Designing With Style

8/13/2019 Designing With Style

1/40

Lesson Objective: In this lesson, we will introduce the ISDX module, talkabout the importance of free-form design and its fit with traditionalPro/ENGINEER design elements.M c tiu Bi h c: Trong bi h c ny, chng ti s gi i thiu m un ISDX, niv s quan tr ng (c a) thi t k v s ph h p (ca) n m u (d ng)- t do v iPro truy n th ng/ nh ng ph n t Thit k K

ART TO PART

Ngh thu t Chia ra

When Pro/ENGINEER burst on the scene, it was a revolutionary way to design

mechanical components. The biggest difference between Pro/ENGINEER andits competition at the time was the way in which you approached solid modeling.

Khi no Pro / Thi t k s n trn c nh, itwas m t cch cch m ng Thit k nhng thnh ph n c kh.~ S khc nhau l n nht gia Pro/ K s v cuc thi(ca) n lc l cch m trong (ci) bn tip cn nht tr lm m u

AutoCAD had been around for years, but was limited to two-dimensionaldesign. Other three-dimensional modeling packages used a Boolean approachto design. In other words, you created primitives (spheres, rectangles, cylinders,rounds, chamfers, holes, etc.) and either used them to add material or cut-awaymaterial.

AutoCAD c c vng quanh trong nhi u nm, nhng c gii hn ti thit k hai chi u.~ Nhng gi lm m hnh ba chi u khc s dng mt cch ti p cn " is Boole " thit k.~ Ni cch khc, b n to ra nh ng nguyn th y ( Nhnghnh c u, nhng hnh ch nht, nhng hnh tr S, Nh ng gc ln, nh ng l vnvn.) v hay s dng h thm v t cht hay c t - ra khi vt cht.

Lesson

1


2/40

Pro/ENGINEERs approach to modeling was to sketch a two-dimensional profileand then perform an operation to that profile, such as extrude, revolve, sweep,blend, etc. It also had some primitive sort of features, such as rounds, chamfers,shell, etc. that did not require a two-dimensional sketch. These were referred toas Pick and Place features.

Pro/ K ss cch tip cn ti lm m hnh s phc th o mt mt ct hai chi u vsau thc hin mt thao tc t i mt ct , nh y ra, quay trn, qut, ha h p,vn vn.~ N c ng c nhng loi c tnh, such " nguyn th y " no nh S,Nhng gc ln, v vn vn. m khng yu c u mt bc ha hai chi u.~ yc tham chi u ti nh nhng c tnh " La ch n v Ch "

By allowing the user to sketch a profile, it opened up the ability to deal with morecomplex shapes and create more complicated products in less features than atraditional Boolean system.

Bng vic cho php ngi s dng phc th o mt mt ct n c m ra kh nng gii quyt nhng hnh d ng ph c tp hn v to ra nh ng sn phm phctp hn trong t nhng c tnh hn mt h thng i s Boole truy n thng.

Regardless of the method by which you created mechanical components, most (ifnot all) of these systems required dimensional information to define the size andlocation of the features. For a design that is ultimately used in manufacturing, thisis critical. Without dimensions, manufacturers would not be able to make theparts.Bt chp ca phng php bi bn to ra nh ng thnh ph n c kh a s ( Nu Khng ph i l mi th) Ca thng tin kch thc i hi nhng h thng ny nh ngh a kch thc v s nh v (v tr) (ca) nh ng c tnh.~ (Cho) m t

thit k m (th) cu i cng c s dng trong s sn xut, y ph bnh.~ Khngc nh ng kch thc, nh ng nh s n xut khng c kh nng lm nhng ph n.

A New Era Mt Th i i M i

With the widespread use of CNC (Computer Numerically Controlled) Machiningtools, the ability to design complex products with less emphasis on dimensionsbecame easier. CNC tools use X, Y, and Z coordinate data to define the shape,so any volume in 3D space could be calculated without using a single dimension.

Vi s s dng CNC lan r ng (My tnh B ng s Kim sot) ch to nhng cngc, kh nng thit k nhng sn phm phc tp Vi t nhn mnh hn trn nhngkch thc tr nn d dng hn.~ Nhng cng c CNC Tumourse X, Medicine,V Z D liu ta nh ngh a hnh dng, v vy bt k th tch (m lng) notrong khng gian 3 chi u c th c tnh ton khng c vi c s dng mt kchthc n. When this happened, there became a greater emphasis on the look of the productthan merely the function of the product. Aesthetics in design gave birth to thedistinction between industrial design and traditional engineering. This was most


3/40

evident in the automotive industry, as concept cars started to have more curvesand bubbles than angles and straight lines.Khi (ci) ny x y ra, tr nn m t nhn mnh ln hn trn ci nhn (ca) snphm so v i n thun Chc nng (ca) s n phm.~ M hc trong thi t k gavebirth t i s phn bi t gia thit k cng nghi p v truy n thng sp t.~ y

(th) hin nhin nh t trong cng nghi p t mt, nh nhng t khi ni m btu c nhi u ng cong v nh ng bt hn nhng gc v s ngay th ng k.

There was still a major division between the Art and Part of design. Artistscreated hand sketches, or some minimal electronic sketches that defined theultimate look of the product, but it was left up to the engineer to bring this ideadown to something that could be manufactured and hold up to the daily use of theproduct.Vn cn c m t b phn chnh gi a " Ngh thut " v " Ph n " (ca) thit k.~Nhng ngh s to ra nh ng bc ha bn tay, ho c cc tiu no in t phcha m nh ngh a(xc nh) Tumourltimate ci nhn (c a) s n phm, nhng nc li ti k s a tng ny xu ng cho ci g m c th c snxut v a ln ti s s dng hng ngy (c a) s n phm

Alias|Wavefr on t B danh| M t sng

As computer technology became better, so did the ability for people to capturerealistic renderings of objects. In the entertainment industry, Alias|Wavefront hasbeen a leader in creating computer animations that simulate realistic places andobjects. Many of the science fiction and anime productions today take advantage

of this technology to create breathtaking imagery and amazing realism, mixingreal-life footage with computer-generated sequences and events.

As cng ngh my tnh tr nn t t hn hn, kh nng (cho) nhng ngi cngvy bt nhng trt lt hi n thc (ca) nh ng i tng.~ Trong cng nghi p trgii tr, B danh | M t sng l m t lnh o Trong vi c to ra ho t cnh my tnhsiu m phng nh ng ch v nh ng i tng hin thc.~ Nhiu khoa h cvin tng v nh ng s sn xut anime hm nay t n dng cng ngh ny ()to ra hnh t ng ly hi v lm kinh ngc ch ngh a hin thc, cnh quan th ctr n vi nhng chu i v nhng s kin c pht sinh b i my tnh

In the manufacturing industry, companies can produce startling images ofproducts months or even years before the product is ever released. The problemhas always been the Art to Part aspect of using the technology.Trong k ngh ch to, nh ng cng ty c th sn xut git ny mnh nh ng nh(ca) nh ng thng nh ng s n phm hay th m ch nh ng nm trc khi sn phmc tng gii phng.~ V n C lun lun L " Ngh thut Chia ra " Khacnh ca vic s dng cng ngh .


4/40

Data Transf er S di chuy n d liu

With Industrial Designers using Alias|Wavefront, and Product Engineers usingPro/ENGINEER, it is required that some data transfer occur. There are a numberof national and international data exchange formats available (IGES, STEP, VDA,

DXF, etc.) and there is even a special Alias-Pro exchange format (Granite) thatexists. The problem, however, is on the Alias side.With Nhng nh thi t k cng nghi p s dng B danh| M t sng, v nh ng k sSn phm s dng Pro/ K s, n c yu c u s di chuyn d liu no xut hin.~ C m t s khun d ng trao i d liu quc gia v qu c t sn c( Nhng globulin mi n dch E, Bc VDA, DXF, vn vn.) v c th m ch m tkhun d ng trao i Pro B danh c bit ( hoa cng) m tn ti. Vn , tuynhin, trn c nh B danh

A model in Alias|Wavefront is made up of edges and surfaces. There is no solidvolume in the renderings that we create. Because a solid volume is not required,the accuracy of the edge definitions is also not required. You can create twosurfaces that appear to touch, but actually have tiny gaps. When you create arendering of the model, you still get the result you are looking for.

Mt m hnh trong B danh| M t sng c to ra c a nhng mp v nh ng b mt.~ Khng c th tch (m lng) c trong nh ng trt lt m chng ti t o ra.~V mt th tch (m lng) c (th) khng ph i c yu c u, s chnh xc (c a)nhng nh ngh a mp cng (th) khng ph i c yu c u.~ Bn c th to ra haib mt iu "appear " ti s s m, nhng tht s c nh ng l hng nh xu.~Khi bn to ra m t trt lt (c a) m hnh, b n vn cn c k t qu bn tm kim

When you send this model to Pro/ENGINEER (through any of the exchange

formats), you end up with a surface model in Pro/E. By default, Pro/ENGINEERtries to look for a completely closed surface model in which to automaticallygenerate a solid model. When it encounters a single gap, it is unable to do this.

Khi bn gi m hnh ny cho Pro/ K s (xuyn qua bt k (ci) no c a nh ngkhun d ng trao i), bn kt thc ln trn v i mt m hnh b mt Pro/ E.~ B is h hng, Pro/ K s th tm kim mt m hnh m t ng mt cch y trong t ng pht sinh m t m hnh c no.~ Khi n g p mt l hng n, n(th) khng th lm iu ny.

The Product Engineer is then forced to attempt a surface fix of the part (whichcould be very simple, very difficult or impossible), or discard the importedgeometry and start a new model from scratch.

The K s Sn phm c bt buc c gng mt iu cn tr b mt (ca) ph n(m c th r t n gin, r t kh hay khng th t c), ho c vt b hnh h cnhp khu r i v bt u mt m hnh m i t u.

If the Product Engineer decides to use the imported geometry, in any form, thenthe ability to make dimensional or shape changes drastically diminishes, since the


5/40

imported geometry can not be modified. Going back to Alias to modify this doesnot update the Pro/ENGINEER imported geometry.

Nu K s Sn phm quyt nh ti hnh hc nhp khu usethe, trong b t k mu(dng) no, th kh nng lm nhng s thay i kch thc hay hnh d ng quy tlit lm nh li, t hnh h c nhp khu khng th c sa i.~ i quay tr li B

danh iu ch nh (ci) ny khng c p nht Pro/ hnh h c nhp khu K s.

Finally, in Alias, you must be conscious of your global coordinate system,otherwise, the geometry, when imported into Pro/ENGINEER lies in an arbitrarylocation, away from the default datum planes and other geometry used to createthe solid model. This makes it very difficult for the Product Engineer to use thisgeometry, because it does not lie on an easily definable set of planes.

Finally , trong B danh, b n phi (th) c th c i vi h ta ton c u (ca)cc b n, cch khc, hnh h c, khi c nhp khu vo trong Pro/ nh ng li nidi K s trong mt s nh v (v tr) chuyn quy n, ra kh i t nhng my bayphn t d liu mc nh v hnh h c khc dng to ra ch t r n lm m u.~(Ci) ny lm r t kh (cho) K s Sn phm s dng hnh h c ny, v n khngni di trn mt s ng cng d dng c th nh ngh a (ca) nh ng my bay.

ISDX

Pro/ENGINEER already had a very robust surfacing toolset that enabled ProductEngineers and Designers alike to create very complex models. For the ProductEngineer, there is a comfort level with these tools, because they are still driven ondimensional information. For the Industrial Designer, these tools take away a bit

of the free-form creativity that they are used to in Alias|Wavefront. Pro/ K s c c Mt to mt toolset r t linh hot m cho php (cho) nh ng

K s Sn phm v nh ng ngi thit k ging nhau t o ra nh ng m hnh r tphc tp.~ (Cho) C thcuct K s, l mt mc tin nghi vi nhng cng c ny, b i v h c iu khin cn trn thng tin kch th c.~ (Cho) nh thi t k cng nghi p, s cm nhng cng c ny ra kh i mt mu sng t o " mu (dng)-t do " m h c s dng Bigly print B danh| M t sng.

Because of this, there is still the division of labor, and software toolsused. Pro/ENGINEER knew the importance of creating a seamless tool thatwould have the feel of a designers tool, but be embedded into the parametricworld that generates manufacturable products. This is where the InteractiveSurfacing Design Extension (ISDX) module comes into the picture.

V Auntief (ci) ny, cn l b phn (ca) lao ng, v nh ng dng c phnmm c dng.~ Pro/ K s Bit s quan tr ng ca vic to ra m t cng c khng ghp n i m c c m xc (c a) mt ngi thit ks cng c , nhng (th)nhng vo trong th gii tham s m pht sinh nh ng sn phm sn xut.~ y l u s X l b mt Tng tc m un M r ng (ISDX) Thit k t n vo


6/40

trong Bc tranh

With this tool, you can create three dimensional curves and surfaces, devoid ofany dimensions, and combine them to generate very robust solid surface modelsor features that can be used with other traditional Pro/ENGINEER features to

create a final product model. By utilizing the ISDX tools in the beginning, theDesigners can create the free-form models that they need. The Product Engineer,working with a native Pro/ENGINEER file, can then turn this free-form model into afinal product, complete with a detailed drawing.

Vi cng c ny, b n c th to ra ba ng cong kch thc v nh ng b mt,tr ng r ng bt k kch thc no, v k t hp h pht sinh b mt c r t linh hotModels hay nh ng c tnh m c th c s dng vi Pro truyn thng khc/nhng c tnh K s to ra m t thnh ph m lm m u.~ Bng vic dngnhng cng c ISDX trong s bt u, nh ng ngi thit k c th to ra nh ngm hnh m u (dng)- t do m h cn.~ K s Sn phm, lm vic vi mt Probn ng/ h s K s, c th r i quay m hnh m u (dng)- t do ny vo trongmt thnh ph m, y vi mt bn v chi tit.

If a design change is required,(and it always is), the Designer or Engineer can editthe ISDX features, and these changes will propagate all the way through to thefinal product without a single transfer of data.

If mt s thay i thit k c yu c u,( v n lun lun), Ngi thit k hay K s c th son tho nhng c tnh ISDX, v nh ng s thay i ny s sinh s nsut dc ng xuyn qua t i thnh ph m khng c m t chuyn i n (ca) d liu

BREAKDOWN THE DIVISION OF LABOR

S c B ph n (c a) Lao ng

With aesthetics becoming more important to the customer than ever before, wecan no longer ignore the division of labor that has existed between IndustrialDesigners and Product Engineers.

Vi m hc tr nn quan tr ng hn i vi khch hng so v i bao gi trc y,chng ti c th khng cn l i b phn (ca) lao ng m tn ti gia nh ngnh thi t k cng nghi p v nh ng k s Sn phm.

Industrial Designers, while still focused on the look and feel of the final product,must also become more aware of the manufacturing side of the equation. It isimportant to know how you are going to create the product so you can designrealistic product features into your model. You also must be aware that changesto your design may need to occur for structural as well as manufacturing


7/40

reasons. Just because you love the look of the product doesnt mean that it isgoing to function the way you want it to, or be realistic to create.

Nhng nh thi t k cng nghi p, trong khi v n cn t p trung vo v ngoi c athnh ph m, ph i cng tr nn th c hn ca cnh sn xut (ca) phngtrnh.~ Quan tr ng bit bn s to ra s n phm nh th no sao cho b n c th

thit k nhng c tnh s n phm hin thc vo trong m hnh (c a) cc b n.~Bn c ng phi thc m thay i ti desi (c a) cc b ngn c th cn xut hin(cho) thu c kt cu c ng nh sn xut nhng l do.~ Ch bi v bn yu ci nhn(ca) sn phm doesnt c ngh a rng n s vn hnh cch m b n mun n t i,hay (th) hi n thc to ra. Product Engineers, while still focused on the manufacturability and usability of theproduct, must now consider the aesthetics of the model. It is not merely enoughthat you can get a surface feature to work, you must also understand theboundary conditions and the curvature of the surface, and how it reacts tolight. Nothing could be worse than a product that looks and functions like itshould, but contains unsightly shadows and obvious seam lines and bumps thatresulted from poor surface continuity. This will make all the difference in theworld when a customer can choose between two similar products on the shelf.

Sn phm sp t, trong khi v n cn t p trung vo s sn xut v tnh kh dngca S n phm, ph i by gi xem xt m hc (ca) m hnh.~ Khng ph i nthun l b n c th a mt c tnh b mt ti cng vic, bn phi cng hiunhng iu kin bin v u n cong c a b mt, v N ph n ng li nh th no chiu sng.~ Khng c g c th Xu hn So vi mt sn ph m m nh ng cinhn v nh ng ch c nng thch n Cn phi, Nhng cha ng nh ng hnh bngkh coi v s khu hi n nhin k v xc ln m k t qu t tnh lin tc b mtngho.~

It is with this statement, that we must proceed to teach Product Engineers how touse ISDX to capture Design aesthetics, while we teach the Industrial Designer touse ISDX as an alternative to Alias|Wavefront to generate visually appealingproduct models without compromising the ability to seamlessly transfer over to amanufacturing design tool.

N vi s pht bi u ny, m chng ti ph i theo ui dy r ng S n phm spt lm sao t i useISDX bt m hc Thit k, trong khi chng ti d y nh thi tk cng nghi p s dng ISDX nh mt gii php t i B danh| M t sng phtsinh S n phm tr c quan kh n thit m hnh khng c vi c tha hip kh nng tichuyn i khng ghp n i qua t i mt cng c Thit k sn xut.

ACCESSING ISDX Truy nh p ISDX There is a single tool in Pro/ENGINEER for ISDX, called Style . It looks like thefollowing icon on the feature toolbar.C mt cng c n Pro/ K s Cho ISDX, Gi l Kiu.~ N trng nh biutng sau y trn thanh cng c c tnh.


8/40

You can also access this through Insert, Style from the menu bar. When workingin the style feature, you can create as many entities as you need to in a single

style feature. It is recommended that you create at least the minimum number ofentities to create a single style surface. This will become more evident as we getinto the training.

Bn c th cng truy nhp s Insert, Style t thanh th c n.~ Khi lm victrong c tnh kiu, bn c th to ra nhi u thc th nh bn cn Bigly print Mtc tnh kiu n.~ N c khuyn co iu bn To ra ti ti thiu b mts lng nh ng thc th to ra m t kiu n ti thiu.~ (Ci) ny s tr nnhin nhin hn khi chng ti vo trong s hun luyn .

Style Toolbars and Menus Nhng thanh cng c Kiu v nh ng th c n The style feature has icons and menu items all about the user interface. In thefeature toolbar, you have the following icons that are related to the style feature(shown at the top of the next page).

c tnh kiu c nh ng biu tng v nh ng tit mc thc n u v giao di nngi dng.~ Trong thanh cng c c tnh, b n c nh ng biu tng sau ym lin quan n c tnh kiu (c cho th y ti nh (ca) trang ti p theo) .

In the system toolbar, there are two sets of icons related to the stylefeature. These are shown below.

Trong thanh cng c h thng, l hai s ng cng (ca) nh ng biu tnglin quan n c tnh kiu.~ y c hin ra di.


9/40

Each of these icons will be described in greater detail in the coming lessons. Inthe menu bar, there is a Styling menu, which looks like the following whenexpanded.

Tng ci c a nh ng biu tng ny s c m t trong chi ti t ln hn trongnhng bi h c ang n.~ Trong thanh th c n, c mt thc n Kiu thit k,

m trng nh s theo sau khi m r ng.

Again, we will go into more detail about these menu items in the upcominglessons.

Xin nhc li, chng ti s i vo trong nhiu chi tit hn v nhng tit mc thc

n ny trong nhng bi h c sp n

LESSON SUMMARY Tm lc Bi h c ISDX is a module in Pro/ENGINEER designed to give the user (whether it is anIndustrial Designer or a Product Engineer) the ability to create free-form surfacesfrom three-dimensional curves, curves projected onto surfaces, or curvessketched on a two-dimensional plane all without needing a single dimension.

ISDX l mt m un Pro/ K s c Thit k a cho ngi s dng (liuc ph i l mt nh thi t k cng nghi p hay m t Sn phm S p t) kh nng to ra nh ng b mt mu (dng)- t do t nhng ng cong ba chi u, thepigeonrves c chiu ln trn nh ng b mt, hay nh ng ng cong phc h atrn m t my bay hai chi u- mi th khng c vi c cn mt kch thc n Designers must understand the downstream manufacturing operation andEngineers must understand the surface curvature and aesthetic nature of productdesign. By working in Pro/ENGINEER with ISDX, both Designers and Engineerscan accomplish both goals, and create robust models that adapt to changes mucheasier than using two separate software packages.

Nhng ngi thit k phi hiu Xui dng nguyn cng v nh ng k s phi


10/40


11/40

nhng tt mi c tnh ph n t d liu khc . We will start by going into the style feature by clicking on the following icon in thefeature toolbar.Chng ti s bt u bng vic i vo trong c tnh kiu bng vic kch vo bi utng sau y trong thanh cng c c tnh.

This will bring up the toolbars and Styling menu that we saw in the firstlesson. We are now ready to create our style curves.

(Ci) ny s mang trn nh ng thanh cng c v Kiu thit k thc n m chngti nhn th y trong u tin bi h c.~ Chng ti (th) by gi sn sng to rakiu (ca) chng ta u n cong.

NEW STYLE CURVES Nhng ng cong ki u m i We will begin by going to a TOP view. We should already see a grid laid out onthe TOP plane, as shown below. This grid is referred to as the Act ive Plane .Chng ti s bt u bng vic i n mt thng din.~ Chng ti c n phi tin mt li c t trn my bay nh, nh c cho th y di.~ Li nyc tham chi u ti nh My bay Tch cc.

We will turn off the view of datum planes now to make it easier to see what we aredoing. We will then click on the new style curve icon, which looks like thefollowing.

We s tt quan ni m v nhng my bay ph n t d liu by gi lm d dnghn nhn thy ci g chng ti lm.~ Chng ti s r i kch vo bi u tng ngcong kiu mi, nhng ci nhn no nh s theo sau


12/40

The dashboard for the New Curve will appear, as shown below.

Dashboard (cho) ng cong M i s xut hin, nh hin ra di.

For this example, we will create our four curves on the existing ActivePlane . Therefore, we will select the Planar option in the dashboard.

(Cho) v d ny, chng ti s to ra b n ng cong (c a) chng ta trn My bayTch cc hin hu.~ Bi vy, chng ti s la ch n ty ch n Plan Trongdashboard. We will then use the left mouse button to pick three points, as shown in the figurebelow. As we click on point two, a straight segment appears between points oneand two. When we pick on point three, the curve updates to remain tangent to allthree points. This is just like a Spline in sketcher mode.

Chng ti s r i s dng nt chu t tri nht ba im, nh avo hnh di.~ Nh chng ti kch vo khng phy hai, m t on thng xut hin gianhng im Mt (v) hai.~ Khi no chng ti Pick trn khng ph y ba, ngcong c p nht li tip gip t i tt c ba im.~ y l ging nh mt Thenchm trong ki u ngi phc th o.

We can see a purple filled dot at each point we pick. Once we have picked thethird point, use the middle mouse button to complete this first style curve. DoNOT click on the middle mouse button again, or it will finish the entire stylefeature. We want to remain active in this style feature.

Chng ti c th nhn th y mt mu ta b y ca hi mn ti mi im Chngti S la ch n.~ Mt ln chng ti nh t im th ba, s dng nt chu t giahon thnh ng cong ki u u tin ny.~ Khng kch trn nt chu t gia lnna, hay n S kt thc ton b c tnh kiu.~ Chng ti mu n ti vt tch tchcc trong iu ny g i tn c tnh.


13/40

Now, we will create a second curve. Click on the New Curve icon again, and thistime, we are going to hold down the SHIFT key on the keyboard and move ourmouse over the first curve as shown below.By gi, chng ti s to ra m t giy ng cong.~ Kch vo ng cong M ibiu tng ln na, v th i gian ny, chng ti v i gi SHIFTkey trn bn phm

v di chuy n con chu t (ca) chng ta qua ng cong u tin nh c chothy di.

The SHIFT key enables us to dynamically snap to another object on ourmodel. In this case, it will allow us to snap to the first style curve. We knowwhen we are able to snap, because a little + symbol appears at the end of ourmouse pointer (as we saw in the previous figure).

Phm d ch chuy n cho php (cho) chng ta ng bt tanh tch t i i tng khc

trn m hnh (c a) chng ta.~ Trong trng hp ny, n s cho php chng ta b ttanh tch t i u tin ng cong ki u.~ Chng ti bi t r ng khi Chng ti (th) cth bt tanh tch, V M t Nh "+" k hiu xut hin ch cui ca con tr chut(ca) chng ta (trong khi chng ti nhn th y trong hnh tr c y). Once we click with the left mouse button, we will get an open purple circle thatappears on the first curve in the location we specify. Continue to select thesecond and third point without holding down the SHIFT key. Once you select thethird point, use the middle mouse button to finish this second style curve. Ourresulting curve will look like the following.

Mt ln chng ti kch v i nt chu t tri, chng ti s a mt vng trn tam m xu t hin trn u tin ng cong trong s nh v (v tr) Chng ti Ch r.~ Tip tc la ch n hai Vthird im khng c vi c gi phm d ch chuy n.~ Mtln bn la ch n im th ba, s dng nt chu t gia kt thc ng cong ki u(th) hai ny.~ ng cong k t qu (ca) Chng ta s trng nh s theo sau.


14/40

The first point of this second style curve is known as a soft point . A soft pointcan either be internal (does not lie on an endpoint of a curve), or an end point (liesat the endpoint of a curve). A soft point can be dragged along the curve on whichit lies. To demonstrate this, we will use the Edit Curve tool.

im u tin (c a) ng cong ki u (th) hai ny c bit nh mt immm.~ Mt im mm c th hay l n i quan (khng ni d i trn Mt endpoint(ca) Mt ng cong), hay l M t im cu i (ni di ti endpoint (c a) Mtng cong).~ M t im mm c th c ko l d c theo ng cong m trn(ci) n hp php.~ trnh din iu ny, chng ti s s dng ng congSon tho Cng c .

EDIT STYLE CURVES We will edit both of these curves so you can see how easy it is to change a stylecurve. Therefore, we will start by clicking on the Edit Curve icon, as shownbelow.Chng ti s son tho c hai nh ng ng cong ny sao cho b n c th nhnthy tht d dng thay i mt ng cong ki u.~ Bi vy, chng ti s bt ubng vic kch vo bi u tng ng cong So n tho, nh hin ra di.

The dashboard for the Edit Curve tool looks like the following.

Dashboard (cho) So n tho Curvetool trng nh s theo sau.

We will see all of the different aspects of this dashboard in a later lesson. Fornow, we will concentrate completely in the working window. We will start by


15/40

picking on the first of the two style curves that we created. When we do, ithighlights in red, and the three purple curve points appear, as shown in the figureat the top of the next page.

Chng ti s nhn th y tt c cc kha c nh khc nhau (c a) dashboard ny trongmt bi h c sau.~ By gi , chng ti s tp trung hon ton trong c a s ch

lm vic.~ Chng ti s bt u bi s cuc ((s) thu ho ch; (s) m thc; c y (t,kha); trn u tin c a hai ng cong ki u m Chng ti t o ra.~ Khi no chngti, N chi u sng mu , v ba im ng cong ta xut hin, nh hin ratrong hnh t i nh (ca) trang ti p theo.

We will click on the third point (top endpoint) and drag it out towards the left to theapproximate location shown in the following figure.

Chng ti s kch vo im th ba ( nh endpoint) v ko n ngoi v pha bntri ti s nh v (v tr) xp x c a vo hnh sau y.


16/40

We will notice two things when we do this. The first is that the second style curve(since it was tied with a soft point to the first) also moved. The second is that asmall yellow line appears at the endpoint of the first curve that we moved.

Chng ti s ch hai th khi Chng ti lm iu ny.~ u tin l ng congkiu (th) hai (t n (th) b rng bu c vi mt im mm ti u tin) c ng

c di chuy n.~ Giy l m t hng vng nh xut hin ti endpoint (c a) ngcong u tin m chng ti di chuy n. This line is called a Tangent Line . It is used to determine the tangency for theendpoints of a style curve. Any internal points on a style curve derive theirtangency automatically, and can not be changed. Only the end points for a stylecurve can have tangency conditions set. We will see this a little later in thislesson.

Hng ny c gi l mt tip tuyn.~ N c dng xc nh s tip gip(cho) endpoints (c a) mt ng cong ki u.~ Bt k im bn trong no trn m tng cong ki u dn xut ra s tip gip c a h t ng, v khng th c thayi.~ Ch nhng im cui (cho) m t ng cong ki u c th c nh ng iu kintip gip c t.~ Chng ti s nhn th y iu ny m t cht sau trong bi h cny. Now, with the edit curve tool still active, click on the second style curve so itbecomes active, as shown in the figure at the top of the next page.

By gi, vi cng c ng cong so n tho vn cn tch c c, kch Auntien haigi tn ng cong sao cho n tr nn tch c c, nh a vo hnh ti nh catrang tip theo

Drag the first point (the one with the soft point) until it stops at the end of the firststyle curve, and then drag up the third point (the opposite end point) to theapproximate location shown in the following figure.Ko im u tin (ci v i im mm) cho n khi n d ng li ti end c a u tingi tn ng cong, v r i s ko trn im th ba (im cui i din) ti s nh v (v tr) xp x hin ra trong hnh sau y.


17/40

STYLE CURVE 3 & 4 Kiu Un cong 3 & 4

We will go back to the New Curve tool and create a third style curve. For the firstpoint, use the SHIFT key to snap to the first style curve, and then sketch the othertwo points. Use the Edit Curve tool once you are done sketching the three curvepoints to make sure the first point is at the end point of the first style curve.

Chng ti s i quay tr li ng cong M i cng c v to ra m t ng congkiu th ba.~ (Cho) im u tin, s s dng SHIFTkey b t tanh tch t i utin gi tn ng cong, v phc th o hai im khc.~ S dng cng c ng

cong So n tho mt ln bn phc th o Ba im ng cong chc ch n r ngim u tin ch cui l im ca u tin g i tn ng cong. Style curve 3 should look like the figure at the top of the next page.Kiu un cong 3 C n phi trng nh hnh ti nh (ca) trang ti p theo


18/40

Style Curve 4 should have a soft point at the first point and third point. Placepoint 1 on style curve 3, and point 3 on style curve 2. Use the Edit Curve optionto ensure that these are at the endpoints. This curve will look like the following.

Kiu Un cong 4 C n phi c mt im mm ti im u tin v im th ba.~

t khng ph y 1 trn ng cong ki u 3, v khng ph y 3 trn ki u un cong 2.~S dng ty ch n ng cong So n tho bo m iu y tiendpoints.~ ng cong ny s trng nh s theo sau.

Now that we have all four of our style curves, we will create a style surface.

Gi m chng ti c m i th Bn trong s nhng ng cong ki u (ca) chng ta,chng ti s to ra m t b mt kiu.

STYLE SURFACE We will begin by selecting on the Surface tool, which looks like the followingicon. We should still be in the same style feature. We have not finished it yet.Chng ti s bt u bng vic tip tc chn Surfacetool, Nh ng ci nhn nothch biu tng sau y.~ Chng ti cn phi vn cn trong cng ki u c tnh.~Chng ti v n cha kt thc n .

The dashboard for the style surface tool initially looks like the following.

Dashboard (cho) cng c b mt kiu thot tin trng nh s theo sau.

All the options are currently grayed out until we pick the style curves that representthe boundary of our surface. Therefore, we will start by selecting the first style


19/40

curve that we made, then hold down the Ctrl key on the keyboard and select theother three in a clockwise direction.

Tt c cc ty ch n u hin thi xm ngoi cho n khi chng ti nh t nhngng cong ki u m i din cho ranh gi i (ca) b mt (ca) chng ta.~ B i vy,chng ti s bt u bng vic la ch n u tin ng cong ki u m chng ti

lm, r i gi cha kha Ctrl trn bn phm v s chn la (K) khc Ba trong m tchiu kim ng h. NOTE: You can pick the boundary curves in any order. For consistency, we willpick them in a clockwise direction, as shown below.

Ghi ch: Bn c th nht nhng ng bin trong b t k mnh lnh no.~ (Cho)s bn cht, chng ti s nht h trong m t theo chi u kim ng h khngkhipction , nh hin ra di.

Once we are done selecting all four curves, we will see a surface appear throughthese four style curves, as shown in the following figure.

Once chng ti c lm la ch n tt c bn ng cong, chng ti s nhn th ymt b mt xut hin xuyn qua b n ng cong ki u ny, nh c a vohnh sau y


20/40

If you recall, we made all four curves lie on the Act ive Plane using the Planar option. If this is all we really wanted, we could have used a Fill surfaceinstead. We are going to change this, but first, rotate the model a little bit to seethat it truly is a planar surface at this time (see the figure at the top of the nextpage).

Nu Bn S gi li, chng ti lm cho t t c bn li ni di nhng ng congtrn Planeusing Tch c c l ty ch n Plan.~ N u y l mi thwe tht s mun,chng ti c th c c s dng mt lm y b mt thay vo .~ Chng tis thay i iu ny, nhng u tin, quay m hnh M t mu nh nhn th yr ng n ng l mt b mt plan vo th i gian ny (nhn th y hnh t i nh (ca)trang tip theo).

We will edit the first and fourth style curves to add some depth to this surface.

Chng ti s son tho u tin v ki u (th) t un cong thm chi u su no vo b mt ny.

EDIT CURVES W/SURFACE

One of the tools that makes working in ISDX easier is to showviewpoints. Currently, we have been working in only one viewpoint. We canrotate the model if we need to, but it is often easier if we need to make changes inmultiple orientations, to see a four-viewpoint view.Mt trong nh ng cng c m lm lm vi c trong ISDX d dng hn s cho th ynhng quan im.~ Hin thi, chng ti lm vi c trong ch c m t quan im.~Chng ti c th quay m hnh n u Chng ti c n, tr phi n thng d dng hnnu Chng ti c n lm nh ng s thay i trong nhiu nh hng, nhn th ymt s nhn b n quan im.To do this, click on the following icon in the system toolbar.

lm iu ny, kch vo bi u tng sau y trong thanh cng c h thng

This will change the working window into four quadrants, as shown below.(Ci) ny s thay i ca s ch lm vic vo trong b n gc ph n t, nhc cho th y di


21/40

The upper left quadrant is a TOP view, the lower left quadrant is a FRONT view,the lower right quadrant is a RIGHT view, and the upper right quadrant is anisometric view.

Gc ph n t tri trn l mt thng din, gc ph n t pha tri di l mt hnhchiu t trc, gc ph n t ng thp hn l mt s nhn ng, v gc phn t

ng trn l m t s nhn ng c. We will go back to the Edit Curve tool, and select on the first style curve that wecreated. It will highlight in all four quadrants. In the dashboard, we need toconvert this curve type from Planar to Free . By doing this, we will be able tomove the points away from the Active Plane.

Chng ti s i quay tr li cng c ng cong So n tho, v s chn la trnu tin ng cong ki u m Chng ti t o ra.~ N s chiu sng trong t t c bn gc ph n t.~ Tin dashboard, chng ti c n chuy n i kiu ng congny t Plan Gii phng .~ Bng vic lm iu ny, chng ti s c kh nng dn nhng im i t My bay Tch c cIn the message window, we will be prompted to confirm this conversion, as shownbelow.Trong c a s thng bo, chng ti s c nhc xc nh n s chuyn i ny,nh c cho th y di.


22/40

We will click on Yes to proceed. In the RIGHT view quadrant (lower right), dragthe middle point of this curve up to form an arc, as shown in the following figure.

Chng ti s tip tc kch Big medicine Theo ui.~ Trong s nhn ng mtphn t ng trn (tay sang s hnh qu t) (Quyn thp hn), ko im gia (ca)ng cong ny ln t rn thnh l p mt cung, nh c a vo s theo sauxut hin.

You will be able to dynamically watch all four quadrants update as you dothis. Now, we are going to select on the fourth style curve, convert it to Free , thendrag its center point up about halfway between the active plane and the curve thatwe moved before. Do this in the RIGHT view since it is easier to see the pointand the direction we are dragging in this quadrant.

Bn s c kh nng ng canh gc t t c bn gc ph n t s cp nht khiBn lm iu ny.~ By gi , chng ti l m t bc thang la ch n trn ngcong kiu (th) t, chuyn i n Gii phng, r i ko im trung tm (c a) nln trn quanh n a ng gia my bay tch c c v ng cong m chng ti dichuyn trc y.~ iu ny trong s nhn ng t n d dng hn nhn th yim v phng hng hay khng chng ti l s cn (s ko) trong gc ph n tny. The result is shown at the top of the next page.Kt qu c hin ra ti nh (ca) trang ti p theo


23/40

Now that we have moved the first and fourth style curves to form arcs, we willadjust the boundary conditions of these curves to ensure a normal condition withthe Active Plane.

Gi m chng ti di chuy n u tin v nh ng ng cong ki u (th) t thnh l p nhng cung, chng ti s iu ch nh nh ng iu kin bin c a nh ngng cong ny b o m mt iu kin bn h thng vi My bay Tch c c.

TANGENCY LINE Hng Ti p gip First, click on the viewpoint icon again to return to a single viewpoint, turn on the

display of datum planes, and rotate your model (if necessary) to see the followingview.

u tin, kch vo bi u tng quan im ln na () tr li mt quan im n,bt mn hnh (c a) nh ng my bay ph n t d liu, v quay m hnh (c a) ccbn ( Nu Cn thit) nhn th y s nhn sau y.

.


24/40

With the Edit Curve option still active, and the fourth curve still selected, pick onthe first end point with the soft point (touching style curve 3). We should see thetangency line appear, as shown in the figure at the top of the next page.Vi Son tho Curveoption v n cn tch c c, v t ng cong v n cn ch n, la

chn trn im cui u tin Vi im mm (vic chm kiu un cong 3).~ Chngti cn phi nhn thy hng ti p gip xu t hin, nh a vo hnh ti nh (ca)trang tip theo.

We will place our mouse over this line, and then hold down the right mouse buttonto see a list of options to define tangency. We will select the option Normal , asshown in the following figure.Chng ti s t con chu t (ca) chng ta qua hng ny, v gi nt chu t phi nhn th y mt danh sch (c a) nh ng ty ch n nh ngh a s tip gip.~Chng ti s la ch n ty ch n Bnh th ng, nh a vo hnh sau y.

Once we select Normal pick on the TOP datum plane. The tangency line shouldautomatically snap to a vertical line (or perpendicular to the TOP plane), as shownbelow.Mt ln chng ti l a ch n s la ch n Bnh th ng trn my bay ph n t d liu

nh.~ Hng ti p gip c n phi t ng bt tanh tch t i mt ng thng ng


25/40

( Hay ng thng gc t i nh bay), nh hin ra di.

Repeat this for the other endpoint on this same curve, and for the two endpointson the first style curve. When we are done, our surface should look like the figureat the top of the next page.

Lp li iu ny (cho) endpoint khc trn iu ny Cng U n cong, v (cho) haiendpoints trn u tin g i tn ng cong.~ Khi chng ti c lm, b mt (ca)chng ta c n phi trng nh hnh ti nh ca trang ti p theo.

Now, we are going to copy the fourth style curve to create an internal curve to thissurface.

By gi, chng ti v i sao chp ng cong ki u (th) t to ra m t ngcong bn trong t i b mt ny.

COPY STYLE CURVE Go to the Edit Curve tool, and then select the fourth style curve (the smaller arcedcurve). Once it is highlighted, go to Edit, Copy from the menu bar. The newlycopied style curve will sit right on top of the curve from which it was copied, and apurple X appears on one of the endpoints, as shown below.

i n cng c ng cong So n tho, v sau la ch n ng cong ki u (th)t (ng cong arced nh hn).~ Mt ln n c chiu sng, i n So n tho,Sao chp t thanh th c n.~ Mi sao chp nh ng cong ki u Ngi ngay trn c a ng cong t n c sao chp, v m t mu ta " X " Xut hin


26/40

trn m t trong s the endpoints, nh hin ra di.

The X represents a fixed point. Usually, Fixed points are the internal points to astyle curve (such as the second point in each of the curves). As we move thisnew style curve to its new location, we will see the fixed point turn into a soft point(with the open circle).

" X " i din cho m t im c nh.~ Thng thng, nh ng im c nh lnhng im bn trong t i mt ng cong ki u ( Nh im (th) hai trong ton b nhng ng cong).~ As chng ti di chuy n ng cong ki u mi ny ti s nh v (v tr) mi (ca) n, chng ti s nhn th y s quay im c nh vo trongmt im mm (vi vng trn m ). Using the left mouse button, drag this new style curve along the length of thesurface, you should see the two endpoints riding along the second and third stylecurves. Drag it approximately half way along the surface, as shown below.

S dng nt chu t tri, ko ng cong ki u mi ny dc theo chi u di (c a) b mt bn cn phi nhn thy hai endpoints ci dc theo hai v v t th ba g i tn

nhng ng cong.~ Ko n approximately n a cch d c theo b mt, nh ccho th y di.

Once you have the curve there, go to the Edit Curve tool again, and switch overto a four-viewpoint view. Move the three points on this new style curve (withoutholding down the SHIFT key) until you get the following.

Mt ln bn c ng cong , i n ng cong So n thotool ln na, v


27/40

s chuyn i qua ti mt bn- s nhn quan im.~ Di chuy n ba im trnng cong ki u mi ny (khng c vi c gi phm d ch chuy n) cho n khi bnc s theo sau.

Once you have the new style curve looking like the one above, click on the middlemouse button to finish editing it. Now we will make it an internal curve to the stylesurface.

Mt ln bn cho php ng cong ki u mi trng nh ci trn, kch vo ntchut gia kt thc so n tho n.~ Gi chng ti s lm n m t ng cong

bn trong t i b mt kiu. INTERNAL SURFACE CURVE

ng cong B mt Bn trong Start by going back to a single viewpoint view. Click on the surface to highlight itin red, as shown below.Bt u bng vic i ngc li ti mt s nhn quan im n.~ Kch vo b mt chiu sng n trong mu , nh c cho th y di.


28/40

Hold down the right mouse button, and select Edit Definition . This brings backup the surface dashboard, as shown below.

Gi nt chu t phi, v la ch n nh ngh a So n tho.~ (Ci) ny mang m t sauln trn b mt dashboard, Nh hin ra di.

Just to the right of the word Internal , select on the black arrow, and then select thenew style curve that we just copied. Once you select the curve, click on themiddle mouse button. The curve will be added as an internal curve, and thesurface will update automatically, as we can see in the following figure.

Ch ti quyn (ca) t Bn trong , ch n trn m i tn en,v sau la ch nng cong ki u mi m chng ti ch sao chp.~ M t ln bn la ch n ngcong, kch vo nt chu t gia.~ ng cong s c thm khi m t ng congbn trong, v b mt s cp nht t ng, nh chng ti c th nhn th y tronghnh sau y.

We will click with the middle mouse button to finish out of this surface edit. Thelast thing we need to do is to regenerate our entire style feature.

REGENERATE STYLE FEATURE Ti sinh c tnh Ki u Before you finish out of the entire surface feature, you should regenerate it. In thesystem toolbar, you will see the regenerate icon, which has a red, yellow andgreen circle. One of these circles is larger than the others. If the green icon islarger, that means that the style feature is fully regenerated. If it is yellow, asshown below, we will need to click on this icon to regenerate the feature.Trc khi bn kt thc ra kh i ton b c tnh b mt, bn cn phi ti sinh n.~Trong thanh cng c h thng, b n s nhn th y biu tng hi phc, m c m tmu , mu vng v vng trn xanh l c.~ Nhng mt trong s vng trn ny l nhn nhng ngi (ci) khc.~ N u biu tng xanh l c ln hn, iu c ngh ar ng c tnh kiu c ti sinh hon ton.~ N u l mu vng, nh cho thyr ng di, chng ti s cn () kch vo bi u tng ny ti sinh c tnh.


29/40

As we can see in our toolbar, the icon is yellow, so we need to click on it toregenerate it. When we do this, it will look like the following.

Nh chng ti c th nhn th y trong thanh cng c (ca) chng ta, bi u tngvng, v v y chng ti c n kch vo n ti sinh n.~ Khi chng ti lm iu ny,n s trng nh s theo sau .

Once it is fully regenerated, we can click on the finish icon (shown below) tocomplete the style feature.Mt ln n c ti sinh hon ton, chng ti c th kch vo bi u tng kt thc(c cho th y di) hon thnh c tnh kiu.

The completed style feature looks like the following.Nhng ci nhn c tnh kiu c b sung nh s theo sau.

The model tree shows a single style feature, as we can see in the following figure.

Ci cy m hnh cho th y mt c tnh kiu n, trong khi chng ti c th nhnthy trong s theo sau xu t hin.


30/40

Save and close this part.Ct gi v ng phn ny .

LESSON SUMMARY Tm lc Bi h c

This lesson demonstrated some of the key elements to working with style curvesand surfaces. In the remainder of the lessons, we will see these differentelements in their entirety.Bi hc ny trnh di n mt s nhng ph n t cha kha lm vic vi nhngng cong ki u v nh ng b mt.~ Trong ph n d (ca) nh ng bi h c, chngti s nhn th y nhng ph n t khc nhau ny Trong ton b ca h.~


31/40

Lesson

3 Lesson Objective: In this lesson, we will learn about the Active plane, bothhow to use it and how to create it, as well as some of the preferences for thegrid on the plane.Mc ti u Bi h c : Trong bi h c ny, chng ti s hc v my bay Tch cc chai lm sao s dng n v t o ra n nh th no, nh phun ra nh mt snhng s u tin (cho) li tr n my bay

USAGE OF ACTIVE PLANES

Cch dng (c a) nhng my bay Tch cc Whenever you create a style feature, there is always an active plane, even if thegrid lines are not visible. There can only be one active plane in the style feature atany given time.

Bt c khi no bn to ra mt c tnh kiu, lun lun c mt my bay tch cc, dnhng hng li khng r rng.~ C th ch c mt my bay tch cc trong ctnh kiu vo b t k thi gian cho no . You can, however, specify where your active plane is, and switch it to otherlocations during the creation of style entities.

You dissuation, tuy nhin, ch r u my bay tch cc (ca) cc bn, v s chuyn i n ti nhng s nh v (v tr) khc trong thi gian s to thnh (c a)

nhng thc th kiu When creating style curves, the Planar option places the curve on the activeplane. It ensures that all points along that curve are on the same plane.

Khi vic to ra gi tn nh ng ng cong, Planaroption t ng cong tr n my

bay tch c c.~ N bo m tt c ci nhng im dc theo m ng cong tr ncng my bay


32/40


33/40

CREATING AN ACTIVE PLANE

To ra mt My bay Tch cc If you do not have an existing plane from which to select an active plane, you will

need to create one. There are two methods for creating datum planes on the flywhile in the style feature. If you use the regular datum plane creation tool, you willget a plane that becomes grouped with the style feature in the model tree. Thisplane is automatically hidden, but can be available for other features to usedownstream.Nu bn khng c mt my bay hin hu t mt my bay tch cc no n cla chn, bn s cn to ra mt.~ ~ C hai phng php to ra nhng my bayphn t d liu tr n ru i trong khi trong c tnh kiu.~ Nu bn s dng s tothnh my bay ph n t d liu bnh thng cng c, bn s a mt my bay mtr nn c nhm li vi c tnh kiu trong ci cy m hnh.~ My bay ny (th)t ng c che giu, nhng c th sn sng (cho) nh ng c tnh khc sdng xui dng. The second method is to create one using a special style tool. If you click on theactive plane fly-out icon in the style toolbar, you will see another icon, as shownbelow.The phng php (th) hai s to ra mt s dng mt cng c kiu c bit.~ Nubn kch vo my bay tch c c biu tng ngoi cn thn trongthanh cng c kiu, bn s nhn thy biu tng khc, nh hin ra di.

When you click on this icon, you will enter into create datum plane mode. This is

the functionality that you use to create regular datum planes. For example,suppose you want to create an active plane that sits 100 inches off of the RIGHT datum plane, you would first click on the icon above, and then select the RIGHT datum plane.

Khi bn kch vo biu tngny, b n s vo Vo trong T o ra kiu my bay phnt d liu.~ y l chc nng m bn s dng to ra nhng my bay phn td liu bnh thng.~ Chng hn, gi thit bn mun to ra mt my bay tch ccm ng i 100 inch ra khi ca my bay phn t d liu ng, bn u tin kch vobiu tng tr n, v l a chn my bay phn t d liu ng. We would see the preview for creating the plane, shown below.We nhn th y s xem trc to ra my bay, c cho thy di


34/40

The datum plane creation window looks exactly the same as the regular one youuse outside of the style feature.Ca s to thnh my bay ph n t d liu trng chnh xc l cng nh bnhthng Mt Bn s dng bn ngoi (c a) c tnh kiu.

When you click on OK to complete this datum plane, the active plane willautomatically use this plane, as we can see below.Khi bn kch vo OKto y phn t d liu ny bay, my bay tch c c s tng s dng my bay ny, nh chng ti c th nhn thy di


35/40

The biggest difference between creating a datum plane this way versus creatingone using the regular create datum tool is how it reports in the model tree, andwhen you can use it.

The s khc nhau ln nht gia to ra mt phn t d liu bng phng cch nychng li vic to ra mt s dng bnh thng to ra cng c phn t d liu l nbo co trong ci cy m hnh, v khi b n c th s dng n nh th no. In the model tree, a datum plane created with the standard tool appears as anotherfeature in the tree, grouped with the style feature, and hidden. It can be used forother non-style features as well as the style feature itself.Trong ci cy m hnh, m t my bay phn t d liu c to ra vi cng c tiu

chun xut hin nh c tnh khc Trong ci cy, nhm li vi c tnh kiu, v

tr n(du).~ N c th c s dng (cho) bn thn nhng c tnh khng kiukhc c ng nh c tnh kiu.

A datum plane created using the style feature plane creation icon gets absorbedinto that feature, and can only be accessed in that particular style feature. Whenyou finish out of the style feature, it does not appear in the model tree not even aspart of a group like a make datum does.

Mt my bay phn t d liu c to ra s dng c tnh kiu bng phng biutng to thnh c ht vo trong c tnh , v c th ch c truy nhp trongc tnh kiu c bit .~ Khi bn kt thc ra khi c tnh kiu, n khng xuthin trong ci cy m hnh- khng ngay c khi chia ra ca mt nhm nh mt " lmphn t d liu " hu ci. If you were to create a new style feature, the datum plane that we created in thelast style feature is not available to use again. So, what is the advantage of theability to create planes in style mode using this method?

Nu bn s to ra mt c tnh kiu mi, my bay phn t d liu m chng ti t ora trong cu i cng c tnh kiu khng c i vi s s dng ln na.~ V th, cig l li th (ca) kh nng to ra nhng my bay trong kiu kiu s dngphng php ny?


36/40

As we mentioned in the last lesson, it is to your advantage to create many differentstyle curves and surfaces in a single style feature. To do this, however, it mightrequire a large number of active planes. You may not wish to have all of theseactive planes visible in the model tree, therefore you would use this tool to create

one that is specifically needed for this style feature only.Nh chng ti cp trong bi hc cui cng, n t i li th (ca) cc bn to ranhiu ng cong kiu khc nhau v nh ng b mt trong mt c tnh kiu n.~

lm iu ny, tuy nhin, n c l yu c u mt s ln ca nhng my bay tchcc.~ Bn c th khng mun c tt c nhng my bay tch cc ny r rng trongci cy m hnh, b i vy Bn s dng cng c ny to ra mt m ch c cnc bit (cho) c tnh kiu ny.

ACTIVE PLANE GRID DISPLAY

Mn hnh L i My bay Tch cc

Even though there is always an active plane in your style feature, you can chooseto turn on or off the visibility of the grid for this active plane.Even tuy nhin lun lun c m t my bay tch cc trong c tnh kiu (ca) ccbn, bn c th chn bt hay ra khi tnh r rng (c a) li (cho) iu ny tch c cbay .

To do this, go to Styling, Preferences from the menu bar. This brings up thewindow shown at the top of the next page.

lm iu ny, i tiStyling , Preferences t thanh thc n.~ (Ci) ny mangtrn c a s c cho thy ti nh ca tip theo trang.


37/40

This window is broken up into different functions. These are:

Ca s ny c gy ln trn vo trong nh ng chc nng khc nhau.~ y : Surface

Display

Auto Regenerate

Grid

Surface Mesh

Under the Display function, we can see a box entitled Grid . To turn off the displayof the grid, uncheck this box, as shown below.

This will make the grid lines on the active plane disappear from the model, as wecan see in the figure below.

Since it is easier to identify the location of the active plane with the grid on, Irecommend only turning it off if sketching curves is difficult to do with the gridvisible. Therefore we will leave it on, and it comes on again by default when a newsession of Pro/ENGINEER is started.

NOTE: If you turn off the grid for one style feature, it is off for all style features untilyou either 1) turn it back on again, or 2) exit and re-enter Pro/ENGINEERaltogether.

ACTIVE PLANE GRID SPACING

The title of this section is a little misleading. We dont actually control thedimensional spacing of the grid, such as spacing, etc.


38/40

What we have the ability to control is the total number of grid lines we see. Tocontrol this, first we want to make sure we can see our active plane grid using themethod described in the last section.

Next, we will return to the styling preferences window using Styling, Preferences

from the menu bar to get there.

In the Grid section of this window, we can see the following field (the default valueof 5 is shown).

Again, this does not mean that we have a grid spacing of 5 inches or 5millimeters. It means that we will have a total of 5 grid lines in both the x and ydirections in the plane, as shown in the figure below (datum planes have beenturned off for better clarity).

Right now, we have a 4x4 grid pattern. The total number of grid spaces in a given

direction is equal to one less than the specified grid spacing. Therefore, to have a10x10 grid pattern, we would enter a value of 11 in the grid spacing, thereby givingus the following grid.

In this example, we have no geometry in our model, therefore our datum planes aresquares. If, however, we added geometry, such as a sketched datum curve, thatcaused the active plane to be a rectangle instead of a square, we would still havethe same number of spaces in each direction, however the size of the spacing


39/40

would be different, as illustrated below for the same grid pattern on a rectangularactive plane.

From the example above, we can easily see how we might be able to control theactual spacing itself in terms of our units. If we wanted to have grid spacing of ,and we knew the overall size of our model was going to be 10 inches long, wecould create a datum curve on the plane we wanted to use as an active plane thatwas 10 inches in length. Then, when we use this plane for an active plane, wewould set the grid spacing to 21 , thereby creating 20 equally spaced grids at each in that particular direction.

The catch is that if the model gets larger than the datum curve, the active planegets larger, and now our spacing is not anymore. Therefore, I would not rely ontrying to govern the grid spacing in terms of an actual distance.

ACTIVE PLANE ORIENTATION

When you look at the active plane, you will see a symbol in one of the corners thathas a little H and V arrow, as shown below.


40/40

This symbol is used to identify which direction on the plane is consideredHorizontal and which direction is considered Vertical . As we get into creatingstyle curves, you will see how this plays a role.

LESSON SUMMARY

There is always an active plane in your style feature. You can select any datumplane to use as an active plane, or create new ones. To ensure the ability tore-use planes as active planes in more than one style feature, you will need tocreate these planes as stand-alone features.

Leave the grid visible most of the time unless it impedes your ability to see what

you are doing. You can also adjust the grid pattern by changing the grid spacingvalue. You can not directly control the dimensional spacing of the grid, however.

EXERCISE

Create a new part called Act ive_Plane . Be sure to use a startpart as the templatefor this part. We want to create an active plane that is exactly 10 by 5 in size, andlocated 4 away from the TOP datum plane.

We want the grid spacing for the active plane to be in the small direction (5 inchside).

Documents

Designing With Style