612 - stylized design: a hands-on...
TRANSCRIPT
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612 - Stylized Design: A Hands-on Experience Doug Stainbrook, Solid Edge Field Support Team Leader, Siemens PLM Software
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4th Generation VLC
courtesy of Edison2
Agenda: 612 - Stylized Design: A Hands-on
Experience
Who am I?
What you will learn
Solid Edge capabilities
Demonstrations
Benefits of this topic
How to learn more
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About: Doug Stainbrook
Doug Stainbrook
Solid Edge Field Support Team Leader
Siemens PLM Software
Doug Stainbrook is the team leader for the Solid Edge Field Support
team. Before joining the Solid Edge team, Doug spent 10 years as a product
designer in the jig and fixture, automated machinery, plastic product, and
injection mold design industries. In 1999, he became a Solid Edge Application
Engineer in Pennsylvania, traveling the U.S. East coast, supporting resellers with
Solid Edge demonstrations and pre-sales support. In 2000, Doug moved to
Huntsville, Alabama, home of Solid Edge development to work in the Field
Support group.
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What you will learn
In this hands-on experience, we will explore modeling a stylized part using many
of the enhancements in Solid Edge ST6. We will look at how to use the tools in
ST6 to create smooth and flowing stylized parts like you see on the shelf at your
local department store. We will also take a look at some new visualization and
inspection tools to make sure that your part is exactly what you had in mind at
the beginning of your design process. If your company makes stylized
components, you will want to be sure to check this out!
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Surface Modeling
• Surface based features
• Edges Rule
• Curves a major part of
model definition
• Highlight lines
• Silhouette edges, flow lines
• But… surface shape is still important
• Edges and faces are mainly
Bspline based
• Typically start with a wire frame and
add surfaces
• Aesthetics is primary concern,
function is secondary
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Surface Modeling
• A Surfacing Approach
• Exact edge control
• Edges are developed through
character curves
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Surface Modeling
• Character Curves
• Hard Edges
• Actual edges used to help define the
“flow” of a surface
• Typically are of importance for
aesthetic definition
• Soft Edges
• Horizon edges are typically visible
from front, top, and end views
• Important in defining the overall
shape of the model
Hard Edges
Soft Edges
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Creating Curves
• 2D Curve
• Bspline Curve created on a sketch plane
• Creating by clicking 3 or more points
adds edit points and control vertices
• Click and drag to define a freehand curve
adds only control vertices
• Keep it simple!
• Less edit points make the curve
easier to adjust into smooth shapes
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Creating Curves
• 2D Curves can be simplified from the
Command Bar
• Increase the Degree to add more control vertices
to the curve
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Creating Curves
• Keypoint Curve
• Creates a 3-D curve through a set of two or more points
• The points can be points you create with the
Point command, keypoints on wireframe
elements and edges, or points in free space
• Endpoint tangency can be set and adjusted
depending on what it is connected to
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Creating Curves
• Curves can also be defined by:
• Cross Curves which are created by projecting 2
curves and determining their intersection for a
resulting curve
• Intersecting surfaces
• Projected sketches onto a surface
• Contour curves
• Sketching a curve directly onto a surface
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Curvature
• Curvature between faces can be defined as: (C0, C1, C2 or G0,
G1, G2)
• Sharp corner has no curvature continuity = C0
• Tangent Continuous = C1
• Reflections may have a
defining break between the
surfaces
• Curvature Continuous = C2
• Much more aesthetically
appealing reflections that
flow smoothly from one
surface to the next
• This is the most desirable type of continuity for
Industrial Designers especially for consumer product designs
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Curvature
• Curvature can be visualized using Curvature Combs
• On 2D Curves
• On 3D Curves
• Along U and V lines
• Along planes intersecting a surface
• Numerical reporting on radius
of curvature
• Adjustable magnitude and density
• Illustrates points of inflection
• Lines have infinite radius so
magnitude = 0
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Curvature
• Zebra Stripes
• Striping gives quick indication of continuous edges between
faces
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Curvature
• Tangent Continuous Rounds - C1
• Zebra Stripes align at the
edges, but do not transition smoothly
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Curvature
• Curvature Continuous Rounds – C2
• Zebra Stripes align at the
edges and form a smooth transition
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Curvature:
Solid Modeling –vs.- Surface Modeling
• With traditional solid modeling, designers typically use sketch
elements like lines and arcs to define extrusions and cuts in a
solid model
• Sketched fillets and rounds are tangent to lines and other arcs
• Can’t define curvature in the sketch element unless using
Bspline curves
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Curvature:
Solid Modeling –vs.- Surface Modeling
• The result is reflections that have abrupt changes and it is clear
to see where the curvature changes from one patch to the next
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Curvature:
Solid Modeling –vs.- Surface Modeling
• If this model was created using surface modeling techniques with
curvature continuous 2D and 3D curves, the result is much more
appealing!
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Typical Workflows
• Research
• Marketing, competitive analysis, ergonomic studies, etc.
• Ideation
• Create several 2D
fully rendered sketches
• 3 or so candidates
selected, 1 final
concept decided upon
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Typical Workflows
• Concept development
• Create physical model, foam, clay, etc.
• Product Development
• CAD - Control drawings, model, etc.
• CAE analysis, prototypes, etc.
• Production
• Manufacturing tooling
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Typical Workflows
• Step 1: Create Control Drawings
• Drawing 2D sketches on reference
planes or import
• Drawing 2D sketches in draft and
copy/paste
• Inserting graphic images and
tracing over
• Step 2: Use 2D geometry
to develop 3D curves
• Projections and Intersections
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Typical Workflows
• Step 3: Use 3D curves to develop surfaces.
• Some additional 3D curves are obtained from surfaces.
• It is common to use Strip Surfaces to ensure continuous
curvature across the mid-line on symmetric parts
• Over-Building surfaces is also common to
extend, trim and intersect surfaces to get
the final design
Strip
Surfaces
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Typical Workflows
• Step 4: Create a solid and add appropriate
solid based features
• Holes, stiffening ribs, rounds, thin wall
operations, and other solid
modeling features
• Step 5: Tweak
• Analyze curvature and
edge continuity
• Modify character curves,
surface tangency, etc.
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Surface Modeling Hands-on
• The goal is to finish modeling the body of a Jig Saw.
• Need to add a Swoosh feature to the main body
• Need to add a Headlight feature
• The Swoosh
• Open SawAssm.asm from the Design folder
• Change the config to 01-Jig Saw Body
• Change the Display to “Working”
• In-place-activate into the
DESIGN-JigSawBody.par
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Surface Modeling Hands-on
• Zoom in on the bottom corner and enable High Quality mode
• Show the SWOOSH SKETCH
• Create and Offset Surface of the main body
• 2.00 mm offset
• Project the SWOOSH SKETCH onto the surface
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Surface Modeling Hands-on
• Trim the surface with the projected
SWOOSH SKETCH
• Select the regions to remove
• Show Reflective Plane from
Surfacing Tab
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Surface Modeling Hands-on
• Uncheck the two design bodies (master checkbox)
• Create three Ruled Surfaces
• Normal to Face
• 2.50 mm
• Turn off reflective plane
• Mirror the geometry about the CENTER PLANE
• Select four bodies
• Stitch
• Round the edges 2.0 mm
• Check the JIG SAW BODY design body to display
• Union the swoosh to the JIG SAW BODY
• Part paint the swoosh feature Dull Black
• SAVE the part
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Surface Modeling Hands-on
• Offset the upper front black face 1.00 mm
• Copy the inside surface of the handle
on the same side
• Hide the design body and show the
HEADLIGHT PROJECT SKETCH
• Go to a Front View to see how the sketch will start the design
• Project the sketch onto the offset surface
• Hide the sketch and show the
HEADLIGHT SIDE PROFILE sketch
• Create an extruded strip surface from this sketch
• Hide the sketch
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Surface Modeling Hands-on
• Create a Keypoint curve starting at the top of the
strip surface and ending at the projected sketch
• Add two keypoints in the middle as you create the curve
• Set the top end tangency condition to
Tangent Continuous and the lower end
tangency condition to Curvature Continuous
• Switch to a Right view and drag the nodes
like shown
• Hide offset surface
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Surface Modeling Hands-on
• Create a BlueSurf from the curves to the Strip surface
• Click Preview
• From the visualization options
• Check “Show Visualization”
• Check “Show tangency control handles”
• Uncheck Direction 1
• Preview the BlueSurf
• Slide the Magnitude handle for
Direction 2
• Now change the tangency condition on
the strip surface side to Tangent
Continuous
• Note the curvature comb changes
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Surface Modeling Hands-on
• Insert a Sketch
• .35 along the strip surface profile curve
• Finish the BlueSurf
• Edit the profile of the inserted sketch
• Simplify the curve
• Make the top edit point H/V with the endpoint
• Use Local edit to move the next point to
make the curve more rounded
• Hide the strip surface, curves
sketches and BlueDots
(Quick access toolbar)
• Turn on the Reflective display (F4)
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Surface Modeling Hands-on
• Show the Angle Plane
• Create a Ruled Surface around the
curved edge
• Use “Taper to Plane” option and
select the Angled plane
• 21.00 mm x 2.00°
• Disable Reflective display (F4)
• Use Intersect command to trim the Ruled
surfaces and Copied surface to each other
• Mirror copy part the three surfaces
about the CENTER PLANE
• Stitch into a solid
• Creates a construction solid
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Surface Modeling Hands-on
• Toggle the Construction to a Design body
and rename to HEADLIGHT
• Show the JIG SAW BODY (it should be active)
• Boolean Subtract the HEADLIGHT from the JIG SAW BODY
• Hide the JIG SAW BODAY and Activate the HEADLIGHT
• Show the HEADLIGHT CUTOUT sketch and
select the cutout command
• Select from sketch
• Cut 20.00 mm deep
• Hide the sketch
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Surface Modeling Hands-on
• Use Redefine surface to create an editable surface in
the cutout area
• Check the Replace Face option in the options dialog
• Insert a sketch coincident with the CENTER PLANE
• Edit the curve to make the face slightly concave
• Hide sketch and plane
• Thin Wall the HEADLIGHT body and
leave the back face open
• 2.00 mm
• Add a circular cutout for a bulb
under the ledge of the
HEADLIGHT feature
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Surface Modeling Hands-on
• Add a Keypoint curve down the center of the opening
• Curvature Continuous at the top (default value is fine)
• Normal to Face at the bottom (-.010)
• Add a BlueSurf (to create a lens)
• Add the Keypoint curve as a Guide Curve
• ADD a new body – LENS
• Thicken the BlueSurf .200 mm in both directions
• Use Part Painter to make the Lens
body feature Glass
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Surface Modeling Hands-on
• Make the JIG SAW BODY the active Body
• Boolean Union the JIG SAW BODY and the HEADLIGHT bodies
• Hide ALL Surfaces, curves and sketches
• Add a 2.00 mm radius to the HEADLIGHT area
• Add a 10.00 mm to the intersection
between the bodies
• Part Paint the HEADLIGHT and
round Features Black (Dull)
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Surface Modeling Hands-on
• Set the view style to High Quality
• Enables Bump Maps
• In Face Styles, add a pebble bump
map to the _Rubber Grip style
• Use Part Painter to paint the
top two surfaces of the handle
grips with _Rubber Grip
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Surface Modeling Hands-on
• CONGRATULATIONS!