The QuickPick Figures (QPF) by New World Graphics is a CAD Interface application that contains articulated 3D models of human figures, clothing and related articles. The interface provides an easy way to load models, clothing and accessories in your CAD program. QuickPick Figures facilitates the exchange of model textures, such as clothes fabrics and other finishes, with just a few mouse clicks. The interface also serves as a pictorial catalog of available models.
The program and the instructions have been written for DesignCAD 3D. Since all CAD programs work differently, the terminology may vary, so please use your judgment in interpreting the various terms, e.g. handle = point of manipulation (insertion or rotation).
Before you start:
CAD Differences: Before you start, be aware of how the specialized features of your particular CAD program operate. Here are some examples: TurboCAD: When adding another figure into the scene, move the initial figure aside, so that the second figure will not load on top of it. Each new item of clothing or a figure that you will introduce into the scene will bring its lighting properties. Therefore, you must keep adjusting the scene lighting; otherwise the scene will be overly lit. 3D Studio: 3D Studio is not a backward compatible program. QuickPick Figures has been designed so that older programs can be used. In the new programs, you will get a message "Obsolete format". This message can be ignored and once the scene is saved, it will be saved in the native format. The QuickPick Interface will exchange the properties of the model, like the fabrics, but programs like 3D Studio Viz will not reflect the changes instantly. To view the change, save and reload the identical scene. (*) In the newer programs, the scene will adjust to the changes made by the QPF Interface automatically as soon as you click on the screen. File Location: Each program uses a pre-determinate path for location of models, meshes, texture maps and so on. For a smooth operation and that you do not have to browse with your CAD program for each model; the path to models and the images (textures) should be edited. File location is changed in your CAD program options. The path to the models (drawings) and to the textures (images) should be set to \QuickPick Figures\Current Scene.
Getting Started:
Interface Menu: The menu offers four group options: Group1, Group2, Men and Women. The Group1 assembles together Man1, Man2, Woman1 and Woman2. The Group2 assembles together Man3, Man4, Woman3 and Woman4. The Man group assembles together all four men and the Women group assembles together all four women.
To start working: 1. Open the QPF program and from the menu above, select the group most suitable to your project. 2. Click on the figure of your choice. This will load the figure into the Current Scene directory, (\QuickPick Figures\Current Scene), and at the same time, choices of fabrics for the default attire will appear in the adjacent column. 3. Now you can open the figure model with your CAD program. The model will render with the default fabrics, skin, hair and eye colors. 4. To make a change to the default fabric, click on a fabric of your choice. This will replace the existing fabric texture. The model will render with your new choices the next time you render the scene. (*) The second image in the model column is the head. Clicking on the image of the head will bring up the choices for the dressing of the head, like hair and eye color for example. In summation: Clicking on images of models or textures initiates changes in the Current Scene directory. 1. Clicking on a model image will load the model. 2. Clicking on an image of a texture will add or replace the model finish. Note: Every time you load a new model, you must load a texture for it. Exceptions: This rule does not have to be observed when replacing for example one blouse with another, since the textures for the blouses or shirts are same.
General Rules applicable to all CAD programs:
Saving your work: Step 1: You must immediately rename and save your drawing with your project name after loading the initial figure! For example when loading the Man1 to start your animation, save the Man1 as Scene1 for example. If you work with the Man1 without renaming it, it will be overwritten when you would click on the image Man1 again in the QPF Interface. Step 2: Once your scene is completed, move the drawing and all related textures to another folder. Assembling Scene with more than one figure: One fundamental rule that you should observe: Dress and animate each figure before you put it into the scene. Adding or changing clothing once the figure is placed into the scene is virtually impossible and animating positioned figure may be very difficult.
THINGS TO KNOW
RESTORE - If the textures for the default fabrics, eyes and hair were deleted from the "Current Scene" directory, click Restore here to restore them.
AUTO HELP - This feature can be disabled or enabled. Click your choice here: Disable or Enable
INSERTIONS, ANIMATION AND ROTATIONS
Key points for object insertion and body parts animation:
Points of insertion:			Head rotation:			Points of rotation:
All items of clothing share the same point of insertion. It is the junction of all vertical lines that make up the torso.			The point for the head rotation is pictured in the image above. The head rotation should be limited to 15 degrees maximum.			All body parts have one or two points around which they should be rotated. The "end" body parts, like the feet or the ends of the fingers have only one rotation point.

Animation: The image below shows how a leg is animated to a running position. The proper animating procedure is described here.
	1.	First, the whole leg must be selected and the point of rotation must be set. The whole leg is then rotated to the desired degree.
	2.	The thigh is de-selected and a new point of rotation is set. The lower leg is rotated to the desired degree.
	3.	All but the foot is deselected and a new point of rotation is set. Foot is rotated to the desired degree.
		When rotating any body part, it is a good policy to maintain easy to remember angles, e.g. increments of 5 or 10 degrees. This is particularly important with compounded rotations done on more than one axis.

Animating dressed figure:

Presumably, in most cases you will be animating clothed figure. It is highly advisable that you dress the figure before any body rotations take place. Reason 1: It is very difficult and time consuming to place a piece of clothing on animated figure. Most likely, you would not be able to duplicate the body parts rotations with the clothing articles. Reason 2: The clothe articles offer limited movements and unless the angles match very closely, the body parts will not align and will show through. Reason 3: The "Rotation points" of clothes do not match to rotation points of the body parts so you can not for example place and rotate the bottom part of a sleeve jacket using the forearm rotation point. When animating a dressed figure, the points of rotation must be assigned to the clothes parts, NOT TO THE BODY PARTS, so that for example to animate a man's arm you must select the complete arm including the sleeve.  To animate a sleeved arm, the first point of rotation is set to the key point on the upper sleeve for the first phase of animation and to the key point of the lower sleeve for the second phase of the animation. To prevent errors when setting points of rotations, (handles), it may be necessary to zoom several times to prevent snapping to adjacent grid lines intersections.

Tips for efficient animation:

Most clothes are designed to accommodate related garments, e.g. a mans' jacket sleeve will completely hide the shirt sleeve; however, it is a good policy to remove the clothing articles that will not or should not be visible. If you will need to animate a person into a certain position with clothes and then show the person without the clothes and vice-versa, the clothing can be made invisible (turned off and on) by hiding its layers.

Changing skin color:

You can have a scene with up to four men and four women, but you will be limited to two men with light skin, one with darker skin and one with darker skin yet. The same ratio applies to women. If your work will require for example three or four white males, or vice versa, you will have to make changes to the skin of the other two men. Since each skin texture is applied over its own material properties, the "material properties" has to be changed as well. Skin1 uses Skin1 material, Skin2 uses Skin2 material and Skin3 uses Skin3 material. Both, the texture and the material have to be changed. Make sure that you do not apply these changes to hair, eyes and on women, hair, eyes, lips and nails. Note: you will not be able to use the skin color "see-through fabrics" on such edited figures, since the skin color of the fabrics will not match. For the future use of the edited figure, save it elsewhere, however you will have to load it manually.

Re-mapping body parts as clothing:

There are two instances when you would use body parts as clothing. The first instance is socks, and the second instance is to create additional clothing. When you create socks, change the material of the foot to "WhiteWhite" (DesignCAD) material first and replace the Skin1 (2 or 3) with the fabric of your choice. In some cases, you can re-map the upper arms to create sleeves or remove the bottom parts of the trousers to create pants like knickers, (like the classic golf pants) for example.

Hand - complex animation:

The hands on the figures are suitable for most animation, but thay may be too narrow to hold objects. Using the Hammer (deform) command, you can adjust the span between the thumb and the index finger. For a very complex animation of the hand, load "HandStraight" drawing from the Models/Man1 and Models/Woman1 directories. This is a drawing of a hand with wider span between the thumb and the index finger so that it can hold objects. All fingers are perfectly straight, so that finger rotations can start from 0 degree position. Hand (palm) rotation: Since both cross sections of the wrist and forearm joint are oval rather than round, the hand should not be supinated or pronated, (twisted), in the respect to the forearm. The hand can be rotated up, down, left or right, but twisting palm around the forearm axis would create an unnatural transition between the two body parts. For this type of motion supinate or pronate the whole forearm. Note: Before animating fingers, it is a good practice to rotate the whole hand first into a vertical or horizontal position. If this is done, the finger rotation around its axis will be in proper respect to the palm position.