N Cutout

[Catherine Nicolo]

Im glad it is helping you. I'm still working thru the subtleties of the blend modes, and have barely scratched the surface of the adjustment layers. After looking at the "cutout" filter, it occurred to me that it was some form of posterization. I liked the results from luminosity for most of the samples I tried. The range of hues in the original image make the number of posterization levels vary from image to image. Some work well w. posterization down to 2, but 1 seems rather extreme.

This is as far as I got with this exercise (There's a tutorial on Youtube where a guy uses Photoshop with its artistic filter and who gives links to these fonts I'm using). In the end, I just did several rounds of using median blur, posterise, Brightness/contrast, adding noise and finally cleaning up unnecessary detail with the clone brush. I also deleted the sky and part of the water and replaced it with a gradient.

I'm new to PCB editor and I need to make a footprint for an RF connector that sits into a cutout on the edge of the board (and is edge plated around the cutout, ideally). I have to place more than a dozen of these connectors and I would like a way of easily moving them if I need to. Is there a way to add a cutout to a footprint so that I only have to place one object?

I'm using Orcad PCB Editor and despite completing some training I'm still having a hard time adjusting (maybe because I'm a long-time Altium user). Basically I am designing a probe card. From the basic probe card shape (let's just imagine a rectangular PCB), I wanted to add circular board cutouts (1. for the area where the probe tips are mounted, and 2. for the finger hole). I need help in systematically doing this.

All I have in my limited Orcad mind is simply adding a package with one gigantic circular padstack (unplated with large drill hole). I don't think this is the right way. If this was Altium I can simply create a simple circular outline then convert this into a board cutout. I know this is a simple question for some people but if you are willing to share your knowledge I would greatly appreciate it.

Board cutouts are included in defining the board shape and represent apertures on the board. As such, they are layer independent. Applying this instruction will produce a board cutout. You can access the object properties via the Region dialog. To open this dialog, double-click the polygon pours cutout or right-click and select Properties from the pop-up menu. If you haven't already done so, place a closed boundary, using tracks and arcs, to define the outline of the board cutout that you wish to create. Ensure that all constituent track and arc primitives of this boundary are taken. After launching the command, the current board shape will be modified to include a void area defined by your selected limit. Only tracks and arcs may be employed to define the boundary and the bounds must be shut down.

In espionage parlance, a cutout is a mutually trusted intermediary, method or channel of communication that facilitates the exchange of information between agents. Cutouts usually know only the source and destination of the information to be transmitted, not the identities of any other persons involved in the espionage process (need to know basis). Thus, a captured cutout cannot be used to identify members of an espionage cell. The cutout also isolates the source from the destination, so neither necessarily knows the other.

Some computer protocols, like Tor, use the equivalent of cutout nodes in their communications networks. The use of multiple layers of encryption usually stops nodes on such networks from knowing the ultimate sender or receiver of the data.

In computer networking, darknets have some cutout functionality. Darknets are distinct from other distributed peer-to-peer (P2P) networks, as sharing is anonymous, i.e., IP addresses are not publicly shared and nodes often forward traffic to other nodes. Thus, with a darknet, users can communicate with little fear of governmental or corporate interference.[1] Darknets are thus often associated with dissident political communications as well as various illegal activities.

I need to show a perforation on a set of panels. Can do the perforation in geometry, there is too much data and the assembly is a snail pace (think, 3 hours to successfully pattern out and update a large perf panel). So, my option is to use a perf image with a cutout (see my images attached)

I get this god awful gap in between the tile of the image. whats even more annoying is that the size of the image should easily cover my part but for reasons unknown to pretty much all of us, the image gets placed into the middle from the bottom left corner. I even re-aligned the geometry in the cad file but that made zero difference. Cant reposition the image to move the lines, Offset doesnt do anything in the image settings.

I include an example of such perforated sheet, shown in an assembly.

The still image was just a Raytrace (on the Low setting), and the short video shows what it looks like on my screen.

I've used the appearance supplied with Inventor (Plate - Mesh).

- With Visual Style set to "Realistic", I use the Adjust tool to align the textures on each face. This is a very "rough" tool, but it offsets both texture and cutout images at the same time, and creates new (offset) appearances.

One thing to keep in mind : if you want 'clean-cut' images then don't use JPG. JPG is made for pictures and is good at creating and understanding 'fuzzy' images. When in CAD representation you want clean borders. In the familiar filetypes BMP is the obvious choice. BMP will respect that one side of the image is solid black and the rest of the image is solid white. Run this through JPG and you will see fuzzy pixels in 50 shades of grey (pun intended) growing on the borders.

Really appreciate the feedback here. I did my image in illustrator with the border set to the same size as the perf image, centered then exported using artboards. I'll need to tap up the manager for a copy of photoshop. In the end, I did it using silhouette software but I'd like to go through your approach because your images look aawesome. If you dont mind, I will reach out to you for the steps to make sure I do it right. We use perf a lot and the geometry modelling is a killer on resource..

I need to show the perf pattern in the documentation as well as the model. It seems that we are only ever 90%. Cant use a perf geometry because its too much for Inventor and if i use an appearance representation, it doesnt show in the documentation which is the most important part of the whole process.

To show the technical details of a perforated sheet (if a custom one need to made to order), you could model a small sample showing the actual hole pattern and provide a dimensioned detail of that in your drawing

For the work I do it is enough to provide an indication of the material. Personally I would prefer to have the option of setting the idw view to match the model environment though. Another annoying case of this is the built in knurl texture which is only visible in realistic mode.

Its a shame that the realistic mode in an assembly allows you to do other things like reposition an appearance but then that doesnt follow through onto the drawing. That, along with transparency.. We sometimes make our own transparent ViewRep but cant remove the lines....

From a documentation standpoint referring to @Daniel248 , Each Client / supplier we have wants different things. We work with Artists whowant to see the structure with as much detail as possible, Architects who only want to see line drawings although, that must show every detail including perf and suppliers who range from simple drawing sets to fully rendered visualisations. We should have the choice to present what we want. Its always a difficult conversation when we can show something looking amazing in a 3D environment yet cant get that onto paper.. We get unwanted weird shadows on paper that are not even relative to the assembly itself though so thats good...

It's not easy to find libraries with the correct / non-exaggerated position, clothes, lights, etc. The way the website and library is arranged makes my work so, so much easier.

I realise MrC adds new stuff to the library also, so I couldn't be more satisfied.

Really outstanding quality of png cutouts and the site is very easy to navigate and to download from.

I've been extremely impressed with how responsive and interested your team have been following suggestions I've made to your company.

@Luos

I somehow found out that if you plug in your texture directly into Opacity then it will most probbaly work regardless of how many textures you use in base color or other channels

but that doesnt bring any value to the table here, actually you would expect this function to at least cutout any grey scale value that comes out of the opacity channel independant of any texture.

I always take my cutout and convert it to a Smart Object and the smart object. Once the smart object is editable, I duplicate the layer and turn the original off. I then Select>Modify>Contract enter 1-2 pixels on the duplicated layer.

Fig 3. Select > Modify > Border and add a pixel width that creates an avenue for blending. Then, Cmd+J to put that avenue on a separate layer. Finally, Filter > Blur > Gaussian Blur to soften and blend the edge.

The reason I could never get used to the cut out is that I do a lot

of channel setting. I use a traditional chasing hammer and stake to

set my stones and I like to keep my upper arm pretty much

horizontal. I seems that no matter where I drill my mandrel hole

either the bench pin or the cut out gets in the way of my arm. This

also hold true for bead setting and many flex shaft operations. An

elbow rest placed about 8" to 10" either side of the pin at the same

level of the pin is very comfortable.

To further tax our collective habits, how many of us prefer the use

of a basil skin or a flat shelf beneath our cutout? Personally, I

prefer both and have modified my bench so that I have a shelf with a

smaller cut-out, beneath which is tacked my basil skin. Because I am

also a diamond setter, any small gems that I drop tend to roll

predictably into a specific area or fold of the basil skin which

makes them easier to find.

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