Int J Adv Manuf Technol (1998) 14:269-279

1998 Springer-Verlag London Limited

The hlterrtationa~ 3o.rnal of

Advanced
fflanufacturing
Technologu

Creating Machinable Textures for CAD/CAM Systems

Chow Kin Yean,* Chua Chee Kai,t Terry Ong* and Lin Fengt
*Delcam International PLC, Birmingham, UK; and +Nanyang Technological University, Singapore

Texture is app,!ied on three-dimensionally modelled surfaces in

computer graphics to enhance visual effect. This research
focuses on the development of three-dimensional textured surfaces which are suitable for manufacturing. Three approaches
for creating the three-dimensional texture are presented.
The first approach is to process a design from either an
artist's sketch or an image from a two-dimensional scan. The
second approach uses a three-dimensional scanned texture.
Both these approaches depend on the quality of the scanned
image and are more tedious than the third approach, which
is to convert texture using parameters and is a more direct
approach. In the user interface design, two custom-made forms
are developed to cater for both regular and irregular textures.
The case studies have shown that the textures created are
not only good for a visual effect, but are also machinable.
The development work is incorporated into the ArtCAM system
which is a specialised CAD~CAM system that is capable of
generating three-dimensional shapes from two-dimensional artwork.
Keywords: ArtCAM; Artwork; Computer-aided design and
computer-aided manufacturing (CAD/CAM); Three-dimensional texture

1.

Introduction

The use of the computer has greatly improved the speed

of computing complex and complicated numerical problems.
With the integration of the computer in manufacturing systems,
production time has been reduced significantly. The evolution of CAD/CAM (computer-aided design/computer-aided
manufacturing) systems has enabled more complex parts to be
modelled and manufactured. CmTently, most of the parts modelled are of a complex shape and the representation of the
complex shape is mainly by three-dimensional complex sur-

Correspondence and offprint requests to: Dr Chua Chee Kai, School

of Mechanical and Production Engineering, Nanyang Technological
University, Nanyang Avenue, Singapore 639798.

faces e.g. Bezier surfaces Ill, NURB surfaces [2] and G ~

surfaces [3].
In computer graphics, texture is added to the complex surface
to make the part appear more realistic. The incorporation of
texture on the modelled surface enhances the visual effect of
the modelled part. This improves the graphics simulation of
the part as a real object. Currently, most texturing techniques
are similar to either solid texturing [4] or bump mapping [5].
These texturing techniques do not provide a three-dimensional
representation of the textured surface. This implies that the
textured surface modelled cannot be manufactured, that is, the
texture itself cannot be machined. Therefore, there is a need
to create a "real" three-dimensional texture which can be
machined.
There are two main categories of texture - "macrotexture"
and "microtexture" [6]. "Macrotexture" refers to surface primitives that are governed by specific placement rules, whereas
"microtexture" refers to surfaces that are just beyond our
perceptual resolving power. "Microtexture" is a texture that is
most likely to be formed from machining or finishing processes.
The range of surface texture specified by ANSI B46.1 is 0 50 txm. This surface texture is called "microtexture". The range
of surface finish obtained by a milling process is 1-200 ~m
according to British Standard BS 1134 Part 1. Using a rigid
NC (numerical control) mill machine [7], a surface tolerance
of 10 Ixm can be easily achieved [8]. The texture under research
and development in this work falls in the "macrotexture" group.

2. Approaches to Create 3D Textured

Surface
There are three approaches to create surface texture. The
texture created from any of these approaches is mapped onto
a three-dimensional surface to form a textured surface within
the software ArtCAM. The three approaches differ primarily
in the source of the texture. The source of the texture refers
to the initial form of the texture representation. The first source
is from a two-dimensional image. The second source is from
a sample textured surface, which is three-dimensional, e.g.
produced by finishing processes such as sand blasting. The
third source is derived from a custom-made form defined with

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K. Y. Chow et al.

several texture parameters. Figure 1 shows the flowchart of the

three approaches for creating the textured surface.

of the texture in ArtCAM. This approach requires only one

step in transforming the source to the texture.

2.1

2.4

From Two-Dimensional Image to Texture

The two-dimensional textured image is obtained either by

scanning an existing textured surface or from the creation of
a computer graphics artist. The two-dimensional textured image
must be a grey-scaled image. This is because the development
of the image to the three-dimensional relief surface in ArtCAM
is made in relation to the colour intensity of the image. This
approach requires two steps for transforming the source to the
texture. The first step is to obtain a textured image that involves
the scanning process or the drawing process. The second step
is to create a relief image which is derived from the colour
intensity of the image.

2.2 From Sample Three-Dimensional Scanned

Surface to Texture
The sample textured surface is obtained from finishing processes like sand blasting and chemical etching. The threedimensional information of this textured surface is acquired by
a three-dimensional laser digitiser. The laser digitiser outputs
the surface information as a point cloud data. This point data
is then converted to the data format of ArtCAM which forms
the texture. This approach requires three steps. The first step
is to create the textured surface. The second step is to digitise
the textured surface. The final step is to convert the point data
obtained from laser digitiser to the data format of the texture.

2.3

Using Custom-Made Forms to Create Texture

The custom-made form is a map that contains several parameters used to define the characteristics of the texture. The
parameters of texture are next transformed into the data format

CustomForm
with Texture
Parameters

SampleTextured Surface
E
3D Scanner

2D Scanner

PaintBrush

2D TexturedImage t

i 3D Point Data I

ArtCAM

A~Read
+

I 3D ReliefSutthce

1 3D ReliefSurface I

ArtCAM
-A~CAM

Texture

ArICAM

3D Surface

Mapping

Textured Surface
Fig. 1. Approaches to creating 3D texture surfaces.

Evaluation of the Three Approaches

The first approach - from a 2D texture image - involves two

steps in obtaining the textured surface. The entire process of
creating the texture is purely software-based. The design of
the textured image is dependent on the skill of the artist.
Alternatively, the textured image can be extracted from the
sample images found in an application software such as Corel
Draw. However, not all textured images can be converted into
texture. This is because the conversion of the image to textnre
is made on the basis of the colour intensity. Some textured
images might not be suitable.
The second approach - from a sample textured surface involves three steps. This approach is more cumbersome than
the first one. As the creation of the sample textured surface is
time consuming, the time taken for the conversion from the
sample surface to the texture is longer than for the first
approach. The second approach can obtain good textural information from a laser digitiser. Thus, the texture created from
the source is more reliable than for the first approach, but the
accuracy of the textural information is dependent on the accuracy of the laser digitiser.
The third approach - from custom-made forms - involves
only one step. In terms of conversion time, this approach is
the fastest. It provides a more direct way for obtaining texture
in comparison to the other two approaches.

3.

Relief Generation Process by ArtCAM

The generation of a textured surface on a 3D shape can be

achieved using the software ArtCAM developed by Delcam
International. The textured surface developed is based on the
software library of ArtCAM. The textured surface can be
wrapped onto the three-dimensional relief generated from 2D
artwork. Figure 2 shows the flow process of converting 2D
artwork into a 3D relief.
The development of 3D relief by ArtCAM starts from 2D
artwork. The artwork data can be either in vector format or
bitmap format. The supported vector formats are "eps", "dxf'
and "pcx". The supported bitmap formats are "bmp", "gif',
"jpg" and "tif'. The next step is to assign colour to the
artwork; this is generally done with the artwork in vector
format. With the bitmap, some manipulation such as colour
reduction and colour linking is carried in the ArtCAM software.
The reduction of colour is to ensure the generation of smooth
3D surfaces.
The next step is to associate a unique shape profile to each
colour. There are three types of shape profile: flat profile;
slope profile; and curve profile [9]. Several parameters are
associated with these profiles such as the sloping angle for the
slope angle and the profile height for the flat profile. After the
profile is assigned to each colour, the 3D relief is then generated.
From the generated 3D relief, a cutter tool path can next
be generated. The generated cutter tool path can be displayed

Creating Machinable Textures ./'or CAD~CAM Systems

Artwork in vector data

~

Artwork in bitmap format

Colour assigned to the artwork

Bitmap manipulation
Associate shape to each cotour
Generate 3D relief from artwork

i,

Toopath Generation

Toopath Simulation
[--~>

Final Product

Fig, 2. Relief generation by ArtCAM.

and rendered. This can be simulated as the actual machined
relief. ArtCAM is ideal for making both the male and female
mould for mould production and 3D engraving shape.
Figure 3 shows the artwork and the generated relief for the
logo of the Jaguar car. The relief is generated from the profiles
associated with the colour. There several advantages in using
ArtCAM for logo production. First, the logo design can be
reproduced exactly. ArtCAM is useful for repeated work or
the maintenance of moulds. Secondly, the 3D surface finish
can be visualised before proceeding with the cutting of the
material. This will save production time, cost and material and,

27]

therefore, it is able to gain early customer acceptance of

design. Lastly, ArtCAM can quickly create a 3D product from
2D artwork.

4. Application of Texture from Textured

Image
Of the three approaches for creating 3D textured surfaces, the
second approach, where a sample textured surface is used,
simply involves converting the 3D scanned data to ArtCAM
data for texture mapping. As the texture is created from
computer graphics, creating a textured surface from a textured
image is a more general approach. The general process of
converting a textured image into a 3D texture is shown in
Fig. 4.
From the textured image, the colour paiette of the image is
checked, if the image is not in the grey scale, the image is
converted into the grey scale format. Next, the user will be
prompted for the maximum height of the texture to be generated. Using the maximum height, the height scale is evaluated
from subdividing the maximum height by the number of
colours of the image.
The next step is to assign the computed height scale to
colours. Then, the texture relief is generated from the colour.
Finally, the texture relief is mapped onto the base relief to
form the textured relief.
Figure 5 shows 2D artwork and the generated base relief.
The artwork is created by typing in English letters and Chinese
characters. The letters and characters are in vector format. By
filling the outline of the letters and characters with different
colours, the bitmap artwork is created (as shown in Fig. 5). A
different profile shape is assigned to a different colour. With

Fig. 3. Artwork and generated relief of the Jaguar logo.

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K. Y. Chow et at.

I Textured image

I Check for image colour palette type I

final product. The texture is excluded from the lettering of the

relief, as intended.
With this final relief, the tool path can be generated with a
specified cutter type and size. Figure 8 shows the machined
part of the final relief. The texture on the machined part
(Fig. 8) is exactly the same as the computer-generated relief
(Fig. 7).

Convert Mmage~o grey sca e

Yes

Sub-divide maximum height

I Assign height scale to each colour I

5. Design Considerations for CustomMade Forms

The custom-made form for textured surfaces is designed for
two types of texture: regular and irregular. Several factors need
to be considered in the design of the custom form for the
texture. These factors will govern the internal representation
and the external interface of the texture custom form and
concentrate mainly on practicality and feasibility.

I Generate texture relief I

,L

I Map texture relief to base reliefI

Fig. 4. Converting textured image to texture relief.
the shape associated to each colour, the base relief is generated
as shown in Fig. 5. With the bitmap textured image as shown
in Fig. 6, a texture relief is generated.
The final part is created by mapping the generated texture
relief onto the base relief. Figure 7 shows the relief of the

Fig. 5. Two-dimensional artwork and generated relief.

5.1

Simplicity

The texture form should contain the optimal number of parameters to represent the texture efficiently. The number of
parameters must be as small as possible so as not to confuse
the user. Parameters must not be inter-dependent, that is, the
value of one parameter must not be dependent on the value
of another. If this is not possible, the interrelationship between
the parameters must be kept to the minimum. This is to ensure
that the user can easily understand the custom-design form
and thus be able to apply the form to create the texture.

Fig. 6. Textured image.

Crea~ing Machinable Textures .liar CAD~CAM Systems

273

Fig. 7. Computer-generated relief.

5.2 Easy Computation

The computation of the textm'e information must not be too
time consuming. The longer the time taken to compute the
texture, the slower would be the design of the part. Consequently, the time-to-production would be prolonged, and ultimately this wo~ald reduce the competitiveness of the product.
Therefore, the computation of the texture should be as fast as

possible, However, the calculation must be complex enough for

the representation of texture. This implies that the calculation of
the texture representation must be optimised.

5.3 Flexibility
The texture custom-design form must be able to create different
shapes for the texture pattern. However, this must be carried

Fig. 8. Machined part.

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K. E Chow et aL

out without compromising the time or complexity of the design.

This is to ensure that the design time for the texture would
not unacceptably increase the overall design time of-the product. The custom-design form must also permit ease of modification of the shape of the texture pattern. With the above two
features, the form will be flexible in both the design and
modification aspects.

5.4

Fine Representation of Texture

The custom form must be able to reveal the fine details of

the texture on a surface, and allow them to be displayed on
the computer screen. In addition, this fine detail must be
machinable on a CNC (computer numerical control) machine,
so that it can be machined into a tangible product.

6.

Regular Texture

The result of the regular texture designed is illustrated on the

base relief generated from the artwork as shown in Fig. 9.
With the artwork, the base relief is generated as shown in
Fig. 10. This relief is a smooth dome-like surface with some
lettering on it. The base relief is not textured.
The custom-made form of a regular texture is designed
based on the four design factors. The form is internally a 2D
10 x 10 grid map which is analogous to a 2D textured image.
Each value in the grid represents the height of the textured
surface. There are two additional parameters associated with
this texture map. These two parameters are the spacing and
the height scale. The spacing defines the distance between each
grid point in the texture map. The height scale shows the
height. The user interface for the form is shown in a dialogue

box in Fig. 11. This user interface is in the form of a dialogue

within a developed software programme. The programme
developed is part of the development framework of the software
(ArtCAM TM) developed by Delcam International PLC.
The shape of the textured pattern can be changed by
assigning numerical values to the grid of the texture map.
Inputting of numerical values to the texture map and changing
of the numerical values are done frequently during the design
stage of the texture pattern. Thus, a set of templates is created
to assist the user to create pattern, which can speed up the
design and creation of the pattern. In addition, these templates
provide some guidance to the user on how to use the form.
The created templates include the round, sphere, null, square,
triangle, diamond and the prism blocks. The round block
template creates cylindrically shaped texture patterns. The
square block template produces rectangular shaped texture patterns. The diamond block template creates diamond-shaped
base block texture patterns. The sphere block template creates
semi-spherical shaped texture patterns. Figure 11 shows the
relief mapped by the generated texture pattern created by the
sphere block template, The prism block template creates a
square based pyramid texture pattern. All the shapes designed
for the texture patterns are tile-mapped onto the surface.
By combining the generated relief (Fig. 10) and the textured
mapped relief (Fig. 11), the final relief is created as shown in
Fig. 12. The creation of the final relief is achieved by merging
the higher height value of the two reliefs. Figure 13 shows the
machined part of the relief. The machined regular texture is
similar to the modelled relief. Thus, the regular texture created
is machinable.

Fig. 9. Artwork for final relief,

Creating Machinable Texturesfor CAD~CAM Systems

275

Fig. 10. Generated relief.

Fig. 11. Dome-like relief mapped with regular texture.

7.

Irregular Texture

Apart from regular textures, the other form of texture is the

irregular texture. For natural objects, most of the textures
appear in irregular forms. Some examples of irregular texture
are animal skin, marble, stone and wood surfaces. Irregular
texture does not exhibit pattern properties like placement rules
and texture element shapes.

Figure 14 shows the artwork of a dinosaur. The ~xue shape

of the dinosaur is not generated from the artwork. The artwork
can only generate a relief which has a 3D image of the
dinosaur. Figure 15 shows the generated relief of the dinosaur.
The skin of the dinosaur is smooth, but generally, the skin of
a dinosaur is not smooth. Therefore, creating a texture for the
skin of the dinosaur is essential to make the relief model as
realistic as possible.
The design factors for the custom-made form of irregular
textures are similar to those of regular textures. The dialogue

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K. Y. Chow et al.

Fig. 12. Final relief mapped with regular texture.

Fig. 13. Machined model of the final relief.

box, as shown in Fig. 15, is the user interface for custommade forms of irregular textures. The form consists of four
parameters, namely, the map size, the height range, the random
seed value and the texture-generating method. The generated
texture is basically a square relief with height values. The map
size is the dimension of the square relief in real units. The
height variation of the texture relief is very fine. The height
range value is between zero height and the maximum allowable

height of the relief. The height range parameter of the form

is the maximum allowable height of the texture relief.
The generation of irregular textures requires random fields.
The random seed value parameter of the form is the initial
value for the random field. The value of the seed parameter
can be a number or a character. Currently, two types of texture
have been developed. These are the lime stone and wood grain
texturing, more will be added in future.

Creating Machinable Textures for CAD~CAM Systems

277

Fig. 14. Artwork of a dinosaur.

Fig. 15. Generated relief of the dinosaur.

With the map size value set to 10 mm and the height range
value set to 0.5 ram, a texture relief is generated. The random
seed value for the generated texture relief is "monster". The
texturing selected is the wood grain, The generated texture
relief is to simulate the skin of the dinosaur. Figure 16 shows
the generated texture relief for the dinosaur.
Using the texture relief as shown in Fig. 16 as the skin
texture, the texture is mapped onto the generated relief of the

dinosaur. Figure 17 shows the final relief of the dinosaur with

skin texture mapped on. The skin texture is mapped around
the dinosaur model except for the belly portion.
As compared with the relief without texture (shown in
Fig. 15), the relief with texture (Fig. t7) looks more realistic.
Fig. 18 shows the machined model of the dinosaur, which
looks very much like the computer displayed model, Thus, the
irregular texture created fulfils both requirements - good visual
display and machinability.

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K. E Chow et al.

Fig. 16. Textured relief for the dinosaur.

Fig. 17. Dinosaur relief mapped with texture.

8.

Conclusion

Texturing is very popular in computer graphics for the realistic

display of 3D surfaces. There is a need to produce textured
surface with 3D information for manufacturing purposes. Three
approaches for creating 3D textured surfaces have been
presented. The last approach, using custom-designed forms
with texture parameters, is the fastest and most direct.

Acknowledgements
This report is part of the documentation on the development
project of the software ArtCAMTM. This development project
is a joint project of Delcam International, the School of
Mechanical and Production Engineering of Nanyang Technological University and the GINITIC Institute of Manufacturing
Technology. This S$2 M development project is partly spon-

Creating Machinable Texturesfor CAD~CAM Systems

279

Fig. 18. Machined model of the dinosaur.

sored by the National Science and Technology Board, Singapore. The authors would like to express their appreciation to
Delcam International for approving the use of the library and
development framework of A r t C A M T M software.

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