon in the Art Files area of the
Assistant's Getting Started page to display the Size For New Model
dialog box.
2. When creating a model solely for the purposes of creating a toolpath template,
its dimensions are not important but you must use metric measurements.
Therefore, click on the OK button to create the ArtCAM model according to
the settings currently shown in the dialog box.
3. Click on the Create Circles button in the Vector Editing area of the
Assistant's Home page to display the Circle Creation page.
4. Click and drag anywhere in the model area to draw a circle, and then right-
click to create the circle and return to the Assistant's Home page. The size and
shape of our vector is not important. We can use any vector whatsoever to
create our toolpath template.
Creating the Roughing Toolpath

Next, let us create the roughing toolpath that we shall save as part of our toolpath template.
1. Make sure that the circle you have drawn is selected by clicking on it. It
appears as magenta and is surrounded by a bounding box.
2. Click on the Toolpaths tab to display the Toolpaths Home page.
3. Click on the Machine Relief button in the 3D Toolpaths area to

4. In the Area To Machine area, select the Selected Vector option by
5. Make sure that the Strategy list box is set to the default Raster strategy, and
that the Raster Angle is set to 0.

6. Type 0.2 in the Allowance box.
7. Make sure that the Tolerance is set to 0.01.
8. Make sure that the Machine Safe Z position is set as 12 mm. Of course, this
position should reflect the size of the material block you are using and the
retraction space available in your CNC machining set-up. For the purposes of
this tutorial, we shall assume that we are using a wax block 10 mm thick.
9. Click on the Select button in the Tool area to display the Tool Groups
Database.
10. Double-click on the Ball Nose 1 mm (Roughing) tool from the Alcami
group located within the Wax tool group. ArtCAM JewelSmith closes the
Tool Groups Database and displays the selected tool's description in the
Tool area.
11. Click to select the Do Multiple Z Passes option and then type 3 in the Z
Height of First Pass box.
Do not adjust the Material set-up in toolpaths that you intend to use to machine a JewelSmith
Project, particularly if you are creating a ring or shank where a specific thickness is defined.
Adjusting the Material set-up will interfere with the settings needed to successfully machine
your item of jewellery.
12. Type Roughing in the Name box, and then click on the Later button. This is
because we do not want to calculate the toolpath at this time.
13. Click on the Close button to return to the Toolpaths Home page. We can
see the [Roughing] Ball Nose 1 mm (Roughing) toolpath listed at the top of the
page.
Creating the Finishing Toolpath

We are now ready to create the finishing toolpath that we need to complete the basis of our
toolpath template.
1. Make sure that the circle drawn in the model area remains selected by clicking
on it. It appears as magenta and is surrounded by a bounding box.
2. Click on the Machine Relief button in the 3D Toolpaths area to

3. In the Area To Machine area, select the Selected Vector option by
4. Click on the Select button in the Tool area to display the Tool Groups
Database.
5. Double-click on the Ball Nose 0.5 mm tool from the Alcami group located
within the Wax tool group. ArtCAM JewelSmith closes the Tool Groups
Database and displays the selected tool's description in the Tool area. We
shall use the remaining default settings on the page for this toolpath.
6. Type Finishing in the Name box, and then click on the Later button. This is
because we do not want to calculate the toolpath at this time.

7. Click on the Close button to return to the Toolpaths Home page. We can
see the [Finishing] Ball Nose 0.5 mm toolpath listed beneath the previous
toolpath we created.
Saving the Toolpath Template

Now that we have created our toolpaths, we are ready to save them as a single toolpath template.
1. Click on the Save Toolpath as Template button in the Toolpath

Operations area to display the Save Toolpath Template dialog box.
2. Click on the Save in list box, and then navigate to the location on your
computer in which you want to save your toolpath template file.
3. Type SimpleRoughFinish in the File name box.
4. Click on the Save button to save the [Roughing] Ball Nose 1 mm (Roughing)
and [Finishing] Ball Nose 0.5 mm toolpaths as a single toolpath template.
5. Click on the File > Close option from the Main menu bar to close the model.
A message box appears requesting if you want to save the model.
6. Since we no longer require this ArtCAM model file, click on the No button to
close the message box and return to the Assistant's Getting Started page.
Opening the JewelSmith Project

Our next step is to open the JewelSmith Project containing the Master Model that we want to
machine. In this instance, our Master Model is a Celtic Cross pendant.

2. Click on the Look in list box, and then browse to the
JewelSmithProjects\CelticCross folder on your Tutorials CD.
3. Click to select the Cross.3DP project file. Its name appears in the File name
box.
4. Click on the Open button to open the project in ArtCAM JewelSmith. The
Project page is displayed, on which you can see the Master Model Tree.
Calculating the Toolpaths

Now that we have opened the JewelSmith Project containing the Master Model that we want to
manufacture, we are ready to begin calculating the toolpaths required to machine the piece.
1. Click to select the Cross.3DP Master Model in the Master Model Tree. Its
name turns bold and its associated tools are shown on the page.

2. Click on the Multi-Sided Machining button in the Project Tools
area to display the first page of settings in the Multi-Sided Machining Wizard.
3. Click on the Edit Settings button to display the Model Type page of
settings.
4. Make sure that the Flat option is selected by clicking on its radio button. This
option is selected by default.
5. Click on the Next button to display the Model Size page of settings.
The Width of the model is 21.16 mm and its Height is 36.41 mm. We do not
need to adjust these dimensions.
6. Make sure that the Resolution is set as 30 pix/mm. This is a suitable
resolution for machining items of jewellery.
7. Click on the Next button to display the Templates & Supports page
of settings.
8. In the Flat Template area, click on the Select button to display the Select
Toolpath Template dialog box.
9. Click on the Look in list box, and then select the location in which you had
previously saved your toolpath template file.
10. Click to select the toolpath template file, named SimpleRoughFinish.tpl.
11. Click on the Open button to import the toolpath template into the Multi-Sided
Machining Wizard. Its name is displayed on the page.
12. Click on the post-processor list box, followed by the Model Master Indexer
(*.mmg) option.
13. Click on the Accept button to calculate the toolpaths.

ArtCAM JewelSmith begins by creating a new folder in the Project directory named Machining.
In this folder, an ArtCAM model file named ThreeAxisFlat.art is subsequently created. This
model file contains a copy of both the front and back faces of the Celtic Cross pendant relief. We
can see a greyscale image of the front of the Celtic Cross pendant relief in the model area of the
2D View window.
ArtCAM JewelSmith draws a vector boundary around the area of each relief for each of the
chosen tools within the toolpath template. In our toolpath template, two separate tools were
chosen. The first, a 1 mm Ball Nose tool, was selected for roughing, and the second, a 0.5 mm
Ball Nose tool, for finishing. Therefore, in order to calculate the toolpath required to machine the
front of the relief, two vector boundaries are drawn. The same method applies to the back relief.
Each of these vector boundaries is drawn on their own layer. This means that a total of four new
layers are created prior to the toolpath calculation process.
Next, the toolpath settings within the selected toolpath template file are applied to each of the
four vector boundaries. The Machine Relief page is displayed on the Toolpaths tab. This
reveals the toolpath strategy defined within our selected toolpath template. We can now see the
toolpath settings that shall be used to calculate the toolpaths required to machine the complete
Celtic Cross pendant. The reason that the toolpath settings are applied to the vector boundaries is

that the Selected Vector option was chosen in our template as the area in which to machine.
Four separate toolpaths are calculated in all.
A message box appears confirming that a new folder named Machining has been created in the
JewelSmith Project directory. In this Machining folder, the ArtCAM model file named
ThreeAxisFlat.art, containing the front and back reliefs of the Celtic Cross pendant alongside
their associated calculated toolpaths, is saved.
Two toolpath files are also created in the Machining folder, named ThreeAxisFlatRoughing.mmg
and ThreeAxisFlatFinishing.mmg respectively. You may notice that the Model Master Indexer
post-processor has been applied to these toolpath files from the suffix used (*.mmg). These files
are ready to be sent to the CNC machine in order to cut the complete Celtic Cross pendant.
Before sending these post-processed toolpath files to the CNC machine, it is important to
understand the process behind their making.
Understanding the Toolpath

Calculation Process
Before sending the toolpath files to our CNC machine to manufacture the Celtic Cross pendant, it
is important to understand exactly what has been done as a result of the toolpath calculation
process. In order to do so, we need to look at the content within the ThreeAxisFlat.art file.
1. Click on the OK button to close the message box and display the Browse
Project Folder page.
2. Click on the ThreeAxisFlat icon in the Machining area of the page to

open the ArtCAM model file. The General Tools page is displayed on the
JewelSmith tab. The 2D View shows a greyscale image of the front relief
and the bridges used to hold it in position during the machining process. We
can also see the vector boundaries that were drawn around the front and back
reliefs during the toolpath calculation process.
3. Click on the Layers tab to display the Layers page. Apart from the standard
Default Layer and Reference Lines layers, we can see the four new layers that
have been created in the model. Both the front and back reliefs have their own
Roughing and Finishing vector artwork. All of these layers are shown by
default.
4. Click on the icon beside the RoughingBack - Bottom Boundary and
FinishingBack - Bottom Boundary layers to hide them. Only the Default
Layer, Reference Lines, RoughingFront - Top Boundary and FinishingFront -
Top Boundary layers are now visible.
In the 2D View window, we can see the vector boundaries that were drawn around the front relief
during the toolpath calculation process. We can also see the position of the bridges that will be
used to hold the piece in place during the machining process, as shown below:

6. Click on the Make Back Current button in the Back Relief area to
display the back relief.
8. Click on the icon beside the RoughingFront - Top Boundary and
FinishingFront - Top Boundary layers to hide them.
9. Click on the icon beside RoughingBack - Bottom Boundary and
FinishingBack - Bottom Boundary layers to show them.
10. Click and drag to create a selection rectangle around the whole model area and
then release the mouse button to select the vector artwork within.
In the 2D View window we can see the vector boundaries that were drawn around the back relief
during the toolpath calculation process. The square vectors shown identify the position of the
bridges on the front relief, shown as follows:

11. Click on the icon beside the RoughingBack - Bottom Boundary and
FinishingBack - Bottom Boundary layers. All of the vector boundary artwork
is now hidden.
13. Click on the Make Front Current button in the Back Relief area to
restore the front relief.
14. Click on the Toolpaths tab to display the Toolpaths Home page. We can
see four calculated toolpaths listed at the top of the page. These are:
[Roughing Front] Ball Nose 1 mm (Roughing), [Finishing Front] Ball Nose
0.5 mm, {180}[Roughing Back] Ball Nose 1 mm (Roughing) and
{180}[Finishing Back] Ball Nose 0.5 mm. The {180} prefix applied to the two
back toolpath names indicates that a 180 degree rotation of the wax block
occurs prior to running each of these two toolpaths.
15. Click on the 3D View button in the 2D View toolbar to display the
simulated toolpaths in the 3D View window. All four of the calculated
toolpaths are shown at once by default. This is somewhat congested. You can
use the Show In 3D option to control what toolpaths can be seen at any one
time.

The [Roughing Front] Ball Nose 1 mm (Roughing) toolpath is shown below:
The [Finishing Front] Ball Nose 0.5 mm toolpath is shown below:

The {180}[Roughing Back] Ball Nose 1 mm (Roughing) toolpath is shown below:
The {180}[Finishing Back] Ball Nose 0.5 mm toolpath is shown below:

You can see that a Machining item is associated with the ThreeAxisFlat model Project tree.
Beneath this Machining item, you can see four associated toolpath items . If you expand each
of these items by clicking on the icon, you can see that each toolpath item also has its own
associated tool item .

close the ThreeAxisFlat ArtCAM model file. The Master Model Tree is
JewelSmith Project.


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ArtCAM JewelSmith

Issue: 7.1 Date: 09/11/04

Copyright 2004 Delcam plc. All rights reserved.

Three-Stone Ring Tutorial 25

Zodiac Signet Ring Tutorial 49

Heart Signet Ring Tutorial 67

Dragonfly Brooch Tutorial 83

Multi-Sided Machining 131

The ArtCAM Process

ArtCAM JewelSmith User Guide Introduction 1

Rings and Cylinders

The JewelSmith Project Structure

ArtCAM JewelSmith User Guide Introduction 2

ArtCAM JewelSmith User Guide Introduction 3

The 3D Master Model

ArtCAM JewelSmith User Guide Introduction 4

3D Assembly (*.3DA) ArtCAM Model (*.art)

The Manufacturing Process

ArtCAM JewelSmith User Guide Introduction 5

Copying A JewelSmith Project

Use the Open JewelSmith Project icon on the JewelSmith Projects

ArtCAM JewelSmith User Guide Introduction 6

ArtCAM JewelSmith User Guide Introduction 7

Creating the Project

1. Click on the Create JewelSmith Project icon in the JewelSmith

ArtCAM JewelSmith User Guide Getting Started 9

Creating a Rotary Axis Shank

ArtCAM JewelSmith User Guide Getting Started 10

Designing the Band

ArtCAM JewelSmith User Guide Getting Started 11

8. Click on the Mirror Vectors button in the Vector Editing area to

ArtCAM JewelSmith User Guide Getting Started 12

1. Click on the Create Polyline button in the Vector Editing area to

ArtCAM JewelSmith User Guide Getting Started 13

ArtCAM JewelSmith User Guide Getting Started 14

3. In the Style area, click on the Bold button.

ArtCAM JewelSmith User Guide Getting Started 15

13. Click on the Angled button.

Adding to the Master Model

2. Click on the Add To Master button in the General Tools area to

ArtCAM JewelSmith User Guide Getting Started 16

2. Click on the Shading button in the Assembly Manager area to

Creating an STL file for Rapid

ArtCAM JewelSmith User Guide Getting Started 17

Defining a Tool and Creating a

2. Click the Edit Associated Model button in the Assembly Manager

4. In the 3D Toolpaths area, click on the Machine Relief button to

ArtCAM JewelSmith User Guide Getting Started 18

8. Click the Copy button in the Tool Groups Database.

18. Click on the Simulate Toolpaths button in the Toolpath

ArtCAM JewelSmith User Guide Getting Started 19

20. Click on the Run Simulation at Maximum Speed button.

21. Click on the Delete Simulation button to delete the toolpath

ArtCAM JewelSmith User Guide Getting Started 20

ArtCAM JewelSmith User Guide Rotary Axis Pixel Distortion 21

Correcting a Vector For Height

Creating a Flat Plane

ArtCAM JewelSmith User Guide Rotary Axis Pixel Distortion 22

ArtCAM JewelSmith User Guide Rotary Axis Pixel Distortion 23

3D Assembly (.3DA) ArtCAM Model (.art)