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Studio Advanced 24.07 - User Guide

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0% found this document useful (0 votes)

30 views268 pages

Studio Advanced 24.07 - User Guide

Uploaded by

tom li

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Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 268

Studio Advanced 24.

User Guide

06 - 2024
Studio Advanced

Contents
1. Introduction......................................................................................................................................................................................................................................................................5
1.1. About Studio..................................................................................................................................................................................................................................................... 5
1.1.1. An overview of editions and their modules...................................................................................................................................................6
1.2. Copyright Notice.........................................................................................................................................................................................................................................6
1.2.1. Third party license information.................................................................................................................................................................................. 8
1.3. Licenses..............................................................................................................................................................................................................................................................33

2. Getting Started with Studio Advanced....................................................................................................................................................................................35

2.1. Tutorial: Folding a box....................................................................................................................................................................................................................... 35
2.2. Tutorial: revolve a path and add labels........................................................................................................................................................................ 39
2.3. Tutorial: Creating a flexible bag............................................................................................................................................................................................ 42
2.4. Tutorial: Creating a shrink sleeve on a bottle........................................................................................................................................................45
2.5. Tutorial: combining shapes & working with Scenes........................................................................................................................................ 48
2.5.1. Additional steps to create the complete display..............................................................................................................................53
2.6. eLearning.........................................................................................................................................................................................................................................................56

3. Step 1: Getting the 3D shape................................................................................................................................................................................................................57

3.1. About Structural Design files and Printable Parts............................................................................................................................................. 57
3.1.1. The Studio Toolkit Application.................................................................................................................................................................................58
3.2. Create a 3D Sheet............................................................................................................................................................................................................................... 80
3.3. Create a box.................................................................................................................................................................................................................................................81
3.3.1. Creating a Basic Box.......................................................................................................................................................................................................... 81
3.3.2. Create a box based on die lines.........................................................................................................................................................................85
3.3.3. Check the die and solve inaccuracies.........................................................................................................................................................92
3.3.4. Fold ArtiosCAD file..............................................................................................................................................................................................................97
3.3.5. Tips & Tricks: create a cutout window in a box..................................................................................................................................97
3.4. Create a label......................................................................................................................................................................................................................................... 100
3.4.1. Front, Back and Wrap Around Labels........................................................................................................................................................... 101
3.4.2. Creating a Freeform Label......................................................................................................................................................................................105
3.4.3. Creating a revolved shape with labels......................................................................................................................................................107
3.4.4. Creating a label from Curves............................................................................................................................................................................... 122
3.5. Create a flexible bag.......................................................................................................................................................................................................................124
3.5.1. Creating a New Bag.........................................................................................................................................................................................................124
3.5.2. Changing the appearance of the bag........................................................................................................................................................147
3.5.3. Live Shaping............................................................................................................................................................................................................................ 153
3.5.4. Tips&Tricks: fine-tuning the appearance of a bag........................................................................................................................164
3.6. Working with Shrink Sleeves...................................................................................................................................................................................................168
3.6.1. About Shrink Sleeves and Multipacks......................................................................................................................................................... 168
3.6.2. 3D workflow for Shrink Sleeve Package.....................................................................................................................................................171
3.7. Browse Shapes.........................................................................................................................................................................................................................................177

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4. Step 2:Applying and adjusting artwork...................................................................................................................................................................................179

4.1. The Studio Window.............................................................................................................................................................................................................................179
4.1.1. Refreshing.....................................................................................................................................................................................................................................180
4.1.2. Designer, Visualizer and Ray Tracing quality.........................................................................................................................................181
4.1.3. Changing the Document Orientation............................................................................................................................................................181
4.1.4. Changing the view in the 3D preview.........................................................................................................................................................182
4.1.5. Full Screen Mode................................................................................................................................................................................................................182
4.1.6. The Studio Window options panel...................................................................................................................................................................183
4.2. Working with Parts and Panels.............................................................................................................................................................................................189
4.2.1. Selecting Parts and Panels.......................................................................................................................................................................................189
4.2.2. About Hidden Panels...................................................................................................................................................................................................... 191
4.2.3. Zooming in on Panels in the document window..............................................................................................................................191
4.2.4. Turn Box........................................................................................................................................................................................................................................192
4.2.5. Bring Panel Forward and Send Panel Backward.............................................................................................................................193
4.2.6. Creating Copies with the Distribute command............................................................................................................................... 193
4.3. 3D Guides....................................................................................................................................................................................................................................................207
4.3.1. Creating and Editing 3D Guides......................................................................................................................................................................208
4.3.2. Numeric Positioning of 3D Guides................................................................................................................................................................209
4.4. Conical Warp............................................................................................................................................................................................................................................ 210
4.4.1. To apply conical warping...........................................................................................................................................................................................210
4.4.2. To reverse the conical warping........................................................................................................................................................................... 211
4.5. Artwork Predistortion for Shrink Sleeves....................................................................................................................................................................211
4.5.1. Predistort........................................................................................................................................................................................................................................211
4.5.2. Working with predistorted art.............................................................................................................................................................................. 217

5. Step 3: Presenting............................................................................................................................................................................................................................................ 218

5.1. Visualizer Quality...................................................................................................................................................................................................................................218
5.1.1. Refreshing..................................................................................................................................................................................................................................... 219
5.1.2. Inks ignored in the 3D view.....................................................................................................................................................................................219
5.2. Ray Tracing Quality...........................................................................................................................................................................................................................219
5.3. Scene Settings.......................................................................................................................................................................................................................................223
5.3.1. Environment............................................................................................................................................................................................................................. 223
5.3.2. Floor Effects............................................................................................................................................................................................................................224
5.3.3. View.................................................................................................................................................................................................................................................. 224
5.3.4. Scene Presets....................................................................................................................................................................................................................... 225
5.4. Scenes and Multiple Documents..................................................................................................................................................................................... 225
5.4.1. Alternative scenes.............................................................................................................................................................................................................226
5.4.2. Back side and Double-sided Artwork......................................................................................................................................................... 227
5.4.3. Collada files or ACD files with Multiple Printable Parts.........................................................................................................229
5.4.4. Multi-part structures from ArtiosCAD: ACD or Collada files.............................................................................................. 231
5.4.5. Navigating between the different Illustrator documents....................................................................................................233
5.4.6. Different graphics on shapes of the same size...............................................................................................................................234
5.5. Finishing Operations.......................................................................................................................................................................................................................235
5.5.1. Finishing Operations and swatches..............................................................................................................................................................236

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Studio Advanced

5.5.2. The Finishing Operations palette...................................................................................................................................................................236

5.5.3. Set the Substrate Material.....................................................................................................................................................................................238
5.5.4. Add a new Finishing Operation........................................................................................................................................................................239
5.5.5. Finishing Profiles............................................................................................................................................................................................................... 245
5.6. Tips&Tricks: Using a Diecut operation.........................................................................................................................................................................246
5.7. Tips & Tricks: Clear substrates and White Underprint............................................................................................................................... 247

6. Step 4: Share..........................................................................................................................................................................................................................................................249
6.1. Export Image.............................................................................................................................................................................................................................................249
6.1.1. Export Ray Tracing Quality Image.....................................................................................................................................................................251
6.2. Export Image Sequence............................................................................................................................................................................................................. 252
6.2.1. Integrate an Image Sequence in an HTML5 web page..........................................................................................................253
6.3. Export Collada File...........................................................................................................................................................................................................................255
6.4. Export KeyShot..................................................................................................................................................................................................................................... 256
6.5. Export a 3D PDF or U3D File.................................................................................................................................................................................................257
6.6. Export a Binary glTF.......................................................................................................................................................................................................................259
6.7. Studio Viewers.........................................................................................................................................................................................................................................261
6.7.1. Studio Viewer for Mac OS and Windows.................................................................................................................................................262
6.7.2. Studio Viewer for Mobile Devices...................................................................................................................................................................262

7. FAQ.......................................................................................................................................................................................................................................................................................265
7.1. Using Studio and WebCenter Connector.................................................................................................................................................................265
7.2. Using Studio and Esko Cloud Connector................................................................................................................................................................265
7.2.1. Render Packshots on Esko Cloud....................................................................................................................................................................266
7.3. I don't have Studio Advanced - where is my documentation ?...................................................................................................... 267
7.4. Scripting.........................................................................................................................................................................................................................................................268

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1. Introduction

1.1. About Studio

Studio is a unique set of tools for 3D packaging design made specifically for packaging artwork professionals.
Working in 3D for packaging typically consists of 4 steps: first you create a shape or "structure". Next you apply
artwork to that shape. Then you set up the 3D representation. And finally you share the result as an image, a
dynamic 3D representation, etc.
To achieve this, Studio has different components. It takes you through different software applications, such as
Adobe Illustrator and the Studio Toolkit.

Step 1: Get the 3D shape

The first step is to prepare a 3D packaging shape, with a matching 2D key line template. See Step 1: Getting the
3D shape on page 57
• You can receive a 3D shape of a box created in ArtiosCAD using 3D Modeling or 3D Drafting
• In Studio in Adobe Illustrator
• you can clean up die-drawings of boxes and fold them into a 3D shape.
• you can create a basic box.
• you can create round objects with one or more labels.
• In the Studio Toolkit
• you can draw labels on existing shapes.
• you can create 3D models of flexible packaging.*
• you can create a heat shrink sleeve around one or more shapes, and simulate the distortion.*

Step 2: Apply Artwork

The second step is to make sure the production artwork fits to the structure. See Step 2:Applying and adjusting
artwork on page 179
• In Adobe Illustrator, ArtPro or PackEdge, you can use the Studio window to get a preview of the 3D object
with its artwork, check every detail, and fix specific issues.
• Using the Studio tools in Adobe Illustrator, you can apply a Conical Warp for labels on a round shape.
• Using the Studio tools in Adobe Illustrator, you can apply Predistortion for artwork on Shrink Sleeves.*

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Step 3: Presenting
The third step is to set up the presentation of your 3D model. See Step 3: Presenting on page 218
• In the Studio panel, you can combine multiple documents in multiple scenes.

• With the Finishing operations you can simulate print substrates and a wide range of print and finishing
effects.

Step 4: Share
The final step is to share your 3D design. See Step 4: Share on page 249
You can share your 3D design using the Studio Viewer or Webcenter, or use your 3D design in Store Visualizer.
You can export your 3D designs to share realistic virtual packaging mock-ups as static images or interactive 3D.

Note: Items marked with an asterisk (*) are not available in Studio Essentials, only in Studio Advanced.

1.1.1. An overview of editions and their modules

Studio is available in two editions: Studio Essentials and Studio Advanced. However, Studio is also still offered
as in earlier versions, as 6 separate modules. The table below shows the relation between the editions and the
modules.

Module Studio Essentials Studio Advanced

Studio Designer

Studio Toolkit for Boxes

Studio Toolkit for Labels

Studio Toolkit for Flexibles

Studio Toolkit for Shrink Sleeves

Studio Visualizer for Adobe Illustrator

This user manual is about Studio Advanced. If you have some but not all of its modules, some of the functionality
described in this manual will not be available to you. See also: I don't have Studio Advanced - where is my
documentation ? on page 267

1.2. Copyright Notice

All rights reserved. This material, information and instructions for use contained herein are the property of Esko
Software BV. The material, information and instructions are provided on an AS IS basis without warranty of any
kind. There are no warranties granted or extended by this document. Furthermore Esko Software BV does not
warrant, guarantee or make any representations regarding the use, or the results of the use of the software or
the information contained herein. Esko Software BV shall not be liable for any direct, indirect, consequential or
incidental damages arising out of the use or inability to use the software or the information contained herein.

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The information contained herein is subject to change without notice. Revisions may be issued from time to time
to advise of such changes and/or additions.
No part of this document may be reproduced, stored in a data base or retrieval system, or published, in any form
or in any way, electronically, mechanically, by print, photoprint, microfilm or any other means without prior written
permission from Esko Software BV.
This document supersedes all previous dated versions.
®
PANTONE Colors displayed in the software application or in the user documentation may not match PANTONE-
®
identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE and other
Pantone trademarks are the property of Pantone LLC. © Pantone LLC, 2015
Pantone is the copyright owner of color data and/or software which are licensed to Esko to distribute for use
only in combination with Studio Visualizer. PANTONE Color Data and/or Software shall not be copied onto
another disk or into memory unless as part of the execution of Studio Visualizer.
This software is based in part on the work of the Independent JPEG Group.
Portions of this software are copyright © 1996-2002 The FreeType Project (www.freetype.org). All rights reserved.
Portions of this software are copyright 2006 Feeling Software, copyright 2005-2006 Autodesk Media
Entertainment.
Portions of this software are copyright ©1998-2003 Daniel Veillard. All rights reserved.
Portions of this software are copyright ©1999-2006 The Botan Project. All rights reserved.
Part of the software embedded in this product is gSOAP software. Portions created by gSOAP are Copyright
©2001-2004 Robert A. van Engelen, Genivia inc. All rights reserved.

Portions of this software are copyright ©1998-2008 The OpenSSL Project and ©1995-1998 Eric Young
(eay@cryptsoft.com). All rights reserved.
This product includes software developed by the Apache Software Foundation (http://www.apache.org/).
Adobe, the Adobe logo, Acrobat, the Acrobat logo, Adobe Creative Suite, Illustrator, InDesign, PDF, Photoshop,
PostScript, XMP and the Powered by XMP logo are either registered trademarks or trademarks of Adobe Systems
Incorporated in the United States and/or other countries.
Microsoft and the Microsoft logo are registered trademarks of Microsoft Corporation in the United States and
other countries.
SolidWorks is a registered trademark of SolidWorks Corporation.
Portions of this software are owned by Spatial Corp. 1986 2003. All Rights Reserved.
JDF and the JDF logo are trademarks of the CIP4 Organisation. Copyright 2001 The International Cooperation for
the Integration of Processes in Prepress, Press and Postpress (CIP4). All rights reserved.
The Esko software contains the RSA Data Security, Inc. MD5 Message-Digest Algorithm.
Java and all Java-based trademarks and logos are trademarks or registered trademarks of Oracle corporation in
the U.S. and other countries.
Part of this software uses technology by Best Color Technology (EFI). EFI and Bestcolor are registered
trademarks of Electronics For Imaging GmbH in the U.S. Patent and Trademark Office.
Contains PowerNest library Copyrighted and Licensed by Alma, 2005 – 2007.
Part of this software uses technology by GlobalVision. ArtProof and ScanProof are registered trademarks of
GlobalVision Inc.
Part of this software uses technology by Qoppa Software. Copyright © 2002-Present. All Rights Reserved.
All other product names are trademarks or registered trademarks of their respective owners.

7
Studio Advanced
1
Correspondence regarding this publication should be forwarded to:
Esko Software BV
Raymonde de Larochelaan 13
B – 9051 Gent
info.eur@esko.com

1.2.1. Third party license information

This product includes appleseed.

The MIT License (MIT)

Copyright (c) 2010-2013 Francois Beaune, Jupiter Jazz Limited

Permission is hereby granted, free of charge, to any person obtaining a copy

of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.

This product includes bcd.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its contributors
may be used to endorse or promote products derived from this software
without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND
ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE
FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

You are under no obligation whatsoever to provide any bug fixes, patches, or
upgrades to the features, functionality or performance of the source code
("Enhancements") to anyone; however, if you choose to make your Enhancements
available either publicly, or directly to the authors of this software, without
imposing a separate written license agreement for such Enhancements, then you

8
Studio Advanced
1
hereby grant the following license: a non-exclusive, royalty-free perpetual
license to install, use, modify, prepare derivative works, incorporate into
other computer software, distribute, and sublicense such enhancements or
derivative works thereof, in binary and source code form.

This product includes glad.

The MIT License (MIT)

Copyright (c) 2013-2018 David Herberth

Permission is hereby granted, free of charge, to any person obtaining a copy of

this software and associated documentation files (the "Software"), to deal in
the Software without restriction, including without limitation the rights to
use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of
the Software, and to permit persons to whom the Software is furnished to do so,
subject to the following conditions:

The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS
FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR
COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER
IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN
CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

This product includes murmurhash3.

MurmurHash3 was written by Austin Appleby, and is placed in the public domain. The author
hereby disclaims copyright to this source code.

This product includes OpenShadingLanguage.

Copyright (c) 2009-present Contributors to the Open Shading Language project.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its
contributors may be used to endorse or promote products derived from
this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE
FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes Qt.

The software uses Qt, licensed under LGPL v3. The Qt Toolkit is Copyright (C) 2019
The Qt Company Ltd.

Copyright (C) 1991-2011, Thomas G. Lane, Guido Vollbeding.

This software is based in part on the work of the Independent JPEG Group.

Secure Hash Algorithm SHA-3 - brg_endian

9
Studio Advanced
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Copyright (c) 1998-2013, Brian Gladman, Worcester, UK. All rights reserved.

LICENSE TERMS

The redistribution and use of this software (with or without changes)

is allowed without the payment of fees or royalties provided that:

1. source code distributions include the above copyright notice, this

list of conditions and the following disclaimer;

2. binary distributions include the above copyright notice, this list

of conditions and the following disclaimer in their documentation;

3. the name of the copyright holder is not used to endorse products

built using this software without specific written permission.

DISCLAIMER

This software is provided 'as is' with no explicit or implied warranties

in respect of its properties, including, but not limited to, correctness
and/or fitness for purpose.

This product includes LibTIFF.

Copyright (c) 1988-1997 Sam Leffler

Permission to use, copy, modify, distribute, and sell this software and
its documentation for any purpose is hereby granted without fee, provided
that (i) the above copyright notices and this permission notice appear in
all copies of the software and related documentation, and (ii) the names of
Sam Leffler and Silicon Graphics may not be used in any advertising or
publicity relating to the software without the specific, prior written
permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND,

EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY
WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR

ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND,
OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS,
WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF
LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE
OF THIS SOFTWARE.

This product includes xxHash.

xxHash Library
Copyright (c) 2012-2020 Yann Collet
All rights reserved.

BSD 2-Clause License (https://www.opensource.org/licenses/bsd-license.php)

Redistribution and use in source and binary forms, with or without modification,
are permitted provided that the following conditions are met:

* Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.

* Redistributions in binary form must reproduce the above copyright notice, this
list of conditions and the following disclaimer in the documentation and/or
other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND
ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR
ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES
(INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES;
LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON
ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

10
Studio Advanced
1

This product includes OpenJPEG.

The copyright in this software is being made available under the 2-clauses
BSD License, included below. This software may be subject to other third
party and contributor rights, including patent rights, and no such rights
are granted under this license.

Copyright (c) 2002-2014, Universite catholique de Louvain (UCL), Belgium

Copyright (c) 2002-2014, Professor Benoit Macq
Copyright (c) 2003-2014, Antonin Descampe
Copyright (c) 2003-2009, Francois-Olivier Devaux
Copyright (c) 2005, Herve Drolon, FreeImage Team
Copyright (c) 2002-2003, Yannick Verschueren
Copyright (c) 2001-2003, David Janssens
Copyright (c) 2011-2012, Centre National d'Etudes Spatiales (CNES), France
Copyright (c) 2012, CS Systemes d'Information, France

All rights reserved.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions
are met:
1. Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in the
documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS `AS IS'
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
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This product includes Micorsoft.Web.WebView2.

Copyright (C) Microsoft Corporation. All rights reserved.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:

* Redistributions of source code must retain the above copyright

notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above
copyright notice, this list of conditions and the following disclaimer
in the documentation and/or other materials provided with the
distribution.
* The name of Microsoft Corporation, or the names of its contributors
may not be used to endorse or promote products derived from this
software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

"AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT
LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR
A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT
OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,
SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT
LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes GLEW: The OpenGL Extension Wrangler Library.

The OpenGL Extension Wrangler Library

11
Studio Advanced
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Copyright (C) 2002-2007, Marcelo E. Magallon <mmagallo[]debian org>
Copyright (C) 2002, Lev Povalahev
All rights reserved.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright notice,
this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.
* The name of the author may be used to endorse or promote products
derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF
THE POSSIBILITY OF SUCH DAMAGE.

Mesa 3-D graphics library

Version: 7.0

Copyright (C) 1999-2007 Brian Paul All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a

copy of this software and associated documentation files (the "Software"),
to deal in the Software without restriction, including without limitation
the rights to use, copy, modify, merge, publish, distribute, sublicense,
and/or sell copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included
in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL
BRIAN PAUL BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN
AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN
CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Copyright (c) 2007 The Khronos Group Inc.

Permission is hereby granted, free of charge, to any person obtaining a

copy of this software and/or associated documentation files (the
"Materials"), to deal in the Materials without restriction, including
without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Materials, and to
permit persons to whom the Materials are furnished to do so, subject to
the following conditions:

The above copyright notice and this permission notice shall be included
in all copies or substantial portions of the Materials.

THE MATERIALS ARE PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT.
IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT,
TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE
MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS.

This product includes Little CMS.

Little CMS
Copyright (c) 2023 Marti Maria Saguer

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Permission is hereby granted, free of charge, to any person obtaining

a copy of this software and associated documentation files (the
"Software"), to deal in the Software without restriction, including
without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to
permit persons to whom the Software is furnished to do so, subject
to the following conditions:

The above copyright notice and this permission notice shall be

included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,

EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT.
IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT,
TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE
SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

This product includes OpenEXR.

Copyright (c) Contributors to the OpenEXR Project. All rights reserved.

Redistribution and use in source and binary forms, with or without modification,
are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list
of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation and/or other
materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its contributors may
be used to endorse or promote products derived from this software without specific prior
written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN
NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,
PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT
LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes JPEGLib.

This software is based in part on the work of the Independent JPEG Group.

This product includes cereal.

Copyright (c) 2013-2022, Randolph Voorhies, Shane Grant

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in the
documentation and/or other materials provided with the distribution.
* Neither the name of the copyright holder nor the
names of its contributors may be used to endorse or promote products
derived from this software without specific prior written permission.

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(INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES;
LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND
ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes zlib.

(C) 1995-2013 Jean-loup Gailly and Mark Adler

This software is provided 'as-is', without any express or implied

warranty. In no event will the authors be held liable for any damages
arising from the use of this software.

Permission is granted to anyone to use this software for any purpose,

including commercial applications, and to alter it and redistribute it
freely, subject to the following restrictions:

1. The origin of this software must not be misrepresented; you must not
claim that you wrote the original software. If you use this software
in a product, an acknowledgment in the product documentation would be
appreciated but is not required.

2. Altered source versions must be plainly marked as such, and must not be
misrepresented as being the original software.

3. This notice may not be removed or altered from any source distribution.

This product includes libxml2.

Copyright (C) 1998-2012 Daniel Veillard. All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy

of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is fur-
nished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FIT-
NESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.

This product includes XMP Toolkit.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its
contributors may be used to endorse or promote products derived from
this software without specific prior written permission.

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SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes pugixml.

MIT License

Copyright (c) 2006-2023 Arseny Kapoulkine

Permission is hereby granted, free of charge, to any person

obtaining a copy of this software and associated documentation
files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use,
copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the
Software is furnished to do so, subject to the following
conditions:

The above copyright notice and this permission notice shall be

included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,

EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES
OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT
HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.

This product includes QtSingleApplication.

Copyright (C) 2013 Digia Plc and/or its subsidiary(-ies).

Contact: http://www.qt-project.org/legal

This file is part of the Qt Solutions component.

You may use this file under the terms of the BSD license as follows:

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in
the documentation and/or other materials provided with the
distribution.
* Neither the name of Digia Plc and its Subsidiary(-ies) nor the names
of its contributors may be used to endorse or promote products derived
from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes ICU.

Copyright (c) 1991-2023 Unicode, Inc. All rights reserved.

Distributed under the Terms of Use in https://www.unicode.org/copyright.html.

Permission is hereby granted, free of charge, to any person obtaining

a copy of the Unicode data files and any associated documentation

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(the "Data Files") or Unicode software and any associated documentation
(the "Software") to deal in the Data Files or Software
without restriction, including without limitation the rights to use,
copy, modify, merge, publish, distribute, and/or sell copies of
the Data Files or Software, and to permit persons to whom the Data Files
or Software are furnished to do so, provided that either
(a) this copyright and permission notice appear with all copies
of the Data Files or Software, or
(b) this copyright and permission notice appear in associated
Documentation.

THE DATA FILES AND SOFTWARE ARE PROVIDED "AS IS", WITHOUT WARRANTY OF
ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE
WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT OF THIRD PARTY RIGHTS.
IN NO EVENT SHALL THE COPYRIGHT HOLDER OR HOLDERS INCLUDED IN THIS
NOTICE BE LIABLE FOR ANY CLAIM, OR ANY SPECIAL INDIRECT OR CONSEQUENTIAL
DAMAGES, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE,
DATA OR PROFITS, WHETHER IN AN ACTION OF CONTRACT, NEGLIGENCE OR OTHER
TORTIOUS ACTION, ARISING OUT OF OR IN CONNECTION WITH THE USE OR
PERFORMANCE OF THE DATA FILES OR SOFTWARE.

----------------------------------------------------------------------

Chinese/Japanese Word Break Dictionary Data (cjdict.txt)

# The Google Chrome software developed by Google is licensed under

# the BSD license. Other software included in this distribution is
# provided under other licenses, as set forth below.
#
# The BSD License
# http://opensource.org/licenses/bsd-license.php
# Copyright (C) 2006-2008, Google Inc.
#
# All rights reserved.
#
# Redistribution and use in source and binary forms, with or without
# modification, are permitted provided that the following conditions are met:
#
# Redistributions of source code must retain the above copyright notice,
# this list of conditions and the following disclaimer.
# Redistributions in binary form must reproduce the above
# copyright notice, this list of conditions and the following
# disclaimer in the documentation and/or other materials provided with
# the distribution.
# Neither the name of Google Inc. nor the names of its
# contributors may be used to endorse or promote products derived from
# this software without specific prior written permission.
#
#
# THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND
# CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES,
# INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF
# MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
# DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE
# LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
# CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
# SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR
# BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF
# LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING
# NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
# SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
#
#
# The word list in cjdict.txt are generated by combining three word lists
# listed below with further processing for compound word breaking. The
# frequency is generated with an iterative training against Google web
# corpora.
#
# * Libtabe (Chinese)
# - https://sourceforge.net/project/?group_id=1519
# - Its license terms and conditions are shown below.
#
# * IPADIC (Japanese)
# - http://chasen.aist-nara.ac.jp/chasen/distribution.html
# - Its license terms and conditions are shown below.
#

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# ---------COPYING.libtabe ---- BEGIN--------------------
#
# /*
# * Copyright (c) 1999 TaBE Project.
# * Copyright (c) 1999 Pai-Hsiang Hsiao.
# * All rights reserved.
# *
# * Redistribution and use in source and binary forms, with or without
# * modification, are permitted provided that the following conditions
# * are met:
# *
# * . Redistributions of source code must retain the above copyright
# * notice, this list of conditions and the following disclaimer.
# * . Redistributions in binary form must reproduce the above copyright
# * notice, this list of conditions and the following disclaimer in
# * the documentation and/or other materials provided with the
# * distribution.
# * . Neither the name of the TaBE Project nor the names of its
# * contributors may be used to endorse or promote products derived
# * from this software without specific prior written permission.
# *
# * THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS
# * "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT
# * LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
# * FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE
# * REGENTS OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
# * INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES
# * (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
# * SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
# * HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT,
# * STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
# * ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED
# * OF THE POSSIBILITY OF SUCH DAMAGE.
# */
#
# /*
# * Copyright (c) 1999 Computer Systems and Communication Lab,
# * Institute of Information Science, Academia
# * Sinica. All rights reserved.
# *
# * Redistribution and use in source and binary forms, with or without
# * modification, are permitted provided that the following conditions
# * are met:
# *
# * . Redistributions of source code must retain the above copyright
# * notice, this list of conditions and the following disclaimer.
# * . Redistributions in binary form must reproduce the above copyright
# * notice, this list of conditions and the following disclaimer in
# * the documentation and/or other materials provided with the
# * distribution.
# * . Neither the name of the Computer Systems and Communication Lab
# * nor the names of its contributors may be used to endorse or
# * promote products derived from this software without specific
# * prior written permission.
# *
# * THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS
# * "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT
# * LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
# * FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE
# * REGENTS OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
# * INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES
# * (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
# * SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
# * HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT,
# * STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
# * ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED
# * OF THE POSSIBILITY OF SUCH DAMAGE.
# */
#
# Copyright 1996 Chih-Hao Tsai @ Beckman Institute,
# University of Illinois
# c-tsai4@uiuc.edu http://casper.beckman.uiuc.edu/~c-tsai4
#
# ---------------COPYING.libtabe-----END--------------------------------
#
#
# ---------------COPYING.ipadic-----BEGIN-------------------------------

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#
# Copyright 2000, 2001, 2002, 2003 Nara Institute of Science
# and Technology. All Rights Reserved.
#
# Use, reproduction, and distribution of this software is permitted.
# Any copy of this software, whether in its original form or modified,
# must include both the above copyright notice and the following
# paragraphs.
#
# Nara Institute of Science and Technology (NAIST),
# the copyright holders, disclaims all warranties with regard to this
# software, including all implied warranties of merchantability and
# fitness, in no event shall NAIST be liable for
# any special, indirect or consequential damages or any damages
# whatsoever resulting from loss of use, data or profits, whether in an
# action of contract, negligence or other tortuous action, arising out
# of or in connection with the use or performance of this software.
#
# A large portion of the dictionary entries
# originate from ICOT Free Software. The following conditions for ICOT
# Free Software applies to the current dictionary as well.
#
# Each User may also freely distribute the Program, whether in its
# original form or modified, to any third party or parties, PROVIDED
# that the provisions of Section 3 ("NO WARRANTY") will ALWAYS appear
# on, or be attached to, the Program, which is distributed substantially
# in the same form as set out herein and that such intended
# distribution, if actually made, will neither violate or otherwise
# contravene any of the laws and regulations of the countries having
# jurisdiction over the User or the intended distribution itself.
#
# NO WARRANTY
#
# The program was produced on an experimental basis in the course of the
# research and development conducted during the project and is provided
# to users as so produced on an experimental basis. Accordingly, the
# program is provided without any warranty whatsoever, whether express,
# implied, statutory or otherwise. The term "warranty" used herein
# includes, but is not limited to, any warranty of the quality,
# performance, merchantability and fitness for a particular purpose of
# the program and the nonexistence of any infringement or violation of
# any right of any third party.
#
# Each user of the program will agree and understand, and be deemed to
# have agreed and understood, that there is no warranty whatsoever for
# the program and, accordingly, the entire risk arising from or
# otherwise connected with the program is assumed by the user.
#
# Therefore, neither ICOT, the copyright holder, or any other
# organization that participated in or was otherwise related to the
# development of the program and their respective officials, directors,
# officers and other employees shall be held liable for any and all
# damages, including, without limitation, general, special, incidental
# and consequential damages, arising out of or otherwise in connection
# with the use or inability to use the program or any product, material
# or result produced or otherwise obtained by using the program,
# regardless of whether they have been advised of, or otherwise had
# knowledge of, the possibility of such damages at any time during the
# project or thereafter. Each user will be deemed to have agreed to the
# foregoing by his or her commencement of use of the program. The term
# "use" as used herein includes, but is not limited to, the use,
# modification, copying and distribution of the program and the
# production of secondary products from the program.
#
# In the case where the program, whether in its original form or
# modified, was distributed or delivered to or received by a user from
# any person, organization or entity other than ICOT, unless it makes or
# grants independently of ICOT any specific warranty to the user in
# writing, such person, organization or entity, will also be exempted
# from and not be held liable to the user for any such damages as noted
# above as far as the program is concerned.
#
# ---------------COPYING.ipadic-----END----------------------------------

----------------------------------------------------------------------

Lao Word Break Dictionary Data (laodict.txt)

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# Copyright (C) 2016 and later: Unicode, Inc. and others.

# License & terms of use: http://www.unicode.org/copyright.html
# Copyright (c) 2015 International Business Machines Corporation
# and others. All Rights Reserved.
#
# Project: https://github.com/rober42539/lao-dictionary
# Dictionary: https://github.com/rober42539/lao-dictionary/laodict.txt
# License: https://github.com/rober42539/lao-dictionary/LICENSE.txt
# (copied below)
#
# This file is derived from the above dictionary version of Nov 22, 2020
# ----------------------------------------------------------------------
# Copyright (C) 2013 Brian Eugene Wilson, Robert Martin Campbell.
# All rights reserved.
#
# Redistribution and use in source and binary forms, with or without
# modification, are permitted provided that the following conditions are met:
#
# Redistributions of source code must retain the above copyright notice, this
# list of conditions and the following disclaimer. Redistributions in binary
# form must reproduce the above copyright notice, this list of conditions and
# the following disclaimer in the documentation and/or other materials
# provided with the distribution.
#
# THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS
# "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT
# LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
# FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE
# COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT,
# INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES
# (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
# SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
# HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT,
# STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
# ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED
# OF THE POSSIBILITY OF SUCH DAMAGE.
# --------------------------------------------------------------------------

----------------------------------------------------------------------

Burmese Word Break Dictionary Data (burmesedict.txt)

# Copyright (c) 2014 International Business Machines Corporation

# and others. All Rights Reserved.
#
# This list is part of a project hosted at:
# github.com/kanyawtech/myanmar-karen-word-lists
#
# --------------------------------------------------------------------------
# Copyright (c) 2013, LeRoy Benjamin Sharon
# All rights reserved.
#
# Redistribution and use in source and binary forms, with or without
# modification, are permitted provided that the following conditions
# are met: Redistributions of source code must retain the above
# copyright notice, this list of conditions and the following
# disclaimer. Redistributions in binary form must reproduce the
# above copyright notice, this list of conditions and the following
# disclaimer in the documentation and/or other materials provided
# with the distribution.
#
# Neither the name Myanmar Karen Word Lists, nor the names of its
# contributors may be used to endorse or promote products derived
# from this software without specific prior written permission.
#
# THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND
# CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES,
# INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF
# MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
# DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS
# BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,
# EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED
# TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
# DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON
# ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR
# TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF

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# THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF
# SUCH DAMAGE.
# --------------------------------------------------------------------------

----------------------------------------------------------------------

Time Zone Database

ICU uses the public domain data and code derived from Time Zone
Database for its time zone support. The ownership of the TZ database
is explained in BCP 175: Procedure for Maintaining the Time Zone
Database section 7.

# 7. Database Ownership
#
# The TZ database itself is not an IETF Contribution or an IETF
# document. Rather it is a pre-existing and regularly updated work
# that is in the public domain, and is intended to remain in the
# public domain. Therefore, BCPs 78 [RFC5378] and 79 [RFC3979] do
# not apply to the TZ Database or contributions that individuals make
# to it. Should any claims be made and substantiated against the TZ
# Database, the organization that is providing the IANA
# Considerations defined in this RFC, under the memorandum of
# understanding with the IETF, currently ICANN, may act in accordance
# with all competent court orders. No ownership claims will be made
# by ICANN or the IETF Trust on the database or the code. Any person
# making a contribution to the database or code waives all rights to
# future claims in that contribution or in the TZ Database.

----------------------------------------------------------------------

Google double-conversion

Copyright 2006-2011, the V8 project authors. All rights reserved.

Redistribution and use in source and binary forms, with or without
modification, are permitted provided that the following conditions are
met:

* Redistributions of source code must retain the above copyright

notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above
copyright notice, this list of conditions and the following
disclaimer in the documentation and/or other materials provided
with the distribution.
* Neither the name of Google Inc. nor the names of its
contributors may be used to endorse or promote products derived
from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

----------------------------------------------------------------------

File: aclocal.m4 (only for ICU4C)

Section: pkg.m4 - Macros to locate and utilise pkg-config.

Copyright (c) 2004 Scott James Remnant <scott@netsplit.com>.

This program is free software; you can redistribute it and/or modify

it under the terms of the GNU General Public License as published by
the Free Software Foundation; either version 2 of the License, or
(at your option) any later version.

This program is distributed in the hope that it will be useful, but

WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU

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General Public License for more details.

You should have received a copy of the GNU General Public License
along with this program; if not, write to the Free Software
Foundation, Inc., 59 Temple Place - Suite 330, Boston, MA
02111-1307, USA.

As a special exception to the GNU General Public License, if you

distribute this file as part of a program that contains a
configuration script generated by Autoconf, you may include it under
the same distribution terms that you use for the rest of that
program.

(The condition for the exception is fulfilled because

ICU4C includes a configuration script generated by Autoconf,
namely the `configure` script.)

----------------------------------------------------------------------

File: config.guess (only for ICU4C)

This file is free software; you can redistribute it and/or modify it

under the terms of the GNU General Public License as published by
the Free Software Foundation; either version 3 of the License, or
(at your option) any later version.

This program is distributed in the hope that it will be useful, but

WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
General Public License for more details.

You should have received a copy of the GNU General Public License
along with this program; if not, see <https://www.gnu.org/licenses/>.

As a special exception to the GNU General Public License, if you

distribute this file as part of a program that contains a
configuration script generated by Autoconf, you may include it under
the same distribution terms that you use for the rest of that
program. This Exception is an additional permission under section 7
of the GNU General Public License, version 3 ("GPLv3").

(The condition for the exception is fulfilled because

ICU4C includes a configuration script generated by Autoconf,
namely the `configure` script.)

----------------------------------------------------------------------

File: install-sh (only for ICU4C)

Copyright 1991 by the Massachusetts Institute of Technology

Permission to use, copy, modify, distribute, and sell this software and its
documentation for any purpose is hereby granted without fee, provided that
the above copyright notice appear in all copies and that both that
copyright notice and this permission notice appear in supporting
documentation, and that the name of M.I.T. not be used in advertising or
publicity pertaining to distribution of the software without specific,
written prior permission. M.I.T. makes no representations about the
suitability of this software for any purpose. It is provided "as is"
without express or implied warranty.

This product includes QtSvg.

The Qt Toolkit is Copyright (C) 2019 The Qt Company Ltd.

This product includes lzw-ab.

Copyright (c) David Bryant

Redistribution and use in source and binary forms, with or without

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modification, are permitted provided that the following conditions are met:

* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright notice,
this list of conditions and the following disclaimer in the
documentation and/or other materials provided with the distribution.
* Neither the name of Conifer Software nor the names of its contributors
may be used to endorse or promote products derived from this software
without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE REGENTS OR CONTRIBUTORS BE LIABLE FOR
ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes llvm.

University of Illinois/NCSA
Open Source License

Copyright (c) 2003-2019 University of Illinois at Urbana-Champaign.

Developed by:

LLVM Team

University of Illinois at Urbana-Champaign

http://llvm.org

Permission is hereby granted, free of charge, to any person obtaining a copy of

this software and associated documentation files (the "Software"), to deal with
the Software without restriction, including without limitation the rights to
use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies
of the Software, and to permit persons to whom the Software is furnished to do
so, subject to the following conditions:

* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimers.

* Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimers in the
documentation and/or other materials provided with the distribution.

* Neither the names of the LLVM Team, University of Illinois at

Urbana-Champaign, nor the names of its contributors may be used to
endorse or promote products derived from this Software without specific
prior written permission.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS
FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE
SOFTWARE.

This product includes LibTIFF.

Copyright (c) 1988-1997 Sam Leffler

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publicity relating to the software without the specific, prior written
permission of Sam Leffler and Silicon Graphics.

THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND,

EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY
WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR

This product includes robin-map.

MIT License

Copyright (c) 2017 Thibaut Goetghebuer-Planchon <tessil@gmx.com>

Permission is hereby granted, free of charge, to any person obtaining a copy

The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.

This product includes lz4.

Copyright (C) 2011-present, Yann Collet.

BSD 2-Clause License (http://www.opensource.org/licenses/bsd-license.php)

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:

* Redistributions of source code must retain the above copyright

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes XByak.

Copyright (c) 2007 MITSUNARI Shigeo

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

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Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.
Redistributions in binary form must reproduce the above copyright notice,
this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.
Neither the name of the copyright owner nor the names of its contributors may
be used to endorse or promote products derived from this software without
specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF
THE POSSIBILITY OF SUCH DAMAGE.
-----------------------------------------------------------------------------
#######################################
#######################

#######################################
#######
#######################################
##########################
#######################################
###################################
#######################################
#######################################
######################################
########################### ###########
#######################################
######################################
######################################
#######################################
######################################
################

This product includes ittnotify.

Copyright (c) 2011, Intel Corporation

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this
list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its
contributors may be used to endorse or promote products derived from
this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE
FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER
CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes OpenSSL.

Apache License

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Version 2.0, January 2004
https://www.apache.org/licenses/

TERMS AND CONDITIONS FOR USE, REPRODUCTION, AND DISTRIBUTION

1. Definitions.

"License" shall mean the terms and conditions for use, reproduction,
and distribution as defined by Sections 1 through 9 of this document.

"Licensor" shall mean the copyright owner or entity authorized by

the copyright owner that is granting the License.

"Legal Entity" shall mean the union of the acting entity and all
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otherwise, or (ii) ownership of fifty percent (50%) or more of the
outstanding shares, or (iii) beneficial ownership of such entity.

"You" (or "Your") shall mean an individual or Legal Entity

exercising permissions granted by this License.

"Source" form shall mean the preferred form for making modifications,
including but not limited to software source code, documentation
source, and configuration files.

"Object" form shall mean any form resulting from mechanical

transformation or translation of a Source form, including but
not limited to compiled object code, generated documentation,
and conversions to other media types.

"Work" shall mean the work of authorship, whether in Source or

Object form, made available under the License, as indicated by a
copyright notice that is included in or attached to the work
(an example is provided in the Appendix below).

"Derivative Works" shall mean any work, whether in Source or Object

form, that is based on (or derived from) the Work and for which the
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of this License, Derivative Works shall not include works that remain
separable from, or merely link (or bind by name) to the interfaces of,
the Work and Derivative Works thereof.

"Contribution" shall mean any work of authorship, including

the original version of the Work and any modifications or additions
to that Work or Derivative Works thereof, that is intentionally
submitted to Licensor for inclusion in the Work by the copyright owner
or by an individual or Legal Entity authorized to submit on behalf of
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"Contributor" shall mean Licensor and any individual or Legal Entity

on behalf of whom a Contribution has been received by Licensor and
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2. Grant of Copyright License. Subject to the terms and conditions of

this License, each Contributor hereby grants to You a perpetual,
worldwide, non-exclusive, no-charge, royalty-free, irrevocable
copyright license to reproduce, prepare Derivative Works of,
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3. Grant of Patent License. Subject to the terms and conditions of

this License, each Contributor hereby grants to You a perpetual,
worldwide, non-exclusive, no-charge, royalty-free, irrevocable
(except as stated in this section) patent license to make, have made,
use, offer to sell, sell, import, and otherwise transfer the Work,
where such license applies only to those patent claims licensable

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by such Contributor that are necessarily infringed by their
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4. Redistribution. You may reproduce and distribute copies of the

Work or Derivative Works thereof in any medium, with or without
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(a) You must give any other recipients of the Work or

Derivative Works a copy of this License; and

(b) You must cause any modified files to carry prominent notices
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(c) You must retain, in the Source form of any Derivative Works
that You distribute, all copyright, patent, trademark, and
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(d) If the Work includes a "NOTICE" text file as part of its

distribution, then any Derivative Works that You distribute must
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You may add Your own copyright statement to Your modifications and
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the conditions stated in this License.

5. Submission of Contributions. Unless You explicitly state otherwise,

any Contribution intentionally submitted for inclusion in the Work
by You to the Licensor shall be under the terms and conditions of
this License, without any additional terms or conditions.
Notwithstanding the above, nothing herein shall supersede or modify
the terms of any separate license agreement you may have executed
with Licensor regarding such Contributions.

6. Trademarks. This License does not grant permission to use the trade
names, trademarks, service marks, or product names of the Licensor,
except as required for reasonable and customary use in describing the
origin of the Work and reproducing the content of the NOTICE file.

7. Disclaimer of Warranty. Unless required by applicable law or

agreed to in writing, Licensor provides the Work (and each
Contributor provides its Contributions) on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or
implied, including, without limitation, any warranties or conditions
of TITLE, NON-INFRINGEMENT, MERCHANTABILITY, or FITNESS FOR A
PARTICULAR PURPOSE. You are solely responsible for determining the
appropriateness of using or redistributing the Work and assume any
risks associated with Your exercise of permissions under this License.

8. Limitation of Liability. In no event and under no legal theory,

whether in tort (including negligence), contract, or otherwise,
unless required by applicable law (such as deliberate and grossly

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negligent acts) or agreed to in writing, shall any Contributor be
liable to You for damages, including any direct, indirect, special,
incidental, or consequential damages of any character arising as a
result of this License or out of the use or inability to use the
Work (including but not limited to damages for loss of goodwill,
work stoppage, computer failure or malfunction, or any and all
other commercial damages or losses), even if such Contributor
has been advised of the possibility of such damages.

9. Accepting Warranty or Additional Liability. While redistributing

the Work or Derivative Works thereof, You may choose to offer,
and charge a fee for, acceptance of support, warranty, indemnity,
or other liability obligations and/or rights consistent with this
License. However, in accepting such obligations, You may act only
on Your own behalf and on Your sole responsibility, not on behalf
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incurred by, or claims asserted against, such Contributor by reason
of your accepting any such warranty or additional liability.

END OF TERMS AND CONDITIONS

This product includes JBIG2Lib.

This product includes FCollada.

Copyright 2006 Feeling Software. All rights reserved.

Copyright 2005-2006 Feeling Software and

Copyright (C) 1998-2003 Daniel Veillard. All Rights Reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy

of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is fur-
nished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.

This product includes XercesC.

NOTICE file corresponding to section 4(d) of the Apache License, Version 2.0, in this
case for the Apache Xerces distribution.

This product includes software developed by

The Apache Software Foundation (http://www.apache.org/).

Portions of this software were originally based on the following:

This product includes Imath.

Copyright Contributors to the OpenEXR Project. All rights reserved.

Redistribution and use in source and binary forms, with or without modification,
are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list
of conditions and the following disclaimer.

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2. Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimer in the documentation and/or other
materials provided with the distribution.

3. Neither the name of the copyright holder nor the names of its contributors may
be used to endorse or promote products derived from this software without specific prior
written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN
NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,
PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT
LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE
OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes curl.

COPYRIGHT AND PERMISSION NOTICE

Copyright (c) 1996 - 2024, Daniel Stenberg, <daniel@haxx.se>, and many

contributors, see the THANKS file.

All rights reserved.

Permission to use, copy, modify, and distribute this software for any purpose
with or without fee is hereby granted, provided that the above copyright
notice and this permission notice appear in all copies.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. IN
NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM,
DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR
OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE
OR OTHER DEALINGS IN THE SOFTWARE.

Except as contained in this notice, the name of a copyright holder shall not
be used in advertising or otherwise to promote the sale, use or other dealings
in this Software without prior written authorization of the copyright holder.

This product includes Botan.

Copyright (C) 1999-2023 The Botan Authors

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice,

this list of conditions, and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright

notice, this list of conditions, and the following disclaimer in the
documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS"
AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
POSSIBILITY OF SUCH DAMAGE.

This product includes assimp.

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Open Asset Import Library (assimp)

Copyright (c) 2006-2021, assimp team

Redistribution and use of this software in source and binary forms,

with or without modification, are permitted provided that the
following conditions are met:

* Redistributions of source code must retain the above

* Redistributions in binary form must reproduce the above

copyright notice, this list of conditions and the
following disclaimer in the documentation and/or other
materials provided with the distribution.

* Neither the name of the assimp team, nor the names of its
contributors may be used to endorse or promote products
derived from this software without specific prior
written permission of the assimp team.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes Poly2Tri.

All rights reserved.

Redistribution and use in source and binary forms, with or without
modification,
are permitted provided that the following conditions are met:

* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright notice,
this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.
* Neither the name of Poly2Tri nor the names of its contributors may be
used to endorse or promote products derived from this software without specific
prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

"AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT
LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR
A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR
CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,
EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO,
PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR
PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF
LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING
NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes FreeType.

Portions of this software are copyright (C) 2014 The FreeType

Project (www.freetype.org) licensed under the Freetype License.
All rights reserved.

This product includes range-v3.

University of Illinois/NCSA
Open Source License

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Copyright (c) 2003-2019 University of Illinois at Urbana-Champaign.
All rights reserved.

Developed by:

LLVM Team

University of Illinois at Urbana-Champaign

http://llvm.org

Permission is hereby granted, free of charge, to any person obtaining a copy of

* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimers.

* Redistributions in binary form must reproduce the above copyright notice,

this list of conditions and the following disclaimers in the
documentation and/or other materials provided with the distribution.

* Neither the names of the LLVM Team, University of Illinois at

Urbana-Champaign, nor the names of its contributors may be used to
endorse or promote products derived from this Software without specific
prior written permission.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS
FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE
SOFTWARE.

This product includes range-v3.

Copyright (c) 2009 Alexander Stepanov and Paul McJones

Permission to use, copy, modify, distribute and sell this software

and its documentation for any purpose is hereby granted without
fee, provided that the above copyright notice appear in all copies
and that both that copyright notice and this permission notice
appear in supporting documentation. The authors make no
representations about the suitability of this software for any
purpose. It is provided "as is" without express or implied
warranty.

Algorithms from
Elements of Programming
by Alexander Stepanov and Paul McJones
Addison-Wesley Professional, 2009

This product includes range-v3.

Copyright (c) 1994

Hewlett-Packard Company

Permission to use, copy, modify, distribute and sell this software

and its documentation for any purpose is hereby granted without fee,
provided that the above copyright notice appear in all copies and
that both that copyright notice and this permission notice appear
in supporting documentation. Hewlett-Packard Company makes no
representations about the suitability of this software for any
purpose. It is provided "as is" without express or implied warranty.

This product includes range-v3.

Copyright (c) 1996

Silicon Graphics Computer Systems, Inc.

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Permission to use, copy, modify, distribute and sell this software
and its documentation for any purpose is hereby granted without fee,
provided that the above copyright notice appear in all copies and
that both that copyright notice and this permission notice appear
in supporting documentation. Silicon Graphics makes no
representations about the suitability of this software for any
purpose. It is provided "as is" without express or implied warranty.

This product includes OpenSSL.

Copyright (c) 1998-2019 The OpenSSL Project. All rights reserved.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions
are met:

1. Redistributions of source code must retain the above copyright

notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright

notice, this list of conditions and the following disclaimer in
the documentation and/or other materials provided with the
distribution.

3. All advertising materials mentioning features or use of this

software must display the following acknowledgment:
"This product includes software developed by the OpenSSL Project
for use in the OpenSSL Toolkit. (http://www.openssl.org/)"

4. The names "OpenSSL Toolkit" and "OpenSSL Project" must not be used to
endorse or promote products derived from this software without
prior written permission. For written permission, please contact
openssl-core@openssl.org.

5. Products derived from this software may not be called "OpenSSL"

nor may "OpenSSL" appear in their names without prior written
permission of the OpenSSL Project.

6. Redistributions of any form whatsoever must retain the following

acknowledgment:
"This product includes software developed by the OpenSSL Project
for use in the OpenSSL Toolkit (http://www.openssl.org/)"

THIS SOFTWARE IS PROVIDED BY THE OpenSSL PROJECT ``AS IS'' AND ANY
EXPRESSED OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE OpenSSL PROJECT OR
ITS CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,
SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT
NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES;
LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT,
STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED
OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes OpenSSL.

Copyright (C) 1995-1998 Eric Young (eay@cryptsoft.com)

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions
are met:
1. Redistributions of source code must retain the copyright
notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in the
documentation and/or other materials provided with the distribution.
3. All advertising materials mentioning features or use of this software
must display the following acknowledgement:
"This product includes cryptographic software written by
Eric Young (eay@cryptsoft.com)"
The word 'cryptographic' can be left out if the rouines from the library
being used are not cryptographic related :-).

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4. If you include any Windows specific code (or a derivative thereof) from
the apps directory (application code) you must include an acknowledgement:
"This product includes software written by Tim Hudson (tjh@cryptsoft.com)"

THIS SOFTWARE IS PROVIDED BY ERIC YOUNG ``AS IS'' AND

ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR OR CONTRIBUTORS BE LIABLE
FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS
OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT
LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY
OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF
SUCH DAMAGE.

This product includes QtCopyDialog.

Copyright (c) 2009 Nokia Corporation and/or its subsidiary(-ies).

BECAUSE THE LIBRARY IS LICENSED FREE OF CHARGE, THERE IS NO

WARRANTY FOR THE LIBRARY, TO THE EXTENT PERMITTED BY APPLICABLE LAW.
EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR
OTHER PARTIES PROVIDE THE LIBRARY "AS IS" WITHOUT WARRANTY OF ANY
KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE
LIBRARY IS WITH YOU. SHOULD THE LIBRARY PROVE DEFECTIVE, YOU ASSUME
THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.

This product includes QtMigration.

Copyright (C) 2013 Digia Plc and/or its subsidiary(-ies).

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in
the documentation and/or other materials provided with the
distribution.
* Neither the name of Digia Plc and its Subsidiary(-ies) nor the names
of its contributors may be used to endorse or promote products derived
from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes QtService.

Copyright (C) 2010 Nokia Corporation and/or its subsidiary(-ies).

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in
the documentation and/or other materials provided with the
distribution.
* Neither the name of Nokia Corporation and its Subsidiary(-ies) nor

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the names of its contributors may be used to endorse or promote
products derived from this software without specific prior written
permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes QtSingleApplication.

Redistribution and use in source and binary forms, with or without

modification, are permitted provided that the following conditions are
met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in
the documentation and/or other materials provided with the
distribution.
* Neither the name of Nokia Corporation and its Subsidiary(-ies) nor
the names of its contributors may be used to endorse or promote
products derived from this software without specific prior written
permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS

This product includes QtSql.

Copyright (c) 2009 Nokia Corporation and/or its subsidiary(-ies).

BECAUSE THE LIBRARY IS LICENSED FREE OF CHARGE, THERE IS NO

1.3. Licenses
This software is protected against unauthorised use.

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To purchase a license or a subscription, please visit http://www.esko.com/store or contact your Esko sales
representative

Local Licenses
For a local license or a subscription, you have to activate your product key on the machine that you run the
software on. The Esko Plug-ins window is where you can activate a purchased license. Select Help > Esko
> Plug-ins from the Illustrator menu. There is also a more advanced tool to manage your licenses and trials:
the Esko Local License Manager. This application is installed in your Applications folder (Mac) or see Start >
Programs > Esko > Local License Manager > Manage Local Licenses... (PC).

Network Licenses
For a network license you have to activate your product key on a central machine, the license server, in the Esko
Server License Manager application.
Make sure to configure the license server in Adobe Illustrator by selecting Help > Esko > Plug-ins .... Select the
Network License Setup button at the bottom of the Esko Plug-ins dialog.

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2. Getting Started with Studio Advanced

2.1. Tutorial: Folding a box

In this tutorial, we will assign cut and crease properties to die lines, fold it into a box and save it as a ARD file. We
will then use this ARD file on the graphic design of the box to get a 3D Pack shot as shown below.

1. If you didn't download the sample files already, you can download a ZIP containing all files from this location:
https://docs.esko.com/docs/en-us/studioessentials/16/otherdocs/StudioTutorials.zip.
2. From the Expert Box folder, open the file EXPERT_Design.ai
This file contains all die lines, but at this moment not recognized as such.
3. Assign the correct Crease and Cut properties to the die lines
a) Open Window > Esko Studio > Show Fold Window or use the shortcut Cmd+Alt+1 (Mac) or Ctrl+Alt+1
(Windows).
b) In Illustrator's Layers menu, select all objects in the sublayer "creaselines" and click the Crease swatch in
the Fold window.

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c) In Illustrator's Layers menu, select all objects in the sublayer "cutlines" and click the Cut swatch in the
Fold window.
4.
Click the Select all Cuts and Creases button , and click the Check button to check the die for
inaccuracies.
You will get a warning that double lines were found. Click Yes to let Studio fix it automatically.
5. With all Cut and Crease lines still selected, click Fold to open the Fold window.

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a) Click in the bottom left panel (see image above) to set it as Base Panel and click Continue
b) Select E Flute as board, and click Continue
c) Click Select All Fold Lines and set the Folding Angle to 90 degrees. You now already get a 3D preview of
the box.

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d) Click Save As and save your box as an ARD file.

e) When asked if you want to place the ARD file in the current document, click Yes
6. Open the Studio window: choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
You immediately get a 3D preview of your box. Click and drag to rotate it to inspect all sides.
7. We will now add two finishing operations: a liner, and a gold foil.
a) Open the Finishing Operations panel by choosing Window > Esko Studio > Finishing Operations
b)
Click the Add Operation button
c) Choose Esko Standard Library > Board Liners > High gloss coated liner and click OK
d) Select Apply full coverage to apply the liner on the complete design, and click OK
e) In the Finishing Operations palette, double-click the yellow spot color.
This yellow spot color was used by the designer to indicate where the gold foil needs to be applied. We
will convert this spot color into a finishing operation.
f) Choose Esko Standard Library > Foils > Gold Foil Block (hot stamped) and click OK twice
The Finishing Operations palette should now look like this:

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g) In the Scene Settings in the Studio window, choose Visualizer Office

This will change the lighting environment and switch to Visualizer Quality. Once the Studio window is
refreshed, you will get a realistic preview of the box, including the gold foil. Rotate the box to inspect it.
8. We will now export a TIFF packshot of the box
a) Rotate (by clicking and dragging) and zoom (using the Zoom slider) to position the box the way you want
it.
b) In the Studio window flyout menu, choose Export...
c) Set Export Type to Image, and File Type to TIFF, and click Export to save a TIFF packshot you can share
with your clients.

2.2. Tutorial: revolve a path and add labels

In this tutorial, we will create a bottle by revolving a profile path. We will add labels to it, and apply a graphic
design on these labels. We will export this as a collada file to be previewed in one of the available Viewers.

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1. If you didn't download the sample files already, you can download a ZIP containing all files from this location:
https://docs.esko.com/docs/en-us/studioessentials/16/otherdocs/StudioTutorials.zip.
2. From the SPEED Bottle folder, open the Bottle_Outline.ai file
This file contains two paths, representing the contours of a bottle and its cap.
3. Open the Studio window: choose Window > Esko Studio > Studio or use the shortcut Cmd+Alt+4 (Mac) or
Ctrl+Alt+4 (Windows).
Since there is no Structural Design file in this document, the Studio window is empty.
4. Select both paths, and choose Revolve Path in Toolkit from the fly-out menu of the Studio Window.
The Studio Toolkit application will open.
5. For the Axis, select the leftmost option and click OK
The bottle has two parts: the cap and the bottle.

6. In the Appearance section, you can see the materials of your bottle. You can set the materials by clicking the
Apply Materials button , selecting a part and choosing a material preset. We used a black matt plastic cap
and a green glass bottle. Click Done to continue.
7. Add a Front label by selecting the bottle, clicking Add Label and selecting Front Label. Set its dimensions to
100 mm width, 115 mm height and 40 mm Base.
8. Add a Back label by selecting the bottle, clicking Add Label and selecting Back Label. Set its dimensions to
70 mm width, 100 mm height and 45 mm Base.

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9. Save the bottle as a Collada file.
a) Click Save As
b) Choose a name and location for the file, and click Save
c) Close Studio Toolkit.
10. In Adobe Illustrator, open the file SpeedRound_Front.ai from the SPEED Bottle folder.
11. Click Place a Structural Design file in the Studio Window and select the Collada file you saved. The Collada
file contains two printable parts. Choose the Front Label.
You immediately get a 3D preview of your bottle. Click and drag to rotate it to inspect all sides. You can see
the back label is still empty.
12. Repeat the three previous steps using the SpeedRound_Back.ai file, but this time select the Back
Label printable part
You now get a 3D preview of your bottle with both labels. Click and drag to rotate it to inspect all sides.
Double-click a label to select the corresponding Illustrator document.
13. In the fly-out menu of the Studio window, choose Scene Settings, and select the Visualizer Light Photo
Studio Scene Preset. Click OK
This will change the lighting environment and switch to Visualizer Quality. Once the Studio window is
refreshed, you will get a realistic preview of the bottle, including the transparent glass. Rotate the bottle to
inspect it.
14. We will now add a "die cut" finishing operation to apply rounded corners on the front label.
a) Go to the SpeedRound_Front.ai document.
b) In Illustrator's Layers palette, select the compound path in the "RoundedCorners" layer. Since this is a
Compound path, you first have to release it by using the shortcut Cmd+Alt+Shift+8 (Mac) or Ctrl+Alt
+Shift+8 (Windows). Only select the rectangle with rounded corners
c) In the fly-out menu of the Studio Window, select Send Path to Toolkit
The bottle will be opened in Studio Toolkit, and the path will be selected as Die-cut path.
d) In Studio Toolkit, select File > Save
e) Return to Adobe Illustrator.
You will get a message that the Structural Design file was changed. Click Update. You will see the label
with rounded corners.

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15. Save the design as a Collada file to be previewed in one of the available Viewers.
a) In the Studio window flyout menu, choose Export...
b) Set Export Type to Collada File, and click Export... to save the file as a collada file.

Note: Unlike the first collada file we saved in Studio Toolkit, which contained only the structure
(bottle and labels without graphics), this second collada file is just for viewing.

16. Open the file in the Studio Viewer application.

The Studio Viewer is a free application that is installed automatically when installing Studio, and can also be
downloaded from the Esko website http://www.esko.com
You can also use the free mobile app, available from the App store, or open the file in the WebCenter Viewer.

2.3. Tutorial: Creating a flexible bag

In this tutorial, we will create a flexible bag in Studio Toolkit. We will then apply a graphic design on it, and use
some finishing operations to get a very realistic preview. We will export this as a collada file to be previewed in
one of the available Viewers.

Click the New Bag button , select Pillow Bag and click OK.
b) Set the dimensions for the bag: Width 45mm, Length 120mm, Top and Bottom Seal 10mm, Back Seal
15mm.
c) Enable Insert object to add content to the bag.
d) Set the dimensions of the object: width 40mm, length 85mm, depth 10mm.
e) Click the Select button to define the Shape. Choose the shape with rounded corners (top row, middle
column) and click OK. Set the Radius slider approximately in the middle, and click Done

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f) Set the Appearance settings to Glossy, 75%, with 0.30 Rounding.

4. We will now apply some basic live shaping to make the shape more realistic. This step is optional, so you
could skip it.
a) Click the Live Shaping button. Live shaping immediately starts
b) Click the Pause button to temporarily stop the live shaping process.
c)
Select the Fold Lines tool and drag a few parallel fold lines along the long side of the bag, to
smoothen the bag.

d)
Switch back to the Camera tool or hold the Space bar to rotate the bag. Repeat the previous step
on the other side of the bag.
e) Click Resume to resume live shaping. You will immediately see the bag straightening on the fold lines.
f) Click Done to stop live shaping.
5. Select File > Save and enter a name for the Collada file.
6. In Adobe Illustrator, open the ColorWrapper.ai file from the Color folder.
7. Open the Studio window: choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
Since there is no Structural Design file in this document, the Studio window is empty.
8. Click Place a Structural Design file in the Studio Window and select the Collada file you saved, or take the
ColorWrapper.zae file from the Color > Structure folder.

Note: This example collada file has been finetuned using fold lines and pullers. You can open it in
Studio Toolkit and start Live Shaping mode to see all pullers and fold lines.

9. The graphic design is not aligned with the Structural Design. Use the Move Structural Design tool to align
the structural design on the graphics.

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You can use the red triangle as a reference point for easy alignment.

10. We will now add a "die cut" and "emboss" finishing operation to get a more realistic 3D view
a) Open the Finishing Operations panel by choosing Window > Esko Studio > Finishing Operations
You notice that the white opaque spot color is automatically recognized.
b) In the flyout menu of the the Studio window, choose Visualizer Quality
Once the Studio window is refreshed, you will get a realistic preview of the wrapper, including the white
opaque ink. Rotate the wrapper to inspect it.
c) In the Finishing Operations palette, double-click the green spot color.
We will use the green stripes for embossing, to simulate the ridges created by the sealing machine
d) Use the Search field to find the Emboss / Deboss - detailed operation, select it and click OK twice
e) In the Finishing Operations palette, double-click the blue spot color.
We will use the blue triangles as a die cut, to generate the characteristic edges of the seals.
f) Use the Search field to find the Die Cut operation, select it and click OK twice
The Finishing Operations palette should now look like this:

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Click the Refresh button in the Studio window to see the result.
11. Save the design as a Collada file to be previewed in one of the available Viewers.
a) In the Studio window flyout menu, choose Export
b) Set File Type to Collada File, and click Save As... to save the file as a collada file.
12. Open the file in the Studio Viewer application.
The Studio Viewer is a free application that is installed automatically when installing Studio, and can also be
downloaded from the Esko website http://www.esko.com
You can also use the free mobile app, available from the App store or Google Play, or open the file in the
WebCenter Viewer.

2.4. Tutorial: Creating a shrink sleeve on a bottle

In this tutorial, we will put a shrink sleeve on the 3D shape of a bottle, put graphics on it and apply some
predistortion. Next we will export a TIFF image that can be shared.

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Click the Import Into... button and select the Spray bottle.dae from the Zero
errors > Structure folder.
The bottle shape will appear in Studio Toolkit
4.

Click the Add Sleeve... button and choose the vertical axis for this sleeve (the center option).
The bottle will now have a sleeve around it.
5. Adjust the measurements of the sleeve:
• Circumference: 221.3 mm
• Cut length 139mm
• Seam 5 mm
• Vertical Material Shrinkage 7%
6. Set the Simulation slider to "Accurate" for the best result.
7. Click the Shrink button to start the shrinking process. As soon as the sleeve doesn't seem to be shrinking
anymore, you can click the Done button.

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8. Select File > Save and enter a name for the Collada file.
9. In Adobe Illustrator, open the ZeroErrors.ai file from the Zero Errors folder.
10. Open the Studio window: choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
Since there is no Structural Design file in this document, the Studio window is empty.
11. Click Place a Structural Design file in the Studio Window and select the Collada file you saved. When
prompted, choose the Sleeve printable part
You immediately get a 3D preview of your bottle. Click and drag to rotate it to inspect all sides.
12. In the flyout menu of the the Studio window, choose Visualizer Quality
Once the Studio window is refreshed, you will get a realistic preview of the bottle, including the transparent
plastic sleeve and the opaque white ink. Rotate the bottle to inspect it.
13. At the front of the bottle, you can see the "Zero Errors" text is distorted by the shrinking process. You can
predistort it, to compensate for the distortion of the shrink sleeve on the 3D shape
a) Select the artwork you want to predistort, in this case the "Zero Errors" text and underlying images.

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b) Choose Window > Esko Studio > Predistort...

c) Click OK to predistort the selected artwork.
The text will be predistorted on the artwork. After refreshing, the Studio window shows the result of the
artwork after shrinking.

14. We will now export a TIFF packshot of the bottle

a) Rotate (by clicking and dragging) and zoom (using the Zoom slider) to position the bottle the way you
want it.
b) In the Studio window flyout menu, choose Export
c) Set File Type to TIFF Image, and click Save As... to save a TIFF packshot you can share with your clients.

2.5. Tutorial: combining shapes & working with Scenes

In this tutorial we will create a composition of different shapes, each with their artwork. We will then use the
same graphics in different scenes.
1. If you didn't download the sample files already, you can download a ZIP containing all files from this location:
https://docs.esko.com/docs/en-us/studioessentials/16/otherdocs/StudioTutorials.zip.
2. Open Studio Toolkit

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3.

Click the Import Into... button and select the Tray.ard file from the Color >
Structure folder. Repeat for Pouch.zae.
The pouch will be placed next to the tray.

4. Change the view to Top, so you get a top view of the two objects.

Select the Transform tool

6. Click and drag the center point of the pouch to move it to the upper left corner of the tray.

Make sure the pouch is NOT touching the back side or side panel of the tray.

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Note: You might notice the pouch snapping to the tray when you move it too close, indicated by
the tray lighting up. This "snap" function, based on the bounding box of the objects, can be very
useful when aligning objects next to each other, but since we are positioning inside an object, this is
not what we want. In this case, it can be easier to disable snapping, by deselecting the check box in
the menu bar.

7. Switch back to Perspective view.

8. Select Edit > Lift Up. You will notice the Distance from Floor value changing to 1.5 mm, which is the
thickness of the cartboard of the tray.
If your pouch jumps on top of the back panel of the tray, your pouch was touching the back panel. Undo the
Lift Up using cmd - Z (Mac) or Ctrl - Z (Windows) and adjust the position of your pouch.
9.

Click the Repeat button and apply a repeat of 2 times along the X axis, 4 times along the Z axis.
You now have a tray with 8 pouches in it. Drag to change the camera viewpoint to inspect the tray.

10. Select File > Save and enter a name for the Collada file.

Note: In one of the next steps, we will also use the Collada file of a more complex composition
based on this tray. You can create this composition yourself by following the additional steps
described in Additional steps to create the complete display on page 53

11. In Adobe Illustrator, open the Pouch.ai file from the Color folder.
12. Open the Studio window: choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
Since there is no Structural Design file in this document, the Studio window is empty.
13. Click Place a Structural Design file in the Studio Window and select the Pouch.zae.
You immediately get a 3D preview of your pouch. Click and drag to rotate it to inspect all sides.
14. Repeat the three previous steps using the Tray.ai file, but this time use the Tray.ard file
15. In the Scene dropdown in the Studio palette, select Load Scene, and select the file containing the tray and
pouches you created earlier.
You now get a 3D preview of your tray and pouches. Click and drag to rotate it to inspect all sides.

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16. You can now use the Studio window to navigate through the Adobe Illustrator documents used in the design.
• Double-click one of the parts of a pouch to select the corresponding Illustrator document, and zoom in on
that specific part.
• Double-click one of the panels of the tray to select the corresponding Illustrator document, and zoom in
on that specific panel.
• Hold the Cmd (Mac) or Ctrl (Windows) key and drag on an area you want to inspect. The corresponding
Illustrator document will be selected, zooming in on the corresponding area in the file.
17. In the Scene dropdown in the Studio palette, select Load Scene, and select the
Display_Composition.zae file from the Color > Structure folder. If you did the extra steps
described in Additional steps to create the complete display on page 53, you can load the file you saved
there instead.
You now will get a preview of the same tray and pouches in a larger, more complicated display.

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You can navigate through it the same way as described above. You can add graphics to the other parts of the
display, either by opening the graphics and applying the Structural Design file to it, or by double-clicking an
empty part, and choose New to start from scratch.
18. Unlike the tray and pouches we saved earlier, this complex composition actually contains two different
pouches. This will allow us to apply a different design to them.
a) In Adobe Illustrator, open the Pouch_alternative.ai file from the Color folder.
b) In the Scene dropdown of the Studio Window (which is now empty, since no Structural Design is used in
the newly opened file), reselect the Display_Composition.zae scene
c) Select one of the pouches on the left side.
d) In the Front Artwork dropdown, select Place in Current Document

All pouches on the left hand side will now show the design of the alternative version.
You might notice the alternative pouch has a diecut operation set. Switch the Scene Settings to "Visualizer
Office" to get a realistic preview, including the cutouts in the pouch.

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2.5.1. Additional steps to create the complete display

After creating the tray with pouches described in Tutorial: combining shapes & working with Scenes on page
48, you can use these steps to continue and create the full display yourself.
1. If you don't have it open anymore, open the file you created earlier, containing the tray and the 8 pouches, in
Studio Toolkit.
2.

Click the Import Into... button and select the Display_Divider.ard file from the Color
> Structure folder.
3. With the Divider still selected, choose Edit > Inverse Selection to deselect the divider, and select the tray
and all pouches.
4.

Select the Transform tool

5. Change the Distance from Floor value to 100 mm, which is the height of the divider
6. Click and drag the center point of the selection to position it on the divider.

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Note: It can be easier to align the objects by switching temporarily to Top View.

Click the Import Into... button and select the Display_Base.ard file from the Color >
Structure folder.
8. With the Base still selected, choose Edit > Inverse Selection to deselect the Base, and select the divider, tray
and all pouches.
9.

Select the Transform tool and select Move or use its shortcut M
This will allow moving and aligning the selection over one axis at a time.
10. First, click and drag outside of the selection to change the camera viewpoint, so you see the back side of the
design.

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11. Click and drag the handle on the right side (indicated in the image above by the red arrow) and move the
divider, tray and pouches centered in the base.
12. Click and drag the handle at the front of the selection to move the selection forward a bit, and use the
handle at the top to move it upwards. The result should be that the cartboard extension on the divider fits
neatly in the slot in the back of the base.

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13.

Click the Repeat button and apply a repeat of 4 times along the Y axis.
You now have 4 sets of divider, tray and pouches on top of each other. You can however see the distance
between the different sets is too big.
14. Change the Gap value until the dividers line up with the slots in the back of the base. The value you need is
-57mm. Click Done
15. Choose File > Save As to save the complete display as a collada file.

2.6. eLearning
Next to the Tutorials and the information in this documentation, Esko also provides eLearning content.
To access the eLearning content, go to https://www.esko.com/en/support/blendedlearning
To access these courses you need to log in with your Esko ID.

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3. Step 1: Getting the 3D shape

3.1. About Structural Design files and Printable Parts

The base of the 3D preview in Studio is the 3D model, saved in a Structural Design file. A Structural Design file
should contain 2D information and 3D information.

Structural Design Files and Printable parts

A Structural Design file describes a 3D scene, of which at least one part can be printed: the Printable Part.
Different types of Structural Design files can be used:
• A 3D Sheet is a 3D representation of a simple sheet, that can be used e.g. to visualize finishing operations in
Visualizer quality. See Create a 3D Sheet on page 80
• an ARD Structural Design file, created in ArtiosCAD or Studio Toolkit for Boxes, mainly used for boxes. For an
ARD file, the entire box is one single printable part.
• Collada files, containing one or more 3D shapes with at least one printable part (.dae or .zae files). For
Collada files, a printable part is an Esko extension. A collada file can contain one or more printable parts,
such as a flexible bag, one or more labels on a bottle, a shrink sleeve, …. A Collada file can also contain non-
printable parts, such as the glass bottle itself. Collada files with one or more printable parts can be created in
ArtiosCAD or Studio Toolkit.

Note: More technical information on Printable Parts in Collada files can be found in the white paper
you can find in the Studio documentation: https://www.esko.com/en/support/product?id=Studio
• an ACD Canvas file, created in ArtiosCAD, also contains one or more 3D Shapes with one or more printable
parts.

Esko Data Exchange

To bring the Structural Design and the graphic design together, a Structural Design file can be placed or
opened. You can place Structural Design files in Illustrator with the Esko Data Exchange plug-in, which can be
downloaded for free from the Esko website and which is also installed when installing Studio Advanced. With the
Esko Data Exchange plug-in the 2D lines (such as cut and crease lines) can be aligned with the graphics. You
can find the Esko Data Exchange documentation at https://www.esko.com/en/Support/Product?id=Esko%20Data
%20Exchange%20for%20Adobe%20Illustrator or open it from within Illustrator, by choosing Help > Esko > User
Guides > Esko Data Exchange.

Note:
You can also load a Structural Design file as an extra scene in the Studio window. Each part of the scene
can get its graphics from another illustrator document. See Scenes and Multiple Documents on page
225

ARD Structural Design files

ARD files are the native files of ArtiosCAD, which is a professional tool to design board-based structures. An ARD
file contain all the cut and crease lines, and sometimes also the folding angles that describe how the package is
folded into its final shape. The Structural Design file does not contain the graphics, only the structural lines.

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You can get an ARD file:
• from ArtiosCAD

• by creating a box in Adobe Illustrator. See Create a box on page 81

Collada files
Collada is an open and public file format to describe 3D shapes. In case a Collada file is placed, a check is
performed to see if the Collada file has a Printable Part defined. A printable part is an Esko extension to the
Collada format.
You can get a Collada file:
• from an external 3D modelling application. You might need to add a printable part, e.g. by adding a label in
Studio Toolkit. See Obtain a 3D shape to import in Studio Toolkit on page 60 and Add a label to an existing
shape

• from ArtiosCAD
• by revolving a shape in Adobe Illustrator or Studio Toolkit. See Creating a revolved shape with labels on page
107

• by creating a shape in Studio Toolkit. See The Studio Toolkit Application on page 58

ACD Structural Design files

ACD files - ArtiosCad Canvas Design Document - is a native ArtiosCAD file. A Canvas is a design workspace made
of multiple separate pieces called parts. These parts can be ARD files that represent e.g. a display, but can also
be layouts or non-production data such as a picture of the final package. In Studio, the production parts of an
ACD file can be placed in the Illustrator document, and used as Printable Part. The ACD file itself can also be
loaded as a scene.

Note: Copies of the 3D Shape in ArtiosCAD will share the same printable part. In order to apply different
graphics on multiple shapes coming from the same ARD file, you should import this ARD file multiple
times into the canvas file. That way, each shape will have its own printable part.

3.1.1. The Studio Toolkit Application

The Studio Toolkit application is a standalone application allowing to import, edit and create 3D objects, and
save the object(s) as Collada file.

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1. The Zoom buttons, allowing to change the zoom factor of the preview window. You can also change the
camera view point: see Changing the View on page 65
2. Import Into allows to import 3D or image files. See Importing Shapes, Images or Paths on page 60
3. The New Bag tool. See Create a flexible bag on page 124
4. The Add Sleeve tool. See 3D workflow for Shrink Sleeve Package on page 171
5. The Add Label tool. See Add a label to an existing shape
6. The Transform tool. See Transform the selected 3D shape(s) on page 67
7. The Repeat button. See Repeat on page 73
8. The Apply Materials button. See Apply Materials on page 78
9. The Fold button. See Fold on page 79
10. The Preview panel
11. The Settings panel, allowing to change or view the parameters on the selected object
12. The different Tabs. See Tabs on page 75
13. When performing some specific functions (such as Transform, ...), a settings bar is added underneath the
Toolbar.

Saving and opening Collada files

When saving a file from Studio Toolkit, the file is saved as a Collada file, containing the shape and all printable
parts.
This means the file can be opened by any application that is capable of handling Collada files, such as Studio
Essentials in Adobe Illustrator.

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However, the Collada files saved by Studio Toolkit also contains native Studio Toolkit information, allowing to
reopen the file in Studio Toolkit, maintaining its editability, the active tab, zoom and view factor, etc.

Note: When dropping a Collada file onto the Studio Toolkit application, Studio Toolkit will determine
if it is a Collada file saved in Studio Toolkit or not. A native Studio Toolkit Collada file will be opened, a
regular Collada file will be imported.

Importing Shapes, Images or Paths

Using the Import Into button you can import a 3D shape into your open scene. If you
already have a 3D object in your scene, the newly imported 3D shape will be placed next to it.
For more info on how to obtain a 3D file, see Obtain a 3D shape to import in Studio Toolkit on page 60
When importing a Collada file or an ArtiosCAD ARD file, any printable parts from this file will be preserved when
saving to a Collada file. You can 't import ArtiosCAD ACD files.
When importing an ARD file, you can change the folding angles of the fold lines. See Fold on page 79

Note: Collada files saved by Studio Toolkit can also be opened instead of imported. In that case, the
file will be reopened as it was saved, with the same active tab, zoom and view, and maintaining full
editability. See Saving and opening Collada files on page 59

You can also use the Import Into button to import an image (JPG or PNG) in a 2D tab (e.g. the "Sleeve" tab), to
get a preview of this image on the corresponding 3D object. See Using graphic files on page 61
You can also import Paths to use as a Die Cut Path on a Front, Back or Wrap Around label, or you can use a path
to create a revolved shape. See Using a Path as a Die Cut on page 103 and Revolve a profile and Add Labels in
Studio Toolkit on page 119

Obtain a 3D shape to import in Studio Toolkit

There are several ways to obtain a 3D file :
• You can get a shape on Esko's online Shapes store
• You could hire a 3D artist to make the shape with a 3D modeling tool, such as Cinema 4D, 3DS Max, Maya or
Strata. If you are experienced with these tools, you could do it yourself.
• Contact the mold-designer and ask him for a digital file of the 3D shape. Studio Toolkit supports Collada, OBJ,
STL, 3DS, OFF, DXF and FBX files. BLEND files lower than 2.80 are also supported.
• If you have a physical sample of the object, you can use a tabletop 3D laser scanner. See
www.nextengine.com for an example of such a scanner. This device can output .obj files.
• If the object is a round shape, you can revolve a profile to create it yourself. See Creating a revolved shape
with labels on page 107
• You can import an ArtiosCAD ARD file into Studio Toolkit. ArtiosCAD ACD files are not supported.
The format needs to be Collada (.zae or .dae), ARD, OBJ, STL, 3DS, BLEND lower than 2.80, OFF, DXF or FBX.
Collada stands for COLLAborative Design Activity for establishing an interchange file format for interactive 3D
applications)
These 3D files might not have a printable part at this stage, you can add that yourself in the Studio Toolkit
application.

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Note: Currently textures are discarded when importing a 3D shape.

Using graphic files

In Studio Toolkit you can import graphic files to get a preview of the result, and to assist in positioning e.g. the
overlap. You can also use it to place a technical drawing on the sleeve.

Using the Import Into button you can import an RGB JPEG or PNG file.
• If a 2D tab is selected, the image will be imported in that tab

• If an object is selected in the 3D tab, the image will be imported in the corresponding 2D tab, and this 2D tab
will become active

Note: You can also use Preview Artwork in Toolkit to apply a preview of the artwork from within Adobe
Illustrator onto your 3D shape in Studio Toolkit. This artwork will also appear as "Imported Graphic" in
Studio Toolkit. See Preview Artwork in Toolkit on page 62

By default, the image will be aligned with the bottom left corner of the image on the bottom left corner of the
printable part. You can move the graphic by clicking and dragging the border. The border (left, right, top or
bottom) or corner you clicked, will become magnetic, and snap to the borders and folding lines of the 2D shape,
allowing easy alignment.
This magnetism is shown using a thick blue line.
The 3D tab will show a 3D representation of the file with the corresponding graphics on it.

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Preview Artwork in Toolkit

In certain cases, you may want to apply artwork from within Adobe Illustrator onto your 3D shape in Studio
Toolkit.
• If you want to get a preview of your artwork on a shape you use in a composition.
• If you want to place a technical drawing on your shape, e.g. in case of a flexible bag, to check the position of
your seams
For this purpose, you can use Preview Artwork in Toolkit from the fly-out menu of the Studio window. This will
send the scene's Artwork to Studio Toolkit, where it is placed on the corresponding printable part and visualized
in 3D.
• Preview Artwork in Toolkit is only available for Designer quality.

• Artwork for printable parts inside imported shapes (e.g. a label on an imported bottle shape) is not supported.
• Backside graphics are not supported.

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Paths
You can import paths created in Adobe Illustrator directly into Studio Toolkit.
1. Select the path in Adobe Illustrator
2. To view the Studio window, choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
3. From the fly-out menu in the Studio window, select Send Path to Toolkit.
This will create a closed path object in the 2D tab of Studio Toolkit.
Paths can be used to define the die cut shape of a Front Label, Back Label or Wrap Around Label. See Using a
Path as a Die Cut on page 103

Note: You can also send a path from Adobe Illustrator to Studio Toolkit to create a revolved shape. See
Revolve a profile and Add Labels in Studio Toolkit on page 119

Preview Color
For each imported ARD file, you can define the Preview Color.
Simply select the part you want, and click the Preview Color. You can choose one of the 8 predefined colors.

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This can help to distinguish between the different parts, e.g. when building a scene. See also Combining shapes
in Studio Toolkit on page 230
Multiple instances of the same part will share the same preview color.

Note: The Preview Color is purely a visual aid in Studio Toolkit, and does not become part of the 3D
model. The Preview Color is only visible when reopening the Collada file in Studio Toolkit.

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Changing the View

You can change the view in different ways
1. Click the Zoom In button, use its shortcut Cmd-+ (Mac) or Ctrl-+ (Windows) or choose View > Zoom In to
increase the zoom
2. Click the Zoom Out button, use its shortcut Cmd-- (Mac) or Ctrl-- (Windows) or choose View > Zoom Out to
decrease the zoom
3. Click the Fit in Window button, use its shortcut Cmd-0 (Mac) or Ctrl-0 (Windows) or choose View > Fit in
Window to change the zoom factor so that all objects fit in the window
4. Use the dropdown or the corresponding shortcuts to change the View mode

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View Mode Shortcut Changing the camera view point & Transforming objects

Perspective 1 The default view mode, in which you can change the camera
view point and transform objects along all 3 axis.
Front 2 In any of these view modes, you can only see all objects in
Left 3 one pane. You can also only change the camera view point
or transform objects within the visible plane.
Back 4
For example, it is not possible to move objects up or down
Right 5 when in Top or Bottom view mode
Top 6
Bottom 7
5. You can move and rotate the camera view point when in Perspective view mode
a) Click and drag to rotate the camera
b) Hold the Shift key and click and drag to move the camera viewpoint
c) If another tool is active, you can hold the Space key, and click and drag to rotate the camera
d) If another tool is active, you can hold the Space and Shift key and click and drag to move the camera
viewpoint
6. You can move the camera view point when in another View mode
a) Click and drag to move the camera viewpoint
b) If another tool is active, click and drag to move the camera viewpoint
7. Select View > Show/Hide Grid to show or hide the Grid on the floor in Perspective or Top view.
8. Select View > Go to 2D/3D or use the shortcut Cmd-G (Mac) or Ctrl-G (Windows) to switch between the
3D and 2D tab. If there are multiple 2D tabs, the 2D tab of the currently selected object is used if possible.
Otherwise, the last selected 2D tab is shown.

Show/Hide Grid
To help with accurately aligning objects, a Grid can be shown on the floor.
The grid also contains a Front Indicator: an arrow that points to the front of the scene, making it easier to
identify the sides of the design.

Note: The Grid and Front indicator are only visible in Perspective and Top view modes.

1. Select View > Show Grid to enable the Grid and the Front Indicator
2. Select View > Hide Grid to disable it again.

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Transform the selected 3D shape(s)

When you are working in Perspective View (see Changing the View on page 65), you can move and rotate
any object based on 3 axis.
In other View modes, the transformation tools work in 2 direction depending on the chosen view plane. For
example, in Front view, you can move and rotate only in the front plane (X and Y axis)
Underneath, the different transformation tools are explained for the Perspective view.

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If the Transform tool is selected, you can select one of four modes in the settings bar:
•

Select Simple Transform or use its shortcut T

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• Click and drag the center anchorpoint or change the Offset X and Z value to move the object over the X
and Z axis. Holding down the shift while dragging will constrain the movement to either only along the X
or Z axis.
• Click and drag the anchor point on the circle or change the Rotation value to rotate the object on the Y
axis. Holding down the shift while dragging will constrain rotation to multiples of 45 degrees.
• Simple Move and Rotate keeps the object aligned with the floor. However, by setting the Distance from
Floor option in the settings bar, you can also move the object over the Y axis,.
• If you enable Snap, the selected objects will snap to align to other objects. The object(s) your selection is
snapping to will be temporarily be highlighted. Holding down the shift while dragging will constrain the
snapping to either only along the X or Z axis.
•
Select Move or use its shortcut M

• Click and drag any of the anchorpoints or change the Offset X, Y or Z value to move the object over the
X, Y and Z axis.
• If you enable Snap, the selected objects will snap to align to other objects. The object(s) your selection is
snapping to will be temporarily be highlighted.
• When moving an object down towards the floor while snapping is enabled, the object will snap to the
floor, and the bottom of the object will highlight when the distance to the floor becomes 0.
•

Select Rotate or use its shortcut R

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• Click and drag any of the anchorpoints or change the Rotate X, Y or Z value to rotate the object over the
X, Y and Z axis. Holding down the shift while dragging will constrain rotation to multiples of 45 degrees.

Note: When moving or rotating a 3D shape, the depending parts (sleeves and labels) are moved /
rotated along.
•
Select Scale or use its shortcut S

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• Click and drag one of the anchor points to change the size of the object, using the opposite anchor point
as center of origin. If you hold down the Alt key, or if you adjust the values in the Scale width, height or
depth field, the scaling is done from the 3D mid point of the object.
• By default, the Uniform option is selected, so the object is scaled uniformly in the 3 directions. Changing
the value for Scale width, height or depth will change the two other values as well.
• By deselecting Uniform, you can scale the object in any direction. You can restrain the scaling to uniform
by holding down the Shift key.

Note: Holding down the Shift key does not give the same result as selecting the Uniform option
again: the first will only restrain the current transformation to Uniform, while reselecting Uniform
will adjust the complete transformation of the object to a Uniform scaling.

The Scale tool is only available when an imported Collada file or OBJ file is selected. It is not available for
Bag files, ARD files or for objects that already have a Sleeve or a Label attached in Studio Toolkit for Shrink
Sleeves or Studio Toolkit for Labels.
The scale option performs a scale of the three dimensional shape of the selected object. The uniform scale
is very useful to correct an object that has suffered from an incorrect unit-conversion from a 3rd party CAD
system. The non-uniform scale can be powerful to fine-tune the dimensions of an imported product so that it
fits into its packaging.
The scale option is not suitable for printable parts as their size affects other aspects such as the 2D drawing
and the artwork mapping. A straightforward scale of a printable object in 3D would result in unwanted side-
effects.
To change the size of printable objects, you should use other tools instead:

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• To scale an object with a label or a shrink sleeve, first scale the container (without the label or sleeve) and
then add the label or sleeve.
• To scale a flexible bag, modify its dimensions in the details panel.
• To scale a box, tray or carton, or a shape created in a third party application, go back to the application
where you created it (Toolkit for Boxes, ArtiosCAD, the third party application used to create the shape).
• For Shapes models, you can order a new (scaled) variant via Esko's 3D modeling service.
If you click and drag but not on any of the anchor points, you will change the camera position, but the object will
NOT move or scale. This might be necessary to make all handles visible.

Tip:
After rotating or scaling, you might need to align the object with the floor again. You can do so by
switching to Simple Move and Rotate, and set the Distance from floor to zero.
For vertical alignment, you can also use Drop Down and Lift Up. See Drop Down and Lift Up on page
72

Nudge
When creating compositions it is sometimes much easier and faster to simply move an object into its final place
by using the arrow keys. This is called nudging. Nudge works on any selected object, even without the Transform
tool activated.
It is available in all 3D views.
• The arrow keys move the selected 3D objects over the distance defined in the Preferences. Holding down
the Shift key multiplies the step by 10.
• In Perspective view, the arrow keys let you move in the horizontal floor plane. Use the option + up
(Macintosh) or alt + up (Windows) or down keys to move the object up or down.
• In the axis-aligned views (Front, Left, Back,...) the arrow keys let you move in the corresponding direction on
screen. In those views upwards or downwards movement is not available.

Drop Down and Lift Up

You can use Drop Down and Lift Up to put an object on top of another object or put it on the floor.
The selected objects are moved (down or up) to the next intersection free position where the selected objects is
on top of another object or on the floor.
Objects that are (partially) underneath the floor can only be moved upwards.

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• To drop down: select Edit > Drop Down or use its shortcut Cmd + Arrow Down (Mac) or Ctrl + Arrow Down
(Windows)

• To lift up: select Edit > Lift Up or use its shortcut Cmd + Arrow Up (Mac) or Ctrl + Arrow Up (Windows)

Repeat
Using the Repeat button, you can create a simple repeat of the selected object(s).

• Enter the number of repeats you want along the X, Z and Y axis
• Enter a Gap value to add distance in between the objects
• Click Done

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After the repeat, you will have multiple instances of a single object. This means making changes to one of the
objects will also modify the others, while you can move and rotate the instances independently.
If you have one instance selected, you can use Edit > Select all copies to select all instances.

Note: All instances of the object will use the same Printable Part. This means that all instances will
share the same graphics. See Different graphics on shapes of the same size on page 234

Selecting objects
When you import or create objects in Studio Toolkit you also might need to select them. Go to the Edit menu to
view the selection options.
There are several ways of selecting objects:
• Simply click on an object to select it.
• Hold Shift and click to select multiple objects.
• Use the Cmd-A (Mac) or Control-A (Windows) shortcut to select all the objects.
• When an object that is part of a repeat is selected, you can use Select all copies to select the other
instances of the repeat. You can also use the Cmd+Option+A (Mac) or Control+Alt+A (Windows) shortcut.

Tip: By holding the option (Mac) or alt (Windows) key and clicking on one object several times, you can
select objects that are behind the selected object.

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Note: Most selection options also work in 2D view.

Replace Imported Shape

When you select an imported shape (ArtiosCad ARD file or a Collada file), you can use the Replace button in the
info pane on the righ side to import another shape, replacing the selected one.
The newly imported shape will keep the position and preview color of the originally selected shape.
If you are replacing shapes in a structural design document that is already used in Adobe Illustrator:
• If a printable part of the structural design file is used in Adobe Illustrator, the name of the printable part
should stay the same to guarantee the printable part is correctly replaced when updating the structural
design file in Studio in Adobe Illustrator. You can change the name of a printable part by editing the 2D tab
name in Studio Toolkit.
• If the structural design file is loaded as a scene in Studio, and you no longer see the correct artwork on the
replaced printable part, you should place this new printable part in the Illustrator document with the artwork.

Tabs
At the bottom of your Studio Toolkit window, you can see the different Tabs.
First is always the 3D tab. Next to that, a 2D tab is shown for every 2D object created in Studio Toolkit: a Sleeve, a
Label, a Bag, ...
Deleting an object will also delete the corresponding 2D tab. Different instances of the same object (created
using Repeat) share the same 2D tab. In that case the 2D tab will be deleted if the last instance of the object is
removed.
You can rename any 2D tab by double clicking the name and entering the new name.

Note: The name entered for the 2D tab will be stored as the name for the technical drawing in the
collada file, and will thus be used when importing the collada file e.g. in Studio Designer.

You can switch between the 3D tab and the 2D tab of the selected object, by choosing View > Go to 3D or View
> Go to 2D, or by using its shortcut Cmd-G

Measurements
Using the Measurements tool in the 2D drawing of a bag, shrink sleeve or label, you can add essential
measurements to the technical drawing.
The measurements you set up are automatically recalculated if you change the dimensions or other settings of a
bag. In some cases, if the changes are too drastical, some measurements might be removed.
All measurements are saved inside the Studio Toolkit file and visible when placed in e.g. Adobe Illustrator. When
placed in Adobe Illustrator, the measurements are placed in a separate sub-layer of the Structural Design file.

Adding measurements
To add new measurements:
1. Select the 2D tab in which you want to add measurements

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2.

Select the New Measurement tool

A measurement is drawn between the points of line intersections. When the Measurement tool is activated
those points are clearly visible and light up when nearly selected.
3. Click and drag from one intersection point to another to add the measurement to your document.

Note: When measuring slanted lines, you will see either the vertical or horizontal distance. See Slant
measurements on page 77

Setting up measurements
You can change the way measurements are shown on your document
1. Select the 2D tab in which you want to change the measurements
2. Select the measurement(s) you want to modify.

Note: You don't need to have the New Measurements tool active to select and modify a
measurement.

The palette will show the settings of the selected measurement.

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3. Make the changes you want

• click and drag the measurements to move them closer to or further away from the intersection points.
• for slant measurements, click and drag to rotate the measurement. See Slant measurements on page
77
• In the Measurement Text section, change the unit for the selected measurement, the number of decimals,
and whether or not the units need to be shown.
• In the Text Style section you can set the text size in points. Note that the size of the arrow heads is
changed accordingly.
• You can define if the text should always be horizontal, or according to the measure line. In the latter case,
you can define if the text should be above, on or below the line. You can also set if the text should be
positioned on the left / bottom, on the center or on the right / above.
• Click the Select All button to select all measurements at once. This allows to change the units, font size, ...
for all measurements in one go.

Slant measurements
When measuring slant lines, or simply measuring between two points that are not on a vertical or horizontal line,
the measurement will by default show either the vertical distance or the horizontal distance, whatever is the
biggest value.
If you want to change what distance to show (either vertical, horizontal or slanted distance), you can do so by
clicking and dragging the measurement to rotate it.
Below you see some different results for the same two intersection points.

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Apply Materials
The Apply Materials mode allows you to assign material presets to non-printable parts. The materials will be
stored in the Structural Design when saved.
1.

Click the Apply Materials button

2. Select the non-printable part you want to assign a Material Preset to.
When in Apply Material Mode, you can only select the non-printable parts in your document. You can select
the non-printable part by clicking, or you can use the triangles to step through the non-printable parts of the
scene

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3. Select the Material Preset for the selected non-printable part.
• The Material Presets are shared with the Adobe Illustrator application, where you can create, rename and
remove presets. See Working with Material Presets on page 186

•
In the fly-out menu you can choose the view for the presets: small list view, large list view or grid
view.
4. Click Done to exit Apply Material Mode.

Fold
Using Fold you can change the folding angles of an imported ARD file.

Note: If an imported ARD file does not contain folding angles, Studio Toolkit cannot know how the box
has to be folded. In that case 90-degree folding angles are assumed on all folding lines. If the resulting
shape is not the intended one, the proper folding angles need to be added to the ARD file, for example
using ArtiosCAD or the Fold function described here.

Click the Fold button

2. Click to select a Fold line. Hold the Command key (Mac) or Control key (Windows) and click to select
multiple fold lines.

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3. Specify the fold angle using the slider or by entering the value in the Folding Angle field.

Note: A warning will appear if panels are coincident. Coincident panels can lead to slow rendering
in Esko Viewers and even artefacts like z-fighting in third-party viewers. You can get rid of the
coincident panels by changing the fold angles of the panels. See Coinciding panels on page 90
for more information.

4. Click Done to exit Fold Mode.

Preferences
You can open the preferences by choosing Studio Toolkit > Preferences... (Mac) or Edit > Preferences...
(Windows).
In the preferences, you can set the Keyboard Increment for nudging (see Nudge on page 72), the unit to be
used for Dimensions (millimeter, centimeter or inch) and for Volumes (milliliter, centiliter or US fluid Ounce).

3.2. Create a 3D Sheet

A 3D Sheet is a 3D representation of a simple sheet, that can be used e.g. to visualize finishing operations in
Visualizer quality.
You can only create a 3D Sheet if no Structural Design file is placed in the current document.
1. To view the Studio window, choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).
2. Click Create a 3D sheet in the Studio window, or select 3D Sheet... in the fly-out menu of the Studio Window.

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3. Select the Size. You can select any Artboard, or any DeskPack Page Box defined in the document.
You can set DeskPack Page Boxes using the Trim Box and Media Box plugin, part of Esko Data Exchange and
installed along with Studio: Window > Esko > Trim Box and Media Box
4. Set the shape of the sheet by selecting the Curvature and setting the Amount.
5. Click Create
You can change the settings of your 3D sheet by selecting 3D Sheet... in the flyout menu of the Studio Window,
changing the settings and clicking Modify
You can remove a 3D sheet by selecting Remove in the Scene dropdown. Placing a Structural Design file will
also remove the 3D sheet.

3.3. Create a box

You can create a box or any other folded structure, such as a tray, in Adobe Illustrator using the Studio Advanced
tools.
• You can create a basic box from scratch. See Creating a Basic Box on page 81

• You can create a box based on die lines, e.g. from an imported die shape. See Create a box based on die lines
on page 85
Sometimes a die-drawing fails to fold properly because of inaccuracies in the die drawing. In that case, you can
use the Studio Advanced tools to check, correct and fold a placed ARD file.
See
• Check the die and solve inaccuracies on page 92

• Fold ArtiosCAD file on page 97

3.3.1. Creating a Basic Box

This tool lets you create a simple rectangular box. This can be used to start working on a design before you get
the final die lines, or to create a simple box from within Illustrator.
1. Open the Create Basic Box dialog:
• Choose Window > Esko Studio > Create Basic Box...

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• If you have no Structural Design in your document, you can access this tool from the (empty) Studio
window, by clicking Create Basic Box.
The Create Basic Box dialog appears.

2. Fill in the Width , Height and Depth for the box you want to create.
3. Define the Panels. You can choose how your box is built by adding or removing panels. The box must have 6
panels to continue.
• Remove a panel clicking the - button
• Add a panel clicking the + button
4. Click Continue .
You now get a 3D preview of the closed box.

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5. If you want to modify the fold angles of one or more faces, select a fold line and use the slider to change the
fold angle. You can also enter a value manually, or click one of the labels above the slider.
6. Click Continue .
The box turns to its Front View.

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7. If you want to modify the Front View Orientation, you can click and drag the box interactively in the 3D view,
or use the slider to change the angle. You can also enter a value manually, or click one of the labels above the
slider.
The Front View Orientation is used when applying the View Preset "Front" in the Studio window. See View on
page 224
8. Click Save As to save the result as an ArtiosCAD ARD file.
9. Define the name and location for the file.
10. You get the option to place the file directly in the document.
If you click Yes :
• the Studio window will show the folded ArtiosCAD ARD file. The new ARD file will be placed next to
already placed Structural Design files.

• the selected items will be moved to a locked layer.

11. You can also use the ArtiosCAD ARD file in Studio Toolkit.

Note: You can also change the fold angles in Studio Toolkit. See Fold on page 79

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Note: Keep in mind that the resulting box is not a technically accurate and produceable box.

3.3.2. Create a box based on die lines

You can create a box starting from a die drawing. This can be any die drawing that you imported in Illustrator.
To fold a die drawing to a folded box, you use the Fold window: choose Window > Esko Studio > Show Fold
Window .

The Fold window assists you in all necessary steps to fold a die:
1. Assign fold and cut lines. See Assign fold and cut lines on page 86
2. Fold the design, using the Fold button.
3. Sometimes a die-drawing fails to fold properly because of inaccuracies in the die drawing. In that case, you
need to check the die and solve any inaccuracies:
• by going back one step and using the Check function and manual correction;
• by using Automatic Correction in the Fold Selection window.
4. Select a base panel. See Select the Base Panel on page 87
5. Select a board and fill in the board thickness. See Select the Board and Board Thickness on page 87
6. Set the fold angles. See Set the folding angles on page 88
7. Set the front view. See Set the Front View on page 92
8. Click Save As to save the result as an ArtiosCAD ARD file.
9. Define the name and location for the file.
10. You get the option to place the file directly in the document.
If you click Yes :
• the Studio window will show the folded ArtiosCAD ARD file. The new ARD file will be placed next to
already placed Structural Design files.

• the selected items will be moved to a locked layer.

11. You can also use the ArtiosCAD ARD file in Studio Toolkit.

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Note: You can also change the fold angles in Studio Toolkit. See Fold on page 79

Assign fold and cut lines

After importing a die drawing into Illustrator, you have to indicate which lines represent a cut and which lines
represent a fold line or “crease”.
A line is indicated to be a cut line by applying the designated ink named “Cut”. A line is indicated to be a crease
line by applying the designated ink named “Crease”.
• Select the proper paths, and click the Cut or Crease swatches in the Fold window.
• If you want a single path to be partially a cut path and partially a fold line, select the path, and select Split
Paths from the flyout menu in the Fold window. This will split the selected path in different segments, so
that the fold lines can be selected apart from the cut lines.
• With some die drawings it is hard to assign cut and crease strokes to the lines because the die drawing
consists of rectangles on top of each other. This creates double lines. Remove Double Lines in the flyout
menu of the Fold window will remove the double lines in the selection. This will take all lines in the selection
into account, irrespective of the stroke color they have.

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Select the Base Panel

The Base Panel is the panel that will be facing down. All other panels are folded relative to this base panel.
1.
Select all cut and crease lines by clicking the Select All Cuts and Creases button in the Fold window.
2. Click the Fold button.

Note: If you don’t see all the panels, or if you are not able to select the base panel you had in mind,
there could be inaccuracies in the die. In that case you need to check the die and resolve any
inaccuracies.

3. Select a Base Panel.

4. Click Continue .

Select the Board and Board Thickness

1. Select the correct board by choosing one of the boards and fill in the board thickness.

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2. Select the Flute direction
3. Click Continue .

Set the folding angles

After selecting the cut and crease lines, defining the base panel and choosing a board you will get a preview of
the design in 3D, laying flat on the floor with the backside facing up. The box can be folded by defining the fold
angles for all fold lines.

Note: If your box contains panels that are coincident, a warning will be shown, indicating the number of
coinciding panels. See Coinciding panels on page 90

• Select a fold line by clicking on it, and specify the fold angle using the slider or by entering the value in the
Folding Angle field.
• Hold down the Shift key to add or remove fold lines to the selection.
• Click Select All Fold Lines to select and change all fold lines at once.
• You can copy the Folding Angle from one fold line to another:
a) Select the fold line you want to change

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b) Hold down the Option key on Mac or the Alt key on Windows, and click on the fold line with the folding
angle you want to copy
• You can change the angle of the selected fold line(s) using the arrow keys on your keyboard:
a) up / down changes the value in steps of one degree.
b) Shift + up / down changes the value in steps of ten degrees.
• Click Reset All to return all folding angles back to the angles you started with.

Switching between 3D and 2D view

In some cases it can be difficult to select fold lines while being in 3D view. In that case, you can switch to 2D view
to select the appropriate fold line. After selecting it, you need to switch back to 3D view to change the fold angle.
1. Select 2D to switch to 2D view.
2. Select the fold line you need. If necessary, you can navigate in the 2D view:

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Action Mac Windows

Zoom in Hold down the spacebar and the Hold down the CTRL key and click
command key

Zoom out Hold down the spacebar , the command Hold down the CTRL and the ALT key
and the Option key, and click and click

Pan Hold down the spacebar and click and Hold down the CTRL and the SHIFT key
drag and click and drag

View the entire box Click Fit in Window

3. Select 3D to switch back to 3D view.

4. Set the fold angle for the selected folding line.

Coinciding panels
If your box contains panels that are coincident, a warning will be shown, indicating the number of coinciding
panels.
In Adobe Illustrator, the Coinciding Panels warning is shown in the Fold ArtiosCAD File dialog

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In Studio Toolkit, the Coinciding Panels warning is shown in the Settings panel when an ARD file is selected,
whether the Fold mode is active or not.

About coincident panels

Concident panels are panels that occupy the same space in 3D. Coincident panels can lead to these issues:
• A box with a lot of coincident panels will render slowly in Esko viewers
• In ray tracing quality, the wrong panel might be shown in front
• In third party viewers, coincident panels can show artefacts, such as z-fighting.
In boxes, this mostly occurs when tuck flaps are coinciding with the main large panel. This can be fixed by folding
the tuck flap inwards, (e.g. use folding angle of 89º instead of 90º) so that it is no longer coincident with the main
panel.
Changing the folding angles:
• in Adobe Illustrator: Set the folding angles on page 88
• in Studio Toolkit: Fold on page 79

Z-fighting
Z-fighting, also called planefighting, is a phenomenon in 3D rendering that occurs when two or more shapes
(e.g. panels) have the same distances to the camera, so it is ambiguous which one of the two will be visible.
The Fold dialog in Adobe Illustrator can show z-fighting for coincident panels (see the image above). This is to
help you see which panels you need to fold inwards. The box will still look ok in the Studio window in Designer
and Visualizer quality.
Also in Studio Toolkit, z-fighting is shown when Fold mode is active. However, since the boxes in Studio Toolkit
have a solid color, it can be harder to see z-fighting. This can be improved by placing preview artwork. See
Preview Artwork in Toolkit on page 62

Set the Front View

After folding the box, the wizard will turn to the Front View of the box.
If you want to modify the Front View Orientation, you can click and drag the box interactively in the 3D view,
or use the slider to change the angle. You can also enter a value manually, or click one of the labels above the
slider.
The Front View Orientation is used when applying the View Preset "Front" in the Studio window. See View on
page 224

3.3.3. Check the die and solve inaccuracies

When you import a die drawing in Illustrator and define its cut and crease lines, some inaccuracies in the die
lines may prevent you from generating a correct and clean fold.
For this reason, Studio Advanced offers a number of tools to check and correct the most common inaccuracies.

Checking the die

If the die drawing contains inaccuracies, these can become obvious when creating the fold:
• Panels may be missing;
• An error may appear, stating that some cut lines do not make an outline;

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• Inaccuracies may be found and indicated in the Fold Selection window;
• ...
A more efficient way to check for inaccuracies and their location is to run a Check.
1.
Select all cut and crease lines by clicking the Select All Cuts and Creases button in the Fold window.
2. Click the Check button. The die lines will be checked for double lines and for gaps.
For every inaccuracy that was found, a marker is placed on top of your document.
If double lines were found, you get the option to clean them up automatically.

Marker Type of inaccuracy Possible corrections

Double Line marker. Double lines • Delete lines manually

occur when two lines fall exactly
on top of each other e.g. when • Use the Remove Double Lines
the die drawing was created with function
rectangles against each other
• Clean up double lines
automatically after a Check

Gaps marker. Gaps occur if two • Manually, using Illustrator path

lines don’t meet exactly as they tools
should.
• Manually, using the Trim and
Extend tool

• Using the Automatic

Correction values in the Fold
Selection window

3. Click the entry in the Marked Inaccuracies list to zoom in on the first occurence.

4. Use the step buttons in the Fold window to step through the markers.
• You can hide and show the markers using the Show Markers button in the left bottom corner of the Fold
window.
• You can remove all markers by clicking the trash can icon at the bottom right of the Fold window.

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Configure Check
The Configure Check dialog can be opened by selecting Configure Check in the flyout menu of the Fold
window, by clicking the flyout button.

In the Configure Check dialog, you can define the Show Gaps Smaller Than value. Gaps larger than the Show
Gaps Smaller Than value will not be treated as Gaps, and will thus not be shown.

Remove Double Lines

Remove Double Lines in the flyout menu of the Fold window will remove the double lines in the selection. This
will take all lines in the selection into account, irrespective of the stroke color they have. The Remove Double
Lines function can be applied before or after assigning the Cut or Crease swatch.
1. Make the selection in which you want double lines to be removed.
2. If the Fold window is not open yet, select Window > Esko Studio > Show Fold Window .
3. Select Remove Double Lines from the flyout menu of the Fold window, by clicking the flyout button.

All double lines in the selection will be removed.

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Note: Keep in mind that the Remove Double Lines function removes the bottom most line, regardless
of what line it is. If you have already indicated which lines are cut lines and which are crease lines, make
sure that only the appropriate lines are removed by moving them to the back of the canvas.

Note: Accepting to remove double lines automatically after running a Check works in the same way, but
only affects cut and crease lines.

Remove gaps using the Trim and Extend tool

The Trim and Extend tool can be used to correct gaps in the die drawing. These gaps can be found manually or
by using the Check function.
1.

Click the Trim and Extend tool in the toolbox.

2. Click and drag the end point you want to change.
• Release to trim or extend the line up to the point where you release the mouse.
• Release near or on another line to snap the end point to the intersection of both lines.

Inaccuracies when folding the selection

When creating a fold using the Fold function in the Fold window, the die drawing is checked. Inaccuracies can be
presented in different ways:
• If the cut lines are not closed to an outline, a warning message is shown. The gaps must be fixed in order to
make a fold.

• Gaps can be indicated by red and green circles in the Fold Selection window.
• Green circles indicate gaps that will be solved with the Automatic Correction values in the Fold
Selection window.

• Red circles indicate gaps that need to be solved manually.

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Automatic Correction
The settings at the bottom of the Fold Selection window define what gaps are shown, and how they can be
corrected automatically.

Show Gaps Smaller Than

In the Fold Selection window, you can define the Show Gaps Smaller Than value. Gaps larger than the Show
Gaps Smaller Than value will not be treated as Gaps, and will thus not be shown.

Note: This is the same setting as the Show Gaps Smaller Than value in the Configure Check .
Changing the value in the Fold Selection window changes it in the Configure Check as well, and vice
versa.

Close Gaps Smaller Than

In the Fold Selection window, you can define the Close Gaps Smaller Than value.
All gaps smaller than or equal than this value will be closed automatically. By incrementing this value, more gaps
will turn green, and the fold tool will try to close them automatically. Be aware that the larger this value becomes,
the more risky the outcome will be.

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Note: The Close Gaps Smaller Than value can not be higher than the Show Gaps Smaller Than
value. Setting it to a higher value will change the Show Gaps Smaller Than value to the same value.

Extend Creases Up To
Gaps between Crease lines and Cut lines are common in a lot of die drawings. The Extend Creases Up To
makes sure that these gaps are closed by extending the fold lines up to the value entered.

3.3.4. Fold ArtiosCAD file

Using Fold ArtiosCAD File... you can change the folding angles of an already folded box.

Note: If a placed ARD file does not contain folding angles, the plug-in cannot know how the box has to
be folded. In that case 90-degree folding angles are assumed on all folding lines. If the resulting shape
is not the intended one, the proper folding angles need to be added to the ARD file, for example using
ArtiosCAD or the Fold ArtiosCAD File... function described here.

1. Open the Fold Selection window:

• Select Window > Esko Studio > Fold ArtiosCAD File...
• If you have the Studio window, you can select Fold ArtiosCAD File... in the flyout menu.
2. Change the fold angles as explained earlier. See Set the folding angles on page 88
3. Set the front view. See Set the Front View on page 92
4. Click Save As to save the result as an ArtiosCAD ARD file.
5. Define the name and location for the file.
6. You get the option to place the file directly in the document.
If you click Yes :
• the Studio window will show the folded ArtiosCAD ARD file. The new ARD file will be placed next to
already placed Structural Design files.

• the selected items will be moved to a locked layer.

7. You can also use the ArtiosCAD ARD file in Studio Toolkit.

Note: You can also change the fold angles in Studio Toolkit. See Fold on page 79

3.3.5. Tips & Tricks: create a cutout window in a box

If you want to create a cutout window in an existing ARD box, you can create the shape and add it to the ARD
file.
1. Open or place an ARD file.

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2. Create and select the cutout shape that you want to add to the ArtiosCAD file.

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3. Choose File > Structural Design > Export Selected Objects to ArtiosCAD File.
The Export Selected Objects to ArtiosCAD File appears.

4. Select the following options

• Save the selected objects in the Main Design Layer.
• Include a copy of the original ARD file.
• Place this ArtiosCAD file in the document.
5. Click Save As....
The selected objects are saved in the Main Design Layer. They get the cut line type (which is the default
if you did not specify a swatch with as name an ArtiosCAD line type). Apart from the selected objects, the
original ARD file is copied in the resulting ARD file and the resulting ARD file is immediately placed in the
Illustrator document.

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3.4. Create a label

There are three different ways to create labels in Studio.

Where Extra functionality

1. Front, Back and Wrap Around Studio Toolkit • Die Cut path
• Labels can be edited

2. Freeform Label Studio Toolkit • Labels can be edited

3. Revolved shape Adobe Illustrator • Conical Warping

1. Front, Back and Wrap Around Labels

If you have an existing 3D object (e.g. a collada file of a bottle, can, jar, …) you can import it in Studio Toolkit (see
Importing Shapes, Images or Paths on page 60) and add a cylindrical or conical label. See Front, Back and
Wrap Around Labels on page 101
The result will be a Collada file that you can use in Studio Advanced in Adobe Illustrator. It will contain a
Printable Part for every label.
If you are working with a Front, Back or Wrap Around label, you can use a Die Cut path to refine the die cut shape
of the label. See Using a Path as a Die Cut on page 103

Note: Conical warping is not available on these labels. If you have a Studio Toolkit for Shrink Sleeves
license, you can however use Predistort. See Artwork Predistortion for Shrink Sleeves on page 211

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2. Freeform Labels
If you have an existing 3D object (e.g. a collada file of a bottle, can, jar, …) you can import it in Studio Toolkit
(see Importing Shapes, Images or Paths on page 60) and brush a bespoke Freeform Label anywhere on the
container. See Creating a Freeform Label on page 105
The result will be a Collada file that you can use in Studio Advanced in Adobe Illustrator. It will contain a
Printable Part for every label.

3. Revolved Shape
If you don't have an existing 3D shape, you can create a round shape by revolving a profile path. See Creating a
revolved shape with labels on page 107
During this procedure you can immediately add a Front, Back, Top, Bottom or Roll around label.
When working on one of these labels, you can apply Conical warping. See Conical Warp on page 210

Note: You can also use the Revolve function to create the shape (e.g. of a bottle), save this shape as
a collada file, open it in Studio Toolkit and apply a Front, Back and Wrap Around Labels or Freeform
Label.

3.4.1. Front, Back and Wrap Around Labels

Front Labels, Back Labels and Wrap Around Labels are three similar types of labels that can easily be created
and controlled in Studio Toolkit.
1. Import the shape into Studio Toolkit. See Importing Shapes, Images or Paths on page 60
2. Select the shape on which you want to add the label
3.

Click the Add Label button and select Front Label, Back Label or Wrap Around Label.
A default Front Label, Back Label or Wrap Around Label is created.

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4. You can set the Dimensions and Position, either numerically in the Settings panel on the right, or manually
by dragging the handles on the label.
• For a Front Label And Back Label, you can set the Width (1) and Height (2). For a Wrap Around Label, you
can set the Overlap (5), Overlap direction and Height (2). The actual width is defined by the size of the
shape and the positioning of the label.
• Set the Base (3) to define the distance between the bottom of the object and the bottom of the label
• Set the Off-Center (4) to shift the label from the center of the shape, either the front (for Front and Wrap
Around labels) or back (for Back labels) center
• Drag one of the four handles on the label edges (in 3D view) to resize the label. Hold the Alt key to keep
the label centered.
• Drag the handle in the middle of the label to move it. Hold the Shift key to only move it vertically or
horizontally.
5. Using the Visualization offset you can change the distance between the label and the shape in the 3D
preview without changing the 2D technical drawing. For shapes that are not perfectly cylindrical or conical,
this can avoid flickering or intersections between the label and the shape.
6. Set the shape of the label to Cylindrical or Conical
For Conical labels, the horizontal sizes Width (1) and Overlap (5) are measured half way the height of the
label.
The Height (2) of a label is measured vertically in 3D, so for conical labels, the actual height is slightly bigger.
7. If necessary, repeat the previous steps to add another label
A 2D tab will be added for every label you create.
The result will be a Collada file that you can use in Studio Advanced in Adobe Illustrator. It will contain a
Printable Part for every label.
You can use a Die Cut path to refine the die cut shape of the label. See Using a Path as a Die Cut on page 103

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Using a Path as a Die Cut

If you create a Front, Back or Wrap Around label, the shape of your label will always be rectangular. You can
however use a Die Cut Path to cut away parts of the label.
A Die Cut path can only be used on a Front Label, Back Label or Wrap Around Label. Other object types are not
supported. The Die Cut path should overlap with the object in the 2D tab, and the Cut along this path option
should be enabled.
• If you want to start from a Label in Studio Toolkit:
a) Add a Front, Back or Wrap around label in Studio Toolkit. See Front, Back and Wrap Around Labels on
page 101
b) Set the label size and position, so that the label is large enough to completely include the die cut.
c) Save as a collada file. See Saving and opening Collada files on page 59
d) In Adobe Illustrator, use File > Structural Design > Place File and select the Collada file you saved. If
necessary, select the correct printable part, e.g. "Front Label".
e) Create the Die Cut path in Adobe Illustrator, using the label shape as a visual guide.
f) Select the path.
g) From the fly-out menu in the Studio window, select Send Path to Toolkit.
The path becomes available in the 2D tab in Studio Toolkit, and is automatically set as Die Cut path.
• If you want to start from an existing path in Adobe Illustrator:
a) In Studio Toolkit, open the document in Studio Toolkit you want to add the Die Cut to.
b) In Adobe Illustrator, select the path you want to use.
c) From the fly-out menu in the Studio window, select Send Path to Toolkit.
The path becomes available in the 2D tab in Studio Toolkit, and is automatically set as Die Cut path.
d) Add a Front, Back or Wrap around label in Studio Toolkit. See Front, Back and Wrap Around Labels on
page 101
e) Set the label size and position, so that the label is large enough to completely include the die cut.
• After these steps, you have a shape with a Label and a Die Cut path, which you can save as a collada file and
use in Adobe Illustrator to apply graphics on.
In Adobe Illustrator:

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In Studio Toolkit, both 2D view (left) and 3D view (right):

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3.4.2. Creating a Freeform Label

Using the Freeform Label, you can "brush" a label on an existing shape (collada file, obj, ...).
1. Import the shape into Studio Toolkit. See Importing Shapes, Images or Paths on page 60
2. Select the shape on which you want to add the label
3.

Click the Add Label button and select Freeform Label.

The shape will be represented with all the triangles that it consists of.
4. Draw your label.
• If you click and drag from inside the label, or if no label exists yet, your cursor will be yellow, and anything

you brush will add the triangles to the label.

• If you click and drag from outside the label, your cursor will be blue, and anything you brush will remove

it from the label.

• Using the slider at the top of the window, you can define the Brush size. You can also change the brush
size using the shortcuts [ and ].

Note: The label you draw can NOT contain any holes. You won't be able to add or remove areas that
would result in a hole in the label.

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5. To stop drawing the label, click the Done button at the top of the window. You can also click the Add Label
button again, or click the Modify Area button in the pane on the right.

Note: After clicking Done, it is advisable to check the Maximum Distortion. See Distortion on page
106

Tip:
• If you received a curve representing the shape of the label (i.e. a die-cut in Illustrator), you
can save this as a .PNG or .JPG file, and import it onto the 2D view of the label to check if the
brushed area has the right size and shape. See Using graphic files on page 61

• If the edges of your label are too rough, you can select a slightly oversized area and use the Die
Cut operation in the Finishing Operations to trim away the unwanted parts. See Tips&Tricks:
Using a Diecut operation on page 246. Alternatively, you can consider using a Front, Back or
Wrap Around label in combination with a Die Cut path. See Front, Back and Wrap Around Labels
on page 101 and Using a Path as a Die Cut on page 103

6. If necessary, repeat the previous steps to add another label

A 2D tab will be added for every label you create.
The result will be a Collada file that you can use in Studio Advanced in Adobe Illustrator. It will contain a
Printable Part for every label.

Modifying a Freeform Label

To modify a label you drew earlier:
1. Select the label
2. In the pane at the right, click the Modify Area button.

Note: If you would click the Add Label button, you would create a new label instead.

3. Modify the area by adding or removing to the label.

Distortion
If a label is selected in Studio Toolkit (i.e. not while you are drawing it, but after you clicked Done), the pane at
the right will show the Maximum distortion.

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In Studio Toolkit, you can draw a (virtual) label on any surface. However, a real adhesive label (pressure-sensitive
label) can not be applied to just any area of a container. It depends on the curving: on surfaces with too much
curving, a real label would either have a stretch or wrinkle to fit the shape.
This is shown in the Maximum distortion value. A high value means that the virtual label is stretched or wrinkled.
If the distortion is higher than 3% and if you need accurate artwork placement, we suggest you try the Improve
Distortion function.
By clicking the Improve Distortion button, you can try to change the way the 3D label is unfolded. The process
tries to lower the Maximum distortion by distributing the distortion over the complete label. The improvement
will continue until you click the Done button, or until a message "Reached the optimal distortion" is given.
If after Improve Distortion you still have a distortion value that is too high, you have probably selected an area
that is not suited for a label.

Note: Modifying the area will reset the improvement.

Tips&Tricks: trim a Freeform label

By drawing a label on a 3D shape, it is rarily possible to draw the exact shape of label you want to add.
As your printable part is the only place you can place artwork, the label drawn should be bigger than the label
you want to place on your shape.
In Adobe Illustrator, you can then use a Die Cut operation to trim away the excess material in the 3d Preview.
For more information on Die Cut operations, see Tips&Tricks: Using a Diecut operation on page 246
The example underneath shows the shape with the label drawn in Studio Toolkit (1), the Studio preview in
Designer quality without die cutting (2) and in Visualizer quality using the Die Cut operation (3).

Alternatively, you can consider using a Front, Back or Wrap Around label in combination with a Die Cut path. See
Front, Back and Wrap Around Labels on page 101 and Using a Path as a Die Cut on page 103

3.4.3. Creating a revolved shape with labels

In Studio Advanced, you can create a shape (e.g. bottles) based on a profile path, and add labels to it.

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There are two ways to create a revolved shape:
• Revolve the shape and add labels in Adobe Illustrator. See Revolve a profile and Add Labels in Adobe
Illustrator on page 111

• Revolve the shape in Studio Toolkit, and add labels using the Studio Toolkit functionality. See Revolve a
profile and Add Labels in Studio Toolkit on page 119
The principle of revolving a path is similar, but the resulting labels behave differently:
• When working on a label created on a revolved shape in Adobe Illustrator, you can apply Conical Warp. See
Conical Warp on page 210

• When working on a Front, Back or Wrap Around label created on a revolved shape in Studio Toolkit, you can
use a path as a Die Cut. See Using a Path as a Die Cut on page 103

Create a profile path

The first step in creating a revolved shape is creating or selecting the Illustrator paths to be used as profile
paths.

Studio supports half profiles, full profiles and multi-part profiles (based on multiple paths). Multi-part profiles can
be used to set different materials for different parts (for example the bottle and the cap).
It is important to connect paths that can share the same material. If the path is not connected or needs cleanup,
you can use the Connect and Clean function for this.
In the example below, the shape consists of two parts. The bottle itself which will have glass as material and the
cap which will be metal.

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1. Select the paths that make up the bottle. In the example above, the profile of the bottle consists of three
paths.
2. Select Window > Esko Studio > Connect and Clean . This will create a layer called "PROFILE" that contains
the connected path.

3. Select this path and the path making up the cap, and revolve it. See Revolve a profile and Add Labels in
Adobe Illustrator on page 111 or Revolve a profile and Add Labels in Studio Toolkit on page 119

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Create a profile path for liquids

When using Ray Tracing quality, you can model a liquid material inside a container. The example underneath
contains the path for the bottle (red), the cap (blue) and the liquid (green)

• Make sure there is an overlap at the boundaries between the liquid and the container. This is required to
ensure a physically correct rendering. The actual area of overlap doesn't matter, and will be rendered as
container material (e.g. glass).
• All clear parts (glass, liquid, …) need to be closed surfaces.

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Limitation: When choosing Cloudy Plastic as container material, the liquid will be rendered black. As a
workaround you can choose a different material for the liquid (e.g. plastic), since most of the detail of the liquid
will be lost when viewed through the cloudy plastic. Alternatively you can leave a small gap in between the liquid
and the container.

Revolve a profile and Add Labels in Adobe Illustrator

Revolve and Add Labels , the dialog to create shapes and labels, can be opened from Window > Esko Studio >
Revolve and Add Labels...

Revolve
The first step in the Revolve and Add Labels procedure is to create the shape by revolving a profile path.
1. Select one or more Illustrator paths to be used as profile paths.
2. Select Window > Esko Studio > Revolve and Add Labels...
The Revolve and Add Labels dialog is opened.

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On the left is a 3D rendering of the result. You can click and drag to change the viewing angle.
3. Set the axis to be used for the revolution. There are four options: you can set the axis completely on the left
or right of the path (1), or through the middle, taking the left or the right side of the design (2).

In the example profile path shown earlier, only the right half of the bottle cap is drawn. By choosing the axis
through the middle and taking the left side of the design, you can revolve the bottle without the cap.

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By revolving the right side of the design, you can revolve the bottle with the cap.

The same axis will be used for all paths of a multi-part profile.
4. Set the Complexity of the model. The higher the complexity, the smoother the revolved model will be. This
setting only controls the horizontal complexity of the model. To modify the vertical complexity of the shape,
you can increase or decrease the number of anchor points on the profile curves, using the Adobe Illustrator
tools, such as Object > Path > Add Anchor Points

Note: A higher Complexity results in a larger Collada file. If you create a shape that will be repeated
and used in a larger scene, you might want to keep complexity low(er).

5. For each of the parts, define the Material . You can choose Matt Plastic, Glossy Plastic, Clear Plastic, Glass or
Metal.

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Note:
Transparency of e.g. clear plastic or glass will only be visible in the Studio window using Visualizer
Quality. See Visualizer Quality on page 218

6. If necessary, click the Color field to define the color for the material.
7. Click Next .

Add Labels
In this second step, you can add the labels.

Note:
If you do not want to add a label, just click 'Save as' to save the result as a Collada file. Note that this
collada file will not contain a Printable Part. You can however open the shape in Studio Toolkit and add a
label there, or add a shrink sleeve.

The Labels list shows all defined labels.

1. Add a label.

There are 6 types of labels to choose from:

• Front label

• Back label

• Roll around label (right/end over left/begin)

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• Roll around label (left/begin over right/end)

• Top label

• Bottom label
2. Select the label by clicking inside the label to change the properties of the label.
3. Enter the name for the label.
The default name is based on the selected type, such as "Front Label" or "Round label".
4. Define the width for Front or Back labels. For conical labels, the width is measured at mid height.
5. Define the Overlap for Roll-around labels. The overlap is always centered at the backside.
6. Set the height for the Front, Back or Roll-around label.

Note:
You can also change the height of a label interactively by dragging the handles in the 3D view

7. Set the Radius for a Top or Bottom label

8. Check the Radius Settings
The Revolve and Add Labels dialog will show if the label is cylindrical or conical.
Every label except Top and Bottom has a top radius and a bottom radius. By default, both radius are
calculated automatically from the position of the label and the size of the container. If these are equal, the
label is cylindrical. If they are different, the label is conical.
To manually change the Radius settings:
a) Click the Radius Settings button
The Radius Settings dialog will open
b) Disable Calculate radius automatically from shape
c) Enter the Top of Label and the Bottom of Label radius
d) Click OK

Note:
The specified radius settings are used for the 2D calculations. Yet the label in 3D still fits perfectly to
the container shape.

9. Check the Distortion warning.

See Distortion on page 117 for more information
10. Click Save As to save the result as a Collada file.
11. Define the name and location for the file.
12. You get the option to place the file directly in the document.
If you click Yes :
• the Studio window will show the Collada file, replacing any earlier ARD or Collada files.

• the selected items will be moved to a locked layer.

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• If you added more than one label, there will be multiple printable parts in the Collada file. In that case,
a message dialog will show up, allowing to select one printable part from a list with the names of all
printable parts. The selected printable part will be placed in the Illustrator file. For more information on
working with multiple Printable Parts, see Scenes and Multiple Documents on page 225
13. Add artwork to the labels.
When using Visualizer Quality in Studio, the Collada file could look like this in the Studio window:

You can also use the Collada file in Studio Toolkit.

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Note:
Please note that you can also change the height or the position of your label by dragging the
handles on the label in the 3D view. Even more, if you know what the height of your label needs to
be in the Illustrator document view, just add two horizontal guides to the Illustrator document view
and toggle on 'Show Horizontal Guides' in the Revolve dialog. You now can drag the top and bottom
of your label to the horizontal guides.

Distortion
Adhesive labels can always be folded to cylinders or cones, but on many other shapes, some distortion (stretch
or wrinkling) is required to make the label fit. A typical label substrate only allows for very small amounts of
distortion.
The software allows distortion up to 3%. If there is distortion below 3%, a warning will be shown in the Revolve
and Add Labels dialog, and the distorted areas are highlighted.

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You can disable the Allow distortion to fit the shape option to avoid distortion of your label.

Tips&Tricks: Die cut operation on a label

If you create a label on a revolved profile in Adobe Illustrator, the shape of your label will always be rectangular.
You can however use a Die Cut operation to cut away parts of the label. See also Tips&Tricks: Using a Diecut
operation on page 246
The example underneath shows the Studio preview without die cutting and in Visualizer quality using the Die
Cut operation.

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Revolve a profile and Add Labels in Studio Toolkit

To create a revolved shape in Studio Toolkit, you create the profile path in Adobe Illustrator (see Create a profile
path on page 108) and revolve the path in Studio Toolkit.
1. Select the path(s) you want to revolve
2. Choose Revolve path in Toolkit in the fly-out menu of the Studio window
The Studio Toolkit application will open
3. Select the axis to revolve around.

There are four options: you can set the axis completely on the left or right of the path (1), or through the
middle, taking the left or the right side of the design (2).
Studio Toolkit will show a preview of the result, and by default select the most likely option.
4. Click OK
5. For every part of the revolved object (based on the different paths in the profile) you can change the settings
• In Geometry you can set the Quality. The higher the quality, the smoother the revolved model will be.
This setting controls both the horizontal and vertical complexity of the shape. A high quality will follow
the profile curves more closely, but will result in a higher number of triangles.
• In Appearance you can set the Material and Color.
6. Every part of the revolved object without holes can be made a printable metal part by clicking the Print on
Metal button. See Print on Metal on page 120
The resulting 3D shape can be handled as any other 3D shape in Studio Toolkit: you can add a freeform label, a
Front, Back or Wrap Around label, a Shrink sleeve, etc.
When using a Front, Back, or Wrap Around label,you can use a path as a Die Cut. See Using a Path as a Die Cut
on page 103.
See:
• Front, Back and Wrap Around Labels on page 101

• Creating a Freeform Label on page 105

• Working with Shrink Sleeves on page 168

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Print on Metal
Every part of a revolved object in Studio Toolkit without holes can be made a printable metal part. This can be
used when the part represents a metal deep-drawn object made from a flat disk, or when the metal is preformed
first and then printed.
1. Revolve the profile in Studio Toolkit as described in Revolve a profile and Add Labels in Studio Toolkit on
page 119
2. Select the part you want to use, and click the Print on Metal button. You will then be asked to define the
Production Process.

3. Choose Printed Flat if the metal is printed first, and then formed into the shape, and click OK
The object changes into a Revolved Printed Metal Object.

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a) The Outer Radius is calculated based on the shape, but can be modified.
b) Studio Toolkit will decide where to place the front and the back side (light blue and dark blue). You can
click Flip Sides to overrule that decision.
The 2D drawing of this shape will be a circle. Note that if you place artwork on this part, there will be
noticeable distortion, but always in a way that is area-preserving.
4. Choose Printed on Cylinder if the metal cylinder is formed first, and then printed. The cylinder will be further
formed into the revolved shape after printing. Click OK
The object changes into a Revolved Printed Metal Object.
a) The 2D representation will be a rectangle, i.e. the unfolded cylinder.
b) The width and height of the rectangle is calculated based on the shape, but can be modified.
Underneath is an example of a can printed flat on the metal, and then formed into the shape.

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3.4.4. Creating a label from Curves

In case you have the die lines of a (conical) label, but no 3D model of the corresponding container, you can
create a 3D model of only the label, using a combination of ArtPro+ and Studio Toolkit.
This can be used e.g. to create a 3D shape of a complex conically warped label in an in-mould-label printing
environment.
1. In ArtPro+, create the Label Outline Curves based on a technical drawing of the Source Grid.
The Label Outline Curves should be two separate smooth, open, non-intersecting paths that follow the top
and bottom edges of the label. Only curves that bend in a single direction are supported.
Below an example of a technical drawing, and the two selected Label Outline Curves.

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2. With the Label Outline Curves selected, choose Object > Path > Create Label from Curves in Toolkit
A "Label from Curves" object is created in Studio Toolkit.
• In case Studio Toolkit was not running, the application will be started automatically.
• If Studio Toolkit was running and had an open document, the newly created object will be added in the
open document.
• A 2D tab is added containing the connected top and bottom curves, and the folded label is shown in the
3D tab.
• The convex side of the label is considered to be the front side

3. Set the 3D Height, i.e. the height along the vertical axis. This defines the curvature of the folded label.
When the input field is active, you can use the arrow keys to adjust the height by 0.001mm increments (or
0.01mm when holding the shift key. Due to physical constraints, the 3D height is limited.
4. You can then save the label as a Collada file, and place it e.g. in ArtPro+ to get a 3D preview of your label.

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For more information on ArtPro+, we refer to the ArtPro+ Documentation

3.5. Create a flexible bag

In the Studio Toolkit application, you can create a flexible bag, and finetune its appearance.

3.5.1. Creating a New Bag

Click the New Bag button to create a new flexible bag.

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2. Select a bag type and click Ok .

A bag of the selected type will be created, using default settings. A 2D tab containing the 2D die is added.
If the bag is selected, all parameters can be changed in the right panel.
When creating or changing a bag, some initial Live Shaping will be applied to the 3D bag.

Note: If provided, you can place graphics on your shape, e.g. place a technical drawing to check the
position of your seams. See Preview Artwork in Toolkit on page 62 and Using graphic files on page
61

Pillow Bags
A pillow bag is a simple flexible bag with a top and bottom seal, and a centered or off-center vertical backseal.
The most common examples of pillow bags are potato chips bags and certain candy bar wrappers.

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Settings:
• Dimensions: Width, Length Top Seal and Bottom Seal

• Back Seal: Size, Type (Fin Seal or Lap Seal), Order, and Position. See Panel Order and Fin vs. Lap Seals on page
127

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Panel Order and Fin vs. Lap Seals

A back seal can be folded ( Fin Seal ) or glued ( Lap Seal ) to the back side of the package in two ways: Left over
Right or Right over Left . Depending on the selection, the image of the seal will be adjusted.
For Gusseted, Pillow and Quattro Seal bags with a Back Seal, you can specify the Position of the back seal:
select Centered to center the back seal on the back panel, or disable Centered and provide an offset value in
the field below that option.
In Studio Toolkit for Flexibles 14 and newer, the back seal can overlap the gusset.

Note:
The offset value in the Position field is the width of the left or right back flap, whichever is on top as
specified in the Order list ( Left over Right or Right over Left ). In other words, if the Order is set to
Left over Right, the Position value you type is the width of the Left back flap.

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Gusseted Bags
A gusseted bag is a more complex flexible bag with top, bottom and back seals and gussets at both sides. The
gussets allow the bag to make a more block-like shape. Just like pillow bags, Studio Toolkit supports back seals
that are either centered or off-center at the back. For gusseted bags, you can also choose whether you want an
open or a closed (glued) gusset.

Settings:
• Dimensions: Width, Length, depth
• Seals: Top Seal & Bottom Seal, Open or Closed Gusset. See Open or Closed Gussets on page 128
• Back Seal: Size, Type (Fin Seal or Lap Seal), Order, and Position. See Panel Order and Fin vs. Lap Seals on page
127
• Package Content. See Put an Object inside the Package on page 147
• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Open or Closed Gussets

For gusseted and quattro seal bags, you can specify whether you want to have Open Gussets for the top and/or
bottom gussets.

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Note: For pouches you can only choose to have open or closed bottom gussets.

Stand-up Pouches
A stand-up pouch is a flexible bag with top, left, right and optional bottom seals, with a gusset in the bottom part
but not in the top part. You can specify an open or a closed (glued) gusset.
Currently, only pouches in one piece are supported, meaning that the bottom is part of the complete package.
Studio Toolkit for Flexibles only supports rectangular pouches.

Tip:
You can also create a pouch without bottom seals. Simply set the bottom seal value to 0mm/inches.

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Settings:
• Dimensions: Width, Length, depth

• Seals: Top Seal, Bottom Seal and Side Seal. Open or Closed Gusset. See Open or Closed Gussets on page
128

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Stand-Up Pouch without Bottom Seal

You can create a stand-up pouch with no bottom seal by setting the Bottom Seal value to 0mm/inch.

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Tetrahedral Bags
The Tetrahedral Bag is a special version of the Pillow Bag. The difference is that for a Tetrahedral bag, the top
and bottom seals are turned 90 degrees towards each other. This technique produces the typical tetrahedral
bag.

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Because of its shape, it is not so obvious to see the connection between the 3D and 2D view.
This is an example Tetrahedral Bag in 3D:

And the corresponding 2D view:

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Settings:
• Dimensions: Width, Length

• Seals: Top Seal and Bottom Seal

• Back Seal: Size, Order, and Position. The Back Seal is always a lap seal. See Panel Order and Fin vs. Lap Seals
on page 127

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Note: You can use the Move and Rotate... tools to put the bag on its side. See Transform the selected
3D shape(s) on page 67

Quattro Seal Bags

Like the gusseted bag, the quattro seal bag is a complex flexible bag with top and bottom seal and gussets at
both sides. The gussets can be open (unglued) or closed (glued) near the top and/or bottom seals.
Different from the gusseted bag, the quattro seal bag also has four vertical side seals . Studio Toolkit also
supports the version without any side seals: simply set the side seals value in the application to 0mm/inch.
Common for a quattro seal bag is the fact that the (back) seal is "hidden" in one of the four corners of the bag. A
quattro seal bag can have a tapered or square bottom and/or top. This bag type is commonly used for products
such as coffee pads, cookies and animal food.

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Settings:
• Dimensions: Width, Length, depth

• Seals: Top Seal, Bottom Seal and Side Seal, Open or Closed Gusset. See Open or Closed Gussets on page
128.

• The Join position: see Seals for Quattro Seal Bags on page 134

• Style: Tapered or Square. See Seals for Quattro Seal Bags on page 134

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Seals for Quattro Seal Bags

You can create a quattro seal bag without side seals by setting the Side Seals value to 0 mm/inch

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The Back Seal for quattro seal bags is hidden in one of the four corners of the bag. The Join setting in Studio
Toolkit for Flexibles allows you to specify whether the back seal is hidden in the back left or the back right
corner of the bag.

Quattro seal bags can have a tapered or square top and/or bottom .

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Quattro Seal Bag with Back Seal

The Quattro Seal Bag with Back Seal is a special version of the Quattro Seal Bag. See Quattro Seal Bags on
page 133
The Quattro Seal Bag with Back Seal is identical to the Quattro Seal Bag but has a seal on the back of the bag,
instead of a "hidden" back seal in one of the four corners.

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Studio Toolkit also supports the version without any side seals: simply set the side seal values in the application
to 0 mm or inch.
A Quattro Seal Bag with Back Seal can have a tapered or square bottom and/or top.

Settings:
• Dimensions: Width, Length, depth
• Seals: Top Seal, Bottom Seal and Side Seal, Open or Closed Gusset. See Open or Closed Gussets on page
128.
• Back Seal: Size, Type (Fin Seal or Lap Seal), Order, and Position. See Panel Order and Fin vs. Lap Seals on page
127
• Style: Tapered or Square. See Seals for Quattro Seal Bags on page 134
• Package Content. See Put an Object inside the Package on page 147
• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Sachets
A sachet is a simple flexible bag type with three seals and a fold, or with four seals:
• For three-seal sachets, Studio Toolkit lets you choose whether the fold is at the top, right, bottom, or left side
of the sachet.
• For four-seal sachets, you can only change the orientation of the die shape, either horizontally aligned front
and back or vertically.

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The sachet bag type is commonly used for powder products like dried herbal mixes, instant soup, baking
powders,...
A four-seal sachet, sealed along the four sides:

A three-seal sachet with a fold at the bottom and seals along the left, right and top sides:

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Settings:
• Dimensions: Width, Length

• Type and Orientation. See Sachet Type and Orientation on page 139

• Seals: Top & Bottom Seal, Left & Right Seal

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Sachet Type and Orientation

Studio Toolkit for Flexibles supports both three-seal sachets with a fold and three seals, and four-seal sachets.
If you have specified a three-seal sachet with a fold, Studio Toolkit for Flexibles allows you to choose where you
want the fold to appear (left, right, top or bottom).

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If you chose a sachet with four seals, the orientation has no effect on the 3D representation, because there is
no fold. However, it applies to the layout of front and back of the 2D die: either front and back will be joined
vertically or horizontally.

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Two Piece Sachet

A Two Piece Sachet is a variation of the four-seal Sachets. See Sachets on page 137. The shape is identical
to the four-seal Sachet, however the front and back of a Two Piece Sachet are two separate printable parts.
Therefore the front and back have a separate technical drawing, and end up in two different tabs in Studio
Toolkit.

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Settings:
• Dimensions: Width, Length

• Seals: Top & Bottom Seal, Left & Right Seal

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Flat Bottom Bag

A Flat Bottom Bag (also known as a flat bottom pouch) is a complex flexible bag type characterized by its flat
bottom. It consists of two printable parts:
• The main part containing the bottom, back and front of the bag.
• The sides part containing the left and right side of the bag.
This bag type is commonly used for pet foods, coffee beans and other consumables.

Tip: By default the Flat Bottom Bag will not be placed completely flat on the floor. However, a bag can
be shaped to have a flat bottom on the floor: nudge it downwards so its bottom is lower than the floor
and then shortly enable live shaping. See Live Shaping on page 153

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Settings:
• Dimensions:
• Width: the total width of the bag, including the side seals.
• Depth: the depth of the bag is measured as the width of one of the sides, including the side seals.
• Length: the total length of the front or back of the bag, including the bottom and top seal
• Side Length: the total length of the sides of the bag, including the side seal

• Seals: Top Seal, Bottom Seal and Side Seal

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Constraints
Due to the many interacting parts of the bag, there are several constraints in place to guarantee a correct shape:
• As the corners of the sides are glued into the bottom seal, the side seal cannot be larger than the bottom
seal.
• To guarantee that the bag can be closed at a decent angle, the side length has to be at least twice the
depth.
• The total length of the bag has to be at least as large as the side length and the top seal combined. When
the bottom and side seals are different from each other, this difference is also added into this constraint.
• The Width has to be at least as large as the Depth to prevent the left and right gusset from intersecting.
• The Depth has to be larger than 2 times the side seal.

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Diaper Bags
The diaper bag is a very complex flexible bag type. A diaper bag has a bottom seal, side gussets at the bottom
(horizontal gussets at the bottom) and top gussets at the top (vertical gussets at the top) of the bag.
Diaper bags are commonly used for diapers, sanitary napkins, ....

Note:
Certain variants of the diaper bag die shape may not be supported by Studio Toolkit.

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Settings:
• Dimensions: Width, Length, depth

• Bottom Seal.

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150

Ponytail Bag
The Ponytail Bag is commonly used for bread and other dry food such as pasta.
The bag has an open top side that is closed by a clip, resulting in the typical ponytail shape.
The image underneath shows a ponytail bag in Studio in Visualizer quality. A 3D file of bread has been put inside
the bag in Studio Toolkit.

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Note: Because of the more complex shape of this bag, it needs a fair amount of Live Shaping.

Settings:
• Dimensions: Width, Length, Depth. The length of the bag is the distance from the bottom of the bag to the
top, including the Clip Length, and Tail Length, but without the Extra Grip.

• Clip Length, Tail Length and Extra Grup. The Tail Length is the distance from the clip to the top of the
tail without the Extra Grip. Very often the tail length is not the same everywhere. In that case, the longest
distance is taken. The Extra Grip is an extra bit of Tail, sometimes needed for filling machines. When viewed in
2D, the Extra Grip is added on the right side of the bag.

• Package Content. See Put an Object inside the Package on page 147

• Appearance: Highlights, Rounding. See Tweaking the Substrate shading on page 149 and Setting the
Rounding Value on page 150
The image underneath gives a clear view of the different settings, both in 3D and 2D.

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Tip:
You can download a 3D bread shape and some clips from Shapes in Adobe Illustrator. You can also use
ArtPro or PackEdge.
1. Open Adobe Illustrator.
2. Choose File > Structural Design > Open from Shapes
3. Download the 3D shape you need. The shape appears in your Library.
4. Right-click on the shape in your Library, and choose Get Info
5. Go to Parts and choose Export. You can now save the file to your computer. Please add ".zae" to the
filename.
6. You can now import the 3D shape in Studio Toolkit, and position the shape relative to the bag, using
the Move and Rotate tool.

3.5.2. Changing the appearance of the bag

There are several ways to change the appearance.

Put an Object inside the Package

If you are creating a wrapper for a candy bar, a cookie or another regular shape the bag will often look
more realistic when an object is inside the bag.
Package Content allows you to add a solid object to be wrapped by the package, and specify its
shape.You can add an object in all bag types except the Stand-Up-Pouch.

1. Select Insert Object

A default object with dimensions based on the shape of the bag is created and put inside the bag. A newly
created Pilow Bag, Gusseted Bag and Sachet will be rotated and placed "on the floor" when you insert an
object.

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2. After creating the object, you can change its settings in the top section of the window. You can change the
content width, length and depth.

3. Click the Shape Select button to select a base shape for the content. You can choose from 9 variations

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4. Depending on the shape you select, you can have one or more sliders to further fine-tune the shape.
The bag is recreated after each dimension change.
5. Click the Done button or the Settings button to close the editing mode. The content object will become
invisible.
You can return to editing the shape by clicking the Settings button in the Package Content section.
If you disable Insert object, the content object is removed from the bag. Enabling it again puts the content back
in the bag using the previous dimensions.

Tweaking the Substrate shading

The flexible packaging substrate gets a realistic appearance thanks to highlights and shadows that are blended
with the substrate color or the graphics.
The Highlights can be changed in the Appearance section of the Settings panel of a bag. You can choose
between two highlight types from the list: Glossy or Matte.

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You can use the Highlights slider to change the intensity of the highlights of the bag. Without changing the
polygon mesh, all these changes merely affects the way the bag is rendered. Changes are shown instantly.
Figure 1: Example of a Glossy bag

Figure 2: The same bag but Matte:

Setting the Rounding Value

Rounding can be set in the Appearance section of the Settings panel of a bag. Without actually changing
the polygon mesh, rounding merely affects the way the bag is rendered: roundish or crinkly. Unlike stiffness,
changing the roundness of a package happens instantly.

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Figure 3: Example of a bag with a low rounding value

Figure 4: The same bag with a high rounding value:

Using a Path as a Die Cut

When setting up a Flexible Bag, you can use a Die Cut Path to cut away parts of the bag. The Die Cut path
should overlap with the object in the 2D tab, and the Cut along this path option should be enabled.
• If you want to start from a Flexible Bag in Studio Toolkit:
a) Create a Flexible Bag. See Creating a New Bag on page 124
b) Save as a collada file. See Saving and opening Collada files on page 59
c) In Adobe Illustrator, use File > Structural Design > Place File and select the Collada file you saved. If
necessary, select the correct printable part.

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d) Create the Die Cut path in Adobe Illustrator, using the 2D shape as a visual guide.
e) Select the path.
f) From the fly-out menu in the Studio window, select Send Path to Toolkit.
The path becomes available in the 2D tab in Studio Toolkit, and is automatically set as Die Cut path.
• If you want to start from an existing path in Adobe Illustrator:
a) In Studio Toolkit, open the document in Studio Toolkit you want to add the Die Cut to.
b) In Adobe Illustrator, select the path you want to use.
c) From the fly-out menu in the Studio window, select Send Path to Toolkit.
The path becomes available in the 2D tab in Studio Toolkit, and is automatically set as Die Cut path.
• After these steps, you have a Flexible Bag with a Die Cut path, which you can save as a collada file and use in
Adobe Illustrator to apply graphics on.
• Unlike when using a Die Cut path on a Label, the Die Cut path cuts away the area inside the path.
• When a Die Cut is placed on a glued surface, the cut will also be applied on the surfaces glued to it,
indicated by a dashed line. In 3D the die cut will create a hole through all overlapping glued layers.
In Studio Toolkit, both 2D view (left) and 3D view (right):

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Note: During live shaping, the die cut path is temporarily unvisible in 3D.

3.5.3. Live Shaping

When you interact with a real bag, it responds instantly. When you interact with a virtual bag in Studio Toolkit,
your computer has to perform heavy calculations to find a new realistic looking shape. This could take a long
time to complete. Instead of waiting for every shaping operation to be finished completely, Studio Toolkit shows
the shaping process live and offers you the possibility to keep on interacting, even while it is still shaping. This is
called Live Shaping . If computers were infinitely powerful, Live Shaping would be obsolete.

You do not have to wait for Live Shaping to finish. Simply interact with the shape, wait and see how Live Shaping
reacts and as soon as you are happy with the result, you save it.

Starting and Stopping Live Shaping

When creating a new bag, a small amount of live shaping is applied to it automatically. To start the Live
Shaping process, click the Live Shaping button.
At any time you can decide to stop Live Shaping. Just click the Done button. The shape will pause in
its current state. To continue Live Shaping, click the Live Shaping button in the Document Window.
Using the Pauze / Resume button, you can also temporarily pauze the Live Shaping. Use the S shortcut
to quickly pause or resume shaping.

Note:
After Live Shaping, you can no longer change the dimensions or other parameters of the
bag. By clicking Restore Shape you can undo the live shaping and make changes to the
parameters possible. After that, you can redo the Live Shaping.

Note: If you Undo during live shaping, Studio Toolkit will first stop the live shaping (same as
clicking the "Done" button) before undoing it. This way, you can use Redo to return to the
point before the Undo

Live Shaping and Done/Stalled

When a certain bag has reached its final form, Live Shaping will indicate this by displaying Done . The bag will
start shaping again when needed, for example when adding some more air. If for some reason the bag does not
Live Shape anymore but still has not reached its final form yet, Live Shaping will display Stalled . In this case it
is best to save the file and send it to your Esko contact person for further investigation. It is definitely not an
intended state of Live Shaping.
Note that you do not have to wait until Live Shaping stops. You can stop it as soon as you find it reached a
pleasing form and save the file.

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Note: In some cases, putting the stiffness slider to zero unstalls the file.

Air and Liquid Content

When you create a new document of any of the three different packaging types, the bag will automatically start
to fill up with air. You can compare this with a bag that is not completely airtight. It will not stop air from moving
in or out of the bag. In the Shape section of the Window, the blue air bar will give you an indication of the actual
amount of air that is currently in the bag.

You can take control over the amount of air that is put into the bag by checking the Air box. When checked, you
actually simulate an airtight bag. Use the slider to specify how much air should be put inside the bag. As Live
Shaping might need some time to catch up with the new conditions, the actual content (the blue bar) might lag
behind a little.

Note: If you move the slider too much to the right, you might put an exaggerated amount of air in the
bag and make it look overstretched.

Next to air, Studio Toolkit for Flexibles also allows you to add Liquid . The difference between air and liquid lies
in their respective weights. As liquid is heavier than air, the liquid will be concentrated in the lower part of the
package. During Live Shaping, a bag that is filled with liquid will gradually fall down until it eventually lies on the
floor.
Adding liquid is also a convenient way to simulate the shape of bags that contain bulky materials such as frozen
vegetables or meatballs. If you add liquid while the Air box is checked, the total volume of the bag will increase.
If you add liquid while the Air box is not checked, part of the air in the bag is simply replaced by liquid.

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Note: The gravity effect when adding liquid is visualized quite slowly with Live Shaping. Temporarily
reducing Stiffness might speed it up.

Note: You can also put a solid object (like a candy bar) inside the bag.

Setting the Stiffness Value

The Stiffness of the package can be manipulated by moving the slider in the Live Shaping section of the
window. The higher the stiffness, the more the substrate will try to straighten itself. The lower the stiffness, the
easier the package will 'collapse', as if it were made from a soft, thin foil.
Altering the stiffness has a direct impact on Live Shaping. The resulting shape will be re-calculated and the
amount of air and liquid will be added or subtracted accordingly.

Working with Pullers

The Pull tool allows you to interactively change the shape of the package by creating pullers. A puller
grabs a point on the package and pulls it in the desired direction. Pullers look like small needles. One end of a
puller is attached to the bag, the other end is a target position fixed in space. A puller will pull the attached point
on the surface of the bag towards the target position.

Creating and Changing Pullers

1. Select the bag whose shape you want to change, in 3D view.
2.
Click Live Shaping, and select the Pull tool or use the P shortcut to select the Pull Tool

Note: Live Shaping is paused when you create pullers.

3. Click and hold the left mouse button at the point on the bag where you want to attach the puller.
4. Drag to place the puller's end point.
Studio Toolkit will display a green plane.

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• By dragging the mouse you can place the puller’s end point anywhere on that plane.
• By holding the shift key and dragging the mouse you can change the position of the plane itself.
Movements within the green plane determine 2 degrees of freedom of the target position of the puller (X-
and Y-axis), whereas changing the position of the plane across the red line (Z-axis) determines another.
Together they specify the 3D target position of the puller.
5. Once you release the mouse button, the puller is created.

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Note: You can reposition existing pullers by clicking and dragging the end points to another
place.

After creating a puller, convince yourself that it is oriented as you intended. Hold down the space bar,
press the left mouse button and drag the mouse to inspect the pullers from different angles. If you are
not happy with the result, you can either undo your change (Cmd+Z), reposition the existing puller, or
delete it and start all over.
If you are happy with the position of the pullers, then restart Live Shaping to see their effect. You will
notice that the rest of the bag, when not pinned down by other pullers, will also move slightly towards
the target position of the puller. It is as if you would pull a certain point of the bag with your fingers.

Note: Changes caused by pullers will affect Live Shaping. The changes are not instant and
have to be calculated.

Deleting Pullers
The puller will always be accompanied with small delete buttons. You can click these to delete the
puller.

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You can click the Delete all pullers button to remove all pullers from the bag.

Working with Fold Lines

Another powerful way to interact with the shape is using fold lines . Fold lines are displayed as white lines on the
bag. In 2D view they are always straight. You can use fold lines to add folds or creases to a design. You can also
use them to straighten a part of the bag.

Fixed Fold Lines

When creating a new bag, you will automatically get a set of fixed fold lines, depending on the packaging type
that you selected. These fixed fold lines cannot be deleted, although they can be changed from hard to soft.
To see the fixed fold lines:
1. Select the bag in 3D view, or select the 2D tab for the bag.
2. Click Live Shaping
3.
Select the Fold Line or use the shortcut L

Note: It can be easier to pause the Live Shaping when using the Fold Line tool.

Creating Custom Fold Lines

Apart from the fixed fold lines, you can also create your own, custom fold lines. To create a fold line:
1. Select the bag, in 3D view, or select the 2D tab for the bag.
2. Click Live Shaping
3.
Select the Fold Line button or use the shortcut L

Note: It can be easier to pause the Live Shaping when using the Fold Line tool.

4. Click and drag on the bag to create a fold line.

Custom fold lines will snap to the start and end point of fold and cut lines. The cursor will change when it is
getting close to such a point.

Note: Fold lines cannot cross fixed fold lines. If you try to do so, an error dialog will pop up.

Deleting Custom Fold Lines

If the Fold Line tool is active, custom fold lines will be accompanied with a small delete button. You
can click these to delete a fold line.

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You can click the Delete all fold lines button to remove all fold lines from the bag.

Note: You cannot delete fixed fold lines

Hard and Soft Fold Lines

Each fold line can be set either hard or soft. To switch between hard and soft fold lines:
1.
Activate the Fold Line tool or use the shortcut L during Live Shaping.
2. Hold the option key.
You will now see small type indicators next to each fold line showing whether the line is soft or hard:
•
A hard fold line:

•
A soft fold line:
3. Click the fold type indicator to change the type.

Hard fold lines (A) look like a crease. These fold lines are also immune to the material stiffness. In other words,
Live Shaping will not try to straighten the fold angle of a hard fold line.
Soft fold lines (B) look like a smooth bend. Like other parts of the bag, the stiffness will try to straighten the bend
angle during Live Shaping.
Hard and soft fold lines will both influence the appearance, so it will affect Live Shaping due to the extra
calculation time that is needed. Fold lines are also linked to the stiffness of the bag, meaning that a stiffer bag
will display hard fold lines sharper than a more flexible bag.

Tip: To create two fold lines for the back panels, use the SHIFT key to generate a straight line up to the
fixed fold line, just not touching. Touching or crossing the fixed fold lines will trigger a message saying
you cannot cross them. As a consequence they will not be created.

Limitations
• You cannot draw fold lines that cross a fixed fold line. An error message will be shown.
• It's not possible to draw folding lines on e.g. a seal.

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• When drawing a fold line that crosses another custom fold line (hard or soft), that other fold line will split into

two parts and/or partially disappear.

• Drawing fold lines on top of each other can result in the loss of these fold lines and will also make it
impossible to create another fold line on that exact place. You can always undo this.

Using parallel Fold Lines to make a smooth bend

For certain bag types, such as a chocolate bar wrapper which contains an object that is round at the top, it could
be a good idea to create some parallel fold lines to make a smooth transition around the rounded content.

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Working with the Polygon Mesh

Behind every bag in Studio Toolkit for Flexibles, there is a polygon mesh. This mesh is like a skeleton of randomly
shaped triangles that define how the bag can move and fold. A bag will only crease along the lines of the
polygon mesh.
To obtain the best visual result, it can be very interesting to change the coarseness of the mesh. A coarse mesh
(default) has a typical appearance and is also faster in Live Shaping. A fine mesh is slower in Live Shaping.
The appearance of a fine mesh can range from very smooth to very wrinkly depending on how Live Shaping
makes the polygons line up. In turn, this appearance is influenced by the Stiffness setting in the settings bar.
To alter the polygon mesh of a bag, select it and click 'Live Shaping' in the settings panel.

During Live Shaping, click the Mesh Tool in the settings bar or use the shortcut key M.

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You can see the mesh overlaid in white on top of the bag when the Mesh tool is active. When switching from the
3D to the 2D, the polygon mesh is also visible.

You can change the mesh

• manually, using the Mesh tool. See Using the Mesh tool on page 162

• automatically, using the Reset Mesh function. See Reset the Mesh on page 162

Using the Mesh tool

The length of the Polygon Mesh edges can also be interactively altered using the Mesh tool
1. Select the bag whose shape you want to change, in 3D view.
2. Click Live Shaping
3.
Select the Mesh tool
The Mesh Tool works like a brush. You can
• Click or drag, to add new mesh points on the bag
• Hold down the ALT key, and click or drag to remove mesh points

Reset the Mesh

Using the Reset Mesh function, you can reset the Mesh, removing any manual changes, and recalculating the
mesh using a Maximum Edge Length
Changing the Mesh can be very useful when trying to get the flexible material fit better around the content
shape or when you want to obtain more detailed effects/changes on your bag, e.g. smaller dents, …
To reset the Mesh and/or change the mesh size:
1. Select the bag whose shape you want to change, in 3D view.
2. Click Live Shaping
3.
Select the Mesh tool
4. Click the Reset Mesh button

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5. Set the Maximum Edge Length and click Reset Mesh

Changing the Maximum Edge Length of the triangles (polygons) from e.g. 20mm to 10mm will result in a 4
times finer mesh than before, making the package look much smoother or much more wrinkly, depending on
the stiffness setting.
As a consequence Live Shaping will also be about 4 times slower.

Note: Changing the Polygon Mesh size will not result in a loss of your custom fold lines, pullers, etc.

Working with the Freeze tool

The Freeze Tool offers you the possibility to freeze certain or all parts of the package so that other user actions
and Live Shaping do no longer influence it. The parts that have been frozen will remain in the same shape even
when the package is being modified in other areas.
1. Select the bag whose shape you want to change.
2. Click Live Shaping
3.
Select the Freeze tool in the settings bar, or use the shortcut key F
The Freeze Tool works like a brush. You can
• Click and drag, to freeze areas on the bag
• Hold down the ALT key, and click and drag to unfreeze parts
• Click Defrost all to unfreeze all frozen parts at once.

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The bottom part of this bag has been frozen to protect it against accidental changes and unwanted interactions
due to Live Shaping on other parts of the bag.

3.5.4. Tips&Tricks: fine-tuning the appearance of a bag

There are different ways to fine-tune the appearance of a bag. In general terms, you could split them up in two
parts

Finetune the 3D structure

In Studio Toolkit, you can tweak and finetune a flexible bag.
• You can add contents to your bag, either by putting an object inside the Packaged, or by adding air & liquid
content. See Put an Object inside the Package on page 147 and Air and Liquid Content on page 154
• During Live Shaping you can influence the shape of the bag by adding Pullers, Fold Lines, Freeze parts, etc.
See Live Shaping on page 153.
• During Live Shaping, you can use the Floor as a shaping tool, e.g. to create a block bottom. See Use the floor
as a shaping tool to create a block bottom on page 164

Finetune the 3D representation in Studio

After applying the artwork in Adobe Illustrator, you can use different Finishing Operations to finetune the 3D
representation.
• You can use a Die Cut Operation to create tear notches, rounded corners, zig-zag cuts, etc. See Tear
notches, rounded corners and zigzag cuts on page 165
• Using finishing operations, you can mimic ziplocks and seal crimping. See Mimic Ziplocks and Seal Crimping
on page 167

Use the floor as a shaping tool to create a block bottom

During Live Shaping, you can use the floor to influence the shape of your bag. This can be used to create a block
bottom or flat bottom. Below is a very simplified example. For a more accurate result, you can use fold lines,
pullers, etc.

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1. Create the flexible bag.

2. Start and pause Live Shaping

3. Using the Transform tool, move the bag a distance below the floor, e.g. "-20mm"
4. Start Live Shaping again, and stop it as soon as you get an acceptable result.

Tear notches, rounded corners and zigzag cuts

Using a Die Cut Operation, you can cut away parts of your flexible bag, e.g. to generate tear notches, rounded
corners or zig-zag cuts. See also Tips&Tricks: Using a Diecut operation on page 246

Note: You can also use a die cut path. See Using a Path as a Die Cut on page 151. The main
difference is that when using a die cut path, the cut away parts become part of the structural design
file, while when using a finishing operation, the cut away parts are defined in the design file.

1. Create a new Finishing Operation, using a swatch. See Add a new Finishing Operation on page 239
If you select Die Cut Operation, the objects using the Die Cut swatch will define the areas that are cut away.
If however you use a Die Cut Operation (Inverted), the objects using the swatch will define the areas that
are kept.

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2. Create the shapes you need to cut away parts of the bag:
a) tear notches

b) zig-zag cuts

c) Holes and rounded corners

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Note: Make sure you create the shapes at exact the same position on both sides of the bag.

Mimic Ziplocks and Seal Crimping

Using Finishing Operations, you can mimic ziplocks and Seal Crimping
1. To mimic a ziplock:
a) Create a new "Emboss" Finishing Operation, using a swatch
b) Create two parallel rectangles where you want the ziplock
c) Use the "Emboss" swatch, and enable Overprint Fill in the Attributes panel
The two parallel embossed lines result in a visual "ziplock" effect.
2. To generate Seal Crimping:
a) Create a new "Seal Crimping" Finishing Operation, either vertical or horizontal, using a swatch
b) Create a rectangle at the sides of your bag where seal crimping will occur
c) Use the "Seal Crimping" swatch, and enable Overprint Fill in the Attributes panel
The Finishing Operation will generate the typical vertical or horizontal lines that occur when sealing a bag.

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3.6. Working with Shrink Sleeves

The Shrink Sleeves tools in Studio Advanced consists of two parts:
• The Shrink Sleeve functionality in the Studio Toolkit application. Studio Toolkit contains functionality to
easily and with precision wrap a shrink sleeve around one or more 3D objects.

• The Shrink Sleeves tools, part of Studio Advanced in Adobe Illustrator. Using these Illustrator tools you can
predistort artwork, to compensate for the deformation that will occur during the shrink process.

3.6.1. About Shrink Sleeves and Multipacks

Examples of shrink sleeves:

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Shrink Sleeves
Shrink sleeve labels are amongst the most advanced and versatile form of labeling the world over.

First of all, the shrink sleeve labels will be flat printed. Then the labels will be wrapped (seamed) onto the tube
form and heated to adapt to the shape. This last step will distort the artwork that was printed on the label.
Shrink sleeves are usable for all kinds of packing. They can enhance the appearance and increase the value
of the packed products, and can also resist dampness, dust and can even be used to prevent tampering and
counterfeiting. It is insured that this shrink sleeve labels are perfect to protect the quality of the products
packed with it. Attractively decorated shrink labels can be applied to a wide variety of container shapes and
substrates, including Glass, PET, Plastic Bottles, Composite cans, Tin cans etc.

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Application examples of Shrink Sleeves

Labels
• Food Products: Mineral Water, Soft Drinks, Beverages, Liquors, Pickles, Jams, Jellies, Fruit Juices, Tea, Coffee,
Spices, Ghee, Edible Oils, etc. in bottle/can/jars

• Cosmetics: Powder, Perfumes, Hair Oils, Shampoos etc. bottles.

• Pharmaceuticals: Liquid Bottles

On the market there are also roll-on-shrink-on sleeves (also known as ROSO-labels). These are different from
shrink sleeve labels in the way that they are seamed and placed around the object. But these differences are not
relevant for Studio Toolkit for Shrink Sleeves, so it works just as well for ROSO labels.

Multipacks
A multipack is a repetition of products wrapped with a sleeve label, for protection and of course visual effects.
You can easily add your artwork to the shrink sleeved material around the multipack. With Esko's Shrink Sleeve
software you can make your multipack and add your artwork to your 3D file.
below is an example of a Shrink Sleeve multipack:

Distortion and predistortion

When a flat printed label is heated to fit to the shape of the container, the artwork printed on the label will be
distorted.
Often this distortion is an unwanted effect. Because of this, certain artwork elements might be moved to other
parts of the sleeve. It is possible to compensate the artwork for the distortion. This is called pre-distortion.
When pre-distorting artwork, you often have to make compromises:
• Artwork just looks different on a curved surface. The appearance can also depend on the viewing angle.

• Due to the shrinking the area of the sleeve is reduced. So there is less room for artwork. It is possible that the
original artwork design didn't take this into account.

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With Studio Toolkit for Shrink Sleeves you can adjust selected objects in your artwork with a single click. In some
cases, some compromises and decisions have to be made. It is good practice to divide your artwork into separate
parts and predistort these one by one.
How to apply predistortion is explained in Artwork Predistortion for Shrink Sleeves on page 211

3.6.2. 3D workflow for Shrink Sleeve Package

The illustration above shows the Shrink Sleeve workflow:

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1. First you need to set up the 3D shape of the object(s) that will be shrink wrapped. See Set up the shape to be
wrapped on page 172
2. Next you create a 3D file that represents your shrink sleeve (at this stage without the artwork) in the Studio
Toolkit application. See Create a Shrink Sleeve Structure on page 173
3. You bring the file into Illustrator to create artwork, or adapt existing artwork to it, just as you do for any other
Structural Design file. See Step 2:Applying and adjusting artwork on page 179
4. If needed, pre-distort artwork to compensate for the distortion on the 3D shape. See Artwork Predistortion for
Shrink Sleeves on page 211
5. If necessary, you can add Finishing Operations to obtain a realistic 3D preview of your design. See Finishing
Operations on page 235
6. At any stage, you can output 3D visuals to communicate with your client. See Step 4: Share on page 249

Set up the shape to be wrapped

The purpose of this step is to set up the object(s) that will be wrapped in the Studio Toolkit application. See also
Using the Studio Toolkit application
•

You can import an existing 3D file, using the Import Into button. See Importing Shapes,
Images or Paths on page 60

Note: If you select the imported shape, you can see its dimensions in the topright corner of the
Studio Toolkit window. You can scale it using the Transform tools. See Transform the selected 3D
shape(s) on page 67

• You can import different 3D files and combine them, using the Move and Rotate tool. See Transform the
selected 3D shape(s) on page 67

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Note: You can also use the Move and Rotate tool to correct the shape if the imported object is not
correctly oriented.

• You can repeat a 3D object, using the Repeat tool, e.g. to create a multipack sleeve. See Repeat on page
73
The shape to be wrapped can be one single object you import, or it can be a complex combination of shapes. For
example, you can import the 3D file of a bottle, create a shrink sleeve around it, repeat the bottle and its sleeve 3
by 4 times, import a tray and put all bottles in the tray, and then create a sleeve around the tray and the bottles.

Create a Shrink Sleeve Structure

The purpose of this step is to make a 3D file of the object(s) with a sleeve wrapped around them, so you can
apply your graphics onto the sleeve. This 3D file can be repurposed for various artwork designs, as long as the
internal shape and the sleeve parameters stay the same.
As input of this step, you need a 3D file of the object to be shrink wrapped. As output, you will have another 3D
file (Collada file), with a printable part (the sleeve).
Collada files with a printable part can be used by Studio in the same fashion as an ArtiosCAD file.
The steps to create the Shrink Sleeve structure in Studio Toolkit are:
1. Add a sleeve on page 173
2. Adjust the sleeve on page 174
3. Simulate the Shrink Process on page 177
4. Save the Sleeve as a Collada file.

Note: If provided, you can already place graphics on your shrink sleeve in Studio Toolkit, e.g. to check
the position of your seams. See Preview Artwork in Toolkit on page 62 and Using graphic files on
page 61

Add a sleeve
1. Make sure the object(s) you want to create a sleeve on, is selected.
2.

Click the Add Sleeve button

3. Choose the orientation of the sleeve (X, Y or Z axis)

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Most one-up shrink sleeves are vertical (the middle option), most multipack sleeves are horizontal
In the Sleeve view, you can see a 2D drawing of the sleeve. In the 3D View, you can see an unshrunk sleeve over
the object(s). This sleeve can be adjusted in the next step, Adjust the sleeve on page 174

Adjust the sleeve

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In the panel on the right side, you can change the dimensions of the sleeve. The descriptions below assume a
vertical sleeve.
• The Sheet size can be set using the Circumference, Layflat width or Slit width
• The Circumference is the measured circumference of the tube after sealing. It does not include the
overlap
• The Layflat width is the measured width of the shrink film when it is sealed and folded flat. This is half the
Circumference.
• The Slit width is the total width of the shrink film, including the overlap
By default, the Circumference is set to the size of the object.
• The Cut Length is the height of the shrink sleeve.
The default value is the total height for vertical sleeves, or the total width for horizontal sleeves.
• The Positioning can be set by aligning the ends of both the sleeve and the rigid shape / object, or by
centering the sleeve on the object. The Shift allows to enter an offset.
Typically, a sleeve is placed all the way down, since sleeve and object are both standing on a conveyer belt.
• The Seam allows to define the overlap size and direction. The seam is shown in the 3D view with a solid line
and a dashed line.

Note: If you have the values for Slit width and Layflat width (e.g. from a technical drawing), you can
calculate the seam: Seam = Slit width - (2 x Layflat width)
• The Position of the seam can be set by entering a value, or by clicking and dragging the overlap in the 3D
view.

Note:
For objects that are not round, it is important that you position the seam correctly on the object, the
same as it will be in the actual production process, to get the correct Structural Design that would fit
the graphics.

• Set the Material shrink characteristics.

• The first two values represent the maximum unconstrained shrink in machine direction and transverse
direction. By entering a negative value, you can set the material to stretch instead of shrink for the given
direction.
• The Stretch Resistance controls how much the sleeve can stretch (locally) beyond its initial length. The
higher the value, the less stretching will occur. A value of 1 gives the same behavior as in Studio Toolkit
16.1 and lower.
• The Simulation slider allows to choose between more accurate or faster simulation.
• The Friction is the ratio of the force of friction and the force pressing the sleeve onto the surface. The
higher the value of the friction coefficient the more difficult it will be for the sleeve to slide over the
surface of the package in areas where there is tight contact.
Typical PET shrink film has a low shrink value in the machine direction, and a high value in transverse
direction. This is represented in the default values (10% and 70%).
• Set the Preview
a) Enable Wireframe to show the shrink sleeve as a frame of wires
b) Disable Wireframe to show it as a Solid Colored sleeve or to show a preview of the graphics. See Using
graphic files on page 61.

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• Include a Print Area to indicate to the artwork operator how close to the edges the print can go.
a) Enable Include a print area
b) Set the marges for top, bottom, left and right.
The Print area will be visible in the 2D representation of the sleeve.

Note: You can create for example a tamper evident seal at the top of a bottle by decreasing the
circumference and cut length, and setting the positioning offset to the top.

Note: To create a stretch sleeve, decrease circumference according to your specifications and set both
shrinkage values to 0% and ignore the warning that the sleeve doesn't fit.

Simulate the Shrink Process

If the sleeve has the right size, position and material settings, you can start the shrink simulation.
1. Click the Shrink button
The application will start simulating the shrinking of the sleeve.
At any time you can move and rotate the object by dragging it.
2. When you’re satisfied with the result, click the Done button

Attention:
The simulation does not stop by itself. Shrinking will continue untill you click the Done button

The speed depends on the size and complexity of the enclosed object(s). For complex multipacks, the
simulation can take up to an hour.

Note: After shrinking, you can no longer change the properties of the sleeve. You can however click
the Restore Sleeve button (which will undo the shrinking), change the sleeve's properties, and redo the
shrinking.

3.7. Browse Shapes

The Shapes Store is a constantly growing online collection of quality 3D models in Collada file format. If you have
a license for Studio, you can download all available models.
To open the Shapes Store, select File > Structural Design > Browse Shapes...
After entering your Esko ID, the Shapes Browser will open.

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There are different tools to find the shape you want:

1. You can enter a name or a part of a name in the search bar
2. You can open the Assets bar by clicking the Assets button, either in the side bar or next to the search bar. In
the Assets bar you can filter the shapes based on their type: Metal containers, paper & board, etc.
3. You can sort the results based on their Product name or their modification date, descending or ascending
4. You can browse through the different pages using the arrows.
Once you have found the shape you need, select it to see its details, and click the Download button.
Select the folder where the Shapes file should be downloaded.
After download, you can choose how to handle the newly downloaded file:
1. Place the shape in the current document.
2. Open in a new document: a new document is opened, and the shape is placed. The new document will have
the size of the Printable Part of the shape.
3. Just save the document.

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4. Step 2:Applying and adjusting artwork

To bring the Structural Design and the graphic design together, a Structural Design file can be placed or
opened. You can place Structural Design files in Illustrator with the Esko Data Exchange plug-in, which can be
downloaded for free from the Esko website and which is also installed when installing Studio Advanced.
With the Esko Data Exchange plug-in the 2D lines (such as cut and crease lines) can be aligned with the
graphics. You can find the Esko Data Exchange documentation at https://www.esko.com/en/Support/Product?
id=Esko%20Data%20Exchange%20for%20Adobe%20Illustrator or open it from within Illustrator, by choosing Help
> Esko > User Guides > Esko Data Exchange.

Once your 3D shape is placed in your Adobe Illustrator document, you can see a 3D preview in the Studio
window, and see the 2D version in your Adobe Illustrator document.
Applying artwork is as simple as placing the artwork at the correct location in your Adobe Illustrator document.
However, Studio Advanced offers functionality that makes it easier to position and prepare artwork:
• You can select and zoom in on panels or printable parts. See Working with Parts and Panels on page 189

• You can put 3D guides that are visible in both the Adobe Illustrator file and the 3D preview. See 3D Guides on
page 207

• You can apply a conical warp to artwork, to place it on conical labels. See Conical Warp on page 210

• You can apply predistortion for artwork to be placed on shrink sleeves. See Artwork Predistortion for Shrink
Sleeves on page 211

4.1. The Studio Window

The Studio window is the heart of Studio Advanced in Adobe Illustrator.
It is a floating palette where you can see the three-dimensional shape of the package.
To view the Studio window, choose Window > Esko Studio > Studio Window or use the shortcut Cmd+Alt+4
(Mac) or Ctrl+Alt+4 (Windows).

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The Maximize button . Click it to make the Studio window options panel visible. See The Studio Window
options panel on page 183
2. The Scene. This can be the Structural Design file used in the current document, or a scene combining
multiple documents. See Scenes and Multiple Documents on page 225
3. The View dropdown. You can select a View preset from the dropdown, or click View to open the View
settings. See View on page 224
4. The Orientation. See Changing the Document Orientation on page 181
5. The Fly-out button, opening the fly-out menu.
6. The 3D preview of the current document or scene.
7. The Refresh button. If no Refresh is needed, the button will not be shown. See Refreshing on page 180
8. The Full Screen Preview button. This will open the Studio Window in full screen preview, until you hit the esc
key. See Full Screen Mode on page 182
9. Show/Hide transparent panels. See Working with Parts and Panels on page 189
10. The Show/Hide Outlines button adds the outlines of the Structural Design to the 3D preview.
11. The Show/Hide 3D Guides button. See 3D Guides on page 207
12. The Zoom Slider. See Changing the view in the 3D preview on page 182

4.1.1. Refreshing
By Refreshing, the graphics will be (re)drawn on the box. Every time the graphics change, the Studio Window will
only update if you click the Refresh button.

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Note:
There are different ways to refresh:
• By clicking the Refresh button in the bottom left corner of the Studio Window

• By choosing Window > Esko Studio > Refresh Studio

• By using the shortcut Cmd+Alt+6 (Mac) or Ctrl+Alt+6.

4.1.2. Designer, Visualizer and Ray Tracing quality

By default, Studio shows a 3D preview in Studio Designer quality. This is the fastest and most basic 3D
representation. Since it is the fastest, it is advised to use Designer quality while applying and adjusting the
artwork on your 3D shape.
Once you get to the next step, you can switch to a higher quality. See Step 3: Presenting on page 218
Visualizer quality gives a more realistic preview, and shows special effects such as transparency (of e.g. a glass
bottle), the reflection on gold foil, etc. It takes more time than Designer quality, yet is fast enough to show the
result in the Studio window. See Visualizer Quality on page 218
Ray Tracing quality offers photorealistic 3D previews, yet is time consuming to compute. The Studio window will
show a low resolution preview, but the full quality of Ray Tracing quality can only be seen when exporting an
image or image sequence. See Ray Tracing Quality on page 219
You can switch between the different qualities by selecting Designer Quality, Visualizer Quality or Ray Tracing
Quality in the fly-out menu of the Studio palette, or by selecting the quality in the Studio Window settings panel,
if no part is selected.

4.1.3. Changing the Document Orientation

Use the Orientation buttons at the top of the Studio Window to quickly rotate the complete document window.
This can make it easier to edit graphics on a panel that is upside down in the file. By clicking the left-most
orientation button, the document returns to its original orientation.

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Note:
We strongly advice not to save the document while it is still rotated. Before saving the document, you
should restore the original orientation. A message will pop up if you forgot to do this.

4.1.4. Changing the view in the 3D preview

In the Studio Window, you can look at the package from different angles.
• You can click and drag to rotate the 3D object.

• You can hold the shift key and click and drag to move the 3D object left, right, up or down (Panning).

• By moving the slider in the bottom-right corner you can look at the box from a closer or further distance.
Another way to do this zooming, is by using the mouse wheel.

• You can reset the camera position by double-clicking while holding the shift key.
• When in Visualizer or Ray Tracing Quality, you can click and drag with the right mouse button, or hold the
Control key and click and drag to rotate the Environment. When in Ray Tracing Quality, you can only rotate
the Environment horizontally. Double-click with the right mouse button or double-click while holding the
Control key to reset the environment orientation. See also Environment on page 223
To indicate that the package is not floating in mid-air, the floor concept was introduced. A package in the Studio
Window is always positioned relative to the floor, giving the package a top and bottom definition. If the package
(currently only boxes) is showing the wrong panel as top panel, then you can use the Turn Box option. See Turn
Box on page 192

Note:
When your box is facing the wrong way and when you have difficulty to turn your box upright, try using
Turn Box... The turning around functionality has been designed in such a way that it works fine if you
have selected the right bottom panel.

4.1.5. Full Screen Mode

There are different ways to switch your Studio window to full screen mode:
•
By clicking the "Full Screen Mode" button at the bottom of the Studio window

• By choosing Enter Full Screen from the Studio Window fly-out menu

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• By choosing Window > Esko Studio > Enter Full Screen

• By using the shortcut F11 on Windows or Cmd+Alt+- (minus) on Mac

When full screen mode is activated, you can only change the camera rotation, panning and environment
rotation. You can get out of full screen mode by pressing the esc key.

4.1.6. The Studio Window options panel

By clicking the Maximize button in the top left corner of the Studio window, you can open the Studio
window options panel at the top of the Studio Window.
This panel contains different pages:
• The No Selection page, shown if nothing is selected. See No Selection options panel on page 183

• A page for every Printable part in the scene. See Printable Part options panel on page 183

• A page for every Non Printable part in the scene. See Non Printable Part options panel on page 184
What page is shown, is connected to the current selection. Changing the selection will change the page, and
changing the page (using the arrow buttons) will change the selection.
The options panel will always show the amount of parts in the scene.
For more information on navigating and selecting panels or printable parts, see Selecting Parts and Panels on
page 189

No Selection options panel

If no part is selected, the Settings panel shows a number of options:

• A dropdown to select predefined Scene Settings, and a direct link to open the Scene Settings dialog. See
Scene Settings on page 223

• The choice between Designer quality, Visualizer quality and Ray Tracing quality. See Designer, Visualizer
and Ray Tracing quality on page 181

• The Export button. See Step 4: Share on page 249

Printable Part options panel

If a Printable Part is selected, the settings panel will show the name of the part next to the parts browser.

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If the printable part has artwork, a link to the corresponding Adobe Illustrator file is shown. Clicking it will give the
same result as double-clicking the printable part: the corresponding Adobe Illustrator file will become active and
visible.
If the artwork document is missing, "None" appears instead of its name. You can choose to create a new
document for this artwork, or place it in the current document. You have the same options when you double-
click the printable part in the Studio window.
If the printable part has a back, two links are shown, one for the front and one for the back artwork.

Non Printable Part options panel

If a Non Printable Part is selected, the settings panel will show the name of the part next to the parts browser.

For each of the non printable parts, you can set the material to use for the selected non printable part.
In the dropdown, you can choose:
• Any of the Materials, such as glass, plastic, …. See The Materials on page 185

• Legacy Plastic. See Legacy Plastic on page 185

• Revert to Structural Design, to reset the color to the original values of the material as defined in the
structural design file

• Material Presets to open the Material Presets palette, that contains predefined presets as well as Material
Presets you store yourself. See Working with Material Presets on page 186
By clicking the + button in the bottom right corner of the Non Printable Part option panel, you can store the
current material (e.g. Cloudy Plastic) with its parameters (e.g. color, roughness, …) in the Material Presets. This
allows you to store and later reuse the combination of a material and its parameters. See Working with Material
Presets on page 186

Note: You can't save a preset based on legacy plastic.

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The Materials
The available materials correspond to real materials (plastic, glass, metal, etc...) and their properties. These
materials automatically adjust to the capabilities of the chosen quality (Designer, Visualizer, Ray Tracing). For
example: Designer won't show transparency.
Clear Plastic, Cloudy Plastic, Glass, Liquid and Cloudy Liquid describe transparent materials and should be
used on closed shapes, especially in Ray Tracing quality. (see Create a profile path for liquids on page 110 for an
example)

Note: The Roughness range of Glass, Clear Plastic and Cloudy Plastic is more limited than for opaque
materials such as Plastic and Metal. Due to technical limitations, roughness values outside this limit
would result in physically implausible images.

When using Ray Tracing quality, you can set the At thickness: With clear plastic, colored glass or liquids, the
density of the color changes with the thickness of the material. The At thickness: defines the required thickness
for the material to reach its color against a white background.
For cloudy liquids, the color is an approximation of how a very thick slab of this material would look like.

Note: When other geometry intersects with a Cloudy Plastic shape, artifacts (dark spots) might appear
within the Cloudy Plastic.

Textures
If the Material is set to Plastic, you can assign a texture to the plastic.
1. Click the Color patch
2. Select the Texture tab
3. Click Choose Texture and select the texture file to use.
4. Click OK
The repetition of the texture is based on its physical size.
You can switch back to a solid color by selecting the Solid Color tab.

Note:
To render textures correctly, an object needs texture coordinates.
• For revolved objects texture coordinates are generated when they are revolved in Toolkit 23.03 or
higher.
• Revolved objects created in older Toolkit versions can be resaved to get texture coordinates.
• Revolved objects made in the Studio Toolkit for Labels plugin for Illustrator do not have texture
coordinates.
• Other third party objects can have texture coordinates if the 3D artist provides them.

Legacy Plastic
The Legacy Plastic material is built around the capabilities of Visualizer quality. For Ray Tracing quality this
material is insufficient and will fall back on an opaque plastic appearance. Use this material type if you do not
plan to render your scene in Ray Tracing quality and if you want full control over all rendering parameters.

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Otherwise we recommend that you use the other materials. They are easier to configure and can be used across
Designer, Visualizer and Ray Tracing quality.
For Legacy Plastic, you can set the following properties:
1. the Color (the diffuse component);
2. the Transparency (the alpha channel of the diffuse component, only available in Visualizer quality),
3. the Highlight Color (the specular/reflection component, only available in Visualizer quality),
4. the Intensity of the reflection (the value of the specular component, only available in Designer and Visualizer
quality)
5. the Sharpness of reflection (shininess)

Working with Material Presets

Using the Material Presets, you can store and reuse the combination of a material (e.g. Cloudy Plastic) and its
parameters (e.g. Color, Roughness, …) used for non-printable parts.
After installing Studio and launching Adobe Illustrator, the Material Presets will contain a list of predefined
presets. These can be handled as regular presets, and give an example on how material parameters can be used
to get a specific appearance.
• You can open the Material Presets dialog by choosing Window > Esko Studio > Material Presets or by using
its shortcut Cmd+Alt+= (Mac) or Ctrl+Alt+= (Windows)

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Note: In the Fly-out menu, you can set the view mode: choose between Small List View, Large List
View or Grid View
• Add a Material Preset by clicking the + button in the Non-Printable Part panel in the Studio window. The
Material Preset will use the current settings of the Non-Printable Part. See Non Printable Part options panel
on page 184
• Apply a Material Preset to the currently selected Non-Printable Part by clicking the Material Preset in the list
• Rename a Material Preset by double-clicking it in the list
• Remove a Material Preset by selecting it and clicking the Delete button or choosing Delete Material Preset
from the fly-out menu.

Note: If you rename or delete a predefined preset, it will not be reinstalled automatically. You can
however edit the "PresetsConfig.txt" file. See below.

The Material Presets are stored as separate files that can be found here:

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• On Macintosh: Macintosh/Users/user/Library/Application Support/Esko/Studio/
Material Presets/

• On Windows: C:\Users\user\AppData\Roaming\Esko\Studio\Material Presets\

Tip: You can easily reach that folder by selecting Show in Finder (Mac) or Show in Explorer (Windows)
in the fly-out menu of the Material Presets palette

You can exchange the Presets between different operators by copying the files to another computer.
The Material Presets palette represents the content of the Preset location. This means that you can use Finder /
Explorer to rename, duplicate or remove Presets.
By creating subfolders, you can create groups in the Material Presets list.

The PresetsConfig.txt file contains a list of all predefined presets that were already installed. This means that if
you remove an entry from the list, it will be reinstalled when relaunching Adobe Illustrator. This can be used to
reinstall predefined presets that were deleted or renamed.

Note:
Editing a Material Preset is not supported. What you can do is:
1. Apply the Preset to a Non-Printable Part
2. Change its parameters
3. Save it as a new Preset.

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Note: These presets are shared with the Studio Toolkit Application, so you can use the same Presets
on your system in both Adobe Illustrator as in the Studio Toolkit Application. Managing and creating
presets is only possible in Adobe Illustrator.

Send Non-Printable Materials to Toolkit

Using Send Non-Printable Materials to Toolkit you can store the material settings you defined in Adobe
Illustrator into the structural design file.
1. Set the non-printable materials in the Non Printable Part options panel. See Non Printable Part options panel
on page 184
2. In the fly-out menu of the Studio window, choose Send Non-Printable Materials to Toolkit

Note: When the non-printable parts have the same material assigned as defined in the structural
design file, the option will be disabled.

The structural design file will be opened in Studio Toolkit, and the new materials are shown for the object.
3. In Studio Toolkit, save the structural design as a Collada File.
This new Collada file will contain the new materials. When this file is placed in Adobe Illustrator or imported in
Studio Toolkit, it will have the new materials assigned.

4.2. Working with Parts and Panels

A box design and a bag design consist of a set of panels which are folded relative to each other.
Some of the Studio Toolkits can produce Collada files with more than one Printable Part.
While panels of the same side are in one single Adobe Illustrator file, you can have a separate file for the Front
and the Back side. Also, every Printable Part will have its own Adobe Illustrator document. For more information
on working with multiple documents, see Scenes and Multiple Documents on page 225

4.2.1. Selecting Parts and Panels

You can select parts and panels by clicking on them in the Studio window. The selected panel is used by certain
Studio features and does not affect the selected artwork.
• A Printable part or panel will be selected in red. When selecting a non printable part, all non printable parts
sharing the same material will be highlighted in orange. For multiple instances (e.g. multiple cans on a tray),
only the printable parts of the original instance will be highlighted.
• If the selected part or panel is in your current Adobe Illustrator document, Show Face Outline (in the fly-out
menu) ensures that the selected panel is also shown in your document as a blue solid line.
• By holding the option (Mac) or alt (Windows) key and clicking a panel or part one or several times, you can
select a panel or part that is behind another one.
See also:
• Zooming in on Panels in the document window on page 191
• About Hidden Panels on page 191
• Scenes and Multiple Documents on page 225

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Note:
Sometimes a dotted line appears next to the solid one. This is the case when you select a panel that is
also part of a composed face.

4.2.2. About Hidden Panels

Some panels cannot be seen in the Studio Window because they are covered by another panel no matter which
angle you are viewing the package from. To see those panels, you can choose Show Transparent Panels, which
is available at the bottom and from the Studio Window fly-out menu. In this mode the package is drawn in a semi
transparent way, allowing you to see covered panels. This will help you to understand how the package's 2D
unfolded view and the 3D view relate to each other.

By holding the option (Mac) or alt (Windows) key and clicking a panel one or several times, you can select a
panel that is behind another panel.

4.2.3. Zooming in on Panels in the document window

If you double-click a panel (or if you select Fit Panel in Document Window from the Studio Window's fly-out
menu), the document window will zoom in on the corresponding part of the graphics.
If your graphics are in another document, then this document will become active. See Scenes and Multiple
Documents on page 225
Furthermore, the orientation of the document window will change to match the orientation in the Studio Window
as closely as possible.
You can also zoom in by holding down the Cmd (Mac) or Ctrl (Windows) key and dragging a rectangle around the
area you want to zoom in on.

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By spinning the package and double-clicking the different panels, the Studio Window can be used to navigate
through the document.

4.2.4. Turn Box

When working with designs for folding carton or corrugated boxes, you might not be able to position the box in
the desired viewing angle in the Studio Window. This happens when the package has the wrong panel(s) facing
up. You can change this e.g. in the structural design file (by selecting another Base Panel in ArtiosCAD), but you
can also turn the box in the Studio Window. Just select a panel that should be facing up or down and select
Turn Box from the Studio fly-out menu. The Turn Box functionality is linked with the Floor concept, so e.g. The
selected panel facing up means that the selected panel will become the top panel relative to the floor.

Note:
The Turn Box option is only available for boxes (ARD files)

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4.2.5. Bring Panel Forward and Send Panel Backward

This functionality is only available for ARD and ACD shapes. It can only be used on boxes and composed faces
of which the panels are all in the same plane. Overlapping panels in the same plane can occur in any file.
Sometimes the order of these overlapping panels is incorrect. Most of the time, this will happen when the panels
have been folded 90 degrees on top of each other. With Bring Panel Forward and Send Panel Backward, you
can correct this order.
If you wish to view another panel on top, you can select the panel, select Bring Panel Forward from the Studio
fly-out window and bring it forward.

Note:
When opening an Illustrator file saved in an earlier version of Studio Designer (without "Board
Thickness"), the Bring Panel Forward and Send Panel Backward information from this file will be lost.

4.2.6. Creating Copies with the Distribute command

Most of the faces of a package consist of a single panel. So there is just one rectangular area in the document
that will make up this face. However, sometimes a face is made of several panels. The panels of such a
“composed face” are spread across the document. They can even have a different orientation. So for composed
faces it is very difficult to create graphics that run continuous from one panel into the other. Studio can help you
in this process with a feature called Distribute.

Note:
You can use Distribute on .ard and .acd files but not on Collada files.

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Composed Faces
This is an example of a box with composed faces.-

This is an example of a bag.

Viewing the Composed Face

If you select Show Face Outlines in the Studio fly-out menu and you click one panel that is part of a composed
face, 'ghost’ outlines will be drawn of the other panels of that face. These ghost outlines can give you a good
impression of the size and shape of the composed face.

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Distribute
If you draw some art within the boundaries of such a composed face, it will only appear on one panel, since
the other panels are actually somewhere else in the Illustrator document. However, with Distribute, you can
create copies of the art over several panels that are perfectly aligned to make it look continuous on the folded
composed face.
This is how the folded package will look without applying Distribute.

Distribute is available from Studio's fly-out menu. First you need to select art in the document and you need to
select the corresponding panel in the Studio Window. The selected art is supposed to be positioned correctly on
the selected panel. If you choose Distribute, copies will be made of the selected art for the other panels (of the

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same composed face). After refreshing the Studio Window you can see how the graphics are running seamless
from one panel into another.
Normally, distribute will make a copy of the selected objects for every panel in the composed face (unless there
is no overlap). If you do not need all these copies, you can simply delete the ones you do not need.
This is how the folded package will look when having applied Distribute.

Making Clipping Masks

It is very likely that one or more of the copies lay partially outside of the panel they were created for. Sometimes
this is a desired effect (having the graphics run continuously over a folding line). Sometimes this is not a desired
effect and you will have to create a clipping mask to contain the copy within its panel.

Working With Distributed Art

You can update the copied distributed art, for example after you have edited the original art; or you can
undistribute and expand distributed art if you want to delete the copies.

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Update Copies
After a 'distribute', you will have the same art appearing several times in your document. If you change one of
them, the others will not be updated automatically. To have them updated, select Update Copies from Studio’s
fly-out menu. When updating copies, the selected one is used to recreate all the other copies.
This is how the package looks before updating.

This is how the package will look after updating.

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Undistribute and Expand

The options Undistribute and Expand, which can be found in Studio's fly-out menu also apply to distributed
art. If you select distributed art and you Undistribute, all other (non-selected) copies are deleted. If you
have distributed art selected and you Expand, nothing will change visually yet the selected art will loose its
'intelligence' and become regular artwork, insensitive to actions like Update Copies or Undistribute.
You will need to use Expand if you start copying and pasting distributed art. The copy will still be considered as
part of a distribution, by expanding it, it will no longer be seen as a distribution, but as an ordinary object.

Note:
When the distributed art is a group, ungrouping it is equivalent to applying Expand. The art does not
longer know that it was distributed, even if you group it again.

There is no overlap between the selected objects and the selected panel
I try to distribute a logo, and I am getting the error message There is no overlap between the
selected objects and the selected panel. Please select a panel that
overlaps with the selected objects..
Whenever distributing for the first time, you will need to select two things: the graphics that you want to
distribute in the 2D view AND the source panel in the Studio window. The 'no overlap' error message indicates
that you did select a panel in the Studio window, but in 2D there is no overlap between the selected panel and
the selected art.
It is a good idea to switch on Show Face Outlines in Studio's fly-out menu.

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When Show Face Outlines is switched on, the selected panel in the Studio window will be shown in the 2D View:

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You will immediately see that there is no overlap between the selected panel (the blue rectangle) and the
selected art (the star), so you basically selected the wrong panel. You need to select a panel that has an overlap
with the selected art:

Now you see that there definitely is an overlap between the blue rectangle and the star. You will notice that
Distribute Selection will work, which will give you the following result:

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Please note that you never had to specify to which ‘target panel’ you had to distribute, so how can you know
which target panels will be taken?
In this version of Studio, the distribute functionality only works on coplanar panels. The bottom face consists of
four panels coming together: two glue panels and two larger panels. The selected panel is drawn with a solid
blue line in the 2D View, the other panels that are coplanar with it are drawn with dashed lines. Distribution
happens from the panel drawn with a solid blue line to the panels drawn in dashed blue lines.
That is why Show Face Outlines is so interesting, as it immediately gives you an indication whether or not
distributing is at all possible and to which panels the distribution will happen.
If we move one of the stars and do an update, you will notice that the three other stars need to move as well. It is
now enough to select the moved star and click Update Copies. You will notice that Distribute Selection is now
called Update Copies. There is no need anymore to select a panel in the Studio window.
The selected art knows that it has been distributed before. This piece of distributed art has become a smart
object that knows to which panel it belongs and which other art belongs to the same distribution. When clicking
Update Copies, the other art that belongs to the same distribution (in our example, the other stars) will be
replaced with a new updated copy of the selected distributed art.
In the layer browser, you have an indication which art is “distributed art” and hence smart. The name of
distributed art is always “Distribution”.

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What can I do if the distribution looks wrong?

The graphics have been distributed to the correct coplanar panels, but the result of the distribution in the Studio
window is still not correct.

In this case it is not that the distribution has positioned the copies in the wrong place, but that in the 2D
document window, the different copies are overlapping one another. This can happen whenever the graphic that
you want to distribute is rather large.We will need to make clipping masks in this case, using the standard tools.
In the picture below, we are zooming in on one of the distributed copies, made a clipping mask with the
appropriate tool, selected both the graphics and the clipping mask and clicked Clipping MaskMake.

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If we do this for every distributed copies and then refresh the Studio window, we will get the correct result:
You only need to make the clipping masks once. Assume you would like to move the frog a little, then simply
move one copy and click Update Copies. The other copies will also be updated and they will keep their position
under their clipping masks.

Note:
When using ard files there is an easy way to create a clipping path to clip objects on the e.g. Bleed
Outline. Use Expand Structural Design Layer functionality to e.g. expand the bleed outline to use that
path as a clipping path. See the Esko Data Exchange documentation for more information.

How can I distribute around a corner?

Distributing is only possible to other coplanar panels. Sometimes a distribution appears to go around the corner,
but this only works if a panel that is attached to the panel around the corner is coplanar with the selected panel.
This is not the case with the box in the next example.

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In this version of the software, we are not capable of doing this with the automatic distribute. We have limited
the distribution functionality to panels that are coplanar. A face in the Studio window can be made up of
different panels coming together. A beautiful example is the bottom of the box in the picture below.

The bottom of this box consists of four panels coming together. If you select Show Face Outlines in the Studio's
fly-out menu, you will see blue lines showing up in your 2D Document Window. The solid blue line is a reflection
of the selected red panel in the Studio Window. The other panels that are coplanar with the selected panel and
that together form the bottom face, are drawn on top of that in dashed lines. If you were to draw some graphics
and click Distribute Selection then the graphics would be copied and pasted to the three other panels that
are coplanar with the selected one. Those three panels are shown with dashed blue lines in the 2D Document
Window.
In the following example, we would like a distribute from one panel to another that is adjacent to the first in
the Studio Window, but they are not at all coplanar. On the contrary, the angle between the two panels is 90
degrees. As automatically distributing will be impossible in this case we will have to do the copying, rotating and
pasting of the graphics ourselves. The Create 3D Guide option can be a solution.
You could create a 3D Guide in the back inner panel and that is immediately going to create extra guides in the
other panels that the guide plane intersects with.
You could now design your graphics in the back inner panel. You do not need to do this upside down as double-
clicking on the panel in the Studio Window will rotate the whole job. You can also rotate your job manually using
the orientation buttons in the right top of the Studio Window.
We will add some text to this panel that also needs to extend into the other panel.

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We will now copy the text, double-click the other panel in the Studio Window where you would like the text to be
pasted, paste the text, rotate it and position it correctly on the guide:

Of course you will still need to refresh the Studio Window more than once, before you will have found the exact
position of the text on the second panel.

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4.3. 3D Guides
In Illustrator, PackEdge, ... you can create horizontal and vertical Guides to align art. Studio offers another type of
guides: 3D Guides for boxes and Collada files.
3D guides appear both in the document window and in the Studio Window.

Note: 3D guides are temporary visual aids, and are NOT saved.

You can hide or show the 3D guides in the document window using the application’s View settings, by selecting
View > Guides > Show Guides.

Select Show/Hide 3D Guides from the Studio fly-out menu or click the button at the bottom to hide or
show the 3D guides in the Studio Window.
If you are looking at a multi-part shape in the Studio window, the 3D guides will intersect the different parts, and
result in guides in multiple documents.
In the Studio Window, the 3D guides appear like a horizontal or vertical plane that is intersecting the shape. In
the document, a 3D Guide appears like a set of horizontal, vertical or even slanted line segments clipped inside
panel boundaries. These line segments show where the plane is intersecting with the panels. Graphics can snap
to these segments just as with regular guides.
This is how the 3D guides are presented in the 2D and 3D view:

For Collada files made with Studio Toolkit For Labels, you can get curved 3D Guides in the document if your
printable part is a conical label:

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4.3.1. Creating and Editing 3D Guides

To create or move a 3D guide, use the 3D Guide tool (in the applications toolbar). Click and drag somewhere in
the shape in the document to create or move a guide. By holding the option (alt) key, you can switch between
vertical and horizontal guides.

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Tip:
If you are using Adobe Illustrator CC 2019, your Esko tools might not be visible in the toolbar. There are
two ways to make your tools visible:
• Switch to the Advanced toolbar by selecting Window > Toolbars > Advanced

• Locate the tool you want (when invisible, you can find it by clicking "…" in the toolbar) and drag it to
the desired location in the toolbar. For more information on customizing the toolbar, we refer to the
Adobe Illustrator documentation.

To delete a 3D guide, use the 3D guide tool and simply drag it outside the shape in the Illustrator document.
To delete all 3D guides, you can delete the “3D Guides” layer that contains all 3D guides or use View > Guides >
Clear Guides.

4.3.2. Numeric Positioning of 3D Guides

Double-click the 3D Guides tool to show the 3D Guide floating palette. You can use this to move or copy 3D
guides numerically.

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4.4. Conical Warp

Studio Advanced contains functionality to warp artwork based on conic labels you created in Adobe Illustrator
based on a revolved shape. See Creating a revolved shape with labels on page 107.
This functionality contains:
• The Conical Warp function in Window > Esko Studio. See To apply conical warping on page 210

• The Release Warp function in Window > Esko Studio > Studio Toolkit for Labels . See To reverse the
conical warping on page 211

Note: For labels created in Studio Toolkit, you can't use Conical Warp. If you have a Studio Toolkit for
Shrink Sleeves license, you can however use Predistort. See Artwork Predistortion for Shrink Sleeves on
page 211

4.4.1. To apply conical warping

Using Studio Advanced, you can modify artwork to match the shape of a conic label.
Obviously, this can only be done after creating a shape and adding labels in the Revolve and Add Labels dialog.
See Creating a revolved shape with labels on page 107
1. Select the objects you want to modify. Make sure this artwork overlaps with a conical printable part.
2. Select Window > Esko Studio > Conical Warp
This will instantly apply a warp on the selected objects. The warp is calculated around the center of the
bounding box of the selected objects.

Note:
The warping is non-destructive, sou you can still easily remove the distortion envelope, and text is still
editable.

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Note:
To apply the warping, Studio Advanced creates Illustrator Envelope Distort objects. Adobe Illustrator
has some limitation on Envelope Distort objects: you can not distort linked images. For this, you need to
embed the images first.

4.4.2. To reverse the conical warping

1. Select objects that were warped using the Conical Warp function
2. Select Window > Esko Studio > Release Warp
The warping of these objects is reversed, restoring them in their original state.

4.5. Artwork Predistortion for Shrink Sleeves

Studio Advanced in Adobe Illustrator offers a predistort tool to predistort objects or groups of objects to
compensate for the distortion of the shrink sleeve on the 3D shape. Together with the 3D preview in Studio, the
designers have a perfect 3D visual feedback to make sure the designs look good after shrinking as well.
See also Distortion and predistortion on page 170

4.5.1. Predistort
1. Before predistorting, you can preprocess your images to avoid artifacts after predistorting. See Fix images to
avoid predistort artifacts on page 213
2. Choose Window > Esko Studio > Show Predistortion Window or use the shortcut Alt+Cmd+9 to open the
Predistort window
3. Select the artwork you want to distort.
The Predistort window will calculate the average horizontal, vertical and sheared distortion of the selected
artwork. These are average values, so the actual distortion may vary across the artwork.

4. Click the Predistort... button to open the Predistort options.

The Predistort options offer functionality to create a predistortion envelope that fits your design.

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5. Choose the Predistort Style

Graphical designers want to map the 2D illustrator design onto a 3D curved surface, there is no single way
to do this. Two different predistort methods (styles) are currently supported. See Predistort Style 1 on page
213 and Predistort Style 2 on page 214
6. Set the Viewing and Transform options. See Viewing and Transform options on page 215
7. Choose your mesh and the strength of the predistortion.
While viewing the 3D preview, you can check if the distortion is not too much. You can for example only apply
85% of the distortion if this gives you the result you are looking for. The predistortion can only be decreased,
so either 100% predistortion or less.
8. Click OK

Note:
The distortion is non-destructive, sou you can still easily remove the distortion envelope, and text is still
editable.

Note:
To apply the predistortion, Studio Toolkit for Shrink Sleeves creates Illustrator Envelope Distort objects.
Adobe Illustrator has some limitation on Envelope Distort objects: you can not distort linked images. For
this, you need to embed the images first.

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Note:
You cannot create a sensible predistortion for all artwork in 1 go because the distortion values vary from
spot to spot. It is best not to predistort the complete artwork, but work on selected objects or small
groups of objects.

Fix images to avoid predistort artifacts

When predistorting embedded images that don't have a clipping path, the predistorted result can have hairline
artifacts: visible white hairlines on the edges of the image.
You can reduce these artifacts by applying the Fix Images function before predistorting.
1. Select the images you want to fix. If you want to fix all images in your document, you can simply select all
objects
2. Choose Window > Esko Studio > Fix Images...
A dialog will inform you how many images will be fixed.
3. Click Fix
The selected images will be extended, and get a clipping path. This will reduce the hairline artifacts during
predistortion.

Predistort Style 1
When using Style 1, vertical edges look bended in frontal view but appear straight when looking at the edges
from the side.

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Predistort Style 2
When using Style 2, vertical edges look straight in frontal view but appear bended/skewed when looking at the
edges from the side.

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Viewing and Transform options

The Viewing options can be used to optimize the viewing angle. This wil rerender the predistortion to fit the
optimal viewing angle, i.e. if you know that the objects will be looked at mostly from a 10 degree angle, the
graphics should be predistorted to fit that angle.

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Note:
Optimize for Viewing Angle can only be used for Style 1 and not for Style 2.

The Transform options allow to tweak the design after predistortion. You can rotate or scale the selected object
or group, or you can enter an offset, which will shift the object or group vertical or horizontal or both.

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4.5.2. Working with predistorted art

• Select predistorted objects and click Modify in the Predistort window if you’re not quite satisfied with the
result, to tweak the predistortion.
• If you moved predistorted objects to a new location, it is advised to click Modify as well, to update the
predistortion grid to the new location
• You can undo the predistortion by clicking the Release button.
If you want to predistort the same object again, you will note that its previous predistort settings were
preserved.
• If you open an Illustrator file or Normalized PDF file containing predistorted art, in a copy of Illustrator that
doesn’t have the Studio Advanced plugins, the predistorted art will be reinterpreted. The result is that the
predistorted art remains visually unchanged, but you will no longer be able to modify the predistortion. A
warning message will be shown.

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5. Step 3: Presenting

5.1. Visualizer Quality

By default, Studio shows a preview in Studio Designer quality. You can switch to the enhanced Visualizer Quality
preview, by selecting Visualizer Quality in the fly-out menu of the Studio palette, or by selecting Visualizer in
the Studio Window settings panel, if no part is selected.

When switching to Visualizer Quality the artwork in the Studio window has to be regenerated. Depending on the
job and the resolution chosen this can take some time.

Note:
Visualizer Quality uses a different background color than Designer Quality. Not only the default
background color is different (gray instead of white), but changing the background color while in
Visualizer Quality will not change the background color used for Designer Quality and vice versa.
Changing the background images applies to both Designer and Visualizer Quality.
You can change the background color or select a background image from the Scene Settings dialog,
which you can open by selecting Scene Settings from the fly-out menu of the Studio palette. See
Scene Settings on page 223

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Note: When in Visualizer Quality or Ray Tracing Quality, certain (technical) inks will be ignored by the
3D Print Modeling. They will not be visible in the Finishing Operations palette, and will not be visible in
the 3D preview or Export. See Inks ignored in the 3D view on page 219

5.1.1. Refreshing
If you make changes to the artwork or to the Finishing Operations, these changes will only be visible in the
Studio palette after you click the Refresh button. See also Refreshing on page 180
Since calculating the Visualizer Quality preview can be more time consuming, we advise to only switch
to Visualizer Quality when the operations that simulate the printing processes are applied and ready.When you
are still busy creating and adapting the artwork, using Designer Quality will update the 3D model much faster.
As long as your 3D design is up to date, Refresh is not available.

Note:
Refresh is also available via Refresh Studio in the Studio Designer menu, using Refresh from the fly-
out menu of the Studio palette, or via the default shortcut Cmd+Alt+6 (Mac) or Ctrl+Alt+6 (Windows)

5.1.2. Inks ignored in the 3D view

When in Visualizer Quality or Ray Tracing Quality, certain (technical) inks will be ignored by the 3D Print
Modeling. They will not be visible in the Finishing Operations palette, and will not be visible in the 3D preview or
Export.
When working in Normalized PDF Mode, all technical inks will be ignored.
When working in PDF+ Mode, inks used in Processing Steps (so-called "colorants") will be ignored, except for inks
used only in one of the following Processing Steps:
• Structural: Emboss, Deboss, Cold Foil Stamping or Foil Stamping
• White
• Varnish
• Braille

Note: When an ink is used in one of above mentioned Processing Steps along with one or more
"Legend" Processing Steps, the ink will not be ignored.

For more information on Normalized PDF vs PDF+ Mode, we refer to the Ink Manager chapter in the Esko Data
Exchange documentation.

5.2. Ray Tracing Quality

By default, Studio shows a preview in Studio Designer quality. You can switch to the Ray Tracing Quality preview,
by selecting Ray Tracing Quality in the fly-out menu of the Studio palette, or by selecting Ray Tracing in the
Studio Window settings panel, if no part is selected.

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Ray Tracing is a rendering technique for generating a 3D image by tracing the path of light rays and simulating
the effects of its encounters with virtual objects. The technique is capable of producing a high degree of visual
realism, but at a greater computational cost.
Ray Tracing quality combines the modelling of print and finishing effects from Visualizer quality with physically
based photorealistic rendering. This rendering mode focuses on realism of both printable parts and non-
printable parts and is meant for exporting photorealistic images and image sequences. Because of the heavy
calculation requirements it is not suitable for interactive 3D viewing.
When switching to Ray Tracing Quality or when changing the view, the Studio window will show a progressive
preview of your scene: at first very noisy but progressively clearing up. This should help you to frame your shot
and tweak materials and lighting.

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Note that the preview in the Studio window will not achieve the full quality of the final exported pack shot.
Below two examples of pack shots with Ray Tracing quality.

Note: When in Visualizer Quality or Ray Tracing Quality, certain (technical) inks will be ignored by the
3D Print Modeling. They will not be visible in the Finishing Operations palette, and will not be visible in
the 3D preview or Export. See Inks ignored in the 3D view on page 219

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5.3. Scene Settings

In the Scene Settings you can finetune the way your work looks in the Studio window.
You can open the Scene Settings dialog by choosing Scene Settings from the fly-out menu, or by clicking the
Scene Settings link in the Studio Options.
If the Preview option is enabled, the Studio window will immediately reflect the changes you make in the Scene
Settings.
All settings from the Scene Settings dialog are used in the Export dialog, except for:
• Floor Reflection and Background Image for PDF files with 3D design and U3D.
• Custom Lighting Environment for Collada export

5.3.1. Environment
In the Environment tab you can set different parameters.

Lighting Environment
The Lighting Environment is available if you are using Visualizer quality or Ray Tracing quality. See Visualizer
Quality on page 218 and Ray Tracing Quality on page 219
You can select one of the predefined lighting environments. The regular Environments can be used in both
Visualizer and Ray Tracing quality, while the Legacy Environments can only be used in Visualizer Quality.
You can also use a custom lighting environment by selecting Load... and open an OpenEXR high dynamic range
panorama file (.exr). HDR files (.hdr) are not supported, but they can be converted to OpenEXR using third-party
online tools, or in applications such as Adobe Photoshop. You can download a Studio Lighting Template here

Note: The Lighting Environment is embedded when saving a Scene Preset. See Scene Presets on page
225

When using a Lighting Environment in Visualizer quality or Ray Tracing quality, you can choose how the
environment interacts with the scene When changing the View: either orbit the camera and keep the model
at a fixed position in the lighting environment, or spin the object and keep the camera at a fixed position in the
lighting environment. This second option mimics a photo studio setup.
When in Visualizer or Ray Tracing Quality, you can click and drag with the right mouse button to rotate the
Environment. On Mac OS, you can also hold the Control key and click and drag. To only rotate the environment
horizontally, you can hold the Shift key while rotating. Double-click with the right mouse button or double-click
while holding the Control key to reset the environment orientation.
If you change from Visualizer to Ray Tracing Quality or vice versa, Studio will use the same Environment when
possible.
• When the used environment is not available in the Quality you change to (e.g. you use a Legacy environment
and change to Ray Tracing Quality), the default environment will be used instead.
• A Visualizer Quality scene preset created before version 22.03 containing a custom environment can't be
used in Ray Tracing quality
• A Ray Tracing Quality scene preset created before version 22.03 containing a custom environment can
be opened, but will take some time when switching to Visualiser Quality. For these presets, it can be more
efficient to reload the .exr and save it as a new preset.

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Shadow Contrast
You can set the contrast in the shadows. By default, this is set to 50%.
In Ray Tracing quality this option is not available, since the depth of the shadows is determined by the lighting
environment.

Background
In all three qualities, you can set the background to a color. In Designer and Visualizer quality, you can also set
the background to an image.

Note: The Background Image is embedded when saving a Scene Preset. See Scene Presets on page
225

5.3.2. Floor Effects

The second tab of the Scene Settings defines the Floor Effects: the Floor Reflection and the Floor Shadow

Floor Reflection
In Designer and Visualizer quality, you can use the Reflection Opacity slider to determine how strong the
reflection will be. 0% is no reflection at all.
In Visualizer quality, you can enable Fade to let the reflection fade out, based on the selected Position in View
and Size sliders
In Ray Tracing quality, you can adjust the reflection using the Floor Shininess slider. It controls how rough
or shiny the floor is. A more shiny floor results in more pronounced reflections, while a 0% shiny floor has no
reflections at all.

Floor Shadow
In Designer and Visualizer quality, you can use the Shadow Intensity slider to define how strong a shadow will
be. At 0%, there is no shadow. The Shadow Softness slider allows to control how soft the shadow should be.
In Ray Tracing quality, you can enable or disable shadows using the Enable Shadows option. The environment
will determine the shape and direction of the shadows in Ray Tracing quality.

5.3.3. View
In the View settings tab you can numerically set the view angles, pan and camera distance.
• Set the Object Heading and Object Tilt to define the position of the object
• Set the Pan and Camera Distance to define the position of the camera, or click Fit in Window to reset the
pan to zero and automatically adjust the camera position so that the 3D view fits in the Studio Window.
• Set the Perspective by either defining the Focal Length (in mm) or Field of view (in degrees) of the camera.
• Enable Keep vertical lines parallel if you want to get the effect of a tilt shift lens. If enabled, the vertical lines
in the pack shots remain vertical (without vantage point). You can use this to create images that are easier to
combine afterwards in a 'line-up' image. If the tilt angle is very large it can lead to very unrealistic distorted
perspective.
The View Preset dropdown allows to select one of the default settings, or any previously saved Preset.

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You can save the current settings as a new preset by selecting Save as in the dropdown.
Select Manage... to open a separate dialog in which you can delete unnecessary presets.
The Scene Presets and View Presets folders can be found here:
• On Macintosh: Macintosh/Users/user/Library/Application Support/Esko/Studio/
• On Windows: C:\Users\user\AppData\Roaming\Esko\Studio\
You can exchange the Presets between different operators by copying the files to another computer. Since
these Preset files embed the backdrop image and environment, there is no need to exchange any other files.
If you remove all Presets and restart Adobe Illustrator, the default Presets will be recreated.
If the WebCenter Connector plugin is installed, scene presets (.sts files) and View Presets (.stv files) can be saved
to and loaded from WebCenter. When a preset is loaded, it is added to the "Recent from WebCenter" list. See
also Using Studio and WebCenter Connector on page 265

5.3.4. Scene Presets

The Scene Preset dropdown allows to select one of the default settings, or any previously saved Preset.

Note: Scene Settings contain the Environment, Floor Reflection and View.

You can save the current settings as a new preset by selecting Save as in the dropdown.
Select Manage... to open a separate dialog in which you can delete unnecessary presets.
The Scene Presets and View Presets folders can be found here:
• On Macintosh: Macintosh/Users/user/Library/Application Support/Esko/Studio/
• On Windows: C:\Users\user\AppData\Roaming\Esko\Studio\
You can exchange the Presets between different operators by copying the files to another computer. Since
these Preset files embed the backdrop image and environment, there is no need to exchange any other files.
If you remove all Presets and restart Adobe Illustrator, the default Presets will be recreated.
If the WebCenter Connector plugin is installed, scene presets (.sts files) and View Presets (.stv files) can be saved
to and loaded from WebCenter. When a preset is loaded, it is added to the "Recent from WebCenter" list. See
also Using Studio and WebCenter Connector on page 265

5.4. Scenes and Multiple Documents

The 3D object that you see in the Studio window is typically the combination of two files: The artwork from the
current Illustrator document and the shape from the Structural Design file that is placed in that document.
However, sometimes you would like to make combinations of more than one Illustrator document or more than
one Structural Design file. Some examples are:
• A box with inside and outside artwork
• A bottle with more than one label
• A tray containing 6 cans
• A complicated multi-piece display
• ...

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This chapter describes the different mechanisms behind these workflows.

5.4.1. Alternative scenes

Load Scene
At the top of the Studio Window is the Scene dropdown box. Here you can see which Structural Design file is
currently visible in the Studio Window. By default this is the same file that is placed in your document, but from
this drop down you can load other Structural Design files.

Your artwork will appear automatically on the loaded scene if the following conditions are met:
• There is a Structural Design file placed in the Illustrator document

• The selected scene has a printable part

• The printable part has the same size as the placed Structural Design

• The side (front or back) that is placed in the Illustrator document matches with the side of the printable part
in the 3D file

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In this example, the placed Structural Design file is a Collada file of a single can. The two other loaded scenes are
Collada files made in ArtiosCAD or Studio Toolkit, featuring that same can. You can switch quickly between the
loaded scenes from the drop down list. This can help you to improve the artwork by seeing it in all of its different
contexts.

Note: If you have the WebCenter Connector plug-in installed, you can use Load Scene from
WebCenter. See Using Studio and WebCenter Connector on page 265

Remove Scene
You can remove items from the list by selecting Remove…. This will free up memory but will not delete the files.
The files that are placed in an illustrator document cannot be removed, unless you close the document first.

5.4.2. Back side and Double-sided Artwork

When you place or open a Structural Design, it is loaded with the front side facing towards you (typically the
outside of the box). The Studio window will show the artwork in this document on the front side of the board.
For ArtiosCAD Structural Design files you can also show artwork on the back side of the board (typically the
inside of the box). Also for Collada files, if a printable part is double-sided, you can show artwork on the back side
of the printable part.
Choose Window > Esko > Structural Design > Structural Design Window. The Structural Design window
appears:

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Choose Back in the drop down list of 'Print Side'. This will mirror the Structural Design layer and allow you to
align your artwork to the back side. The Studio window will show the artwork on the back side of the board
(typically the inside of the box).
The Studio Window can show artwork on both sides:
• The front and back artwork can be in two different documents or in the same document.

• The document(s) must be open in Illustrator

1. Place and align a printable part of a Structural Design file with the front artwork.
2. Place and align the same printable part (or a different printable part with the same size) with the back
artwork, and set the Print Side to Back.
A fast and easy way to add graphics to the inside or back side, is to double-click the inside or back side panel in
the Studio Window. You can choose to place the back side in the current document or in a new document.

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5.4.3. Collada files or ACD files with Multiple Printable Parts

Some of the Studio tools can produce Collada files with more than one printable part:
• A bottle with two labels, created by the Revolve and Add Labels tool. See Revolve a profile and Add Labels in
Adobe Illustrator on page 111

• A combination of shapes in Studio Toolkit. See Combining shapes in Studio Toolkit on page 230

• …
ArtiosCAD can also output structures with multiple printable parts. These are saved to an ACD file or a Collada
file.
When you use a Collada file or an ACD file with multiple printable parts, you can choose to place one printable
part, or to place all printable parts

To see the object in the Studio Window with artwork on all the printable parts, you can organize your artwork
in a different document for each part. Use the same Structural Design file in every document and select the
corresponding part.
Alternatively, you can combine some or all printable parts in the same document: you can place the Structural
Design file and select "All Printable Parts", or place the Structural Design file once for every printable part you
want to include.

Note: If you have multiple printable parts in the same Illustrator document, all those printable parts will
use the same finishing operations and substrate. See Finishing Operations on page 235

When all the documents are open, the Studio window will automatically show the different documents as artwork
on the different parts.

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Tip:
If you don't have any artwork yet, then you can double-click the different printable parts in the Studio
window and select New to create a new document for that part, or you can select Place to add it to the
current document.
Another option is to open (instead of place) the Structural Design file multiple times. However, make
sure to save each document before opening the collada file a second time, or you might get this
message:

Combining shapes in Studio Toolkit

You can combine different shapes in Studio Toolkit
• Using Import Into when you already have a shape in your Studio Toolkit job. See Importing Shapes, Images or
Paths on page 60

• Using Create Bag when you already have a shape in your Studio Toolkit job. See Creating a New Bag on page
124

• By repeating a shape. See Repeat on page 73

• By adding a sleeve to a shape or composition of shapes. See Working with Shrink Sleeves on page 168
You can for example combine a tray and a repetition of a can and put a sleeve around it, resulting in a Collada
file with multiple printable parts.

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Note: If you use a shape for which you already created artwork in your composition, you can use
Preview Artwork in Toolkit to apply a preview of the artwork from within Adobe Illustrator onto your 3D
shape in Studio Toolkit. See Preview Artwork in Toolkit on page 62

Note: You can use different Preview Colors for the different imported ARD files, to get a clear visible
distinction in Studio Toolkit. See Preview Color on page 63

5.4.4. Multi-part structures from ArtiosCAD: ACD or Collada files

In ArtiosCAD you can also build structures with more than one printable part, saved either as an ACD file or a
Collada file.
When working on a multiple parts design in ArtiosCAD, the most straightforward and recommended approach is
to save this multiple part design as an ACD file.
Be aware that if your design contains imported shapes, those imported shapes will not be included in the ACD
file. For example in the picture below, the watch and pen will not be saved in the ACD file.

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To include those shapes, you can use the Collada file creation tool from the 3D scene in ArtiosCAD instead.

Reboard
Another reason to use Collada file instead of ACD, is to have a proper visualization of reboard. In the ACD file, a
reboard looks like a corrugated carton.
In this case, use both the ACD and the Collada ZAE file in Studio Advanced:
1. Place the printable parts of the ACD file in one or more Illustrator documents. See Collada files or ACD files
with Multiple Printable Parts on page 229
2. Apply graphics to all printable parts. Using the ACD file will enable you to use the Distribute function while
designing the graphics. See Creating Copies with the Distribute command on page 193
3. To get the final result, load the Collada file as a scene. See Load Scene on page 226
The graphics from the Illustrator document(s) containing the ACD file will be mapped onto the Collada ZAE
scene.

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5.4.5. Navigating between the different Illustrator documents

When multiple Illustrator documents supply artwork to the same scene, you can double click any of the parts in
the Studio window to make the corresponding Illustrator document active. (See also Zooming in on Panels in the
document window on page 191)
If you click on a printable part for which there is no Illustrator document open, you will be asked to either create
a new document for that part or place that part in the current document. The same options are available in the
options panel when the printable part is selected.

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5.4.6. Different graphics on shapes of the same size

In some cases, especially when loading a scene, Studio will try to display the correct artwork on different
printable parts or panels, preferably based on the name of the printable part, otherwise based on the size of
the printable part. However, in some cases, you might want to manually change the graphics used for a specific
printable part.
If you e.g. have two designs, using the same Structural Design file, loading a scene of a composition will place the
same (active) Illustrator design on all instances in the composition.

After selecting the printable part you want to change, you can click the dropdown menu for the Artwork in
the options panel. The drop down list shows a list of all compatible open Illustrator documents. An Illustrator
document is compatible if it has a placed printable part with the same size as the selected shape in the Studio
window, and the side (back or front) placed in the Illustrator document is the same as the selected side of the
printable part. You can either select the Illustrator document you want to use, or create a new document.

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Note: If a document contains more than one printable part that is compatible, the document will
appear multiple times in the dropdown.

If your composition is made in Studio Toolkit, it is important to know that if you use the Repeat function, all
instances will share the same printable part, and thus will share the same graphics. In the example underneath,
the left side pouches use the same printable part, while the right side use another.

You have two options to create such a composition in Studio Toolkit:

• Import the single shape twice. Although they will have the same name (i.e. the name of the Structural Design
file you imported), these shapes will have a different printable part, so you will be able to apply different
artwork on them.
• Create copies of the single shape file, and import them both in your composition. This will have the
advantage that the printable parts will have different names, based on the file name of the single shape you
imported.

5.5. Finishing Operations

In combination with the Visualizer quality or Ray Tracing quality preview, the Finishing operations allow to get a
realistic preview of special operations, such as varnishing, metal foils, special inks, etc.
For more information on Visualizer quality, see Visualizer Quality on page 218. For more information on Ray
Tracing quality, see Ray Tracing Quality on page 219
Finishing operations can be applied to the complete design (full coverage), or applied locally, based on graphical
art using a specific swatch. See Finishing Operations and swatches on page 236

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Note: If you have multiple printable parts in the same Illustrator document, all those printable parts will
use the same finishing operations and substrate. If you want to use a different set of finishing operations
or substrate, you should place the printable parts (and corresponding artwork) in different Illustrator
documents.

Note: Iriodin effects and Holographics are not supported in Ray Tracing quality.

5.5.1. Finishing Operations and swatches

Finishing operations can be applied locally, based on graphical art using a specific swatch. You can either
convert an existing spot into a finishing operation, or you can create a new finishing operations, which will create
a new swatch.

Finishing Operations to swatches

When creating a new Finishing Operation, a spot color swatch will be generated.
If you change this swatch afterwards, the representation in Adobe Illustrator, and in the Studio palette using
Designer quality will be changed accordingly. The preview in Studio using Visualizer quality or Ray Tracing
quality will not change.

Swatches or spot colors to Finishing Operations

When opening a file containing spot colors, or when creating a new swatch using the Adobe Illustrator tools,
Visualizer will try to automatically recognize it, and map it onto a correct Finishing Operation, and put it in the
most logical order.
For example:
• A swatch "Gold Foil" will result in a Finishing Operation "Gold Cold Foil"
• A Pantone color will result in a corresponding Pantone Finishing Operation
• A custom spot color that doesn't match another Operation, will result in a Finishing Operation "Spot Color"

Note: When doing this automatic swatch recognition, Custom Operations will take priority over
standard operations. See My Operations on page 244 for more information on Custom Operations.

5.5.2. The Finishing Operations palette

You can open the Finishing Operations palette by selecting Window > Esko Studio > Finishing Operations. This
palette allows to make and change all finishing operations, substrate, etc.

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1. The palette contains a list of all Finishing Operations set in the job (the "Operations Stack"), and the
substrate. You can click and drag operations to change the order.
2. Next to the Finishing Operations, you can see the Swatch button (left) and the Artwork Selection button
(right).
• You can click the Swatch button to apply the swatch to the currently selected objects.

• You can click the Artwork Selection button to select the artwork currently using the selected operation.
If the operation is not used, the Artwork Selection button will not be available

• There will be one Process Color Swatch if one of the process colors is used in the job.

Note: It is strongly advised NOT to replace the CMYK operation by another operation.

• If a Finishing Operation uses full coverage, none of these buttons is shown, and its name is italic.
3. The Operation Visibility toggle. After refreshing, the finishing effect that are set to invisible will be ignored
in the 3D preview. Also when exporting, invisible finishing operations will be ignored. You can't change the
visibility of the substrate operation.
4. The fly-out menu
5. You can change the Detailed options for the selected Finishing Operation. You can show or hide this options
by selecting Show / Hide Detailed options from the fly-out menu.
6. You can click the Optimize Operation Order button, or select the corresponding option in the fly-out menu,
to rearrange the Finishing Operations in the most logical order.
7. Click the Update Operation List button, or select the corresponding option in the fly-out menu, to update
the Operation List after changing e.g. the swatch color in Adobe Illustrator.
8. Click the Add Operation button, or select the corresponding option in the fly-out menu, to create a new
Finishing Operation.
9. Click the Delete Operation button, or select the corresponding option in the fly-out menu, to remove an
operation from the list

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Note: When in Visualizer Quality or Ray Tracing Quality, certain (technical) inks will be ignored by the
3D Print Modeling. They will not be visible in the Finishing Operations palette, and will not be visible in
the 3D preview or Export. See Inks ignored in the 3D view on page 219

The Operation Order

Move an Operation Up or Down

The operations in the Operation Stack may be re-ordered if so desired. The changes in order will be reflected in
the 3D view of your model. The higher the operation appears in the Operation Stack, the later it is applied in the
virtual printing process.
1. Select the operation you want to move in the Operation Stack.
2. Drag the operation to the desired position

Optimize Operation Order

The Optimize Operation Order function will reorder all operations in the most logical order. You can apply the

function by clicking the Optimize Operation Order button or by selecting Optimize Operation Order
from the fly-out menu.

5.5.3. Set the Substrate Material

A substrate material is always the first operation for each model. It is represented by a specific substrate
operation appearing at the bottom of the stack.
Substrates can be selected and changed in the Change Substrate dialog. This Operation Selector will only show
materials or operations that can be used as a substrate.
1. Open the Change Substrate dialog by double-clicking a substrate operation, or selecting Change
Substrate... from the fly-out menu.
2. Disable the option Use the substrate from the structural design file.
If the option Use the substrate from the Structural Design file is enabled, the substrate information from
the Structural Design file will be used. If a Structural Design file is loaded, the substrate material is shown
within parantheses. If there is no Structural Design file, a gloss coated paper will be used. If multiple printable
parts are placed in a single Illustrator document, the substrate is taken from the first printable part that was
placed in the document.

Note: You can always return to the substrate defined in the Structural Design file by enabling this
option again.

3. Select the Substrate you want to use in the Operations tree on the left hand side.

Note: As an alternative to browsing through the Operations tree, you can type the first letter(s) of
the operation you want to apply in the search field at the top of the dialog.

The Change Substrate dialog now displays the properties for the selected operation in the right panel:
• the Color Picker displays the substrate color,

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• any additional parameters (for example a slider controlling the texture depth of the paper)
• a basic description of the substrate
4. Click OK to apply the substrate material to the model.
The model now has a substrate applied to it, and the Studio window displays the result when in Visualizer quality
or Ray Tracing quality.

5.5.4. Add a new Finishing Operation

To add a Finishing Operation:
1.
In the Finishing Operations palette, either click the Add Operation button or select Add Operation
from the fly-out menu
The Operation Selector dialog appears. See The Operation Selector in Detail on page 240
2. Browse to the operation you want to apply.
3. If applicable, set the available parameters, and click OK
4. Define the Scope for the operation:
• Select Add swatch if you want to apply the operation locally, based on graphical art using a specific
swatch
• Select Apply full coverage if you want to apply the operation on the complete design

Note: Some operations, such as lamination, do not allow local application, so the Add swatch option
is disabled.

The newly created Finishing Operation will appear in the Operations list, at the most logical position.
In case "Add Swatch" is selected, a swatch with the same name as the Operation will be added to the Adobe
Illustrator Swatches. By applying this swatch to (new or existing) objects in your file, you can define the area(s)
where the finishing operation needs to be applied.

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The Operation Selector in Detail

Operations are representations of the print effects and finishes that may be applied to your Studio models.
The Operation Selector dialog, in combination with the Artwork Selector dialog, provide a means of choosing
operations to apply to your model.
The Operation Selector is shown when you are adding a new operation to your model, or editing an operation
that is already being used in your model.

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Components of the Operation Selector

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1. Operation finder tool
2. My Operations
3. Operations tree view
4. Color picker, Operations folder view, or Operation preview
5. Operation parameters area
6. Information area
7. Add to My Operations button
The Operation Selector organizes all the operations available in to a hierarchy. On the left hand side of the
Operation Selector dialog, the operations tree view presents this hierarchy in the form of a tree. Here you can
expand folders and browse for an appropriate operation to apply to your model.
You can store frequently used operations with fixed settings in My Operations. See My Operations on page
244
Below the operations tree view, there is an Information area, which will often provide you with a brief
explanation of the currently selected operation, as well as providing some appropriate clickable links through
which you may find out more information about the operation at hand.
In the lower right-hand corner of the operation selector window there is an Operation parameters area. In here,
any parameters pertinent to the currently selected operation are shown and may be modified by using the slider
or the text-entry box.
The upper portion of the right hand side of the operation selector window displays context-dependent
information and controls that are related to the currently selected entry in the operations tree view. There are
three possible things that might appear in this area:
• The Color Picker;

• The operations folder view;

• An operation preview.

The Color Picker

Color wheel
The color picker appears in the right-hand side of the operation selector window when an operation is selected
in the operations tree view that requires a color in order to fully define it.
The most striking feature of the color picker is the color wheel. To select a color, you may click anywhere in the
color wheel's ring to choose your desired hue. The triangle will change accordingly to show the full range of
saturation and value levels for that hue.

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Tip:
Some tips for using the Color Picker:
• HSV, RGB and Lab are color spaces: different ways of representing a color using a combination of
numerical values. You may change between HSV and RGB sliders by clicking on the tabs provided.

• RGB is a color space that you may be familiar with - it defines color as a combination of Red, Green
and Blue values. HSV stands for Hue, Saturation, Value. If you are unfamiliar with the HSV and Lab
color spaces, you can use the RGB sliders.

• Colors entered in the Lab tab represent CIE Lab values with a D50 white-point and 2 degree
observer.

Tip: If you prefer, your operating system's native color picking tool may be used by clicking on the
System Picker button.

On top of the window, there is a block of color. The top half of the block displays the color that was displayed
when the color picker was first shown. The bottom half of the block displays the color that is currently selected.
Double clicking on the top half of the color block will restore the color picker to the color that was originally
shown.
These color blocks make it easy to see the effects of small changes made to a given color.

Color palette
Below the color blocks is a color palette. The color palette may be employed to store colors that are used
frequently throughout your project for easy access. To add a color to the palette, you may drag-and-drop
colors from the color blocks in to the desired cell of the palette. Also, clicking on the lower color block adds
the currently displayed color to the first non-white cell of the palette (or the first cell if there are no white cells
available). Colors may be dragged between palette cells for further organization.

The Operation Folder View

When an operations category is selected in the operations tree view (or when nothing at all is selected), the
right hand side of the operation selector window will display the contents of the category in question. This may
contain further operations sub-categories or actual operations.
You can think of the operations tree view and operations folder view as a kind of file browser (as found on
Microsoft Windows or Mac OS X); the operations tree view provides an overall picture of the layout and high-
level navigation facilities, whereas the operations folder view provides a more up-close approach to navigation.
This browser analogy is furthered by the Browse Back, Browse Forward and Browse Up buttons.
Clicking on the icons within the operations folder view will navigate further down the operations hierarchy. If an
operation is clicked, you will be presented with either the color picker (detailed above) if the operation requires a
color or a preview image of the operation in question.

Operation Preview
When an operation has been selected in either the operations folder view or operations tree view, you will be
shown a preview image that visually describes the effect of the operation.

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If an operation is selected that makes use of a color, the color picker will be shown instead of a preview.

My Operations
The My Operations category, at the top of the operations tree view, contains custom operations.
A Custom Operation is a standard operation, stored with its specific parameters in the My Operations category.
Using Custom Operations can offer many benefits:
• You can make your most frequently used operations easy accessible, and reduce setup time
• You can make sure the same (correct) parameters are used every time. You can even share these amongst
different users.
• Since Custom Operations take priority over standard operations during automatic swatch recognition (see
Finishing Operations and swatches on page 236), you can use Custom Operations to fine-tune this process,
making sure the correct parameters are used.
• To create a Custom Operation:
a) Select any standard operation, and set the parameters you want to use and store.
b) Click the Add to My Operations button in the bottom right corner
c) Add a name and (optionally) extra info about the operation.
The Operation, with all its settings and parameters, will now be available in the My Operations section
• To use a Custom Operation, select it from the My Operations category

Note: Since all parameters are stored in the Custom Operations, you will not be able to change any
settings.
• To remove a Custom Operation from the My Operations category, select it and click the Delete button in the
bottom right corner.
• To share Custom Operations, you can copy the "My Operations" folder from one computer to another.
The location of the My Operations folder:

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• On Mac: /Users/Shared/EskoArtwork/Visualizer/v1/ExternalResources/
XMLOperations/

• On Windows: C:\Users\Public\Documents\EskoArtwork\Visualizer
\v1\ExternalResources\XMLOperations\

5.5.5. Finishing Profiles

A Finishing Profile contains an Operation Stack (a set of Finishing Operations in a specific order).
A Finishing Profile can be useful if several artwork files require a similar Operation Stack to visualize the
packaging artwork:
• the same substrate
• the same finishing effects, using consistent names for the swatches and spot colors
• the same order of finishing operations.
You can export a Finishing Profile based on the Operation Stack. See Exporting a Finishing Profile on page 245
You can then apply this Finishing Profile on a different artwork file in Adobe Illustrator (see Importing a Finishing
Profile on page 246) or you can use the Finishing Profile in an automated workflow in WebCenter.
If the WebCenter Connector plugin is installed, Finishing Profiles can be exported to and imported from
WebCenter. See also Using Studio and WebCenter Connector on page 265

Exporting a Finishing Profile

To export a Finishing Profile:
1. Open the Finishing Operations palette by choosing Window > Esko Studio > Finishing Operations
2. In the Fly-out menu of the palette, select Export Finishing Profile...
The Export Finishing palette will open.

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3. Using the checkbox in front of the name, you can select or deselect Finishing Operations to decide if you
want to include them in the Finishing Profile.

Note: The Process color operation, Substrate operation and "Not Visible" settings are always
exported

4. Set the separation names for each operation. You can enter multiple separation names separated with a
comma. By using wildcards you can match multiple separation names to an operation.
5. Set the Not Visible operations. Any separation that matches one of these rules will be set invisible in the
Finishing Operations palette.
6. Use the Insert other spot colors on top of dropdown to decide the position to put spot color separations
that don't match any of the operations set in the Finishing Profile.
7. Click Export to save the Finishing Profile as a .stf file.

Importing a Finishing Profile

To import a Finishing Profile:
1. Open the Finishing Operations palette by choosing Window > Esko Studio > Finishing Operations
2. In the Fly-out menu of the palette, select Import Finishing Profile...
3. Browse to the saved Finishing Profile and click OK
When you import a Finishing Profile:
1. The Substrate is changed to the substrate defined in the Finishing Profile.
2. If a spot color in your document matches any of the spot colors defined in the Finishing Profile, the spot color
will be mapped onto the corresponding Finishing Operation.
3. If a Finishing Operation in the Finishing Profile doesn't exist yet, it will be created and the corresponding
swatch and spot color is added.
4. The Finishing Operations are placed in the same order as in the Finishing Profile.
5. Other spot colors that are used in the document are added above the Finishing Operation as defined in the
Finishing Profile.
6. Finishing Operations matching the "Not Visible" list are set to invisible in the Finishing Operations panel.

5.6. Tips&Tricks: Using a Diecut operation

A Diecut operation is an operation that cuts away everything that lies outside (or inside) a path. This can be very
useful in a number of situations:
• A label created using Revolve and Add Label is always rectangular. Using the Die cut operation, you can
apply a different shape of label. See Tips&Tricks: Die cut operation on a label on page 118
• When adding a Freeform label in Studio Toolkit, it's not always possible to draw the label the exact shape and
size that you would like. You can use the Die cut operation to trim the label to the intended shape and size.
See Tips&Tricks: trim a Freeform label on page 107
• If you want to create tear notches, rounded corners, zigzag cuts or hole in a flexible bag design, you can use
the Die cut operation. See Tear notches, rounded corners and zigzag cuts on page 165
Adding a Die Cut operation works the same way as for any other finishing operation. See Add a new Finishing
Operation on page 239

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When creating the Die Cut Operation, make sure to select Add swatch.
If you select Die Cut Operation, the objects using the Die Cut swatch will define the areas that are cut away.
If however you use a Die Cut Operation (Inverted), the objects using the swatch will define the areas that are
kept.

5.7. Tips & Tricks: Clear substrates and White Underprint

When working with a clear substrate, such as plastic film, or with a metallic substrate, you may want to add an
opaque white ink under certain printed areas. You can do this by adding White Underprint

Note: Transparent substrates only render correctly in Visualizer Quality. See Visualizer Quality on page
218

1. If not set correctly in the Structural Design File, you can modify the substrate to a clear substrate in the
Finishing Operations. See Set the Substrate Material on page 238.
a) In the Finishing Operations panel, double-click the Substrate (the bottom line in the list).
b) Disable Use the substrate from the Structural Design file
c) Select the substrate you want to use, e.g. Transparent OPP Film, and

Note: You can change the transparency of non printable parts in the Studio Window. See Non
Printable Part options panel on page 184

2. Create the Opaque White Spot Color operation. See Add a new Finishing Operation on page 239. Select
Add Swatch
3.
Use the Optimize Operation Order button to position the Opaque White Spot Color operation
between the substrate and the other colors.
4. Create the White Underprint objects on top of the other artwork. Make sure you enable Overprint Fill in the
Attributes panel.

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Note: When available, you can use Esko's White Underprint plugin to easily create the objects you
need.

You can also use White Underprint when working on Metallic surfaces.

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6. Step 4: Share
Studio Advanced offers a variety of export options to a number of common formats.
• A static Pack Shot of the 3D view: See Export Image on page 249

• An animated sequence of TIFF images. See Export Image Sequence on page 252

• A Collada file, that can be used in another Studio application such as Studio Toolkit or Store Visualizer, or in a
3rd party 3D application, or in an Esko Viewer. See Export Collada File on page 255

• A KeyShot file (.bip), a common exchange format for 3D models. See Export KeyShot on page 256

• A dynamic 3D PDF or U3D file, allowing the viewer to freely rotate the 3D representation. See Export a 3D
PDF or U3D File on page 257

• A binary glTF file. glTF is a standard file format for 3D scenes and modals, and can be used in various
applications, e.g. Microsoft Office. See Export a Binary glTF on page 259
The background color and other settings defined in the Scene Settings will show up in your exported file.

Note:
If you have the WebCenter Connector plug-in installed, you can set Save to: to WebCenter to upload
the exported file directly to WebCenter. See Using Studio and WebCenter Connector on page 265
When you're exporting a Collada file or an Image, you can set Save to: to Share & Approve (Esko
Cloud) to upload the exported file directly to Esko Cloud. See Using Studio and Esko Cloud Connector
on page 265

6.1. Export Image

Studio can export the 3D design to an RGB JPEG, PNG or TIFF image with the graphics on top (much like the
Studio window but at higher resolutions).
1. Choose Export… from Studio's fly-out menu. Choose Image as export type.

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2. When exporting an Image in Ray Tracing Quality, you can set the Render On: you can choose if the rendering
should be done on your local computer or should be offloaded on Esko Cloud. See Render Packshots on Esko
Cloud on page 266

Note: When in Ray Tracing quality, the preview image in the Export dialog will be in Visualizer
quality

3. Define where to save the result in the Save To: choose Local Folder, Esko Cloud or WebCenter.
See Using Studio and WebCenter Connector on page 265 and Using Studio and Esko Cloud Connector on
page 265
4. Set the File Type: TIFF, JPEG or PNG.
5. If File Type is set to JPEG, you can set the Quality: Low, Medium, High or Maximum. A higher quality will
result in a larger file, while lower quality will allow more compression and thus a smaller file size.
6. Define the Width, Height and Resolution for the image that you want to export.
7. Define the Artwork Quality. Depending on what the image is needed for, you can choose between 4 presets
for the level of detail. Choosing Low (fast) will export to an image fast but with less detail, while choosing
Medium, High or Highest (slow) will produce greater detail but will take more time.
This is not available in Ray Tracing quality
8. The Transparent Background option allows you to set the background transparent instead of the
background (color or image) defined in the Scene Settings. This is only available when outputting a TIFF or
PNG

Note: In Ray Tracing quality, there will be no floor reflections in the image if you choose to have a
transparent background.

9. Click Export to save the file.

If you export in Ray Tracing quality, a separate window will show the result as it builds up. See Export Ray
Tracing Quality Image on page 251
The Scene Settings are used in the exported image: Object heading and Tilt, Pan, Perspective, etc. See Scene
Settings on page 223

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Tip:
If you want to use Photoshop to add some more realism to the 3D renderings, you can output two TIFFs:
one with only shading and one with only graphics (all other settings identical). You can then combine
them as two layers in Multiply mode and fine-tune the shading layer.

6.1.1. Export Ray Tracing Quality Image

If you export an Image or Image Sequence in Ray Tracing quality, a separate window will show the result as it
builds up.

• The right side of the window shows a progress indicator, the Render Time, Time Remaining, and Export
settings.
• You can click the Cancel button to interrupt the process.
• The preview in Ray Tracing quality shows a background pattern for areas that are not yet rendered.
Transparent background from the final result will be shown as white in the preview.
• Parts of the image that are in the process of being calculated are indicated by corner marks. Intermediate
steps in image rendering are also shown with corner marks to give an early indication of what the final result
will look like.

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6.2. Export Image Sequence

Studio can export the 3D design to an animated sequence of JPEG, PNG or TIFF images, that can be used to
create movies.
1. Choose Export… from Studio's fly-out menu. Choose Image Sequence as export type.

2. Set the Animation type and settings you want to use for the Image Sequence.
• Spin: a 360 degrees rotation around the model's vertical axis. In the Move dropdown you can set the
direction: Clockwise (CW) or Counterclockwise.
• Transition: the camera animates from one view to another. In From and To you can select one of the view
presets (Front, Back, Bottom, …) or the current view.
• Wiggle: the camera simultaneously rotates around the vertical and horizontal axis of the model. Use
Vertical and Horizontal to set the angle of rotation.
3. Set the File Type: TIFF, JPEG or PNG.
4. If File Type is set to JPEG, you can set the Quality: Low, Medium, High or Maximum. A higher quality will
result in a larger file, while lower quality will allow more compression and thus a smaller file size.
5. Set the Duration for the animation in seconds. The lower the value, the faster the animation will spin,
transition or wiggle.

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6. Set the Width and Height of the images to be created.
7. Set the Frame Rate: how many images should be created per second. Underneath the Preview you can see
the total number of frames that will be created.
8. Define the Artwork Quality.
Choosing Low (fast) will export to an image fast but with less detail, while choosing Medium, High or Highest
(slow) will produce greater detail but will take more time.
This is not available in Ray Tracing quality
9. Click Export to save the file.
If you export in Ray Tracing quality, a separate window will show the result as it builds up. See Export Ray
Tracing Quality Image on page 251

6.2.1. Integrate an Image Sequence in an HTML5 web page

You can integrate an image sequence (exported from Studio 16.1.1 or later) in an HTML5 web page. This means
that all the images are rendered upfront.
The advantage is that even complicated models can be viewed smoothly on any device, and that it is easier to
integrate in other web sites. The downside is that the animation is fixed, so the user can only move the model in a
preconfigured way.
The alternative is using a Studio Viewer - see Studio Viewers on page 261.
You can download an example of HTML5 web page containing an image sequence, and use your own content in
it.
1. Download the ZIP file containing the example Image Sequence and HTML5 code here: http://docs.esko.com/
docs/en-us/studioessentials/18/otherdocs/HTML5_Image_Sequence_Viewer.zip

Note: This ZIP file also contain this instructions on how to use it.

2. Prepare your scene in Studio

3. Export the Image Sequence, using this settings:
• File Type: jpeg or png. TIFF is not supported on all browsers.

• Animation: set Type to "Spin", and Move to "Model CCW"

• Set the image Width and Height, and remember these values.

• Set the Duration and Frame Rate. Remember these values, as well as the total amount of frames (shown
below the preview).

•
4. Save the images in the ImageSequence folder, using Frame as filename, hence overwriting the images
already there.
5. Open the index.html file in a text or html editor. Change the following lines according to the values you used
in the Export, and save the file.

var imageWidth = 400; // The width (in pixels) of your images

var imageHeight = 400; // The height (in pixels) of your images
var numberOfFrames = 36; // The total number of images

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var framesPerSecond = 8; // How fast you want the animation to play
var framesExtension = ".tif"; // The file extension of your images.

6. Double-click the index.html file to check the result in your browser.

7. An experienced web developer can integrate this into a different web page.
a) Copy the part between  and  from the
index.html file into the html code of your own web page.
b) Make sure that all the images are reachable from the local url such as "ImageSequence/Frame0.tif". If you
have to put them in a different location, then you will have to adapt the imagesequence.js file.
c) Make sure the javascript code is reachable from the local url "js/imagesequence.js", or adapt the html
code to load it from another location.
If the result is not what you expected:
• If you don't see anything in the html file, check if you can open a single image, and check if the file name of
the first frame is "Frame00.png" or "Frame00.jpeg". You can open your browsers development console to
check for error messages.
• If the animation is distorted, check the values of ImageWidth and ImageHeight in index.html.
• If the animation skips, check the value of NumberofFrames in index.html. This number should be one more
than the highest number in the file names in the ImageSequence folder.
• If the animation is slow to load, check the total size of all the images. Since these have to be loaded all to
show the full animation, it's advisable to keep them below 50Mb in total. You can reduce this in different
ways:
• use jpeg as file type, since this typically results in smaller files

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• Reduce the Image Size

• Lower the Frame Rate. This will make the animation less smooth.

6.3. Export Collada File

Studio Advanced can also export to a Collada file (*.zae), a common exchange format for 3D models.

Note: Export Collada File is not available in Ray Tracing quality.

1. Choose Export... from Studio's fly-out menu.

2. Choose Collada File (*.zae) as export type.

3. Define where to save the result in the Save To: choose Local Folder, WebCenter or Esko Cloud.
See Using Studio and WebCenter Connector on page 265 and Using Studio and Esko Cloud Connector on
page 265
4. Specify the Resolution for the graphics.
• In Visualizer quality, you can't specify the resolution. The resolution is optimized so that textures within
the Collada file are never larger than 2K x 2K
• In Designer quality, you can set the resolution. If the resolution is higher than the optimal resolution, you
will get a warning that the model will be sliced. If the file is intended for viewing, the slicing will not cause
any problems, but if you want to use the file in a 3D modeling program, you can choose to use the optimal
resolution instead.
5. Click Export to save the file.

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Note: The exported Collada files (.zae) can be further used in other Esko Studio applications such as
Studio Toolkit or Esko Store Visualizer and ArtiosCAD, or can be viewed in the iOS Studio Viewer app or
in the standalone Studio Viewer application.

Note: Not all lighting environments are supported in the Studio viewers: "Photo Studio 5" and "Photo
Studio 6" are replaced by "Photo Studio 2", and custom lighting environments are replaced by the
"Office" environment.

Note:
Since Studio 23.03, Collada files will always be exported including graphics, but without printable parts.
As a result, these Collada files can no longer be used as Structural Design file in Adobe Illustrator.
In earlier versions of Studio, Export Collada File was sometimes used to include material changes to
the non-printable parts in the Collada file. In version 23.03 and above, you can use Send Non-Printable
Materials to Toolkit for this. See Send Non-Printable Materials to Toolkit on page 189

Note: For ARD boxes, a warning will appear if panels are coincident. Coincident panels can lead to slow
rendering in Esko Viewers and even artefacts like z-fighting in third-party viewers. You can get rid of the
coincident panels by changing the fold angles of the panels. See Coinciding panels on page 90 for more
information.

6.4. Export KeyShot

Studio can export the 3D design to a KeyShot file (.bip), a common exchange format for 3D models. KeyShot is a
third party application with which photorealistic renders and animations can be made of the imported model.

Note: Export Keyshot is not available in Ray Tracing quality.

1. Choose Export… from Studio's fly-out menu. Choose KeyShot File as export type.

2. Specify the Resolution for the graphics.

3. Click Export to save the file.
This will save the .bip file (the structural file) and the texture folder carrying the same name next to it.

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When using drag and drop to open the exported file in KeyShot:, we recommend using the Open option in
KeyShot, and not "Import". Importing textures using the "Import" sometimes fails, resulting in black materials or
unexpected quitting of the application.
Limitations:
• Holographic materials are not supported
• Changes to the panel order made by using Bring panel forward and Send panel backward are not
preserved in the KeyShot file

6.5. Export a 3D PDF or U3D File

In Adobe Reader or Acrobat Professional (version 8.0.1 or later) you can view / rotate 3D objects in PDF files.
Studio Advanced can write such PDF files that can be used to view a package in 3D on a computer that does not
have Illustrator or Studio installed.
U3D is a common exchange format for 3D objects. For example, in Acrobat Professional 8.0.1 or higher you can
place U3D files in PDF files.

Note: Export a 3D PDF or U3D File is only available in Designer quality.

1. Choose Export… from Studio's fly-out menu. PDF File with 3D Design or U3D File as export type.

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2. Define where to save the result in the Save To: choose Local Folder or WebCenter.
See Using Studio and WebCenter Connector on page 265
3. When exporting a PDF file, you can define the Size of the PDF file. Since the PDF file is only meant for on-
screen viewing, this size is of little importance. The Add Footer toggle allows you to switch on or off the
footer text. Instead of the default Esko text you can also personalize the footer text and include your own
message.
4. Specify the Resolution for the graphics.
5. To avoid z-fighting problems in the exported PDF or U3D files, you can use the Avoid Artefacts option. This
will make sure that whenever it is unclear which panel is on top (resulting in flickering graphics), a calculated
choice will be made, cutting out the underlying part and giving the top part carte blanche.
6. Click Export to save the file.

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6.6. Export a Binary glTF

glTF is a standard file format for 3D scenes and models, and can be used in various applications, e.g. Microsoft
Office. Studio Advanced can write .glb files, self-contained, binary glTF files, that can be used to view a package
in 3D on a computer that does not have Illustrator or Studio installed.

Note: Export a Binary glTF is not available in Ray Tracing quality.

1. Choose Export… from Studio's fly-out menu. Binary glTF as export type.

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2. Specify the Resolution for the graphics.

• In Visualizer quality, you can't specify the resolution. The resolution is optimized so that textures within
the binary glTF file are never larger than 2K x 2K
• In Designer quality, you can set the resolution. If the resolution is higher than the optimal resolution, you
will get a warning that the model will be sliced. If the file is intended for viewing, the slicing will not cause
any problems, but if you want to use the file in a 3D modeling program, you can choose to use the optimal
resolution instead.
3. To avoid z-fighting problems in the exported glTF file, you can use the Avoid Artifacts option. This will make
sure that whenever it is unclear which panel is on top (resulting in flickering graphics), a calculated choice
will be made, cutting out the underlying part and giving the top part carte blanche.
4. Set the Optimize for Microsoft Office option.
• When enabled, the exported glTF file will be optimized for viewing or including in Microsoft Office
applications. It needs to be enabled to see transparency in Microsoft office. For printable parts with
transparency, some color accuracy will be lost. Multiple Layers with transparency, die cut or invisible
labels are sometimes rendered in the wrong order. A printable part is "transparent" from the moment it
contains some transparency. For example, when printing an opaque ink on a transparent film, the opaque
parts are also considered transparent.
• When disabled, advanced glTF features are used that might result in more realistic looking files in some
viewers.

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Note:
In Visualizer quality, when Optimized for Microsoft Office is enabled, bottles where both the bottle
and the label have transparency effects might show the back of the label through the front of label
depending on the camera orientation.
A bottle is considered transparent when it has a see-through material, e.g.: glass, clear plastic,
cloudy plastic,etc. The label is considered transparent when it has a (partially) transparent substrate
(e.g. plastic film) or uses a Visualizer Finishing Operations die-cut operation.
Die cuts embedded in the Structural Design using Studio Toolkit (i.e. using the Send Path to Toolkit
feature) can be used without problem.

5. Click Export to save the file.

Note: Non-printable materials will be exported as seen in Visualizer quality, even when exporting in
Designer quality. For example when exporting a Designer quality glTF file featuring a glass bottle, the
bottle will be transparent if the glTF viewer supports it.

Limitations
• Scene settings like Lighting Environment, Background, Floor Reflection and Floor Shadows are not stored in
the binary glTF file. Also Keep Vertical Lines Parallel is not stored.

• The camera is stored in the file, but not all viewers honour this.
• From the Visualizer materials, Iriodin and Holographic materials are not supported.
• 'Cloudy Plastic' as non-printable material is stored as Plastic in the binary glTF file.
glTF Viewer limitations
• All existing glTF viewers are not able to show more than one layer of transparency. So if you have a glass
bottle with a liquid in it, the glTF viewer will show it as an empty glass bottle. As a workaround, try to limit the
amount of transparent objects. In the example of the glass bottle filled with liquid, you can make the liquid a
plastic.
• When optimizing the binary glTF for MS Office, colored transparent parts will lose their color. If the option is
disabled, Studio will use an advanced glTF feature to store the color of the transparent part in the binary glTF
file. Viewers that honour this advanced feature, will properly show the color filtering as intended.
Extensions used by Esko

Extension Visualizer Designer

KHR_materials_pbrSpecularGlossinessRequired Optional for better legacy plastic
KHR_materials_transmission Required for transparency Optional for more realistic material
KHR_materials_specular Required Unused
KHR_materials_ior Required Unused

6.7. Studio Viewers

There are free Studio Viewers available for any device: Mac and Windows computers, or iOS tablets. The Studio
Viewers can view any Collada file created by Esko software and can show all the print and finishing effects of the
package.

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6.7.1. Studio Viewer for Mac OS and Windows

The Studio Viewer applications for computers running Mac OS or Windows are available as free downloads from
the Esko website: https://www.esko.com/en/Support/DownloadsAndLicenses/free-software/#viewers
The Studio Viewer is also included in the installation of Studio Advanced.

6.7.2. Studio Viewer for Mobile Devices

Studio Viewer for iOS

The Studio Viewer for Mac iOS is available from the App Store: https://itunes.apple.com/us/app/studio-viewer/
id520805739?mt=8
The app requires iOS 6.0 or higher, and can be used on iPhone, iPad and iPod.

Adding Collada files to the Studio Viewer library

To add Collada files to the Studio Viewer library, simple tap a Collada file in an email message, web page or in any
other source, and select Open in Studio Viewer. The selected Collada file will be added to the library on your
device.

Note: Only files exported by the Studio plugins in Adobe Illustrator are supported. Collada files
exported from Studio Toolkit are not supported.

Removing Collada files from the Studio Viewer library

To remove Collada files from the Studio Viewer library tap the Edit button on the top right of the screen. To
select the models to delete simply tap the model once. The selected models will be indicated with a green check
mark.Next, press Delete in the top right corner to remove all selected models from the library.

Viewing Collada files in 3D

To view a Collada file in 3D simply tap the model in the library to open it.

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You can interact with the model using simple gestures:

• Swipe using one finger to rotate the model
• Swipe using two fingers to pan the model
• double tap to reset the view.

Viewing Collada files in Augmented Reality (AR)

You can view any Collada file in Augmented Reality mode. This allows you to view the file in a real environment,
using your device's camera in combination with a specialized Esko tracker.
You can receive the tracker by email or print it directly from the app. The tracker is also available to download
from the Esko website: https://www.esko.com/en/Support/DownloadsAndLicenses/mobile-apps/
To activate Augmented Reality, open a file from the library and tap the AR button. Now aim your camera at the
tracker to see the file in Augmented Reality.

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In Augmented Reality mode you can rotate the model using one finger gestures or manipulate the tracker to
interact with the model. It is also possible to quickly take a photo from your design in AR by tapping the camera
button.

Alternative for Android Users

Since there is no viewer for Android, as an alternative you can upload your model to Share & Approve, and use
the Share & Approve Viewer. See Using Studio and Esko Cloud Connector on page 265 for more information on
how to upload your model.
If you don't have a Share & Approve account, you can use a Trial / Free Tier account. For more information, see
the Share & Approve documentation here.
As a second alternative, you can export your model to a Binary gITF and use a third party viewer. See Export a
Binary glTF on page 259

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7. FAQ
This section contains the answers to a number of Frequently Asked Questions.

7.1. Using Studio and WebCenter Connector

If you have the WebCenter Connector plug-in installed, you can make a connection between WebCenter and
Studio.

Note: The WebCenter Connector plug-in needs to be installed separately. You can find it on https://
mysoftware.esko.com

Load a Scene from WebCenter

If you have the WebCenter Connector plug-in installed, you can load a Scene from WebCenter
1. In the Scene dropdown box, select Load Scene from WebCenter. See also Load Scene on page 226)
2. Choose a WebCenter Server and log in using your username and password
3. Navigate to the Project containing the desired ArtiosCAD single design document or Collada file. Make sure
you set the Files of Type selector correctly.
4. Select the file and click Open
WebCenter Connector will download the file, and the Scene is loaded in the Studio Designer window.

Note: If the loaded scene is changed in WebCenter, WebCenter Connector will inform you that a new
version is available. Click Update to download and use the new version, or Cancel to continue working
with the current version.

Export a TIFF, 3D PDF, U3D or Collada file to WebCenter

When exporting to a TIFF, 3D PDF, U3D or Collada file while having the WebCenter Connector plug-in installed,
you can set the Destination to WebCenter.
This allows you to choose the file name, and upload the file directly to WebCenter.
See also:
• Export Image on page 249

• Export a 3D PDF or U3D File on page 257

• Export Collada File on page 255

7.2. Using Studio and Esko Cloud Connector

Using the Esko Cloud Connector plug-in, you can make a connection between Esko Cloud and Studio, and
export Images or Collada files directly to Esko Cloud

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Note: The Esko Cloud Connector is included in the Studio Installer. Installing Studio will automatically
install Esko Cloud Connector as well.

Export a TIFF or Collada file to Esko Cloud Connector

When exporting to a TIFF or Collada file while having the Esko Cloud Connector plug-in installed, you can set
Save To to Share & Approve (Esko Cloud).
After clicking the Export button, you can enter your credentials for Esko Cloud, define the file name and
location, and Export the file directly to Esko Cloud.
If you need to change the Esko Cloud Connector Settings, e.g. because your administrator has given you a
different Base URL or you want to choose a different path for downloaded files, you can click the Esko Cloud
Settings button in the Esko Cloud Login dialog box.
After exporting, you can click the See in Esko Cloud button to see your document in Share & Approve, where
you can start sharing the document and start its approval process.
See also:
• Export Image on page 249

• Export Collada File on page 255

For more information on the Esko Cloud Connector plugin, we refer to the Esko Cloud Connector
documentation: http://www.esko.com/en/Support/Product?id=Esko%20Cloud%20Connector
More information on Esko Cloud and Share & Approve we refer to this knowledgebase article: https://
wiki.esko.com/pages/viewpage.action?pageId=240072361

7.2.1. Render Packshots on Esko Cloud

In Ray Tracing quality, rendering a Packshot can take a long time. Therefore it is possible to offload the rendering
to the Esko Cloud. This allows you to continue using your computer while the Ray Tracing packshot (which is
computationally intensive) is rendered on Esko Cloud.
You will be charged per Packshot. See https://www.esko.com/en/downloads/trials/studio-cloud-rendering to
learn how to set up this service.
1. Set up the Export Image settings. See Export Image on page 249
2. Set the Render On option to Packshots (Esko Cloud)
3. Click Export
4. In the information dialog, click Learn More to get more information on subscriptions for offloading Packshots
to Esko Cloud, or click Continue
5. Sign in with your Esko ID
6. Define the folder where the Packshot should be downloaded to after it is rendered.
The Packshot palette will open. You can open this palette at any time by choosing Window > Esko Studio >
Packshots
When a Packshot is downloaded, a thumbnail of the packshot is shown in the palette. Double-click it to open the
folder where the downloaded packshot can be found.

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7.3. I don't have Studio Advanced - where is my documentation ?

Studio Advanced is the combination of:
• Studio Designer
• Studio Toolkit for Boxes
• Studio Toolkit for Labels
• Studio Toolkit for Flexibles
• Studio Toolkit for Shrink Sleeves
• Studio Visualizer for Adobe Illustrator
This documentation combines the information on the individual components. If you have e.g. only Studio Toolkit
for Boxes, you can still find all relevant information in this documentation. Underneath an overview of the
components and a link to the most relevant chapters.

Studio Designer
• The Studio Window on page 179

• Step 2:Applying and adjusting artwork on page 179

• Step 3: Presenting on page 218

• Step 4: Share on page 249

Studio Toolkit for Boxes

• Create a box on page 81

• Working with Parts and Panels on page 189

• Scenes and Multiple Documents on page 225

Studio Toolkit for Labels

• Creating a revolved shape with labels on page 107

• Add a label to an existing shape

• Conical Warp on page 210

• Collada files or ACD files with Multiple Printable Parts on page 229

Studio Toolkit for Flexibles

• Create a flexible bag on page 124

• Collada files or ACD files with Multiple Printable Parts on page 229

Studio Toolkit for Shrink Sleeves

• Working with Shrink Sleeves on page 168

• Artwork Predistortion for Shrink Sleeves on page 211

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• Scenes and Multiple Documents on page 225

Studio Visualizer for Adobe Illustrator

• Visualizer Quality on page 218

• Finishing Operations on page 235

7.4. Scripting
Using the Adobe Illustrator Scripting interface, you can automate a number of Studio features using a script.
• Placing the front or back side of Structural Design files in the current Illustrator document
• Changing the alignment and rotation of a placed Structural Design
• Loading scenes
• Changing camera angles
• Applying scene presets
• Applying view presets
• Exporting to Collada
• Exporting to JPEG, PNG or TIFF Image
• Exporting to a Binary glTF file
A full reference and a sample script is available for download here: http://docs.esko.com/docs/en-us/
studioessentials/23.03/otherdocs/StudioScripting.zip

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