After years in development, those who have always wanted a solid, native version of Mcneel’s lightweight Rhino modeling environment on their Mac are finally in luck.
Released on Monday, the new Rhino 5 for Mac marks the first time that the company has brought their NURBS-based modeling tool to the Mac, ever.
While the young release will feature many of the same modeling tools that will be familiar to those who have used the program on Windows, it’s still not without its setbacks. Among others, the Mac version will lack support for plug-ins including the popular Grasshopper, a critical feature for many that has made Rhino such a powerful platform for many design studios.
“Rhino for Windows and Rhino for Mac OS are different applications, written in different programming languages using different developer platforms,” says the Grasshopper Download page. “We do not want to write Grasshopper twice, so the plan has always been to wait until both RhinoWindows and RhinoMac provide a common SDK.”
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Aside from the lack of plug-in support, Rhino 5 for Mac is still a highly capable and full-featured modeling environment that comes at a competitive price for both beginners and experienced modelers alike. Among others who have found success with the software, many of the world’s top design studios and corporations – including Apple – use the tool to easily flesh out sketches in 3D before moving into more robust modeling software.
Through September 15th, 2015, McNeel has shaved off almost half of the price of the program and will be selling it for just $295. For those who either want to test the app on their system or are completely new users, the company is also offering a 90 day evaluation license.
Although it’s become a part of everyday life, the use of connecting assemblies through the use of fasteners including glue, nails and screws – particularly furniture designs – isn’t necessarily ‘clean’. While more timeless pieces of furniture might be used for generations and passed down over the years, the surge of cheap flat-pack furniture designs over the years have been flooding landfills for reasons ranging from moving costs to lack of repairability.
But what if these same flat pack designs could be easily disassembled and the material reused? Would the extra effort towards designing an entirely fastener-less assembly pay off in the long run?
Now, a new piece of software from a team of researchers at Nanyang Technological University in Singapore has been developed to automate the process of creating flat pack furniture designs. Ultimately, the software can be used as a tool by designers to create a range of furniture pieces that are free from needing any tools, glue, nails, screws or hinges in order to be assembled.
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Called CIRA (Computational Interlocking Furniture Assembly), the software breaks a complex furniture assembly into an overlapping set of small groups, where the parts in each group are immobilized by a local key and adjacent groups are further locked with dependencies.
“Furniture typically consists of assemblies of elongated and planar parts that are connected together by glue, nails, hinges, screws, or other means that do not encourage disassembly and re-assembly,” wrote the researchers.
“An alternative approach is to use an interlocking mechanism, where the component parts tightly interlock with one another. The challenge in designing such a network of interlocking joints is that local analysis is insufficient to guarantee global interlocking, and there is a huge number of joint combinations that require an enormous exploration effort to ensure global interlocking.”
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This isn’t the first time a ‘key’ has been used to hold assemblies together; the clever method of holding together multiple parts with a single unique part has been used in everything from centuries-old furniture designs to more modern hand puzzles. The difference here is that the software automates this feature into the design.
With the recent surge of interest surrounding desktop CNC machines such as the X-Carve from Inventables, could this be the beginning of a true ‘print at home’ IKEA?
Although the full paper – which is likely to include the software’s application in the greater marketplace – is yet to be published, the researchers will be showing off the new software at the upcoming SIGGRAPH 2015 Conference in Los Angeles this coming August.
With Siggraph 2015 coming up in just over a month, researchers and software engineers are gearing up to show off their latest 3D software developments that have been in works in progress over the past twelve months.
Just earlier this week we saw a new piece of software from a team of researchers at Nanyang Technological University that automates the process of creating flat pack furniture designs. Now, a new piece of software wants to convert any 3D object into multiple parts that can be assembled into a fully-functional Rubik’s Cube.
Developed at Columbia University by Timothy Sun and Changxi Zheng, the software allows a user to specify where and how a 3D model of their choosing will be sliced up to feature what they are calling “Twisty Joints”, which are similar to the joints found within a Rubik’s Cube.
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The object can be everything from a primitive shape – such as a cube – to a complex organic object such as a 3D print of one’s bust. Once a user has uploaded their model, an algorithm created by Sun and Zheng automatically defines where the parts are split out of the solid object and how those parts rotate against each other as an assembled object. If there are errors in the model – such as an elongated part – the software will automatically correct these features while retaining as much of the original form as possible. Ultimately, the goal is to create rotating sections that can move without collisions.
“We present the first computational method that allows ordinary users to create complex twisty joints and puzzles inspired by the Rubik’s Cube mechanism. Given a user-supplied 3D model and a small subset of rotation axes, our method automatically adjusts those rotation axes and adds others to construct a “non-blocking” twisty joint in the shape of the 3D model. Our method outputs the shapes of pieces which can be directly 3D printed and assembled into an interlocking puzzle. We develop a group-theoretic approach to representing a wide class of twisty puzzles by establishing a connection between non-blocking twisty joints and the finite subgroups of the rotation group SO(3). The theoretical foundation enables us to build an efficient system for automatically completing the set of rotation axes and fast collision detection between pieces. We also generalize the Rubik’s Cube mechanism to a large family of twisty puzzles.”
Once the solid object has been split into the designated amount of parts, hinges and grooves are added to aide in the manufacturing and assembly process – which is as easy exporting the pieces as STL files and printing them on a 3D printer.
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While the software is still in a development stage leading up to SIGGRAPH in August, those interested can head over to the Columbia University’s site to read the paper in-full.
The last time we checked in with Frame – the cloud platform that lets users run any software from within their browser – we had the chance to chat with the young startup’s CEO and founder Nikola Bozinovic about the near-future of CAD in the Cloud and how his platform could revolutionize the workflows of artists, designers and engineers for the better.
While there are dedicated Cloud-based apps, Bozinovic’s Frame allows users to install their own software on the company’s servers which can then be used in real-time from any device with a web browser – which effectively gives users the power of a finely-tuned desktop PC workstation within their much lighter $200 netbooks or a Macbook Air.
Today, Bozinovic announced that his platform has secured $10 million from Columbus Nova Technology Partners (CNTP), Bain Capital Ventures and SQN Venture Partners to support the company’s rapid growth as more users look into ways of utilizing the Cloud. Among other things, Frame plans on using the injection of funds to expand their technology to make it more accessible and easy to use for new users.
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“After we previewed Frame at Develop3D LIVE in March, we were blown away by the interest to run SOLIDWORKS and other CAD software on Frame from users and businesses from around the world,” said Bozinovic in an email to SolidSmack. “We’re in the middle of the biggest computing platform shift in decades and we’re excited to be bringing the power of the cloud to engineers and designers everywhere.”
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In addition to the funding – which is sure to help drill the platform further into CAD in the Cloud discussions – Frame’s new end-user service will go live on July 8 with plans starting at under $10 per month to run any software from the Cloud within Frame’s network of servers.
From the company:
FRAME PERSONAL is hard to beat. Starting at under $10 a month, you’ll get your own personal cloud computer to install and run all your Windows apps from a single page, directly from your browser. Connect your Dropbox, Google Drive or Box, and free yourself from the desktop forever.
FRAME FOR BUSINESS lets you manage applications and users from a central Dashboard. When you install and publish a new version of software, it becomes instantly available to all of your team members. Plans start at under $15 per user per month, with education plans also available.
FRAME PLATFORM is a solution for software vendors to deliver their desktop software as a web app. Give customers the ability to run your software from any device, regardless of how CPU- or GPU-intensive it is.
Also, you can use Frame to let them try a demo directly from your website in one click.
“In 2012, we set out to change the way people think about personal computing,” added Bozinovic. “Today we are taking a significant step toward realizing that goal by letting anyone with an Internet connection access his own cloud computer. We are thrilled to have the strategic support from our investors to help us in our mission.”
Currently the beta for Frame is invite-only, but interested users can sign up prior to July 8th to stay updated on the official release.
Although using the visual data from sound waves to create a number of designs – both 3D and 2D – isn’t necessarily a new concept, the clickity-clack process of gathering and making use of the usable data hasn’t been as easy as one might expect. For Brooklyn-based artist and creative technologist Blair Neal, this was a perfect opportunity to create an application that analyzes the structure of a song and automates the process of converting that structure into a 3D model.
In what started as an experiment in May of 2013 for visualizing music in real-time as a physical structure has since turned into Sonic Sculptures, an app that automates the process of turning sound waves into 3D models to use for other projects or for 3D printing.
To create the models, the app performs a Fast Fourier Transform (FFT) audio analysis on the chosen sound file and “spits out” the intensity of the different frequency ranges, which ultimately provides the foundation for creating the three-dimensional structure of the wave.
“The shapes are set up like this: left is generally the bass/low end, right is high end. Red or orange marks are the loudest frequency band at that particular time,” explains Neal. “White to black shows the relative volume intensity of the particular time. You can adjust the number of frequency bands it is looking at and make it more coarse or fine.”
Although the app – which has been released under a Creative Commons license – can be used by anybody to create their own 3D models of anything from a favorite song to a loved one’s voice, Neal is currently looking into teaming up with a musician to print the models in much larger sizes.
Find out more and try the app out for yourself by heading over to Neal’s site.
Some would say sketching is severely limited in most 3D design software. Some wouldn’t even call it sketching, but more a fork jab into the gum-line process of tediously picking points to create kinda the shape you’re looking for. UMake is asking you to toss that process (lay down that fork) and put your ideas into 3D from the beginning.
If you’ve designed anything, you’ve sketched something. At some point or another, lines were drawn, scribbles were made and someone almost gave you a high-five for drawing a lopsided circle. The paper was tossed, maybe scanned before, and off to the modeling you went.
The disconnect is obvious with, as many applications for drawing and sketching, no solution to make it part of the modeling process; no method for hand-drawn shapes to be the beginning of your model instead of the two-dimensional background image to match geometry against.
UMake allows all those lines you draw, lines drawn in 3D space by the way, to be converted to geometry. Initially demonstrated on an iPad, the interface is minimal with but a few commands that harness a lot of functionality. The focus is on the sketch elements you draw via a stylus. Commands to reshape, extrude or edit control points allow you to get exactly the look, and that perfect circle, you’re looking for.
“The reaction we’re getting is amazing.” Eviathar Meyer, Co-founder and CEO of UMake told us. “It’s a totally different experience compared to traditional CAD software and changes the way people think about sketching.”
“One of the main outcomes that we can see is that you can explore the shape and form while you’re in a 3D environment – this is a huge benefit while exploring ideas. Additionally, it saves lot of time by getting to complex curves and surfaces without the hassles.”
Currently, they have a beta version and are working with an unnamed leader in the 3D printing field to create a seamless experience to go from 3D sketch to 3D print without going back and forth from UMake to 3D printing software.
The beta version supports export for IGES and OBJ file formats with support for more file formats planned in the near future. Have an iPad? UMake is looking for people to join their early access program and provide feedback. Visit their site and sign up here.
When it comes to the near future of how things get made, generative design tools are slowly but surely becoming yet another useful component of the modern day designer and engineer’s tool kit.
The generative design process, which centers around infinite computing power to find optimized design solutions based on parameters that are set by a designer, is not only a way of increasing design quality and performance – but is also capable of dramatically reducing costs and materials in an effort to optimize manufacturing strategies very early in the design process.
In an effort to make the generative design process even easier, Autodesk has released a new set of generative design solutions to help designers and engineers create and 3D print lightweight designs called Autodesk Within.
Image may be NSFW. Clik here to view.Parts are designed using lattices and skins that offer functional and aesthetic features to your design.
The software, which is based on the technology from last year’s acquisition of the London-based engineering design software company Within, is the result of over a decade of research on optimizing designs for additive manufacturing applications.
Image may be NSFW. Clik here to view.The thickness and spatial density of lattices and skins can be optimized for both performance and weight.
Users of the software will be able to add various input parameters including weight, stress and displacement – among others – that are then used to generate a series of variable-density lattice structures and surface skins that fall within the pre-determined specifications set by the designer or engineer. Unlike traditionally designed parts or assemblies, the resulting designs are both optimized for performance and weight and can be as stiff or as flexible as needed for the intended application.
Image may be NSFW. Clik here to view.Resulting designs can be simulated and compared to find the best design direction using an integrated Autodesk Nastran FEA solver.
Image may be NSFW. Clik here to view.A built-in optimization engine aides the designer or engineer in fine-tuning the intended design.
“In industries such as automotive and aerospace, it’s critically important to continue innovating in how parts are designed and manufactured. Generative design, advances in material science, and new fabrication techniques are allowing engineers to deliver components that were never before possible,” said Mark Davis, Autodesk’s senior director of design research. “Autodesk Within enables designers to create high-performing parts while enforcing design rules and adhering to additive manufacturing constraints.”
For the seemingly endless flow of crowdfunding stories that come pouring through turnstile on monthly basis, it’s always nice to hear about a successful Kickstarter campaign that not only managed to get a product off the ground, but also resulted in the establishment of a sustainable business with multiple employees.
Founded in 2013 by product designer Calvin Chu, Palette is a modular computer control interface platform that consists of snap-together sliders, dials and buttons that are similar to the controls found on a DJ’s mixing board for manipulating tracks. When different components are used to build a personalized system using Palette, a user can ultimately create their own expandable personalized analog computing interface.
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So far, the company has been actively collaborating with a number of software companies to help build deep integrations and plans to expand their developments into a community where users can share their own layouts and personal build designs. Although the company has primarily been working with Adobe, the existing setup can be programmed to work with existing hot keys for other software until deeper integration is available.
“We’re creating a new category of hardware and software offering flexibility of both form and function because we recognize that everyone works differently,” says Chu.
“We’re excited to see people use Palette’s hands-on controls to make interaction with your computer more natural and enjoyable.”
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Palette is available for pre-order starting at $199. Along with three kit sizes geared to starters, experts, and professionals, Palette will be offering individual add-on modules for a truly custom interface solution.
Since they started coming up in CAD in the Cloud discussions earlier this year, Frame (fra.me) has shown no signs of slowing down their pursuit of allowing users to put any Windows application in their own personal Cloud.
Among other reasons why the platform has been of interest is because it will allow users of CAD software offerings that aren’t currently Cloud-supported – such as SolidWorks or Solid Edge – the ability to work from any internet-connected device in the world without being tethered to a particular workstation.
Today, company CEO Nikola Bozinovic (you can read our earlier interview with Bozinovic here) has just sent word to SolidSmack that Frame is now available in two distinct plans – Frame Personal and Frame for Business – for both individuals and teams to install, manage, and share their desktop applications using nothing but a browser.
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“After more than three years of development and with recent funding of $10 million from Columbus Nova Technology Partners and Bain Capital Ventures, Frame is ready to transform end user computing in the cloud,” said Bozinovic. “With today’s worldwide beta launch we are realizing our vision of building the most powerful and easiest to use cloud workspace. It’s a massive step towards the future in which anyone with an Internet connection will be able to access the infinite compute and graphics power of the cloud with a single click.”
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Aimed at helping teams and companies instantly deliver any Windows application to any internet-connected device including PCs, Macs, Androids and iOS devices, the platform also helps organizations avoid the hassle of purchasing, configuring and operating expensive virtualization infrastructure. The company has also been working with NVIDIA to deliver full graphics capabilities from the Cloud without sacrificing visual performance.
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“Frame is simplifying the process of delivering graphics-intensive applications from the cloud for corporate IT and software-as-a-service companies,” said Andrew Cresci, general manager of the NVIDIA GRID business at NVIDIA. “Frame uses NVIDIA GRID technology to stream applications from the cloud, rather than downloading and installing them, which provides the benefits of increased data security, any-device portability and lower maintenance costs.”
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Frame Personal plans start at $9.99 month and Frame for Business plans start at $12.99 per user per month.
Find out more and sign up for a free account by heading over to Frame.
When it comes to CAD software, there’s likely no topic more divisive than that of maintenance fees. Ahh, fabulous subscription service–the additional yearly charge, on top of any license cost, which typically includes product upgrades and support, often through a reseller of the software.
Last week, two SolidWorks Partner websites, TPM and ModernTech, posted a new “Subscription Late Policy” change from Dassault Systemes (DS) for SolidWorks users who let their Subscription Service lapse. Previously, SolidWorks users paid a fixed fee plus renewal to get up to date. This has been the policy since 1995. However, starting January 1st, 2016, lapsed licenses of SolidWorks will have to pay for all years lapsed, up to the cost of a new license. Here’s what was posted:
What is the new Subscription late policy?
Since its inception, SOLIDWORKS has offered users the ability to renew expired licenses for an established and nominal fee. For example, $500 in NA, or a similar fee across other price lists, regardless of how long the licenses have been off subscription. Additionally, license repurchase was required for expired EPDM licenses.
Beginning January 1, 2016 the current Subscription late fee and repurchase requirement will be replaced with full Subscription backdating. As a result, users with an expired Subscription will be subject to all missed Subscription charges (up to the cost of a new license) plus the current year charge to renew the expired license and obtain the current release with full support. This policy applies to all SOLIDWORKS product offerings and includes licenses that were never on Subscription.
When will the change on into effect? The new late policy will be effective beginning January 1, 2016 when all orders must be compliant with the new policy. The existing late policy for renewing licenses will remain intact through the end of business December 31, 2015.
Why change the Subscription late policy? The new Subscription late policy rewards our best customers and affects only a small percentage of our user base. It is more fair and respectful to approximately 95% of the SOLIDWORKS users, those customers who renew on time and annually. These customers consistently make the investment necessary to gain access to the most current intellectual property the SOLIDWORKS product suite provides and the world class support our Channel Partners offer. While the current late policy that allows users to renew expired licenses for a nominal fee regardless of the expired duration is the most lenient in the industry, it actually encourages and supports users to reduce their overall investment while allowing the same benefits and competitive advantages as Subscription customers who remain current year-to-year.
Summary This change is a policy shift. We will remain the most customer focused team in the industry and we will listen to our customers.
‘This change is a policy shift.’ Done. Dusted. Move along. But wait, those two sites have now removed the pages detailing the policy sent out to SolidWorks Partners who were, allegedly, instructed not to publicly broadcast this change, leaving Resellers to contact customers on an individual basis with the ultimatum or the customer to find out when pursuing upgrades after the January 1st start date. Why were they removed? Because people would misunderstand and be upset, I’m sure.
Though we confirmed the new policy from several resellers, there was nothing official from SolidWorks. However, the 2015 Q2 earnings call reveals the reasoning and the background on the policy shift, plus adds a juicy tidbit on the future of SolidWorks.
Jay Vleeschhouwer [Analyst with Griffin Securities] Okay. Next, for Thibault, it’s our understanding that, starting next January of 2016, you are going to be changing the pricing for customers who have gone off of maintenance or subscription and wish to resume or reinstate the subscription and, in effect, making them – making it less desirable for them to go off maintenance and making it more expensive for them to come back onto maintenance after some period of time. Could you verify that that is in fact something that you mean to do? And given your normal churn rate of customers go on and off maintenance, what do you think the incremental revenue opportunity might be from putting in that kind of new subscription reinstatement for pricing?
Thibault de Tersant [Dassault Systemes, Senior EVP, Chief Financial Officer] Thank you, Jay. Well, in fact the policy we have for reinstatement across all our process and rules portfolio has been the same for the past well, I prefer not to say but probably 20 years, which is essentially that when you stop paying for maintenance and you want to go back and pay again, and be under maintenance again you need to catch up for the period of time in which you have not renewed maintenance and the reason for that is because we have continued to do R&D and the improvement in functionalities and they are brought when you get back under maintenance, so we need to be fair with all our customers.
And there wasn’t one exception actually to this rule. And the one exception was that we had a fixed amount for SOLIDWORKS users when they were returning under maintenance. And frankly, we don’t believe I mean this rule was the one which was at the beginning of SOLIDWORKS. And we really don’t see a reason why, we would do things differently for SOLIDWORKS than for all of our brands, because we have the exact same rationale. And of course, the more we go, the more the SOLIDWORKS product portfolio will be based upon this 3DEXPERIENCE platform and we’ll share applications, so very important to be a consistent across of users. So that is the rationale.
Now, to be honest with you, I have not measured in terms of dollar revenue, incremental dollar revenue what is going to be brought by this changing of rules. I expect maybe a small improvement in renewal rates. That would be my expectation. But it is not planned exactly yet.
This is very telling. Issuing a policy change that could effect revenue without measuring? Without planning? I don’t think so. And I know you’re ready to hear more about SolidWorks on the 3DEXPERIENCE platform–a topic for another time though.
Finally, after one week and 68 comments on the SolidWorks Forum thread concerning the new policy, Rachel York, Community and Customer Advocacy Manager, broke the silence from SolidWorks:
Image may be NSFW. Clik here to view.“All SOLIDWORKS Value Added Partners have been notified of a new late Subscription policy and have begun reaching out to individual customers. Effective January 1, 2016, licenses with expired subscription will be required to pay the subscription cost for the period of time the license was not under Subscription. This change effects all DS SOLIDWORKS products and is consistent with industry norms as well all Dassault Systemes products. For specific details regarding your license, please contact your SOLIDWORKS Value Added Partner.”
The Reaction
As you can imagine the reaction has been less than supportive. Long time SolidWorks users and advocates are considering (and moving to) alternatives. The statements of ‘industry norms’ and keeping things ‘fair and respectful’ do nothing for customers to justify a policy change to force a 5% minority into submission.
Dassault has no interest in the small accounts, never has had interest….. I will NEVER renew my personal license for SolidWorks. The arrogance of Dassault is over the top and I will not support them.
Have to say that while I can see their reasoning, to some extent, I don’t think Dassault is seeing the whole picture. How many 1-, 2-, 5-seat companies are there that have CATIA or SIMULIA or some other high-end package? While their subscription policy may work for those companies that have high-end products, and can always afford the fees, there are plenty of small SolidWorks shops who may not be able to. Any sort of minor downturn can be major for small players.
This is basically going to affect the 5%’ers of SolidWorks user base, but how many of these 5%’ers run or are involved with a SolidWorks User Group? The foot soldiers that put their time and effort in without reward or benefit are likely running their own small business or part of a small business.. This change is going to affect the community as well..
The surprising part to me is the (apparent) lack of vision on the part of DS /SW. While the rest of the CAD community moves towards “by the moment” licensing and cloud-based software (Altair Hyperworks, OnShape, Fusion 360), SolidWorks moves towards more restrictive and less “user-friendly” licensing. Don’t they want to keep the market-share that they’ve worked so hard to build? Don’t they know that ADSK and PTC were on top, and then lost to a customer-focused product that bent over backwards to serve their users?
The fixed amount re-up fee is where SolidWorks was unique. Now they’re falling in line with the policies of software companies that SolidWorks beat out. So, why didn’t DS switch their other products to a fixed price? Well, renewals would slip, revenue would be lost. But only by 5%, surely? Unlikely. Backdating fees ensures two things, 1) That DS will keep more companies on maintenance 2) That resellers will continued to be subsidized through the 40% take on renewal fees. For Dassualt’s bottom line and the reseller business, this is the the only solution they see to maintain revenue with existing customers and grow revenue with new customers. It’s also likely to give a pretty good boost to renewal rates through 2015 Q4.
The Alternatives
The first alternative to avoiding lapsed fees is staying on maintenance, budgeting for your licenses and any increases or decreases, maybe even working with your reseller to take that into consideration for you, then being sure to push the cost and growth projection into your projects. The cost of business, so they say. Bound to make you more competitive, I’m sure. At generally $10,000 for each employee in start-up costs (software, hardware, etc.) and thousands each year after, that’s a lot of cash to push along and some big projects to book, simply to keep using the most current version of the software.
So, if returning to and staying on maintenance isn’t an option, what is a business using SolidWorks to do? The alternatives are few. Nearly all lapsed software upgrades involve backdating of maintenance fees or new license purchases. The ones that standout are Rhino, SketchUp, Autodesk Fusion 360 and Onshape. SketchUp has a fixed price upgrade fee. Rhino has no maintenance fee. Fusion 360 and Onshape continue to to work as long as you continue to pay the monthly/yearly subscription cost.
With the latter options, a monthly subscription model holds a bucket o’ promise, or at least simplifies policies like maintenance, for developers and users. Users pay monthly and stay on latest version, developers are paid monthly and keep users on the latest version. No product editions, no service levels, no lapsing, fewer tears. More than that, people know what they’re getting and what they will be paying.
With this policy shift from DS, it’s not so much that DS is moving it to be more inline with their subscription service for other software–fine, that makes sense, all the product names are capitalized and in their nice little revenue generating row–it’s that they’ve not been transparent about it and are doing their best to hide it, not letting users know what the policy is, and putting others into a position where they are left with dishing out thousands or loosing business.
In a time where economies are tanking all over the world, DS has to decided to make it more difficult for businesses. It’s difficult to watch, but the anger and disappointment many are revealing about this is understandable–It shows how much they thought of SolidWorks, how important it was to their life. “This change is a policy shift. We will remain the most customer focused team in the industry and we will listen to our customers.” Do you feel like you’re being listened to? Or is is it time to make a policy shift of your own?
For most users who run Windows programs on a Mac, Boot Camp has always – and will likely always continue to be – the very best option for partitioning drive space without resorting to laggy virtual machines that can create problems down the road. With the recent release of Windows 10, users could install the latest OS from Microsoft, however Apple never officially supported it.
Now, users of 64-bit Macs that were released in the past few years – including iMacs, MacBook Pros, MacBook Airs and even the latest Macbooks – are now fully supported by Apple to install Windows 10 using the company’s Boot Camp Assistant partitioning tool. With the support, users can also expect regular driver updates to fix any number of bugs or issues that arise in the future.
To install Windows 10 on a Mac, the user should already be running Apple’s Yosemite OS X. Once this has been confirmed, a copy of Windows 10 from an ISO file, an installation DVD or a USB flash drive can be used to install the system onto a selected portion of the computer’s hard drive.
Although there are plenty of workstation options and even Cloud-based apps that make working on-the-go easier than ever before, users who have preferred working from an Apple device can now do so ‘officially’ with Windows 10.
Thanks to a number of new platforms, tools and infrastructures, bringing a viable hardware product to market has never been easier than it has been in the past decade – and the momentum is only continuing to grow.
In 2014, venture capital investment in connected device hardware startups alone reached nearly $1.5B – more than triple the amount invested just two years earlier. Additionally, thanks to a general increased interest in hardware design from the general public thanks to design-centric consumer brands such as Apple and Nest, more people are lining up to be among the first to purchase these new products and share their experiences with friends and through social media.
As many have said – and will continue to say – “hardware is the new software”.
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But unlike creating an app, which can be engineered from a Macbook Air in the back of a coffee shop, developing a hardware product takes a considerable amount of resources, tools and space that many entrepreneurs don’t readily have available. These factors can range from access to CAD software, raw materials, a bandsaw and a 3D printer to even industry insight, advice and a place to store their dozens of physical prototypes. Among other reasons, this is why hackerspaces, makerspaces and hardware incubators have become so popular; they provide everything that’s needed to help an entrepreneur turn an idea into a functional prototype and subsequently, a functional prototype into a production-ready product in a very short amount of time.
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To help in aiding these entrepreneurs through their product development process, Autodesk has announced a new partnership with a number of makerspaces and hardware incubators in North America – including Highway1 in San Francisco, Bolt in Boston and AlphaLab in Pittsburgh, among others – to give entrepreneurs free access and support to their software while developing their product designs.
“Entrepreneurs always remind us that hardware is hard, but one thing that makes prototyping a more seamless iterative process are the design and simulation tools made possible through our partnership with Autodesk,” said Scott Cohen, co-founder and partner at New Lab in New York City.
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“Our portfolio companies, such as FX Industries and Honeybee Robotics, are (already) using all kinds of Autodesk software – Inventor, Simulation FEA and DFM, Alias, Sketchbook – to go all the way from concept to real-world manufacturing. Autodesk software tools combined with our prototyping shop bring designers in close proximity to early prototypes and thus really accelerate the process of creating viable, impactful products.”
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Although Autodesk has always ensured that their pricing model for Fusion 360 is very affordable – if not free – for students, hobbyists, and startups, the company will also be providing free training and assistance, design assistance and even help in providing introductions to those in their network through hosting regular events and ‘keeping office hours’.
Unlike Autodesk’s offer to let new businesses use their software for free and with easy access however, Dassault Systèmes has required that applicants to their program step through several hoops involving lengthy paperwork for ‘proof’ – and pay a $200 ‘application fee’.
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While the notion from Dassault is extremely generous when considering the value of a SolidWorks license, the knuckle-grinding process of entering the SolidWorks for Entrepreneurs Program seems outdated when considering that the company is catering to a generation of Instacart and Uber users who prefer convenience and transparency above all else.
In any case, now hardware startups can pick between the two or even use both without too much strain on their startup budgets.
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“At Autodesk, we see the exciting developments within hardware incubators as part of a larger transformation in the making of all things,” explains Mike Geyer, Director of Evangelism & Emerging Technology.
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“New tools for prototyping and fabrication have become more accessible to everyone. At the same time, products are becoming aware and more interconnected — all as consumers expect a significantly more customized experience. As a result, we’re building relationships throughout the hardware scene and focusing on incubators and accelerators in particular, as we see them as the greatest opportunity to help move the conversation forward.”
As the fastest road bike on the planet with wicked-cool industrial design, the new Specialized S-Works Venge is also one of the most technologically advanced bikes ever made. Needless to say, Specialized didn’t want to skimp on the marketing for this one.
In an effort to engage their audience beyond photos and videos on their website, the Specialized Bicycle Components marketing team wanted to expand the story of the S-Works Venge while allowing the user to control how they viewed the bike and how quickly the “exploding” animations occurred – animations that were beautifully lit and accurately rendered.
Ultimately, what they wanted was beyond what most animation experiences on the web typically offered.
After searching around, the team chose Thomas Burke & Others (aka TB&O) to create an immersive virtual reality experience that matched what they envisioned but hadn’t been done within the technical and bandwidth constraints of the web. With the pressure of a tight launch schedule, one of the biggest challenges in the brief for the TB&O team was to use CGI tools that allowed them to work alongside the Specialized engineers and marketing team to facilitate fast and efficient collaboration.
Using Luxion’s KeyShot 3D rendering and animation software, the TB&O team were able to get the job done while being easy-to-use for team members collaborating in real time – whether side-by-side or over video conferences, with immediate results. This proved to be vital for the team’s success due to the Specialized team wanting both an interactive 3D-enabled desktop and a mobile viewing experience – both of which were created with the KeyShot animation tool and KeyShotVR, which creates video quality ray-traced 3D content.
The TB&O team used both these tools in combination to create “exploding” content and the immersive interactive experience. This had seldom been done before and never on this scale. This project pushed boundaries and wouldn’t have been possible without the support of the KeyShot development and support team.
(Click and Drag Over Image Below)
At the inception of the project, nobody anticipated that there would be more than 780 parts that all had to move in unison or within sub-groups of other parts. The animation of the front end of the bike alone was very tricky because the parts were all on different axes. These parts had to behave as though they were moving with the steer tube that connects the handle bars and stem to the fork.
Principal CGI artists Tim Feher, Mike James, and Dries Vervoort took real-time feeds of bike parts from the Specialized engineers and set about creating material surfaces that would make the bike appear real. The Specialized team wanted the result to be photo-realistic and not the typical neutral look of CAD renders. That meant that the CGI team had to spend time studying the look and feel of the actual finishes on the bike and its components. It also required setting up various lighting scenarios to see how the finishes behaved in the real world. KeyShot’s material editor made it possible to get the photo-realism that the client was looking for. Every material in this experience was created from scratch.
One of the most challenging materials to tackle was getting the right look for the unidirectional carbon fiber that is naturally irregular and then sprayed black at joints and clear-coated to a matte finish. Additionally, to create a realistic front and rear wheel, the carbon rims had to be separated into multiple parts. The tires which are an important part in making this the fastest bike on the planet, had to be rendered from scratch. While KeyShot handles creating complex materials well, the team used Solidworks and Maya to create the components that didn’t exist in the CAD files supplied by Specialized.
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One of the most visually interesting parts of the bike is the proprietary integrated braking system. The front brake completes the forks trailing edge, aiding aerodynamics, while the rear brake drafts off of the seat tube and water bottle. To highlight the front brake, TB&O built an animation that simulated the front wheel turning. This necessitated that the materials be believable and the lighting draw attention to the beauty and functionality of this unique industrial design.
Typically, animations appear neutral or flat because the lighting is a compromise. The problem being that if the light looks great at one camera position, as the animation moves there are inevitable points where the lighting is unacceptable. The compromise is fairly flat light throughout.
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To create the emotional reaction the client was looking for, the TB&O team had to create a physical environment that was as simple as it was dramatic. So, rather than relying upon just a HDRI lighting environment, the team built a transparent set and supplemented the light provided by a custom HDRI light environment with 23 lights created from individual pieces of geometry. The result is dramatic light that highlights the product no matter where you are in the VR experience.
At the same time that TB&O was creating the virtual reality experience, a team of web designers were building a new web experience to support the launch of the Venge. The ability of KeyShot to produce ready-to-insert HTML5 code and JavaScript to support progressive loading and smooth gesture control was important to getting the best user experience within the compressed launch schedule. Equally important was the flexibility to produce individual image frames that could be used to build a custom vertical scroll animation for the site.
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Of course, one of the most valuable by-products of a large undertaking like this project is the ability to repurpose the assets. Using files that they had already created, TB&O were also able to create ten short videos that Specialized incorporated into their PowerPoint presentation to dealers. Similarly, it is easy to change the product finishes, the background, the lighting and to create still images as well as other VR experiences. While the project was initiated to support the web experience at launch, Specialized has found numerous other ways to use the assets to support social media initiatives, and other marketing and product development needs.
It’s ok, you can uncover your child’s eyes. That’s only a 2D drawing they’re seeing on the computer screen. I know, it looks all sultry with its sassy projected views and consistent dimensioning, but it’s really quite innocent. Finally, Onshape has introduced drawings to their browser-based 3D CAD platform.
What’s this Onshape business?
Onshape swooped onto the CAD scene, launching their 3D design software a mere six months ago. With 3D parametric modeling, collaboration, data management and import for all the major cad formats, they’ve set out to shake things up, including the price you pay to start using it–Free, with a Pro level tier at $100/mth that adds unlimited private document and storage. Additional feedback from users and aggressive development has them pushing out improvements every 1-2 weeks. One of the most demanded features was, of course, drawings.
“Why even have drawings, I thought we were going away from them?” says Steve Calvert. For Onshape however, adding drawings makes complete sense, nay, adding drawings is an absolute necessity, if they are targeting users of software with complete 2D drawing packages who have years of legacy models, drawings and high expectations.
How do drawings work in a web browser? Not unlike what you would think.
Onshape Drawings are a tab in your Onshape Document. To create a Drawing, select the “+” icon in the bottom left corner and select “Create Drawing.” Here you can choose a template and Onshape creates a new drawing. You have several different view creation tools available in Onshape. Standard Views, as well as Projected, Auxiliary, and Section Views are all available. If you run out of room on a sheet, you can add more with the Sheets button in the toolbar. Once you’ve added views to your drawing, you will then need dimensions and other annotations.
The functionality is very basic with this first release, limited to creating standard views (projected, auxiliary, sections) and dimensions, adding notes, annotation, centerlines and marks. I’ve not tested yet to see what limits there are to the number of drawing sheets or drawing views, but the complexity on each sheet will certainly be limited by the current tools.
With this announcement, I realized something though. Onshape has made the idea of using CAD software in the browser completely normal. They’ve done it quickly (relatively speaking) and made it look good at the same time. Six months ago, many wouldn’t have thought creating drawings in a browser was possible, much less complex 3D assemblies. Now, it’s just like, “Drawings? Yeah, why wasn’t it there in the first place?” like it’s the most unphenomenal thing. Actually, it’s pretty incredible and somehow I think they’re not quite done
Note: If you’re an Onshape user who was blasting them about lack of drawing support, you can now shift to complaining about surfacing and sheet metal features.
Well, wouldn’t you know it. The temperatures have dropped 20 degrees in the northern hemisphere, so that can only mean one thing, football season,less daylight,winter is coming, a new release of SOLIDWORKS is here. It’s SOLIDWORKS 2016 launch week and this year Dassualt is adding something to the mix.
With previous launch events, DS SOLIDWORKS relied on a small band of bloggers and press gathered at the Massachusetts HQ, wined, dined and sat in various conference rooms to see-tweet the highlights of each new release. They’re doing the same this year, but inviting you along to watch it live.
Your expectation of carnival horses, colorful light effects and free popcorn may be dashed, but take that idea, replace it with you in front of a screen, your headphones, some interns in corporate polos clapping and jumping about, feature preview after feature preview, and a robot with a morning ‘i-love-you-can-i-get-you-some-coffee’ stare, to magically manifest the experience that will be the SOLIDWORKS 2016 live stream.
The live stream kicks off Tuesday, September 22 at 10 AM. You can register here to see what you may have seen previewed at SOLIDWORKS WORLD 2016 or used during the SOLIDWORKS 2016 beta.
Dassault Systemes is introducing the new features with a new mascot, Baxter from Rethink Robotics. Baxter is the smart, lovable(?) redefinition of assembly line robotics and, of course, designed using SOLIDWORKS. The SOLIDWORKS 2016 introduction video (below) and the launch site both use Baxter b-roll and build details to breakdown the new features and highlight the design process all at the same time.
We’re sure you’ll see more of Baxter during the live stream and, possibly, his seductive gaze in your dreams/nightmares. You can get a knock down, break out overview of the SOLIDWORKS 2016 features at solidworks.com/launch/ and register for the live stream here.
What feature has your name on it? Is there a question you want us to ask SOLIDWORKS this week?
Just six months after they announced $30M in Series C funding, Onshape has announced $80M in new funding, led by Silicon Valley firm Andreessen Horowitz, known for their investment in Airbnb, Box, Facebook, Github, Twitter, Skype and others. This brings Onshape’s funding efforts to a grand, grin-inducing total of $144M.
Onshape is the browser-based, 3D CAD software able to run on desktop, laptop, tablet or mobile devices. It requires no install and no upkeep, includes version control and a completely parametric, project-based modeling environment. Coming out of beta last March, they recently added 2D drawing functionality and, even though it currently lacks advance modeling features like surfacing and sheet metal, it’s the most complete browser-based solution to date.
While I would like to see features as the focus for the new funding (and imagine some of it is), Onshape says it “will use the new investment to significantly expand worldwide sales and marketing efforts and increase its R&D and strong customer support.”
What’s even more amazing than the amount of new funding is their pre-money valuation, according to Pitchbook Data, of $800 million. Yep, just shy of the $1 billion mark, and a jump from their Series C pre-money valuation of $330 million. All for a company that launched in beta less than a year ago.
The backing and support from Andreessen Horowitz (a16z) is huge. If you’re a software company, this is whose money you want, this is who you want on your board. Marc Andreessen brought the world its first browser, now he and team are sitting next to the company who have brought the world its first browser-based 3D design software. Peter Levine of a16z says, “Onshape’s product demo was one of the best we’ve seen, and points to one of the last unmet needs in computing,” and “The real reason Onshape is now possible is the killer founding team, which knows a thing or two about CAD.”
They also know a thing or two about cloud dev, collaboration and growing a team that can deliver on their ‘Future of CAD’ focus. As Oleg Shilovitsky points out, this puts Onshape in uncharted territory for a CAD Company–No other has achieved this level of funding in the past and it puts them in a position to be around for a good long time.
An interesting result I hope to see from this is an increase in browser-based 3D design applications. It boggles me to this day why we haven’t seen more. Could CAD apps be the new, hot commodity for startup investors and firms? There’s certainly room for them and, if you can nail that product demo, the funding is certainly there.
Do you remember way back in 2010, when SolidWorks was going to be available anytime, anywhere? Well, that’s finally happening… maybe, kinda. On September 22nd, at the SolidWorks 2016 Launch Event in Boston, Gian Paolo Bassi demonstrated what he called ‘SolidWorks Online Edition’, his ‘favorite feature,’ being the one that puts the 300 innovations in SolidWorks ‘on your fingertips, in one way, very cheaply, and very quickly.’
Immediately, we knew the technology behind SolidWorks Online Edition was Frame, the platform for running any software in a web browser, officially launched in July 2015. However, no mention of or reference to Frame was made. We asked SolidWorks afterwards if it was in fact running on Frame, but they were ‘not disclosing’ the technology yet as there were many components making it possible. Fortunately, Frame posted a video to their Youtube channel titled SOLIDWORKS 2016 Online Edition — Powered by Frame–a video of Gian Paolo presenting SolidWorks Online Edition during the launch.
The ‘Product Trial’ option seen in the video currently isn’t visible on the my.solidworks portal menu, but you can access the page at http://my.solidworks.com/eval. However, it’s not as simple as logging in and modeling a new part. You’ll need to request a trial.
Here’s the thing though. If you already own SolidWorks, you can use it in a browser using Frame, RIGHT NOW. Of course, it will cost you $9.99 per month on the low end. SolidWorks say their Online Edition isn’t priced quite yet, and is currently only being used for product evaluation. The logical progression though, based on Gian Paolo’s presentation and evident excitement, is that owners of SolidWorks would get SolidWorks Online Edition free of charge. That thought right there gives us that impending Dassault Systemes acqusition itch.
When Onshape came out swinging earlier this year, it was speculated that whether users chose to use the new full browser CAD program or not, it would change the greater landscape of MCAD pricing and licensing structures forever. Needless to say, Onshape sent a ripple through the industry that acted as a wake-up call for those who otherwise might have been resting peacefully on “old and reliable” rather than staying fast and innovative.
Just a couple of months ago at the SolidWorks 2016 Launch Event in Boston, newly-minted CEO Gian Paolo Bassi demonstrated running the latest edition of SolidWork directly from a browser – specifically, a browser on a MacBook Pro. Although there is still no mention of what this means for existing SolidWorks users who have supported the company for years, motivated users can achieve the same effect through a FRAME subscription for $10/month. So while the showing was nice, it didn’t necessarily answer any questions.
With 2015 coming to a close, Autodesk has nudged their way back into the “CAD in the Cloud” circle with their interpretation of what a full browser CAD user experience should be in the form of Project Leopard (AKA “Fusion 360 in the Cloud”).
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Despite some updated toolsets and configurations, those already familiar with Fusion 360 should have no problem picking up Project Leopard as Autodesk continues to roll out beta access over the coming months:
Clip: DEVELOP3D
But although some users might be quick to note that Fusion 360 is, in fact, already a Cloud-based CAD system, it is not, however, a full browser CAD system. The difference here is huge – and although Onshape claims to be “the first and only full-cloud 3D CAD system” – lessons in hardware development (particularly with fast-updating smartphones and tablets) have taught us that it doesn’t necessarily come down to who was first; many people will eventually only care about who does it best.
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So while the move to full browser CAD makes perfect sense as today’s modern workers continue to eschew stationary powerhouse workstations for mobile razor-thin laptops and tablets, the real question – one of the only questions that people care about – is pricing. In the meantime, you can head over to Project Leopard to sign up for beta access.
Last we heard from Luxion, the makers of KeyShot were arching back to prepare a knuckle sandwich of rendering KAPOW! for their latest release, KeyShot 6.
Well, the troop has held true to their promise and has indeed unveiled the most powerful level-up in company history with a host of new features. For this release, Luxion pulled out all the stops and included brand new lighting algorithms, new material libraries and perhaps most importantly, a new node-based system for users to craft their own materials called Material Graph.
Like we first reported back in May, the Material Graph is a part of a larger effort in KeyShot 6 to give users more control over their materials, compositions and scenes while simultaneously making these changes happen faster than ever.
Of course, all of these new features join the existing setup of features that have made KeyShot an even more valuable tool in the designer’s toolkit over the past few years. Among others, these include KeyShot Cloud, animations, a wide (and consistently updated) material library and other highly useful features. Perhaps most importantly, though, is how the program can be utilized for multiple steps of the design process starting with loose ideations and ending with marketing images.
“KeyShot plays a critical role in our process,” explains Claudio Turrisi of Monster Products. “We use it for internal presentations, immediately after the first 3D concept, to present internally to the marketing team to get initial feedback. Meanwhile, the design process continues, using KeyShot to find the best color and finishing combinations. KeyShot helps deliver initial concepts, but the real-time rendering helps us visualize the final product fast during the design process. After the design, KeyShot is our primary software for creating additional visuals for packaging and advertising.”
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Whether you’re a seasoned KeyShot vet or are considering jumping into KeyShot headfirst for the first time, Luxion is offering a fully-functional license with all of the KeyShot 6 features to try for yourself for a free 14-day trial. Those who can’t wait to buy can purchase KeyShot HD starting at $995.
UPDATE: Luxion is offering 20% off all orders as a part of their Cyber Monday deal (use discount code at checkout: CYM2015)
#AU2015 was, in the literal sense of the word, awesome. Space-time-distortingly gigantic, yes, but also impeccably designed, meticulously planned, and flawlessly executed. And yet, behind the razzmatazz, I’m conflicted.
The team(s) of people who made AU2015 happen deserve a special place in event-planning heaven. The mere thought of housing and herding 10,000+ Mouse Jockeys is truly horrifying, but making it a genuinely enjoyable experience deserves all hats off and a long, slow clap.
The keynote session exemplified the entire experience: dazzling, loud, pounding, flashing, intricate, fun, and clutch-your-chest huge. With that, I must confess that Las Vegas is, well, not my favorite place.
Las Vegas: semiotic landfill
Everything in Vegas is fake. The Venetian sports a fake sky painted on the ceiling over a fake cobblestone street along a fake canal. Along the way you can stop at an oxygen bar to breath some artificially scented fake air. The city itself is a fake oasis–in the middle of a vast and very real desert–made famous by its layers-upon-layers of artifice. In Las Vegas, scale passes for substance, opulence for luxury, nudity for allure. Every inch of the place throbs, blinks, whirs, dingles, whistles, gyrates; the view of TRUMP tower from my room seemed fitting for a place so perpetually loud and yet so utterly, soul-suckingly vapid. I do not like Las Vegas.
I do, however, like my friends, so many of whom were there for AU. It’s ironic to forge real and meaningful relationships in a fake opium den atop a fake taoist temple / bar. (Which, by the way, was hella fun.) These are my people.
I feel a deep tension between my dislike for the fake-ness of Vegas and my love for the very real relationships I’ve built there.
This is not my beautiful house. This is not my beautiful wife.
This was on my mind at AU. Like Vegas itself, AU is nothing if not spectacular. It was visually stunning, entertaining, funny, thought provoking, inspiring. (And, at certain moments, WTF.) There were no glitches, no awkward pauses, no cringe-worthy “conversations” between speakers, no late-70’s jazz fusion, and not a single pleated pant in sight.* No reading from slides or teleprompters, no gloppy “ROI” or “speed to market” goo, and tools were “used”, not “utilized” or–god help us–“experienced”.
*At least not on stage. There were, however, a regrettable number of Jeans With Shoes in the crowd. Let’s not even talk about branded polos and khakis.
For all that it was, it was an unmitigated success. And yet.
Craftspeople love their tools almost as much as they love their friends, and digital 3D tools are no different. We spend countless hours with our tools, learning their every quirk and nuance, finding ways to maximize virtues and minimize problems. We are emotionally invested in our tools, their brands, and the people who make them possible for us.
That’s why I feel so conflicted at shows like AU. I want to believe that the people speaking on stage are my friends, colleagues, and fellow sojourners. I hate the idea that those very people might be manipulating me, bribing me with free booze and lavish parties (keep those coming, btw) or using a massive CRM database to make me feel liked and appreciated through targeted PR.
It would be unfair to reduce relationships to the merely transactional, but it would be equally naive to think ADSK doesn’t engineer relationships just as meticulously as it does every other aspect of its empire business.
Eating Sand
All aside, I do love a good show, and if AU2015 is any indication, ADSK puts on a barn-burner. Still, there’s tension.
What I find most funny about the fistpump baby meme is that, in addition to just being a really funny image, it gets funnier when you realize that, in fact, the poor kid has just eaten a handful of sand on the beach, and is looking at the adult holding the camera with a look of puzzlement and uncertainty, not the triumph we ascribe to it. Things aren’t always what they seem.
