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2002 Electronic Data Systems Corporation. All rights reserved.
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Table of Contents
Table of Contents
Analyzing Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Analyze Shape Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Face Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Radius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 11-1: Face Analysis - Radius . . . . . . . . . . . . . . . . .
Activity 11-2: Face Analysis -Reflection . . . . . . . . . . . . . .
Deviation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edge to Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Curve to Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 11-3: Edge to Edge Deviation . . . . . . . . . . . . . . . . .
Dynamic Deviation Gauge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 11-4: Face Analysis Using Deviation Gauge . . . . .
Section Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dialog Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Parallel Planes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Radial Planes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multiple Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 11-5: Section Analysis . . . . . . . . . . . . . . . . . . . . . . .
Grid Section Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 11-6: Grid Section Analysis . . . . . . . . . . . . . . . . . .
11-1
11-2
11-2
11-6
11-8
11-11
11-13
11-18
11-18
11-19
11-20
11-22
11-22
11-24
11-29
11-30
11-31
11-31
11-31
11-32
11-32
11-33
11-42
11-43
11-48
12-1
12-2
12-3
12-4
12-8
12-11
12-14
12-15
12-19
12-20
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13-1
13-2
13-2
13-3
13-5
13-7
13-8
13-8
13-9
13-10
13-11
13-11
13-12
13-16
14-1
14-2
14-3
14-4
14-4
14-4
14-5
14-5
14-6
14-9
14-9
14-10
14-14
14-14
14-15
14-16
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16-1
16-2
16-4
16-8
16-12
16-16
16-19
16-22
16-27
16-27
16-28
16-29
16-31
16-32
16-33
Visualization Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Visualization Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Set-Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rendering Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Set-Up Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Action Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Materials and Textures . . . . . . . . . . . . . . . . . . . . . . . . . .
Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Materials/Textures Categories . . . . . . . . . . . . . . . . . . . . . . . .
Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Texture Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bump Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pattern Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transparency Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Materials and Textures Tips . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 17-1: Adding Materials and Textures . . . . . . . . . .
Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Light Specification/Enabling . . . . . . . . . . . . . . . . . . . . . . . . .
Default Lights Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Standard Lights Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Light Color and Intensity . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17-1
17-3
17-5
17-7
17-9
17-13
17-15
17-17
17-17
17-19
17-25
17-26
17-28
17-34
17-38
17-41
17-42
17-53
17-56
17-58
17-59
17-59
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iv
Light Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Light Positioning (Editing Lights) . . . . . . . . . . . . . . . . . . . . .
Dynamic Light Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reset to Default Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Lighting Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 17-2: Assigning Lighting . . . . . . . . . . . . . . . . . . . . .
Visual Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Depth of Field Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tips For Realistic Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity 17-3: Backgrounds and Foregrounds . . . . . . . . . .
17-61
17-62
17-64
17-66
17-67
17-68
17-70
17-71
17-76
17-81
17-82
17-83
17-86
17-87
17-88
17-89
A-1
A-2
A-2
A-2
A-3
A-3
A-4
A-5
A-5
A-6
A-7
A-8
A-9
A-9
A-10
A-10
A-11
A-12
A-12
A-13
Curve Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Explicit Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Work Coordinate System . . . . . . . . . . . . . . . . . . . . . . . .
Basic Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
B-1
B-2
B-2
B-3
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Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity B-4: Trimming Curves . . . . . . . . . . . . . . . . . . . . . .
B-49
B-50
Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transformation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transformation Options Terminology . . . . . . . . . . . . . . . . . .
Translate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rotate About a Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mirror Through a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rotate About a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Transformations for Symmetrical Geometry . . . . . . .
Hollow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Wall Thickness Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Activity C-1: Performing a Hollow Operation . . . . . . . . . .
C-1
C-2
C-2
C-3
C-5
C-5
C-8
C-8
C-9
C-10
C-11
C-11
C-13
Boolean Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Boolean Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Defining Target and Tool Solids . . . . . . . . . . . . . . . . . . . . . . .
Unite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Subtract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Intersect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
D-1
D-2
D-4
D-4
D-5
D-5
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GL-1
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi
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IN-1
Unigraphics NX
Analyzing Surfaces
11
Analyzing Surfaces
Lesson 11
PURPOSE
OBJECTIVES
Page
11-11
11-13
11-20
11-24
11-33
11-48
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11-1
Analyzing Surfaces
11
Deviation
Gauge
Section
Analysis
Grid Section
Analysis
Graph
Graph Options...
Output
Listing
Face
AnalysisReflection
Output
Listing
Options...
Face
AnalysisRadius
Face Analysis
Using the Analyze Shape toolbar or AnalysisFace from the pull-down menu,
Radius, Reflection, Slope, and Distance allow you to select faces for the display
of temporary color analysis. These displays can be useful for detecting
inflections or variations in face curvature as well as for obtaining approximate
numerical data such as minimum radius, slope relative to a vector, or distance
from a plane.
Radius allows you to check the curvature properties of the faces.
Reflection allows you to map lines or an image onto the faces to check the
reflective characteristics of the faces.
Slope allows you to analyze the angles of the face relative to a specified vector.
Distance allows you to analyze the distance of the face from a specified plane.
11-2
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11
45.663
168.07
-100.00
0
-38.536
-23.867
45.663
168.07
-100.000
-38.536
-23.867
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11-3
Analyzing Surfaces
11
45.663
168.07
-100.000
-38.536
-23.867
-17.286
NOTE
Resolution
The Resolution option lets you set the tolerance for the face analysis display,
enabling you to adjust the quality and performance of the face analysis display.
You can choose from the following options: Coarse, Standard, Fine, Extra Fine,
Ultra Fine, and Customize.
NOTE
Face Selection
Once you have selected faces for analysis, they remain selected, even after you
exit from the analysis dialog.
11-4
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Analyzing Surfaces
If necessary, use the Re-highlight Faces button to identify which faces are
selected.
You can use the Reverse Normal option to reverse the normal vectors of any
face. This option only reverses the normal for analysis purposes.
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11-5
11
Analyzing Surfaces
11
Radius
Radii on selected faces are displayed with color coding.
Gaussian
Maximum
Minimum
Mean
Normal
Sectional
U
V
Fringe
Hedgehog
Contour Lines
Coarse
Standard
Fine
Extra Fine
Ultra Fine
Customize...
11-6
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Analyzing Surfaces
Radius Type
Gaussian radius for each checkpoint is indicated by colorcoded output
according to the Gaussian Radius of curvature for the face at that point.
Maximum and Minimum radius analyzes the maximum and minimum radius of
curvature at each point on the face.
Mean radius analyzes the average of the maximum and minimum curvature at
each point on the face.
Normal radius displays the radius based on a normal section plane, defined by
the surface normal and the reference vector at each analysis point. If the vector
is parallel to the surface normal, the normal curvature at that point is set to 0.
Sectional radius displays the radius based on a section plane parallel to the
reference plane. You can select a plane, datum plane, or solid face (surface type
is plane) as the reference.
U radius is the radius in the U direction.
V radius is the radius in the V direction.
Sectioning Plane
Consider a particular point P on a face. Let N be the face normal vector at P.
Any plane containing the point P and the vector N will intersect the face in
some curve through P. This plane is called the sectioning plane." As the
sectioning plane rotates about N, a family of intersection curves will be
produced as shown below. These curves can be used to analyze the curvature of
the face at the point P. This is done internally and no actual curves are output.
N
Sectioning
Plane
Intersection
Curves
Point P
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11-7
11
Analyzing Surfaces
11
Reflection
This method allows you to analyze the reflective characteristics of the face. You
can choose to reflect black lines, colored lines, a simulated horizon, a
photo-realistic horizon, or a user-defined image.
Horizontal
Vertical
Both
Thin
Normal
Thick
Coarse
Standard
Fine
Extra Fine
Ultra Fine
Customize...
11-8
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11
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11-9
Analyzing Surfaces
11
Procedure
11-10
For Reflection analysis, specify the type of image, number of lines, the
direction, line thickness (if applicable), and face reflectivity.
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11
Top face
ZC
YC
XC
Isocline curves
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11-11
Analyzing Surfaces
11
Choose OK.
Notice that you do not need to select the face. It is still selected
from the previous analysis.
Choose Apply and notice the color where the radius values
switch from negative to positive. This signifies the inflection
area where the curvature flips from one side of the face to
the other.
Choose OK.
11-12
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Analyzing Surfaces
In this activity, you will use the Face Analysis-Reflection feature to inspect the
surface smoothness of Styled Blend transitions.
Step 1 Open the part XXX_studio_surf_1.prt (which was saved
in Lesson 8) or ids_reflection_1.prt and start the Shape
Studio application.
Step 2 Analyze the car hood, fender surfaces, and blends using
Face Analysis-Reflection.
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11-13
11
Analyzing Surfaces
11
NOTE
Styled Blend
Rotate the model around and inspect the reflection lines. They
are especially smooth as they transition from the upper fender
surface, through the Styled Blend and to the side fender
surface.
11-14
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Analyzing Surfaces
Choose Apply.
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11-15
11
Analyzing Surfaces
11
11-16
Set the Image Type to Scene Images. You will see the
available images. Select the Spherical Room image.
Choose Apply.
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Analyzing Surfaces
11
Choose OK.
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11-17
Analyzing Surfaces
11
Deviation
Deviation analysis creates exact mathematical output, such as a listing of
distance and angle variations between selected objects.
Edge to Face
Analysis Deviation allows you to perform Edge to Face design checks.
This option allows you to check the correlation of boundaries between two
adjacent or tangent faces, or the boundary of one face to the interior of
another.
If you want to a full listing, choose All Deviations.
The checkpoints are visible in all views.
The Deviation Checking Error Summary listing displays the number of points
checked, distance tolerance, number over dist. tolerance, average distance
error, maximum distance error, angle tolerance (degrees), number over angle
tolerance, average angle error, and maximum angle error.
Surface 1
+
+ + ++
+
11-18
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Surface 2
Unigraphics NX
Analyzing Surfaces
Curve to Face
Analysis Deviation allows you to perform Curve to Face design checks.
This option allows you to verify by Point/Slope Continuity check that a curve,
which appears to be located on a face, is actually on the face. After selecting
the curve and face, you must specify the number of check points and tolerances
you want for distance and angle error checking.
If you want to enable or disable a full listing, choose the Full Listing toggle. For
more information, please refer to Help Documentation.
+
++ +
+
+
+
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11-19
11
11
Analyzing Surfaces
When the Cue prompts you to Select face 1 and close edge,
select the first sheet near an edge which is adjacent to the
other sheet as shown, then select the second sheet near the
same adjacent edge.
First selection
11-20
Second
selection
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Choose OK.
Choose OK.
11
Edge to Edge
Information Units Millimeters
Deviation Checking
Error Summary
Number of Points Checked = 50
Distance Tolerance
=
0.02540000000
Number Over Distance Tolerance = 47
Minimum Distance Error =
0.00000000000
Maximum Distance Error =
3.54083341403
Average Distance Error =
1.40828829721
Angle Tolerance (Degree) =
0.50000000000
Number Over Angle Tolerance = 50
Minimum Angle Error
=
15.42721905980
Maximum Angle Error
=
24.54664396518
Average Angle Error
=
18.73038901832
Checkpoint Data
XC
YC
ZC
15.000005 -0.000000
15.139820 -0.000000
15.214846 -0.000000
15.245290 -0.000000
15.251359 -0.000000
15.253262 -0.000000
19.839276
18.933663
18.888357
18.922075
18.956567
18.981018
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11-21
Analyzing Surfaces
11
Reference
Options
Parameters
11-22
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Analyzing Surfaces
When the Deviation Gauge icon is selected from the Analyze Shape toolbar,
the dialog is identical to the standard Deviation Check dialog that was seen
earlier. A variety of adjustable parameters allow you to customize the deviation
analysis display to best suit your needs.
The available Reference Options are identical to those used with the standard
Deviation Check functions, and also with the Deviation Gauge-Curve Analysis
function.
Reference Face
Allows selection
of one or more
faces as reference
objects.
Reference Plane
Allows selection
of one or more
planes as
reference objects.
Reference Point
Allows selection of
one or more points
as reference
objects.
Reference Defining
Points of Original
Curve
Reference Curve
Allows selection
of one or more
curves as
reference objects.
Vector
Plane
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11-23
11
11
Analyzing Surfaces
In this activity, you will create a Deviation Gauge between two surfaces. Then
you will edit the reference surface and observe the automatic change to the
Deviation Gauge. You will also edit the Deviation Gauge object.
Step 1 Open the part ids_dev_gauge_2.prt and start the Shape
Studio application.
Reference Face
Target sheet
11-24
Choose OK.
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11
Reference Face
Reference Options
become active
Set the Threshold to 400 and choose Apply. Notice that the
markers show only the vectors which are greater than the
threshold value.
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Analyzing Surfaces
Section Analysis
The Section Analysis tool allows you to analyze the shape and quality of free
form faces. You can dynamically display planar cross-sections of a selected
face or set of faces, and show curvature combs on the cross-sectional curves.
Since this operation is dynamic, if the sectioning plane(s) is translated or
rotated, the cross-sectional curves and corresponding curvature comb displays
are updated in real time.
Depending upon the Section Type selected, you may perform a section analysis
with Parallel Planes, Radial Planes or multiple parallel planes. You may also
analyze isoparametric curves in either the U or V direction. The available
Section Types are shown below.
Parallel
Planes
Allows you to create a section analysis along intersecting planes which are
parallel to a specified reference plane. Options for the reference plane include the
XC Plane, YC Plane, ZC Plane, and General Plane (using the Plane Constructor).
Allows you to create a section analysis on a sectioning plane which rotates about
Radial Planes the specified reference line. Options for the reference line include the XC Axis, YC
Axis, ZC Axis, and General Line (which opens the Line Tool).
Allows you to create a section analysis by specifying a reference curve (or string)
Perpendicular
and dynamically changing the section position, moving it along the curve. The
to Curve
Section Position represents the normalized curve parameter from zero to 100.
U, V Constant Allows you to create a section analysis along the U or V direction of the surface.
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Analyzing Surfaces
11
Dialog
Perpendicular to
Curve
Isoparametric Curves
-U constant
Isoparametric
Curves
-V constant
Parallel Planes
XC Constant
YC Constant
ZC Constant
General Plane
Parallel Planes
Radial Planes
Radial Planes
X-Axis
Y-Axis
Z-Axis
General Line
Curvature Comb
Section Length
Automatic
Scale Factor
Inflection Points
Peak Points
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11
Dialog Options
Multiple
Sections
Creates a series of curvature combs. Drag the Section Interval slider to change
the distance between each curvature comb. Data entry field represents distance
for Parallel Planes, angular degrees for Radial Planes.
Create
Section
Curve
Section
Position
Dynamically moves the sectioning plane back and forth over the surface. Allows
you to quickly judge overall surface quality. Move the sectioning plane using:
Drag the Section Position slider with the mouse
Use the keyboard arrow keys to move the slider (offers greater control)
Enter a numerical value in the Section Position data entry field (then press return)
For Parallel Planes-value represents percentage of the distance
For Radial Planes-value represents angle in degrees section line has moved
For U,V Constant-value represents the normalized isoparameter from zero to 100
Scale
Length or scale of the sectioning plane curvature comb. Value represents length
of the comb teeth.
Density
Section
Length
Displays the arc length of the current section. This is a dynamic function;
therefore, the display updates to show any modifications.
Procedure
Parallel Planes
Choose a reference plane using the Specify Plane option. The section
plane will then display on the selected surface.
You may use the Section Position slider to dynamically move the
section plane back and forth across the surface(s), while it remains
parallel to the reference plane. As you drag the slider, the value
displayed in the Section Position data entry field changes to reflect the
moving section (the value in the data entry field represents the
percentage of the distance that the section moves). If desired, you
may enter a value in the data entry field and press the Return key.
If the sectioning plane does not appear after you specify the reference
plane, change the Section Position or Scale factor values using either
the sliders or data entry fields.
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Radial Planes
Choose a reference line using the Specify Line option. The section
plane will then display on the selected surface.
You may use the Section Position slider to dynamically move the
section plane back and forth, sweeping it across the surface(s). The
sectioning plane will remain centered on the reference line as you
move it. The value in the Section Position data entry field represents
the angle in degrees between the sectioning plane and its original
position. If desired, you may enter a value in the data entry field and
press the Return key.
Again, if the sectioning plane does not appear after you specify the
reference plane, change the Section Position or Scale factor values
using either the sliders or data entry fields.
Multiple Sections
11-32
First toggle the Multiple Sections option to ON. A set of sections will
display in positions parallel to the reference plane (for Parallel
Planes), in positions radiating about the reference line (for Radial
Planes), or with different isoparameters (for U Constant and V
Constant).
You may adjust the distance between the sections with the Section
Interval slider or by entering a value in the data entry field.
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Choose Cancel.
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Choose ViewOrientOK.
Defining spline
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Section Analysis
11-38
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Step 6 Modify the body and observe the dynamic changes to the
permanent entity Section Curves.
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Radial Plane
Section
Analysis
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When you are satisfied with the settings, choose OK. You
have changed the Section Analysis permanent entity from a
Radial Plane Section Type to a Parallel Plane Section Type.
Parallel
Plane
Section Analysis
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Dialog
The Basic dialog is shown below.
Triangular
Grid
Circular Grid
XC Constant
YC Constant
ZC Constant
General Plane
View Plane
Quadrilateral
Grid
Arbitrary
Parallelogram
Rectangle
Square
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11
When editing an MSAO, the outer perimeter of the grid, as well as a dynamic
coordinate system, are displayed with handles. You may use the handles for
editing.
MSAO with Quadrilateral Grid and Grid Handles
Normal Vector
Vertex
Rotation
Anchor Point
Midpoint
Plane Vector
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11
Analyzing Surfaces
In this activity, you will create an nxn Studio Surface and perform different
types of Grid Section Analysis on the surface, using various options within the
function.
Step 1 Open the part ids_grid_sect_analysis.prt and start the
Shape Studio application.
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Make sure that the Grid Type in the upper dialog is set to
Quadrilateral Grid.
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Grid entity
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Sections Options
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Surface
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Grid Section
Analysis
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Choose Apply.
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With the grid entity still selected, choose Auto Scale Factor
in the dialog so that the button is pushed in." Check the
Scale data entry field. When the system automatically sizes
the curvature comb, the scale changes value.
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Choose Apply.
NOTE
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NOTE
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Choose Apply.
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Notice that the curvature comb display extends all the way to
the surface edges in one direction.
NOTE
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Choose Apply.
With the grid entity selected, make sure both Bounded boxes
are checked (turned ON).
The curvature comb display should extend only to the edges
of the grid.
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Rotation handles
Rotation
handle
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SUMMARY
In this lesson you:
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PURPOSE
OBJECTIVES
12
Move a Feature.
Delete a Feature.
Suppress a feature.
Unsuppress a feature.
Rename a feature.
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12-1
Mirror Body
Mirror Body allows you to mirror an entire body through a datum plane. You
may use this feature to create the second half of a designed part.
When you mirror a body, the Mirror feature is associative to the original body;
it has no editable parameters of its own.
12
Choose the Instance Feature icon from the Feature Operation toolbar or
InsertFeature OperationInstance and then Mirror Body.
12-2
If you edit the parameters of the associated datum plane, the mirrored
body changes accordingly.
If you delete the original body or datum plane, the mirrored body is
also deleted.
If you move the original body, the mirrored body also moves.
Features added to the mirrored body will exist only in that body.
You may combine original and mirrored bodies using Unite, to create
a symmetrical model, as shown on the next page.
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BEFORE
Datum plane
12
AFTER
Mirrored
body
Original
body
Procedure
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12
You will mirror the solid body, shown below, through the datum
plane.
Datum plane
Solid body
12-4
Select the solid and choose OK. You must mirror the body
about a datum plane. The cue prompts you to select the
datum plane.
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Choose Cancel.
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12
Choose Cancel.
12-6
Select both the original and the mirrored bodies; choose OK.
The two solids are united into one solid body.
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12
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12
Model Navigator
Resource Bar
Pin in place
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The Model Navigator offers many options. Some of the Edit options are outside
the scope of this class. Those that are within the scope of this class are
documented here.
12
Replace...
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Time Stamp
Reorder allows you to edit a model by changing the order in which a feature is
applied. Features may be reordered before or after a selected reference feature.
12
Application
Consider a model consisting of a block, hollow, and pad created in the following
timestamp order:
BLOCK(0)
PAD(1)
HOLLOW(2)
BLOCK(0)
HOLLOW(1)
PAD(2)
Since the pad was created last, it was not included in the hollow operation. To
include both the block and the pad in the hollow operation, reorder the pad to
come before the hollow (or the hollow to come after the pad).
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Procedure
The general procedure for reordering features using the Model Navigator is as
follows:
Activate the Mouse Button 3 popup menu with the cursor over the
highlighted feature(s) in the Model Navigator.
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TIP You can also drag and drop" to reorder a single feature in the Model
Navigator. If you drag a feature up the tree, it will be inserted before
the feature that is highlighted when you release Mouse Button 1. If you
drag a feature down the tree, it will be inserted after the feature that is
highlighted when you release Mouse Button 1.
12
Current
Feature
Usage Considerations
When you finish inserting features, select the last feature in the Model
Navigator, and choose Make Current Feature.
NOTE
12-12
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NOTE
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12
Playback
Playback allows the creation of the model to be reviewed, feature by feature.
The model may also be edited as it is reviewed.
When EditFeaturePlayback is chosen, the Edit during Update dialog
appears and begins with the first feature created.
12
You may browse through features either forward or backward. Once the
intended feature has been reached, its defining parameters may be interrogated
or edited. Once you have operated on a feature, you may browse to the next. A
trigger may be set at any time to update the model, starting at the current
feature and continuing until the model is complete, or until a feature fails to
update.
The Edit During Update Message window displays any applicable error or
warning messages, as well as whether the current feature updated successfully
or failed.
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After an update error occurs, the system presents the Edit During Update
dialog, which explains the error and lets you choose how to proceed.
With this dialog, you may accept, delete, suppress, or edit the parameters of the
feature(s) that caused the update failure.
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Undo
12
Step Back
Step
Continue
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Delete
Suppress
Suppress Remaining
12
Review the model allows investigation, but not editing, of the rebuilt
model with options from the menu bar or the third mouse button popup menu.
Review the model cannot be used to review features that failed during update or that
have not yet been rebuilt.
Edit allows you to change the parameters of the feature currently being
updated. A submenu will display with the Edit Parameters, Remove Unused
References and Edit Positioning Dimension options.
Edit Parameters
NOTE
Remove Unused
References
Edit Positioning
Dimension
If a failure occurs, the options that allow advance through the model (Step,
Step To, and Continue) are grayed out until the failure is resolved and the
feature successfully updates.
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NOTE
When Playback is chosen, all of the solids in the model that will be updated
disappear from the graphics window. If Step is chosen to recreate the model
one feature at a time, the display updates each time a feature is rebuilt.
12
NOTE
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The Update Status option in the Feature Browser allows you to list all features
that are currently out of date and their reasons for failure. Editing the failed
feature to resolve the problem will automatically remove the out of date"
status and unsuppress the feature.
Should the model fail to update after an edit, the Edit during Update dialog
will be presented.
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12-20
Try to reference edges that are stable. Some edges are formed by the
intersection of faces belonging to different features and are more
likely to be removed or subdivided during future edits.
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SUMMARY
12
Suppress/Unsuppress a Feature
Parent Curves
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PURPOSE
OBJECTIVES
13
Page
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13-1
Sew
The Feature OperationSew option allows you to create a single sheet, or a
sewn solid, by sewing two or more sheets together, or create a single solid body
by sewing two or more solid bodies together.
Sewing Sheets
If sheets are sewn together so that they completely enclose a volume and the
Modeling Preference Body Type is set to Solid, a sewn solid is created.
If the sheets being sewn have gaps or openings, or if the Modeling Preferences
Body Type is set to Sheet, the system creates a single sheet body.
The Sew feature may be deleted and/or modified using
EditFeatureParameters or by using the Model Navigator.
13
Target sheet
Tool sheets
13-2
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Procedure
Choose OK
Sewing Solids
You can sew two solid bodies together only if they share one or more coincident
faces. The system deletes the common face(s) and sews the solid bodies into
one solid body. The system will convert the separate solids into one solid body.
13
Tool Faces
Target Faces
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Procedure
Select the Target face(s) that will be removed by the sew operation.
Select the Tool face(s) on the tool solid that are coincident with the
target solid's selected face(s).
Choose OK.
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Target Sheet
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NOTE
Choose OK.
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Patch
Complex shapes are often modeled by incorporating free form sheet body
features into a solid body. The Patch function is used to combine geometry
defined by a Sheet Body with the geometry of a Solid Body. This is commonly
encountered when a sheet body, needed to define a complex surface, must be
designed into an existing solid. As the following examples show, the Patch
function may be used to add or subtract material from a base solid:
Solid Body
Single
Solid
Body
13
After Patch
Before Patch
Sheet Body
Solid Body
Before Patch
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Selection Steps
13
Selection Steps
Three selection step icons appear at the top of the dialog:
Step 1:
Target Body
Used to select the Target Body which may be a Solid Body or a Sheet Body.
Step 2:
Tool Sheet
Used to select the Tool Sheet body that will act as the tool for the patch
operation.
Optional Step 3:
Tool Face
Used when the Tool Sheet body contains multiple faces and only one face is to
be regarded as the tool face.
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Solid Body
13
Before Patch
After Patch
In this example, if the Create Hole Patch function had been left in the default
OFF setting, this single solid body would have been the After Patch result:
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Procedure
Choose OK or Apply.
Step 4: OK
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Surface
13
Solid body
13-12
Choose Region.
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Boundary Face
(face of solid
body below the
surface)
Choose OK twice. You will see that the bottom face of the
solid body was extracted, leaving a hollow upper surface only
and the original solid body was blanked.
Step 3 Use Patch to join the sheets together and create a single
sheet body.
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Target body
Tool sheet
13
Choose OK twice.
Notice that the underside of the button surface was removed.
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TIP To achieve the best result from the Patch operation, make
sure the edges of the solid body lie directly on the surface.
13
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In this activity, you will use the Patch function to remove material from a solid
body.
Step 1 Open the part ids_patch_2.prt and start the Shape Studio
application.
13
You will use the sheet body above to remove material from a
solid body.
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Target Body
Tool Sheet
NOTE
13
Step 3 Use the Patch function to patch the sheet body to the solid
body.
Select the Target Body block (shown above). The second step
icon highlights.
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Select OK, the third step icon will highlight, select OK again.
The Patch Operation is now complete.
13
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SUMMARY
In this lesson you:
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PURPOSE
OBJECTIVES
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14-1
Developed Curves
The following table lists developed curve types which were discussed in
previous lessons.
Splines . . . . . . . . . . . . . . . . . . . . Lesson 3
Bridge curves
14
14-2
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Bridge Curve
A Bridge Curve blends or bridges two curves at user-defined points on the curves.
Edges may be selected as curves. As the bridge curve is constructed, an analysis of the
curve is performed and the resulting curvature comb is displayed. You can choose
whether or not the bridge curve is associative. You also have the option of selecting
another spline as a reference to control the shape of the bridge curve.
14
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Procedure
To create a BRIDGE CURVE feature:
Use the First Curve selection step to select the first curve or edge.
Use the Second Curve selection step to select the second curve or
edge.
(Optional) Adjust the shape of the curve using the Shape Control
options. This is not available if you have chosen to use the Tangent
Continuity Method and a Reference Shape Curve.
Choose OK or Apply.
Curve Selection
14
Curves or edges are selected using the First Curve and Second Curve selection step
icons. Only one curve can be selected for each step, therefore, if you wish to select a
different curve you can simply select it. The system will automatically deselect the
original curve. This also applies to the curve selected as the Reference Shape Curve.
Resulting Degree
Tangent
Curvature, End Points Slope Control
Curvature, Peak Slope Control, Stiffness Low / Auto
Curvature, Peak Slope Control, Stiffness High
3 (Cubic)
5 (Quintic)
5 (Quintic)
7
14-4
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Shape Control
You can use these options to change the shape of the bridge curve, unless you chose to
use a Reference Shape Curve. The available options depend on whether you chose
Tangent or Curvature continuity. Choosing Tangent continuity allows you to control
the magnitude of the tangency using the End Points option, the Depth and Skew of the
peak point using the Peak Point option, or the rho value using the Conic option.
Choosing Curvature continuity allows you to control the magnitude of the tangency
using the End Points option or the Depth and Skew of the peak point using the Peak
Point option. Using the Peak Point option also allows you to control the stiffness.
14
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In this activity you will create associative bridge curves between the parallel
edges of the two faces.
Step 1 Open the part ids_bridge_curve_1.prt and start the Shape
Studio application.
Step 2 Use a Bridge Curve to create a smooth transition curve
between the edges of the two sheets.
NOTE
Select the edges near the ends shown. Although you can
modify the point along the edge at which the bridge curve
starts, it will save time to pick on the desired end.
14
Edge 1
Edge 2
14-6
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Since only one entity is allowed for the First Curve selection step,
as soon as you pick the first edge the icon advances to the Second
Curve selection step.
Edge 3
Edge 4
Tangent continuous
bridge curve
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Symmetric Bridge
A Symmetric constraint is useful when creating only half of a model that is to
be mirrored across a center plane.
The symmetric Bridge Curve is automatically constructed when the dialog is
configured exactly as described below:
Any
Curve
Edge
Datum
Vector
Second Curve
Curvature Continuity
Peak Point Shape Control
Filter specifically Datum or Vector
Procedure
Filter to Datum or Vector. For symmetry, Any is not a valid choice. You
must specify Datum or Vector every time you choose a second curve.
Choose Apply.
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14
In this activity you will create symmetric bridge curves to complete a framework for a
sheet that represents only half of an end product.
First selection
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14-10
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NOTE
Verify that:
Closely examine the bridge curve at the tip of the spline. Use
Zoom as necessary. If your curve is reversed at the end of the
spline, as shown below, choose the Reverse Direction button.
Reversed direction
Bridge Curve
Spline
14
Spline
Correct
configuration
Bridge
Curve
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Choose Cancel.
14
The Bridge Curve attached to the spline closest to the WCS has
an inflection. This could happen because of excessive curvature
at the end point. In this case, the spline is simply oriented at an
excessively shallow angle.
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Choose Move.
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14
Curve on Surface
A Curve on Surface is a spline that is created directly on the face of a surface and is
defined by the parameter spacing of that surface. A Curve on Surface may often be
created in place of projecting a curve onto a surface. This feature may be used to
define tangent hold lines for a transition surface or blend or more often, to simply
define a specific trim edge.
Dialog
Create Curve
Select Surface
Edit Points
.1
.01
.001
.0001
More/Less Options
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14-14
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Procedure
To create a Curve on Surface feature:
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Fender side
surface
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TIP Make sure to select the first and last cursor locations a
significant distance off the surface. Once the location off
the surface is specified, it will snap to the nearest edge.
14
Choose Apply.
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When you are satisfied with the shape of the curve, choose
OK.
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Step 3 Trim the fender side surface to the wheel well cutout
curve.
Use one of the trim features to trim the fender side surface
to the newly created wheel well cutout curve.
14
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SUMMARY
14
14-20
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PURPOSE
OBJECTIVES
Page
15
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Extension Surfaces
This option allows you to create extension sheets from an existing sheet or face.
Trimmed edges will not allow construction of an Extension sheet. The system
approximates extensions to within a distance tolerance set in the
PreferencesModeling dialog.
There are four types of extension sheets:
Tangential
Normal
Angled
Circular
Normal
extension
Tangential
extensions
Angled
extension
Law Controlled
extension
Circular extension
A fifth type of extension, Law Extension, has its own toolbar icon and a
separate entry in the Free Form menu.
15
15-2
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Select an existing face as the base face. This is the face from which the
extension body will be extended.
Base face
Rail curve
Extension sheet
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Procedure
To create a tangential extension of a fixed length, you must:
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Selecting an Edge
To create a tangential edge extension, the selected edge must be an original
edge of the face, not one that was generated by a subsequent trimming
operation.
To extend a trimmed sheet, either:
Sheet edge
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Percentage method
This option allows you to create either an Edge Extension or Corner Extension
at a specified percentage. The percentage expresses the approximate length of
the extension as a fraction of the length of the base face.
In some cases, it is very difficult to determine exactly how long the extension
body will be using the Percentage option.
You should only use this option when:
if you need to create a corner extension whose edges are aligned with
adjacent edge extensions.
Procedure
To create a tangential extension of a percentage, you must:
Sheet Corner
To create a corner extension, the two edges meeting at the corner must be the
original edges of the base face, not ones that were generated by subsequent
trimming operations. To extend a trimmed sheet, change the trimming
boundary.
15
Corner extensions are incompatible with fixed length edge extensions. They will
not blend smoothly.
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Percentage Value
If you choose the Corner Extension option, the system displays two direction
vectors indicating the U and V directions of the sheet. You can then specify an
extension percentage in each direction. Remember that these percentages are
only rough approximations of the lengths of the extension in the two directions.
However, if you use the same percentages when creating an edge extension and
an adjacent corner extension, the two extensions will have the same length and
match properly, as shown.
Base face
Normal
This option creates an extension normal to a face along an existing curve lying
on the face. In normal extensions, the rulings are all perpendicular to the base
face, and the far rail curve is offset from the base curve by some specified
distance, or length, along the normals of the base face, as shown below.
Far rail curve offset from base
curve by a specified length
Base face
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After you select the base face and the existing curve, the system displays a
positive direction vector normal to the face near the middle of the selected
curve, as shown below.
Direction vector indicates direction
of positive extension
Base face
If you enter a negative extension length, the system creates the extension in the
direction opposite the displayed vector.
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0
Base curve lying on sheet
Base sheet
Values
You enter values for the length and angle. Positive angles will indicate a positive
rotation from the 0 vector towards the 90 vector. In particular, if the length is
positive, entering an angle of 0 produces a type of tangent body in the
direction of the first vector, and entering an angle of 90 produces a normal
body in the direction of the second vector.
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Procedure
To create a circular extension:
Base face
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Sheet 1
Sheet 2
Indicate near the top edge of Sheet 1 to specify the edge you
wish to extend.
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NOTE
Step 3 Create the second Tangential extension from the top edge
of Sheet 2.
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15-12
Choose Back.
Choose Cancel.
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90
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Extension extends
below the sheet and
gets smaller
Choose Cancel.
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Law Extension
Law extensions are used to create flanges or extensions where:
With the Law Controlled Extension you can use laws to control both the length
and angle of the extension.
Selection Steps
Curve String
Base Face
Vector
Spine String
Any
Curve
Edge
Face
Sketch
Constant
Linear
Cubic
General
Constant
Linear
Cubic
General
In Editing Mode,
Confirm Upon Apply
is replaced by edit
windows for the
tolerances that were
in effect when the
extension was
created.
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Procedure
To create a law controlled extension:
Face Selection
Choose a law option for specifying the length, and enter the desired
values.
Choose a law option for specifying the angle, and enter the desired
values.
If you select a face or collection of faces to specify the direction reference, the
base curve should lie on the faces.
Two direction vectors will display that establish a frame of reference for
measuring the angle. One vector is in the tangent plane of the face, normal to
the base curve, while the other is normal to the face, as shown below.
Direction vectors establish a frame of
reference for measuring angle of sheet
90
0
Base curve lying on sheet
Base sheet
The length can be zero at either end. Negative values are acceptable for both
length and angle.
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Swoop Surfaces
This option allows you to quickly and dynamically create, shape and edit
smooth B-surfaces. No existing geometry is required for construction of Swoop
surfaces.
Swoop surfaces may be edited dynamically in real time. Because they are low
degree of freedom B-surfaces and thus, possess desirable and predictable
shape properties, they are simple and convenient to edit.
Dialog
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Procedure
To create a Swoop surface:
Then the Swoop Shape Control dialog displays to allow you to shape
the surface as desired.
TIP When using the Swoop Shape Control sliders, make note
of the Horizontal and Vertical directional vectors
displayed on the surface. This will aid in selecting the
Control method.
The figure below demonstrates a Swoop surface which was created using two
diagonal points, then was shaped using the Swoop Shape Control dialog.
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The next figure demonstrates how the Swoop surface, above, was dynamically
reshaped during a Reflection Face Analysis to remove the center bump (with an
adjustment to the V-Middle Bend).
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Select in
diagonal corners
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Make sure that Black Lines are selected in the dialog and
choose OK.
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SUMMARY
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16
PURPOSE
OBJECTIVES
Page
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Enlarge Sheet
This option allows you to create a parametric enlargement of a sheet body. Two
types of enlargement are possible:
Linear
Natural
Enlargements
built from this
face
Linear enlargement
Natural enlargement
Linear-This option tangentially extends the edges of the parent face. With this
option, you may only increase the size of the sheet; you cannot decrease it.
Natural-This option extends the edges of the parent face based on its natural
curvature. You may increase or decrease the size of the sheet.
All-When All is enabled, drag any slider or enter a value in any one of the text
fields and all U-V extents will change uniformly.
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Procedure
To create an enlarged sheet you must:
Select a face.
Enter a value in the appropriate text box or drag the slider bar. If you
wish to enlarge all edges uniformly, toggle the All option ON.
If you have made changes and wish to return to the original state, choose Reset.
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Section string
Guide string
Step 2 Create a 1x1 Studio Surface using the section and guide
curves shown above.
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Choose OK.
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Use the Trim Body feature to trim the phone body to the
enlarged surface.
Step 5 Save and Close your part (It will be used again later).
This concludes activity 16-1.
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Transform Sheet
This option allows you to dynamically scale, rotate and translate a single
surface, while displaying real-time feedback. The transformation options are
shown below.
Transform Sheet Dialog Options
Select Control
Allows you to choose the control type for the transformation. Control
types are:
Scale-Scales, or sizes, the surface about the selected axis
Rotate-Rotates the surface around the selected axis
Translate-Translates, or moves, the surface along the selected axis
XC axis
YC axis
ZC axis
Reset
Original sheet
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The next figure shows the same surface after it has been rotated and translated
to a new position.
Original sheet
The final figure shows the same surface after a further transformation has been
applied; this time it was scaled in the XC Axis direction.
Scaled sheet
Original sheet
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Upon selection of the Transform Sheet option, you are first presented with the
choice of transforming the original surface or a copy of the original surface. You
have three options, Name, Edit Original Sheet, and Edit A Copy.
Name-This option performs all changes on the surface name entered.
Edit Original Sheet-This option performs all modifications on the original
surface. If you choose Edit Original Sheet and your selection is parametric, a
warning will display informing you that transforming the surface will result in
the surface becoming unparameterized.
Edit A Copy-This option performs the changes on a copy of the original
surface. The copied surface is not associated with the original, however, it does
adopt the grid count of the original surface. The copied surface follows the
current system display color in order to distinguish it from the original.
Dialog
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Procedure
To transform a surface, you must:
First, specify whether you will edit the original surface or a copy of the
original.
Using the Point Constructor dialog, specify the reference point for the
transformation.
From the Transformation dialog, specify the Control Type for the
transformation, either Scale, Rotate or Translate. You may then use
the sliders to transform the surface in the XC Axis, YC Axis, and
ZC Axis directions.
The surface transformations are dynamic and are displayed in
real-time, depending upon the selected control type and combination
of slider settings. You may combine control types and slider
combinations to achieve a desired result. If you wish to remove all
transformations and start anew, simply choose Reset.
When you are satisfied with the result of the transformations, choose
OK.
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In this activity you will transform the enlarged surface used in the last activity,
then use the transformed surface to trim the phone solid.
Step 1 Open the part XXX_enlarge_1.prt.
Enlarged sheet
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Reference endpoint
NOTE
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Transformed sheet
Step 4 Trim the phone body using the transformed sheet as the
trim sheet.
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Deform Sheet
This option allows you to dynamically modify a single surface, while displaying
real-time feedback. The deformation options are shown below.
Deform Sheet Dialog Options
Pivot Control
Allows you to set the reference position or direction from which the
deformation will occur. The available options are:
Horizontal-The surface deforms in the horizontal direction.
Vertical-The surface deforms in the vertical direction.
V-Low-The deformation begins at the lower portion of the surface.
V-High-The deformation begins at the upper portion of the surface
V-Middle-The deformation begins at the middle portion of the
......
surface.
Switch H and V-Resets the slider settings and switches the pivot
......
controls between horizontal and vertical modes.
Stretch
Allows you to deform a surface by stretching. The value range for the
slider is 0-100, with 50 (the default) being the mid, non-deformed
position.
Bend
Allows you to deform a surface by bending. The value range for the
slider is 0-100, with 50 (the default) being the mid, non-deformed
position.
Skew
Twist
Allows you to deform a surface by twisting. The value range for the
slider is 0-100, with 50 (the default) being the mid, non-deformed
position.
Shift
Allows you to deform a surface by shifting. The value range for the
slider is 0-100, with 50 (the default) being the mid, non-deformed
position.
Reset
Cancels all deform slider settings and resets the surface to its original
configuration
Section Analysis
Deviation Check
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Original sheet
The next figure shows the same surface after it has been deformed using
Vertical Pivot Control and Stretch.
Deformed sheet
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The next figure shows the surface after further deformation has been applied;
this time it was deformed using V-Low Pivot Control and Stretch.
The final illustration shows the surface after it was deformed using V-Low
Pivot Control and Stretch, Bend and Twist.
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Upon selection of the Deform Sheet option, you are first presented with the
choice of deforming the original surface or a copy of the original surface. You
have three options, Name, Edit Original Sheet, and Edit A Copy.
Name-This option performs all changes on the surface name entered.
Edit Original Sheet-This option performs all modifications on the original
surface. If you choose Edit Original Sheet and your selection is parametric, a
warning will display informing you that deforming the surface will result in the
surface becoming unparameterized.
Edit A Copy-This option performs the changes on a copy of the original
surface. The copied surface is not associated with the original, however, it does
adopt the grid count of the original surface. The copied surface follows the
current system display color in order to distinguish it from the original.
Options
Section Analysis
Deviation Check
Displays deviation data for the surface which will be deformed. Upon return to
the Deform Sheet dialog, the deviation display updates dynamically as the
surface is deformed.
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Dialog
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Procedure
To deform a surface, you must:
First choose whether you will edit the original surface or a copy of the
original.
You may now use the sliders to deform the surface. As you drag a
slider control, the selected surface dynamically deforms. You may
combine any of the slider settings to perform several deformations to
the surface. Note that some sliders are not available with certain Pivot
Control types. If a slider option is not available, it will be grayed out in
the dialog.
If you wish to remove all deformations and return the surface to its
original configuration, simply choose Reset.
Analysis and deviation displays which are generated using the Section
Analysis and Deviation Check options, will continue to display in the
graphics window for dynamic updates after returning to the Deform
Sheet dialog.
When you are satisfied with the result of the deformation, choose OK.
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16
Shape the surface any way you'd like or simply leave it flat.
It will be deformed in the next step.
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Set the Pivot Control to Horizontal and adjust the Bend until
the Curvature Comb shows an inflection in the surface. The
dynamic section analysis tool is particularly helpful while
reshaping surfaces using the Deform feature. By using the
Curvature Comb, it is easier to detect unwanted deflections
and imperfections in the surface that might not have been
detected visually.
Surface inflection
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Global Shaping
Global Shaping allows you to deform a surface, group of surfaces or solid body
in a predictable manner, while retaining full associativity. This option may be
used to style an existing surface or group of surfaces, while preserving the
aesthetic properties.
Global Shaping is found on the Free Form Feature toolbar and includes two
types of variable offset: Overcrown and Stretch. Within both offset types are
two control mechanisms: Control By Function and Control By Surface.
Dialog
General
Any
Face
Body
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Control By Function
Control By Function allows a sheet body to be deformed within a specified
region. The amount of offset at any point within the region is specified by a
given transition function or one that you specify.
The Control By Function method produces features that are fully associative to
the provided input data.
Direction
Stretch Direction
Region
Bounds
Any
Curve
Edge
Face
Sketch
String
Point in Region
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Control By Surface allows deformation to a sheet body through manipulation of
a reference surface. First you select a Base surface and a Control surface. The
deviation between the base and control surfaces determines the amount of
Control By Surface
normal offset that is applied to the sheet body at any given point.
Control
Base
Overcrown
Overcrown creates a new sheet by overcrowning" a selected sheet, based upon
deformation which is defined either by a function or a reference surface.
With the Overcrown Control By Function method, Overcrown uses a law
control to shape the new sheet based on a selected face or sheet to be
overcrowned, a bounded region, a point in the forming region, and a direction
to control the deformation.
With the Overcrown Control By Surface method, Overcrown shapes the new
sheet against a deformed Base, which is the Control Sheet.
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Stretch
Stretch shapes a new sheet against base and/or control sheets by stretching it in
a specified stretch direction. This has the effect of pulling the sheet against a
fixed" edge (similar to fixing a sheet of rubber at one end and stretching the
opposite end).
When Stretch is used with the Control By Function method, the new sheet is
stretched in a user-defined direction, against another relatively fixed specified
region. A stretch direction step is available to specify a direction for the Stretch
operation.
When Stretch is used with the Control By Surface method, the new sheet is
shaped against a Base sheet. If the Base is a flat surface and you stretch its
poles to adjust the Control surface, the Stretch option will generate a similar
stretch on the modified faces.
Like the Control By Function method, the Stretch methods produce features
that are fully associative to the provided input data.
Procedure
To perform Global Shaping, you must:
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Match Edge
Match Edge allows you to eliminate gaps by matching the edge of a surface to a
reference object (either a curve or surface edge), while providing continuity
control over the transition area. With the Match Edge function, both the edited
surface and the reference object are geometrically continuous across the
common boundary. Either curve continuous (G0), tangent continuous (G1), or
curvature continuous (G2) may be selected.
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Dialog
Match Edge may be found either on the Free Form Shape toolbar or from the
EditFree Form FeatureMatch Edge pull down menu.
Direction
Preview
Edit Edge
Edge
Face
Curve
Datum
Reference
Object
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16
In this activity, you will use the Match Edge function to edit a surface to two
reference surfaces. You will then investigate the transition using a Reflection
Face Analysis.
Step 1 Open the part ids_match_edge_1.prt and start the Shape
Studio application.
Step 2 Use Match Edge to match the left edge of the small
surface to a reference face.
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Set the Filter in the upper dialog to Edge and select the two
edges of the left side surface (see below).
16-34
Choose Apply.
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With the Filter set to Edge, select the edge of the far right
surface (shown below).
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Slide the center ball handle up and down the edge, taking
note of the changes in the matched edge. Leave the center
ball handle near the middle of the edge.
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16-38
Slide the upper arrow along the edge, taking note of the
changes in the matched edge. Leave the upper arrow
anywhere along the edge.
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Slide the lower arrow along the edge, taking note of the
changes in the matched edge. Leave the lower arrow
anywhere along the edge.
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SUMMARY
In this lesson you:
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Visualization Techniques
Visualization Techniques
Lesson 17
17
PURPOSE
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17-1
Visualization Techniques
OBJECTIVES
17
Page
17-2
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Visualization Techniques
Visualization Techniques
17
Specifying a Background
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Visualization Techniques
High
Quality
Image
Artistic
Image
17
Materials/
Textures
Advanced
Lights
Visual
Effects
Start
Shade
Erase
Shade
Preview
Shade
Raster
Image
The Visualize Shape functions may also be accessed via the Unigraphics main
menu:
ViewVisualization
It is important to note that the Visualize Shape options are visible only in the
Studio Display Mode.
TIP While using Visualize Shape, if you do not see what you expect, ensure
that the Display Mode is set to Studio.
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Visualization Techniques
Set-Up
High Quality Image allows you to set the Visualize Shape specific parameters
for rendering an image, initiating the rendering process, and saving or plotting
the generated images.
17
Many of the functional settings within Visualize Shape, such as certain texture
mappings, shadows, light scattering, foreground, and background mappings are
visible only when using the High Quality Image (HQI) tool. A small camera
icon displayed within a Visualize Shape functional dialog indicates that the
particular setting or input is visible only when using High Quality Image
shading.
Camera icons
indicate High
Quality imaging
is required
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17
Set-Up
Options
Preview
Options
Action
Options
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Visualization Techniques
Rendering Method
The upper portion of the dialog is specification of the Rendering Method. The
method options are generally arranged in order of increasing realism and, thus,
increasing processing time. The table below presents the Rendering Method
options:
Rendering Method
Description
Flat
Phong
Gouraud
Improved
Preview
Photo-Realistic
Ray Traced
Ray Traced/FFA
(Feature Following Anti-aliasing)
Radiosity
Hybrid Radiosity
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Visualization Techniques
NOTE
17
FLAT
IMPROVED/PREVIEW
17-8
GOURAUD
PHOTO-REALISTIC
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Set-Up Options
The Set-Up Options control many variables, such as:
Shading
Previewing
Shade allows you to control such shading aspects as display color, image size,
shadows, and resolution.
Raster Image
QTVR Panorama
QTVR Object (Low)
QTVR Object (High)
Fill View
Ansi A
Ansi B
Ansi C
Ansi D
Ansi E
ISO a4
ISO a3
ISO a2
ISO a1
ISO a0
User Defined
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RGB+Noise
FS RGB
FS RGB+Noise
Monochrome
Gray Scale
Nearest RGB
Ordered Dither
TC+Noise
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Visualization Techniques
If the Image Size is set to User Defined, the Resolution (DPI, Dots Per Inch),
Plot Quality, X Size and Y Size options become available.
17
Fine
Medium
Rough
Coarse
Draft
Low
Medium
High
User Defined
The Generate Shadows option allows the concept of generating shadows. This
option, specified on its own, will not turn shadows on. In order to turn shadows
on, the light source must have the shadow option turned on AND Generate
Shadows must be turned on in the Setup menu.
The Facets slider controls the fineness of rendered shapes; Smooth will
generate a finer rendering, but processing time will increase.
The Use Sub Region feature allows you to shade only one area of the scene at a
time. This is useful when you have a complex model with many different types
of materials and textures applied, and you want to test the shading of only one
area of the scene.
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17
The Disable Raytracing toggle allows you to bypass raytracing. For highly
complex images, this feature can boost performance with either
Photo-Realistic or Improved rendering methods, at the expense of
reflections.
Super Sampling improves image appearance by reducing the effects of
aliasing. To accomplish this, an image is first produced at a higher
resolution, then the image is scaled down by averaging the pixel values.
The Import and Export options provide a means of customizing Material,
Texture, and Light configurations by either retrieving them from other
files/directories (Importing) or saving them to a subdirectory for use in another
part file (Exporting).
The Preview option works in conjunction with the icons displayed in the dialog.
Block
Cylinder
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Cone
Sphere
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17
Small
Medium
Large
The dialog displays the materials and textures assigned to the model. Here, you
may also specify the size of the preview display.
The Information option provides information regarding the shading process or
specified set-up parameters. The following information is displayed:
17-12
Set-up Information
Image Information
View Information
Timing Information
Part Defaults
Materials specified
Textures specified
Lights specified
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Action Options
The Save option allows you to save an image as a file in your home directory.
The Save option is normally grayed out and becomes active only after a shade
operation has occurred.
17
You may name the image file any way you'd like; the three supported options
for image extensions are .tif, .gif, and .jpg.
The List Files option displays a listing of the directory where the image is saved.
Also, by toggling Compress image to ON, you may compress a large image file
by approximately 80%.
The Plot option allows you to send the image to a plotter. With this dialog, you
may control the resolution and quality of the plot.
Draft
Low
Medium
High
User Defined
Fine
Medium
Rough
Coarse
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When Plot Quality is set to User Defined, a DPI (dots per inch) value may be
keyed into the data entry field. When generating an image for plotting, you
should set the Image Size option to User Defined; then set the X Size and Y
Size fields to fairly large values based on the size of the intended image. If the
image pixel count is too low, the output image quality of the plot will not be
optimal.
For example, if an image size is 12 inches by 9 inches and the desired resolution
is 300 dpi, the X Size value should be set to 3600 (12 inches multiplied by
300 dpi = 3600 pixels) and the Y Size value should be set to 2700 (9 inches
multiplied by 300 dpi = 2700 pixels).
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17
Adding Materials and Textures to part geometry is the first step toward creating
realistic images. The Materials/Textures dialog is designed to assign materials
and textures to geometry within the part, while also performing the editing
functions.
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Visualization Techniques
The dialog may be expanded by choosing More Options. The dialog contains
three basic sections:
Materials/Textures
Categories
Provides a list of
Material/Texture
options
17
Allows creation,
rename and
delete operations
Materials/Textures
Usage
Assignment of
Materials/Textures
to geometry
Edit
Materials/Textures
This section may be
opened or closed using
More Options/Less Options
to display edit parameters
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Procedure
To add Material and Texture to geometry:
NOTE
Materials/Textures Categories
Materials and Textures are divided into categories for ease in organization. The
basic categories are:
Metals
Plastic
Glass
Other
Finish
Pattern
Archive
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List box
Toggling Face Selection On allows you to specify a material or texture for only a
specified face or faces of a solid, rather than the entire solid body. If you think
there may be a later change to any of the individual faces, the procedure is
simplified if Face Selection was ON during the original assignment.
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Materials
The Materials portion of the dialog is shown below.
Material Types
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Constant
Matte
Metal
Phong
A variation on plastic
Plastic
Conductor
Dielectric
Environment
Glass
Mirror
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Materials are assigned in accordance with the way light reflects off the
geometry. The main parameters of Materials are:
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The Diffuse Factor is the simulation of light bouncing off of a rough surface. In
this situation, light is scattered in many directions.
Incoming Light
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Diffuse Factor=0.1
Diffuse Factor=0.25
Diffuse Factor=0.5
Diffuse Factor=1.0
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The Specular Factor is the simulation of light bouncing off of a smooth surface.
In this situation, bright highlights are created.
The Specular Color controls the RGB color of the highlights. The values for
specular color filter the light source color in order to control the color of the
highlight. For plastic-like materials, the specular color should be white. For
more metallic-like materials, the specular color should match the color of the
material.
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Specular Factor=0.1
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Specular Factor=0.25
Specular Factor=0.5
Specular Factor=1.0
Generally, objects are either more Diffuse or more Specular. When setting the
Diffuse and Specular Factors of objects and scenes, the Diffuse Factor may
generally be thought of as 1.0 minus the Specular Factor or:
Diffuse Factor = 1.0 - Specular Factor
The Mirror Factor is related to the Specular Factor. As the Mirror Factor is
increased or decreased, you should do the same to the Specular Factor to keep
the scene or object balanced.
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Roughness Factor=0.5
Roughness Factor=0.1
Roughness Factor=1.0
Since the Diffuse Factor is related to the way light bounces off of rough
surfaces, higher Diffuse Factors would also result in higher Roughness Factors.
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Textures
There are two types of textures in UG Render, Procedural Textures and
Wrapped Textures. Procedural Textures are made up of three-dimensional
mathematical functions such as Rough and Cast, while Wrapped Textures
consist of projected two-dimensional images and require definition of a
Texture Space. Examples of Wrapped Textures are Wrapped Images and
Wrapped Grids.
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General
Bumps
Pattern
Transparency
Texture Space
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Texture Space
The Texture Space option allows you to map specific images for use in lieu of a
standard texture. You may also control the way the mapped image is to be
spaced on the object or face, once applied.
Arbitrary Plane
Cylindrical
Spherical
WCS Auto Axis
Uv
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There are several different types of texture mapping. They are listed and
pictured below:
Image to be
mapped
Cylindrical object
or face
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Spherical-A texture map where all points are mapped onto a sphere.
The sphere is defined by a center point and a vector pointing to the
north pole of the sphere.
Image to be
mapped
Spherical object
or face
WCS Auto Axis-A texture space where all points are mapped onto a
plane. The texture space selects one of the three coordinate axes,
based on the surface normal, then performs a planar mapping.
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Bump Maps
Bump Maps, or Displacement Textures, are mapped images that are used to
change the surface normals. Bump Maps, mapped to an object or face, will
make the surface look rough or patterned.
None
Cast
Rough
Wrapped
Wrapped
Wrapped
Wrapped
Wrapped
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Dimple
Rough
Image
Knurl
Tread
Low
Medium
Medium High
High
Very High
Very Sharp
Sharp
Moderate
Smooth
Very Smooth
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The Type option controls the kind of displacement. The default Type is None.
The following are the types of displacement mapping available.
None
No bump mapping
Cast
Rough
Random bumps
Wrapped Dimple
Circular bumps
Wrapped Rough
Wrapped Knurl
Wrapped Tread
Depending upon the type of Bump Map selected, certain options will be
available and others will be grayed out (unavailable).
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Determines the overall size of the bumps, and is enabled for all types of bump maps.
The Scale may be of any value, so you have the option of either entering a value or
using the arrows. The Up arrow doubles the scale, while the Down arrow halves it.
Bump Size
Enabled for Cast, Wrapped Tread, Wrapped Knurl, Rough, Wrapped Rough and
Wrapped Bump Map types, and is controlled by a slider. This option determines the
basic amplitude or size of a bump.
Dent Size
This option is only enabled for Cast type bump maps, and is controlled by a slider.
This option determines the size of depressions in the cast surface.
Threshold
This option is only enabled for Cast type bump maps, and is controlled by a slider.
This option determines the relationship between the number of bumps and dents.
Blend
Enabled for Wrapped Dimple, Wrapped Tread, and Wrapped Knurl types of bump
maps, and is controlled by a slider. This option determines the look of the transition
between bumps. For example, in the case of Wrapped Knurl, Blend controls the look
of the transition from pyramid to cone.
Radius
Enabled for Wrapped Dimple and Wrapped Tread, and is controlled by a slider. This
option determines the size of the bumps.
Depth
Enabled only for Wrapped Dimple type bump maps, and is controlled by a slider.
This option determines the depth of the bumps as a percentage of the radius.
Separation
Enabled for Wrapped Dimple and Wrapped Tread. This option determines the
spacing between bumps as a factor of the radius.
Detail
Enabled for Rough, Wrapped Rough, and Cast types of bump maps. This option
determines the amount of detail in the bumps. The available settings are Low,
Medium, Medium High, High, and Very High.
Sharpness
Enabled for Rough and Wrapped Rough types of bump maps. This option
determines the appearance of bumps, either sharp" or rounded." The available
settings are Very Smooth, Smooth, Medium, Sharp, and Very Sharp.
Image
Enabled only for the Wrapped Bump Map type. Choosing this option displays a file
selection dialog, which allows selection of a TIFF file to use for the bump map.
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Dent Size
Detail
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Detail
Sharpness
Scale
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The Wrapped Dimple, Wrapped Knurl, and Wrapped Tread Bump Maps are
shown below.
Wrapped Dimple
Wrapped Knurl
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Wrapped Tread
Image Bump Maps allow you to select a TIFF image from a directory for
mapping. The system uses the gradient, or color change, from a two
dimensional image to map the three dimensional image.
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Pattern Textures
Pattern Textures are images applied to an object or face as a texture.
None
Blue Marble(HQI Only)
Solid Cubes(HQI Only)
Solid Clouds(HQI Only)
Wrapped Checker(HQI Only)
Wrapped Diagonal(HQI Only)
Wrapped Grid(HQI Only)
Wrapped S Stripe(HQI Only)
Wrapped T Stripe(HQI Only)
Wrapped Image
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Low
Medium
Medium High
High
Very High
Tile
Mirror
Single Image
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The Type option controls the type of pattern texture that is applied to the face
or object. The following pattern types are available:
None
Blue Marble
Solid Cubes
3D Checkerboard
Solid Clouds
Wrapped Checker
2D Checkerboard
Wrapped Diagonal
Diagonal stripes
Wrapped Grid
Wrapped S Stripe
UV space stripes
Wrapped T Stripe
UV space stripes
Wrapped Image
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Depending upon the type of Pattern Texture selected, certain options will be
available and others will be grayed out (unavailable).
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Enabled for all pattern types except Blue Marble and Wrapped Image. Choosing this
option displays a basic color selection dialog, which allows you to specify the color
to be mixed with the material color to create the pattern.
Scale
Enabled for every pattern type except Wrapped Image, and determines the size of
the pattern. The Scale may be any value, so you may either enter a value or use the
arrows. The Up arrow doubles the value and the Down arrow halves it.
Width
Enabled for Wrapped Diagonal, Wrapped Grid, and the Wrapped S and T Stripes
pattern types, and is controlled by a slider. This option determines the width of the
material space inside the grid.
Height
Enabled only for the Wrapped Grid pattern, and is controlled by a slider. This option
determines the height of the material space inside the grid.
Line Width
Enabled for all grids and stripes, and is controlled by a slider. This option determines
the line width of the grid stripes as a percentage of the texture space.
Fuzz
Enabled for Wrapped Diagonal and Wrapped S and T Stripes pattern types, and is
controlled by a slider. Determines the look of the edge of the line, from crisp to fuzzy.
Detail
Enabled only for the Solid Clouds pattern. Determines the amount of variation in the
pattern. The available choices are Low, Medium, Medium High, High, and Very High.
Mode
Enabled only for the Wrapped Image pattern type. Determines if a single copy of the
image or multiple copies will be used in the texture. The following options are
available:
STile-Creates multiple copies
SMirror-Creates multiple copies, where the copies are flipped and mirrored to
match adjacent edges
SSingle Image-Only one copy of the image is placed
The Image option is only enabled for the Wrapped Image pattern type.
Choosing this option will display a file selection dialog which allows selection of
an image texture map from an outside directory.
The TIFF Palette contains a database of known materials and several choices
for each of the available materials. The materials included are: Floor, Metallic,
Natural, Paper, Pattern, Rock, Sky, Wall, Wood, Woven, Tree, and Other.
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In the illustration below, you will see several of the different Pattern Types
applied to a cylindrical body. All Pattern Types, excluding Wrapped Image,
require High Quality Image shading to observe the application.
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Blue Marble
Wrapped Diagonal
Solid Clouds
Wrapped Grid
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Transparency Textures
This dialog controls the transparency properties for a texture. The
Transparency Type specifies which kind of transparency to apply. The default
option is None.
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None
Eroded (HQI Only)
Wrapped Grid (HQI Only)
Wrapped Image
Wrapped Stencil
Glow (HQI Only)
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No transparency
Eroded
The eroded transparency texture operates as a stencil that creates the illusion of
erosion on a surface. The amount of affected surface may be controlled, as can
the size of each area of erosion and the fuzziness of the edges.
Wrapped Grid
This option provides a transparent grid pattern in texture space. The grid
appears opaque, with the holes in the grid appearing transparent. Good choice if
you want to see through an outer surface toward interior parts.
Wrapped Image
Used to map the color of a saved image file into transparency and place that
transparency onto a surface.
Wrapped Stencil
Allows you to create complex logos and lettering stencils using TIFF, BMP, Targa
Postscript raster or LWI image files. The system uses the image to create a
stencil, in which some parts are completely transparent. The stencil may then be
used as a mask, in front of colored or complex objects. In this case, all black
pixels in the mask image result in a transparent surface and all white pixels are
visible. Gray values between black and white, result in partially transparent
surfaces, and may be utilized for anti-aliasing. The masking technique requires
two images, a stencil mask image in black and white and a color image for the
output color.
Glow
Depending upon the type of Transparency Texture selected, certain options will
be available and others will be grayed out (unavailable).
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Enabled for Eroded, Glow, and Wrapped Grid types. Determines the size of the
image or pattern applied to the object. The Scale may be any value, so you may
either enter a value or use the arrow keys. The Up arrow doubles the scale, while the
Down arrow halves it.
Width
Enabled for Wrapped Grid type only, and is controlled with a slider. Determines the
width of a cell in the grid.
Height
Enabled for Wrapped Grid type only, and is controlled with a slider. Determines the
height of a cell in the grid.
Line Width
Enabled for Wrapped Grid type only, and is controlled with a slider. Determines the
width of the lines separating the grid cells.
Coverage
Enabled for Eroded type only, and is controlled with a slider. Determines how much
of the geometry is affected.
Fuzz
Enabled for Eroded type only, and is controlled with a slider. Determines how distinct
the eroded edges are.
Center
Density
Enabled for Glow type only, and is controlled with a slider. This option controls the
Edge Density
Enabled for Glow type only, and is controlled with a slider. This option controls the
Zero Angle
Enabled for Glow type only, and is controlled with a slider. This option controls the
angle, measured from the center of the glow, at which the glow fades away.
Edge Falloff
Enabled for Glow type only, and is controlled with a slider. This option controls how
quickly the glow fades at the edges.
Noise Level
Enabled for Glow type only, and is controlled with a slider. This option controls the
consistency of the glow. A larger Noise Level will produce a blotchy appearance
(depending upon the Scale setting, a Scale value of 1.0 or less will produce larger
blotches)
Transparency
Enabled for Wrapped Grid and Eroded types, and is controlled with a slider.
Determines how transparent the surface will appear.
The Image option is only enabled for the Wrapped Image and Wrapped Stencil
types. Choosing this option will display a file selection dialog which allows
selection of an image from an outside directory.
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Make sure to add realistic details that the eye expects to see, such as
seams, lettering, bevels, blends, weld lines, glue lines, caulking, screws,
etc.
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In this activity, you will experiment with adding various Materials and Textures
to provided geometry.
Step 1 Open the part ids_vis_1.prt and rename the part file
using your initials (***_vis_1.prt) Start the Shape Studio
application.
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Slide
Orange sphere
Blue sphere
Supporting
Channels
Red sphere
White sphere
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For the Red sphere, choose Glass and select ball_1. Choose
Apply.
For the Slide, choose Metals and select Gold. Choose Apply.
Notice the cyan surface. This will be used as the base or floor,
which will allow production of shadows and reflections when a
High Quality Image is rendered.
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Notice that
base" was
added to
the list of
finishes
Copy
Replace
Smooth"
with base"
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Pattern
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Choose
Wrapped
Image
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Choose Wood
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Select the
light pine
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Choose
Texture
Space
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Lights
The Lights dialog is used to create, enable, disable, and manipulate the lighting
scheme for the scene. Visualize Shape lighting allows for dynamic, real-time
manipulation of the type, position, color, and intensity of light sources.
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Light Specification/
Enabling
Light Positioning
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Light Specification/Enabling
These options provide for the creation, copying, and deletion of light sources,
activation and deactivation of both default and user defined light sources, and
information about lighting schemes.
The upper portion of the dialog is divided into two listings:
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On-This list contains the names of all lights that are active in the
current view. To remove a light source from the view, first choose the
icon from the On box; then choose the Down arrow at the right of the
dialog. The icon will appear in the Off box below.
Off-This list contains the names of all lights that are available to be
used. To turn a light source on, choose the icon from the Off box, then
choose the Up arrow at the right of the dialog. The icon will appear in
the On box above.
Up and Down
arrows
Selected Light
All Lights
No Lights
New
Copy
Delete
Information
Ambient Light
Distant Light
Eye Light
Point Light
Spot Light
Scene Light
Reset to
Scene
Reset to Lights
Default
Lights
You may create new lights by using the New option. After choosing the icon,
change the Name and Type (if desired), and choose Apply. If the name already
exists, the operation is ignored.
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Copy is used to create a copy of an existing light. First, select the light you wish
to copy, then choose the Copy icon. Next, enter the new Name (if desired) and
select Apply. The selected light and parameters are copied into the new light
under the new name.
There are five basic types of lights that may be defined in a scene. They are
shown below.
Light Type
Description
Ambient
An Ambient Light provides global illumination for the scene. This light does not cause
shadows and illuminates all objects equally, regardless of the orientation. You may
control the intensity and color of the light.
Eye
An Eye Light source is located at the viewpoint, or directly on the Z axis of the screen.
You may control the intensity and color of the light. This type of light does not cause
shadows in the scene.
Distant
A Distant Light is a light source such as the sun, which may be thought of as being lo
cated infinitely far away. You may control the intensity, color, and a vector that defines the
direction of the light. This light can cast shadows (only shown in High Quality Image
shading) and requires the least computation to determine shadowing.
Point
A Point Light emits light equally in all directions. You may specify the location, intensity,
and color of the light, and set it to generate shadows (only in High Quality Image
shading). The default position for Point Lights is the right-hand corner of the view.
Spot
A Spot Light is similar to a Point Light source, except that it is constrained by a cone
shape. You may specify the location, intensity, and color of the light, and set it to gener
ate shadows (only in High Quality Image shading). The default position for Spot Lights is
in the upper right corner of the view. The default target position is the center of the view.
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The icons for the five basic light types are shown below.
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Ambient
Eye
Distant
Point
Spot
Every new part includes a pre-defined set of lights for general usage. These
lights should provide most users with every type of light needed to set up
lighting for a scene or High Quality Image. This set of lights contains at least
one of each of the five basic light types, and is grouped into two subsets called
Default Lights and Standard Lights.
Default Lights Set
Each new part includes a Default Set of lights for basic use. These lights are
turned on when a new scene is created. The Default Set consists of two lights,
each with the word default" in their names. Also, if there are no lights turned
on and OK or Apply is selected, the Default Lights Set is turned back on to
ensure that parts are not saved without a light source.
The Default Set contains the following lights:
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Clicking on this field invokes
the Color Palette
None
10x
100x
1000x
Constant
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Inverse
Linear
Constant, then
Inverse Square
Inverse
Square
Constant,
then
Inverse
Linear
Intensity
Fall Off
The Intensity Fall Off allows you to control how the intensity of the light
decreases as it moves away from the source. The available options are:
Since the last two options (Constant, then Inverse Linear and Constant, then
Inverse Square) prevent a massive increase in intensity for distances close to
the light, they are useful effects when placing a light inside a scene. These
effects prevent objects close to the light source from being washed out. The
effects of the last two options are visible only when using High Quality Image
shading.
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Light Operations
To select a light, choose the icon from either the On or Off List. The name then
displays in the text field labeled Name. At this point, any operations you choose
are applied to the selected light.
The Show option controls how the active lights are displayed in the graphics
window. Options are: Selected Light, which is the light whose name appears in
the Name text field, All Lights, or No Lights. When a light is displayed in the
graphics window, it is represented by a visible object. These objects are shown
in the figure on the next page.
Distant Light
Spot Light
Point Light
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The Light Positioning options are available using the expandable arrow at the
bottom of the dialog. These options allow various opportunities for positioning
and editing both sources of lights and their targets. This portion of the dialog
allows dynamic, real-time feedback so that you may observe immediate results
while positioning the light sources.
Rotate Source
about Target
Drag
Source
Drag
Direction Vector
Fixed to Observer
Fixed to Part
Drag
Target
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None
Gradual
Rapid
Coarse
Standard
Fine
Extra Fine
Ray Traced
Hard
Standard Soft
Extra Soft
Ultra Soft
The Position option specifies how the orientation of the light source is affected
during view rotations. When Fixed to Part is selected, the light source remains
fixed with respect to the WCS. Performing a view rotation rotates the light
direction as a component of the part.
When Fixed to Observer is selected, the light source is fixed to the observer (in
screen space), and not to the WCS of the part. Rotating the view has the effect
of rotating the objects in the view, but leaving the light source fixed.
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Description
This operation repositions the destination point of the light beam, while the source point
remains stationary. This option is provided for Spot Lights only.
Drag Target
Rotate Source
Drag Source
Drag Direction
Vector
Stretch Spot
Cone
NOTE
This option rotates the source point, while keeping the destination point stationary and
the distance between the source point and the destination point constant for Spot Lights.
This operation rotates the direction vector for Distant Lights, and rotates the source point,
while keeping the distance between the source and the origin constant for Point Lights.
This provides a method for pushing and pulling a light source.
For Spot Lights, this operation allows you to reposition the source point of the light
beam, while the destination point remains stationary. For Point Lights, this operation al
lows you to move the source point. This provides a method for moving the light source
on a fixed plane, parallel to the screen.
For Spot Lights, this operation moves both the source point and the destination point at
the same time, keeping both the angle and the distance between them constant. For Dis
tant Lights, this operation drags the source, keeping the direction vector constant. For
Distant Lights, you may use this option to move the light source to a desired position.
However, dragging a Distant Light's direction vector will not change the lighting effect in
the scene since the light direction doesn't change.
This operation changes the angle of the cone of light emitted by a Spot Light.
There are several options for editing lights at the bottom of the expanded
dialog. These options are defined below.
Cone Angle is the angle of the cone, within which light is emitted for a Spot
Light. The angle is measured in degrees, with a range from zero to 180.
Delta Angle is the angle inside the Cone Angle where the light intensity starts to
fall off. Light will be constant from the center of the cone to the Cone Angle
(Delta Angle), then will fall off to zero at the rate determined by the Beam Fall
Off setting.
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Beam Fall Off determines the fall off ratio from within the cone described by
Cone Angle. Available options are None, Gradual, and Rapid. The option None
provides uniform intensity across the beam interior. Gradual decreases linearly
with the distance from the center of the cone, and Rapid decreases
exponentially with the distance from the center of the cone.
Shadows controls the generation of shadow information for a particular light
source. Shadows are only calculated for a light source if this parameter is set to
On and shadows are requested in the Setup Shade option of the High Quality
Image dialog. The Shadows toggle is sensitive for Spot, Distant, and Point
lights, but not for Ambient or Eye lights (which do not create shadows).
Light Scattering creates an effect of atmospheric scattering of light. This is an
option provided to increase performance, and as the value increases, aliasing
effects become more pronounced. A value near zero would result in an image
lacking any volumetric effects.
Control of this option is located in the Visual Effects-Foreground dialog;
however, in the Lights dialog, you may enable or disable light scattering for a
particular light.
Detail controls the resolution of shadows. There are five settings offered:
Coarse
Standard
Fine
Extra Fine
Edges controls the resolution of shadow edges generated for the chosen light
source. There are four settings offered:
Standard Soft
Extra Soft
The Edges option is available for Spot, Distant, and Point lights, but not for
Ambient and Eye lights (which do not create shadows).
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Reset to Default Options allows you to reset all of the changes you may have
made to the option values for a selected light. All option settings for that
particular light return to default values.
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Lighting Tips
Generally use one primary light source for a scene, then fill in with
one or two fill lights.
Fill lights have a reduced intensity and are set to illuminate parts of
the object not under direct lighting from the primary source.
For performance reasons, use Distant and Spot lights when possible
and avoid excessive use of Point lights.
Lights should almost never be white. In most cases, you should either
warm or cool the light color, depending upon the desired look.
You may want to use colored fill lights to simulate edge bleeding and
soften the product edges.
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In this activity you will assign Light sources to the slide and sphere geometry
from the previous activity.
Step 1 Open the part ***_vis_1.prt or open ids_vis_2.prt and
start the Shape Studio application.
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Visual Effects
The final step of setting up a scene is adding Visual Effects, such as foreground,
background, environmental factors, and any special optical effects. Within
Visualize Shape, the Visual Effects dialog controls these options.
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The Visual Effects dialog is split into four sections, Foreground, Background,
Environment, and Effects.
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Foreground
The Foreground Visual Effect may be defined as the area of the scene which
includes all Unigraphics geometry.
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None
Fog
Depth Cue
Ground Fog
Snow
TIFF Image
Light Scatter
Low
Medium-Low
Medium
Medium-High
High
Very High
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Visualization Techniques
There are several types of Foreground effect. They include the following:
None
Fog
Depth Cue
Similar to the Fog foreground type. Provides a linear attenuation of color within a
specified range. It interpolates between a specified Target Color within a range of
distances (near to far). The parameters are:
Near Distance-minimum distance for the Depth Cue effect
Far Distance-maximum distance for the Depth Cue effect
Target Color-color for the effect
Ground
Fog
Simulates a layer of fog that attenuates with increasing altitude. The parameters
are:
Color-color for the fog
Point-reference point for the normal vector
Normal-vector that controls the direction of attenuation of the fog
Distance-distance in global coordinates at which the fog completely obscures
the scene
Fog Height-determines the rate of decrease for the fog effects
Snow
Provides the effect of snowflakes falling in front of the viewing camera. The effect
is produced by placing random snowflakes on two planes at different scales in
front of the camera. The parameters are:
Color-specifies a color for the snow
Near Scale, Far Scale-specify the relative size of the flakes on the two planes
Flake Size-specifies the average size of a flake
Density-controls the density of the snowfall
Noise Level-determines the irregularity of the snowflakes
TIFF Image
This option positions a TIFF image in front of the generated shaded image. The
parameters are:
Color-specifies a color to be made transparent within the image
X and Y Position-specifies distance from the upper left corner of the graphics
window to the position of the image in the foreground (measured in pixels)
Tiff Image-allows you to select the image to be displayed
Light
Scatter
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Below, you can observe the effects of the various Foreground Types.
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Type: None
Type: Fog
Near Distance=250
Far Distance=800
Color=Light Gray
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Distance=800
Color=Warm Tan
Distance=200
Color=Light Pink
Point-Left of screen
Normal-Pointing toward right
Fog Height=32
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Type: Snow
Color=Black
Default parameters for
X and Y Positions
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Background
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There are two modes of Backgrounds, Primary and Secondary. The Primary
Background mode is the background used behind the geometry in the scene,
while the Secondary Background mode is the background used for reflecting
objects. These background modes work in conjunction with the four types of
backgrounds available within the Visual Effects function.
The four background types available are:
Type
Simple
Mixed
Ray Cube
Two Planes
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Description
This option automatically uses the Primary background.
This option combines the Primary and Secondary backgrounds.
This option utilizes both Primary and Secondary backgrounds.
The Primary background functions as the background and the
Secondary background functions as the image that is reflected in
the geometry.
Similar to the Ray Cube option, this option utilizes both Primary
and Secondary backgrounds.
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Graduated
Tiff Image
Environment
Description
This option allows you to specify a single-colored background.
This option provides a sky with clouds type background. You may
specify the sky color, cloud color, and the size and amount of
detail in each cloud. This background is supported only with the
Improved, Ray Traced and Photo-Realistic modes of High
Quality Image shading.
This option provides two colors, one at the top of the screen and
another color at the bottom. The screen between the two colors
interpolates between them. You may specify both the top and
bottom colors. This background is not supported with the Flat or
Gouraud modes of High Quality Image shading.
This option allows you to select an image file from an outside
directory for use as the background. Only uncompressed TIFF
files should be used as backgrounds.
This option sets up a virtual, six-sided environment cube around
the model geometry. When configured, the Environment option
displays the environment cube as the background for a shaded
image of the model. The environment cube parameters are
controlled within the Environment option of the Visual Effects
dialog.
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Visualization Techniques
Below, you can observe the effects of the various Background Types.
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Simple-Graduated
Simple-Plain
Simple-Clouds
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Simple-TIFF Image
Mixed
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Simple
Mixed
Ray Cube
Two Planes
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None
Plain
Clouds
Graduated
Tiff Image
Environment(HQI Only)
Low
Medium
Medium High
High
Very High
None
Smear
Tile
Center
Tile
Fill
The Mixed option enables you to specify two backgrounds, a Primary and a
Secondary. The interrelation of the two backgrounds may be controlled using
the Mix Ratio slider. To use the Mixed option, first toggle Primary to On and
set the Primary background. Then toggle Secondary to On and set the
Secondary background. Choose Ok or Apply and High Quality Image shading
to observe the assigned backgrounds.
The Fill Mode determines the size of the rendered TIFF image. If the image
does not fill the screen, you may need to set the Fill Mode to Fill.
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Environment
The Environment dialog controls the parameters of the environment cube
which is invoked with the Background option. By selecting the Global Cube
type, you may use the Image List to specify an image to be mapped to the
environment cube. This image then functions as the background for the scene.
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None
Global Cube
In order to activate the Image List option and retrieve an image from an
outside directory for use as an Environment Background, the Type must be set
to Global Cube.
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Effects
The Effects dialog controls optional Visualize Shape post processing effects,
such as Lens Flare and Depth of Field (Camera focusing).
Lens Flare and Depth of Field can provide very artistic special effects to
rendered images.
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Standard
35mm Lens
50mm Lens
105mm Lens
Polygonal
35mm Poly
50mm Poly
105mm Poly
Spark
Star
f2.8
f5.6
f8
f11
f16
f22
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35mm
50mm
70mm
105mm
135mm
210mm
300mm
Unigraphics NX
Visualization Techniques
Lens Flare
Lens Flare is generally an undesirable side effect of taking a photograph of
bright lights. The light interacts with the camera lens optics and creates the
flare effects in the image. For computer graphics, a lens flare is a special post
processing activity applied to an image for a more realistic looking scene.
The Lens Type determines the kind of lens flare that you will observe in the
scene. The elements of a lens flare include the halo, the streaks, and the ghosts.
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Ghost images
Halo image
Lens Flare works with either Spot or Point Lights. For a Point Light, the light
source must be either in the field of view or close to the edge of the field of
view. For a Spot Light, the light cone for the Spot must directly include the eye
point.
The Fall Off characteristics for the light source must be set to either Inverse or
Inverse Square, with an intensity greater than 1.0. The lens options include:
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The Flare Intensity determines the brightness of the lens flare in the scene.
This factor is combined with the light source intensity to determine if the light is
bright enough to cause a flare effect.
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NOTE
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Depth of Field
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The Depth of Field effect simulates the camera lens optical effect where
different objects may be in or out of focus. The main use for this feature would
be to create an image where the primary object of the scene was in focus and
the rest of the image was slightly blurry. This effect tends to draw the viewer's
attention to the primary object in the scene.
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Depth of Field within Visualize Shape simulates the effects of a real camera
lens. You may specify the following parameters:
Focal Distance-Distance from the lens to the focal point where items
will be in focus. You may enter any value into the data field.
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Visualization Techniques
Make sure that the scene is not too ordered. It must appear lived in"
and offer the viewer's eye what it expects to see. If the product is
placed on a desktop, place other objects the viewer would expect to
see there. This balances the scene and helps it to look more like a
photograph than a rendered computer image.
Pay close attention to detail. The smallest details can make the largest
improvement to the scene.
Do not place every object in the visible area. Sometimes, viewing only
part of an object provides the scene with a more realistic look.
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In this activity you will specify various Backgrounds and background images,
and observe the effect of the various Foreground options.
Step 1 Open the part ids_vis_effects.prt and start the Shape
Studio application.
You will see a phone in a stand, placed on a tabletop with an
outerspace-type background. You will observe the result of
changing the background image.
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Visualization Techniques
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Choose Clouds and select the colors you like for the Sky and
Cloud colors from the Color Palette.
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NOTE
Choose Apply.
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NOTE
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SUMMARY
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Appendix A
PURPOSE
The Point Constructor dialog box provides a standard way to specify points
throughout Unigraphics. It allows the creation of point objects as well as the
determination of locations in threedimensional space.
Points may be specified in one of two ways: either choose one of the provided,
icons at the top of the dialog box, or directly enter the X-Y-Z coordinates in
the fields provided.
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A-1
When you choose the Point icon, the Point Constructor allows you to create
point objects. Points appear on the screen as plus signs (+).
When you use the Point Constructor in any other option, you are only
specifying temporary locations, not creating permanent entities. These locations
are displayed as asterisks (*). Choose Refresh to remove the asterisks.
Points have many uses in Unigraphics. Points may be used to locate other
objects. Points may also be used to construct curves or surfaces.
Locating positions with the Point Constructor dialog box is also valuable. For
example, the end of a line or the center of a circle may be specified to locate
objects in model space. The positions of the control points of a curve may also
be specified.
Inferred Point
Depending upon where you select when using this option, one of the following
single selection options will be used: cursor location, existing point, end point,
control point or arc center. This option does not require selection of the
particular point type for each selection.
A-2
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Cursor Location
Use this option to construct points anywhere on the screen by positioning the
cross hairs and indicating a location. The location defined lies on the WCS
Work plane.
To locate points quickly and precisely, use a grid (see PreferencesWork Plane
Show Grid). When Snap to Grid is on, points snap to the nearest grid
position. The grid spacing may be set as desired. The spacing in the
X-direction does not need to be the same as the spacing in the Y-direction.
For example, if the smallest increment on the part is in eighths of an inch
(.125), then the grid spacing would be set to .125. A point at exactly one inch in
X and two inches in Y could be created by counting over eight grid points in X
and up sixteen in Y to indicate a screen position.
Existing Point
Use this option to specify a location by selecting an existing point.
Remember that the point constructor allows locations in model space to be
specified. In the case where an existing point is being selected, it is generally to
aid in the construction of another object.
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End Point
Use this option to specify locations at the end points of existing lines, arcs,
conics, and splines.
Lines
Conics
Arcs
Splines
When selecting geometry, place the cursor near the end point you wish to
select. The point is located at the end of the curve nearest to where it was
selected (see below). Closed curves, such as complete circles, have only one
endpoint because the two ends are at the same coordinate location.
Selection
Position
A-4
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Control Point
Use this option to locate points at the control points of geometric objects. The
control points, which vary for each object type, include: Existing points, End
points of conics, End points and Mid points of open arcs, Center points of
circles or arcs, Mid points and End points of lines, and End points or Knot
points of splines.
Use the cursor to select objects. Since some objects have more than one control
point, place the cross hairs near the control point desired. The system locates
the control point nearest the position where the curve is selected.
Open Arcs
Lines
Conics
Circles
Splines
Intersection Point
Use this option to locate a position at the intersection of two curves or at the
intersection of a curve and a surface or plane. If the curves intersect more than
once, the system creates the point nearest to where the second curve was
selected.
Two Possible Intersections
1
Select second curve
nearest the intersection
you want
When the two selected curves are not coplanar with the XC-YC plane, an
apparent intersection occurs and the system creates the point on the first curve
selected. The system calculates an apparent intersection by projecting the curve
parallel to the ZC axis to find the intersection point (see below). Projections are
always done along the ZC-axis.
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Second Curve
ZC
YC
Point
XC
First Curve
Implied intersection
of two lines
Arc/Ellipse/Sphere Center
Use this option to specify a position at the center of an arc or ellipse by
selecting the arc along its circumference.
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In the example below, selecting with the circumference of the large circle within
the selection ball defines the center point of the large circle.
Selection Point
Center
Point
Selecting near the center of the large circle (see below) will not select the
center of the large circle since the selection ball touches the circumference of
the small circle.
Selection
Point
Center
Point
Angle on Arc/Ellipse
Use this option to locate a position at an angular location on an arc or an
ellipse.
Position on
Arc
105
The angle value is entered in degrees. The angle is referenced from the positive
XC axis and is measured counterclockwise in the WCS. The angular position on
the arc or ellipse may also be defined on the unconstructed portion (or
extension) of an arc or ellipse (see below).
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Position on
Arc
225
Quadrant Point
Use this option to locate positions at the quarter points of an arc or an ellipse.
Select Here
Quadrant Point is Located
Points may be located at the starting point of the arc or ellipse and then at
quarterdistance intervals along the object. The point located is the quadrant
point nearest to the position selected. The quadrant position may also be
defined on the unconstructed portion (or extension) of an arc (see below).
Select Here
A-8
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Offset
This option allows the specification of a position in model space offset from a
reference position in model space. The offset location may be specified relative
to the reference position using either the absolute or the work coordinate
system.
Once an offset method has been specified, it remains in effect until another
offset method is selected. The default setting is None (no offset).
Offset allows a position to be specified away from a specified reference, or base
position in one of the five ways discussed below. This is a useful tool if the
desire is to specify many positions where each position is offset from the
previous position, or when the position that is being specified is relative to
another position most easily defined by selecting a preexisting point.
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In the example below, the need is to specify a quick row of points, offset in the
X direction and Y direction. The first point could be specified, the offset would
be set to rectangular and the values entered, OK could then be chosen a
number of times (7) to offset the remaining points from each previous point.
Each alternating OK specifies the next base position, then the next offset
position based on the values.
Offset 4
Offset 3
First Point
Offset 2
Offset 1
Exiting the Point Constructor menu when using an offset requires the return of
the offset setting to NONE. This may be accomplished by choosing the RESET
button, or by manually changing the offset type back. If The NONE setting is
not reset, the Point Constructor continues to offset positions from the last
specified position.
Reset
Use the Reset button to quickly set the X-Y-Z coordinate fields to 0.0, and to
set the Offset option to None.
Rectangular Offset
This option allows a position to be offset by entering values that represent the
X, Y, and Z directions relative to the coordinate system specified from a
reference point (see below).
The direction of the offset is determined by the coordinate system selected and
the orientation of that coordinate system.
The origin of the coordinate system has no effect on the offset.
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Offset
Point
X = 2.0
Y = 0.5
Z = 1.5
Reference
Point
Z
Y
X
Coordinate System
Cylindrical Offset
This option allows an offset position to be specified by entering cylindrical
coordinates (see below).
The offset values for Radius, Angle, and DeltaZC are defined relative to the
specified coordinate system and applied as illustrated below. The radius and
the angle always lie in the XY plane of the coordinate system specified.
A cylindrical offset may reference either the absolute coordinate system or the
work coordinate system.
Offset
Radius
Angle
Delta-ZC
Radius
Offset Point
Distance Along
ZC-axis (Delta - ZC)
ZC
YC
XC
Angle
Reference Point
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Spherical Offset
Offset Point
Radius
Angle 1
Angle 2
Radius
Angle 2
Z
Y
X
Reference
Point
Angle 1
Vector Offset
This option allows specification of an offset position by indicating a direction
and entering a distance in that direction (see below). The direction is defined
by selecting a line. The point is offset toward the end of the line that is closest
to where the line was selected.
Entered
Distance
Offset Point
Direction of Offset
Z
Y
Reference
Point
A-12
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Offset
Point
Offset Point
Direction of Offset
Reference Point
Direction of Offset
Reference Point
How the curve is selected determines the direction in which the offset will
occur. Select the curve away from the reference position on the side of the
curve you want to specify the position (see below).
Select Here . . .
Reference
Point
Select Here . . .
For this Offset Direction
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Curve Creation
Curve Creation
Appendix B
PURPOSE
Page
B-1
B-2
B-3
B-4
B-18
B-29
B-41
B-50
Creating Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Arcs and Circles . . . . . . . . . . . . . . . . . . . .
Creating Fillets . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Curves . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Curve Creation
Explicit Curves
The intent of this appendix is to teach 2D guide geometry for the purpose of
sweeping through space to create solid and sheet bodies.
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Curve Creation
Basic Curves
When the Basic Curves icon is chosen, the Basic Curves dialog box is displayed.
The icons on this dialog box are displayed below.
Circle
Fillet
Edit Curve
Parameters
Line
Arc
Trim
The portion of the Basic Curves dialog box below the icons is different for each
of the options selected.
The Basic Curves dialog box is used to create lines, arcs, circles, and fillets.
While creating these curves, there is also quick access to the Trim Curve and
Edit Curve Parameters functions.
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Curve Creation
Location Fields
Parameter Fields
Location fields - XC, YC, and ZC. These fields track the location of
the cursor, or they can be used to input a coordinate location to the
WCS.
To give a text field focus, the <Tab> key may be used or click the first mouse
button in the fields desired. Select once in the field to insert text in the existing
string, or select twice for overstrike mode.
When the XC, YC, or ZC field has focus, and <Enter> is pressed, the
location specified is accepted and an asterisk will appear in the
graphics area indicating that point.
When a parameter field (such as length, radius, etc. - any field other
than the three mentioned above) has focus and <Enter> is pressed,
the values in all parameter fields are accepted and applied to the curve
being constructed.
B-4
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Curve Creation
PreSelection Highlighting
When the Basic Curves dialog box is active, and the Point Method is Infer, an
object on which the cursor is placed will always be prehighlighted, regardless of
the setting of the Preselection option in the Selection Preferences dialog box.
This includes all Control points (see below) of the highlighted objects. The
preselection color is determined by the setting in the Selection Preferences
dialog window.
Control Points
Each type of curve has its own unique set of control points (endpoints and
midpoints). This table shows the control points for some common curve types.
Curve
Control Points
Line
Endpoints,
midpoint
Arc
Endpoints,
midpoint
Complete Circle
Center of circle,
Endpoint
TIP The endpoints of a circle are at 0and 360 degrees, (at the 3 0'clock
position). There are 2 endpoints at the same exact location.
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B-6
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Selected
Geometry
Nothing
A screen
position
An existing point
The existing
point
An endpoint or midpoint of a
line, arc, or partial ellipse
The control
point
The circle or
ellipse
The center of
the circle or
ellipse
The control
point (end
point)
The
knotpoint
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Examples
or
B-7
Curve Creation
Point Method
The Point Method option menu, shown below, allows points to be specified
relative to existing geometry by specifying a cursor location or by using the
Point Subfunction. The options on this menu (other than Inferred Point and
Select Face) work similarly to those in the Point Constructor dialog box.
Inferred Point
Cursor Location
Existing Point
End Point
Control Point
Intersection Point
Arc/Ellipse/Sphere Center
Quadrant Point
Select Face
Point Constructor
(See page Appendix B for more information)
When using a point method other than Infer, several things change:
NOTE
B-8
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Curve Creation
The Select Face option allows the selection of a face for use as the limiting
object for a line. When in any other curve creation mode (arc, circle, spline,
etc.) this option is not available. This option may also be used to create a line
normal to a face.
If the Point Constructor method is chosen, the Point Constructor dialog box is
displayed. When Back is chosen from that dialog box, the Basic Curve dialog
box returns.
Existing Point
End Point
Control Point
Cursor Location
Intersection Point
Inferred Point
Arc/Ellipse/Sphere
Center
Quadrant Point
Angle on Arc/Ellipse
None
Rectangular
Cylindrical
Restores Base
Point values
to zero and
Offset to none
Spherical
Vector
Along Curve
String Mode
When this option is ON, the end of one object becomes the beginning of the
next. To stop string mode, turn the button OFF. To stop string mode and start it
again with the next object created, choose Break String or press the middle
mouse button.
NOTE
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Curve Creation
YC
ZC
Second point
XC
First point
NOTE
First point
XC
3
Second point
First point
B-10
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Curve Creation
Enter the desired angle in the Angle text field in the Dialog Bar and
press the <Tab> key. A line at this angle or at this angle plus 180
degrees (depending upon where the cursor is relative to the start
point) will rubberband in the graphics area. See the illustration below.
The value in the Angle text field will also update to reflect the
start/cursor locations.
NOTE
XC
Cursor location
Start location
Start location
Cursor location
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Curve Creation
Select the existing line, being careful not to select one of its control
points.
NOTE
Move the cursor around. Depending upon where the cursor is, the parallel,
perpendicular, or angled line (see below) may be previewed. The Status line
shows which mode is being previewed.
Parallel line
Line at an angle
Defined point
Perpendicular line
Selected line
B-12
If you'd like to create a line at an angle to the selected line, enter the
desired value in the Angle text field in the Dialog Bar and press tab.
When the line is displayed, establish the length by: specifying a screen
position, selecting geometry, or immediately after the line is created,
entering a new value in the Dialog Bar.
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Curve Creation
Select a line.
Choose Apply. The new line is offset from the selected line and is
equal in length. The direction of the offset is dependent upon how the
original line was selected.
The offset line is
created on the side
where the center of the
selection ball is when
the original line is
selected.
Selected line
Offset
distance
New line
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Curve Creation
Select the existing curve, being careful not to select one of its control
points.
NOTE
The example below shows two examples of creating a line through a point and
tangent or perpendicular to an arc or circle. (Notice that the dashed line shows
the line that would be created with the dashed cursor in that position, or by
selecting the object in that position.) The same is true for the solid line and
cursor.
Defined point
(the endpoint of the arc)
Tangent line
Tangent line
Perpendicular line
Defined point
Perpendicular line
B-14
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Curve Creation
Select the first curve, being careful not to select one of its control
points.
The line rubberbands tangentially or perpendicularly to the
selected curve, depending upon the cursor position.
Select the second curve, again being careful not to select one of its
control points.
The illustration below shows the creation of 2 lines; one is tangent to a circle
and the other is perpendicular to a circle.
Tangent line
Second curve
Perpendicular line
First curve
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Curve Creation
Select the curve, being careful not to select one of its control points.
Select the line, again being careful not to select one of its control
points.
The rubberbanding line will be shown parallel, perpendicular,
or at an angle to, the selected line.
NOTE
Second
object
First object
B-16
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Y
X
1
2
2
1
Select a point
Select a curve
Select limiting point/object
(if necessary)
2
1
A bisector line
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Curve Creation
In this activity lines will be created using the methods previously discussed.
Create the lines as described in the steps only. Additional curves will be created
in subsequent activities to further increase understanding.
Second selections
here
First selections
here
B-18
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Curve Creation
Select here
Select here
Tab to the Angle text box on the Dialog Bar, enter 45, and
press Enter.
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B-19
Curve Creation
Select this
line here
Select this
line here
Before
After
Select this
line here
Select this
line here
Before
B-20
After
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Unigraphics NX
Curve Creation
Select the bottom diagonal line with the cross hairs on the
endpoint as shown below. The endpoint highlights before
selection.
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B-21
Curve Creation
Notice that the line was created on the side of the base line that
the selection ball was on at the time of line selection.
B-22
InsertCurveBasic Curves.
In the YC text box, key in 0 (zero) and press the Tab key.
EDS
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Unigraphics NX
Curve Creation
Double click in the Angle text box of the Dialog Bar, type
200, and press the Tab key to lock in that value.
Moving the cursor around displays the intended
rubberbanded line (or a line at 20 if the cursor is in the
upper right area).
Position the cursor in the lower left to display the 200 line.
EDS
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B-23
Curve Creation
B-24
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Unigraphics NX
Curve Creation
Select the last line created avoiding its control points. This
defines the base line.
In the Dialog Bar, double click in the Angle text box and key
in 20. Press Tab to lock in the angle value.
Move the selection ball around until the status line reads
Angle, then use the middle mouse button to select Lock
Mode.
20
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B-25
Curve Creation
B-26
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Unigraphics NX
Curve Creation
Creating Arcs
When creating arcs, there are several things to keep in mind:
Arcs have four control points: two endpoints, a midpoint, and the arc
center.
If an arc is chosen such that one of its four control points lies within
the cursor, its control point will be selected.
If an arc is chosen with none of its control points within the cursor, the
arc itself will be selected, inferring tangency or a trim location.
Creation Method
There are two methods for creating arcs:
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Diameter
Start Angle
End Angle
B-27
Curve Creation
Creating Circles
Circle creation requires the definition of a center location and a size. That
information may be defined by numerical entry or selections from the screen.
First point
B-28
EDS
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Unigraphics NX
Curve Creation
In this activity, various methods will be used to create arcs and circles.
Continue working with the ***_curves_1.prt file.
Step 1 Create an Arc through three points.
Three points will be used to create an arc. The arc will start at
the first point, end at the second, and pass through the third.
First selection
(for start point)
Second selection
(for end point)
EDS
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B-29
Curve Creation
Third selection
(for arc size)
First selection
(for start point)
Second selection
(for end point)
Double click in the XC text box on the Dialog Bar and enter
0, press Tab, in the YC text box enter 0, press Enter
B-30
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Unigraphics NX
Curve Creation
Second selection
(for end point)
Choose Fit.
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B-31
Curve Creation
1
3
2
1
B-32
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Define point
Select tangent object
Unigraphics NX
Curve Creation
Fillets
Fillets are arcs that have tangent relationships with one or more curves. They
are editable as fillets, meaning the tangent relationships will be maintained as
the fillet radius or arc center is changed.
This section contains a brief explanation of Fillet creation functionality. At the
end of this section, you will find a summary of Fillet creation methods. There
are three Fillet creation methods:
Simple
2 Curve
3 Curve
EDS
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B-33
Curve Creation
Procedure
Indicate the desired trim methods for the objects (two and three curve
only).
Specify the approximate center of the fillet (two and three curve only).
When creating 2 and 3Curve Fillets, trim options for each of the selected
curves may be specified. If no trimming options are selected, none of the curves
are trimmed. Select from the following trim options:
The Delete Second Curve and Trim Third Curve options are applicable to the
3Curve Fillet only.
When creating 2 and 3Curve Fillets the approximate center must be indicated;
this is accomplished by using the cursor or the Point Constructor. Using the
cursor location method in Point Constructor allows selection of a position in the
XY plane of the WCS.
If a fillet is created other than desired, Undo may be selected to delete the fillet
and restore the selected curves.
B-34
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Unigraphics NX
Curve Creation
Simple Fillet
Simple Fillet creates a fillet between two coplanar nonparallel lines. The size
of the fillet is determined by entering a value for the radius first. The lines are
automatically trimmed to the points of tangency.
NOTE
The fillet that is created is directly related to where the lines were selected. The
cursor must be positioned in such a manner as to include both lines. If the
cursor contains only one line, an error message displays.
Crosshairs
L1
L1
Selected quadrant
L2
L2
AFTER
BEFORE
As both lines are selected, the crosshairs determine which fillet is created; it
indicates the center of the arc. Position the crosshairs in the quadrant formed
by the lines to define the desired fillet center. Each line extends or trims to
thearc.
Before
After
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B-35
Curve Creation
2 Curve Fillet
The 2 Curve Fillet constructs a fillet between two curves, including points, lines,
circles, conics or splines. A two curve fillet is generated in the counterclockwise
direction from the first curve to the second.
Curve 1
Curve 2
Approximate fillet
center
Curve 2
Curve 1
If the two selected curves are in different planes, the fillet plane is the plane
containing the tangent of the first curve. The plane is normal to the vectors that
are normal to both tangents and is totally independent of the WCS.
(See below.)
Curve 1
Fillet plane
Fillet
Vectors
normal to
both
tangents
Curve 2
B-36
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Unigraphics NX
Curve Creation
3 Curve Fillet
This option creates a fillet between three curves, which may be any combination
of points, lines, arcs, conics, and splines. The Radius entry box is not available
because it is determined by the geometry selected.
A three curve fillet is a circular arc generated in a counterclockwise direction
from the first curve to the third curve. The system constructs the fillet in such a
manner that the center of the arc is equidistant to all three curves. The three
curves do not have to lie in the same plane.
Curve 3
Curve 1
Curve 2
Before
After
The system trims curves, based on the selected options, to the tangent point of
the fillet.
If any one of the curves selected is an arc, the system prompts for additional
information to create the fillet:
Tangent Outside
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B-37
Curve Creation
Curve 1
Curve 1
After
Before
Fillet
Curve 2
Curve 3
Curve 3
Tangent Outside
Curve 1
Curve 1
Fillet
Curve 2
Before
Curve 3
Curve 3
After
B-38
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Unigraphics NX
Curve Creation
Curve 1
Curve 1
Fillet
Curve 2
Curve 3
Curve 3
Before
After
The Point Constructor selections may be used to create a cliff edge fillet, where
the fillet is contiguous with a selected curve, but not tangent to it.
3
1
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B-39
Curve Creation
2 curve fillet
3 curve fillet
3
1
B-40
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Unigraphics NX
Curve Creation
In Area #1, select the fillet lines in each of the four corners
as shown below. Keep both lines inside the Selection Ball
when selecting. Cursor placement is critical.
Before
After
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B-41
Curve Creation
Define which object will be trimmed. In this case trim the line
but not the arc. (See below.)
Choose the Trim Second Curve button to turn the option off.
In area #2, select the yellow line (first object), then select
the arc (second object).
Select second
Indicate here
Select first
Before
B-42
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After
Unigraphics NX
Curve Creation
Step 3 Create a 2 Curve Fillet (and Use a Point for One of the
Curves).
Notice that the fillet process is modal, that more fillets may be
created without reselecting any icons.
Indicate here
Select point
Select first
Before
After
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B-43
Curve Creation
Select first
Select second
Select third
Indicate here
Before
After
B-44
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Unigraphics NX
Curve Creation
Editing Curves
The options on the Edit Curve dialog box allows modifications to existing
curves. To display the dialog box, either choose the Edit Curve Parameters icon
from the Edit Curve toolbar, choose EditCurveParameters from the
pull-down menu, or choose InsertCurveBasic Curves to display the Basic
Curves dialog box, then choose the Edit Curve Parameters icon.
Edit
Curve
Parameters
Trim
Editing a Line
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B-45
Curve Creation
Editing a Line
A line may be edited by changing its endpoints or its parameters (length and
angle).
To change a line's endpoint:
Select the line end to be modified. The line now rubberbands from
the fixed end.
Specify a new position using any of the Point Method options on the
dialog box.
A line may also be Stretched to move its endpoint.
B-46
Enter new values for the length and/or angle in the Dialog Bar, then
press <Enter>.
The direction that the line is extended is dependent upon which side
of the center control point is selected.
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Curve Creation
Drag the arc or circle to a new location, or enter a new XC, YC, ZC
location in the Dialog Bar.
Enter new values in the radius, diameter, start angle, and/or end angle
fields in the Dialog Bar and press <Enter>.
EDS
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B-47
Curve Creation
To change the radius of the arc or circle, select it, avoiding its control
points, and drag it. When it is the size desired, press the first mouse
button.
Other geometry may also be selected to control the size of the
arc. For example, a line may be selected to make the arc tangent
to it, or the endpoint of another arc may be selected to make the
selected arc pass through it.
To change the start or end angle of the arc or circle, select it at the
desired endpoint and drag it. When the angle is correct, press the first
mouse button.
Other geometry may also be selected to control the start and/or
end angles of the arc. A line may be selected to stop the arc at
its intersection with the line, or an endpoint of another object
may be selected, and that endpoint will be projected onto the
arc to determine its start angle.
B-48
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Unigraphics NX
Curve Creation
Trim
When a curve is trimmed, it is trimmed to its intersection with one or two
bounding objects. A bounding object may be a curve, face, point, plane, or view
point.
Caution must be taken when selecting the curve to trim. The portion of the
curve that is selected determines which end is trimmed. The segment of the
object that is selected is always removed or extended (see below). If there are
multiple intersection points near the desired intersection, the system will
prompt for the selection of the desired intersection point to be used as the
bounding point.
Bounding Arc
Bounding Arc
Intersection
Point
Intersection
Point
If the line is selected here
BEFORE TRIM
One bounding object must be specified, and not more than two, when trimming
a curve. Once the bounding objects have been specified, multiple curves may be
specified and they will all be trimmed to the bounding objects.
Procedure
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B-49
Curve Creation
LINE1
Select the arc as the bounding object
LINE2
LINE3
B-50
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Unigraphics NX
Curve Creation
LINE1
LINE2
LINE3
LINE3
LINE3
EDS
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B-51
Curve Creation
B-52
EDS
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Unigraphics NX
Transformations
Transformations
Appendix C
PURPOSE
Transformation procedure
Terminology
Translate
Scale
Hollow
Page
EDS
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C-1
Transformations
Transformations
The EditTransform option allows objects to be translated, rotated, and
scaled. Transformations may be used to create multiple copies of selected
objects, make multiple moves, perform multiple scale operations, etc.
NOTE
Transformation Procedure
C-2
Choose EditTransform.
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Unigraphics NX
Transformations
Work
Orig
Specify
Trace Status ON creates connecting curves between the original objects end
points and their transformed copies. When trace status is OFF, connecting lines
are not created between the original object and the transformed copies.
Original object
Transformed Object
Trace Curves
Before
After
Trace Status may be used with Translate, Scale, Rotate, Mirror, or Reposition
to create closed wireframe shapes. Trace Status is not applicable to solid
bodies, surfaces, or boundary objects. Trace curves are independent of the
Destination Layer setting, and are always created on the current Work layer.
EDS
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C-3
Transformations
After the number of subdivisions has been entered, the Transform Type dialog
box redisplays. Multiple Copies may be selected to enter a desired number of
copies.
Move allows transformation of an object from its original location to a new
location. The selection in this option is object based. A feature of a solid body
may not be selected for this operation.
When a solid body is moved, all associated entities (such as dimensions and
datum planes) are also moved.
When a solid body containing swept features is moved, the sweep outlines, or
paths, move as well. Other features or solid bodies sharing those sweep outlines
are also moved.
NOTE
C-4
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Unigraphics NX
Transformations
Undo Last cancels any immediately preceding transform operation. Use Undo
Last after a transformation via Move, Copy, or Multiple Copies. Undo Last
remains available until you choose Reselect Objects.
Changes in Transform Type, Destination Layer, Trace Curves, or Subdivisions
made after a transformation, but before it is undone, occur during the next
transformation operation. They will not affect the execution of Undo Last.
Objects originally selected for transformation remain selected at the completion
of the Undo Last, and ready for the next transformation operation.
Move, Copy, or Multiple Copies selected immediately following Undo Last,
regenerates the objects in a state that preceded Undo Last.
Translate
Objects may be Translated (moved) to a point, or by a distance of delta.
Translated objects maintain the original orientation.
Scale
This option affects the size of an object and the distance between the object
and its reference point. A nonuniform scale method may be specified with the
values relative to the WCS..
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C-5
Transformations
Reference
Point
Reference
Point
Reference
Point
Scale Factor=1/2
NOTE
C-6
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Unigraphics NX
Transformations
ZC
ZC
YC
YC
Scale Factors
XC
XC Scale = .75
YC Scale = .5
ZC Scale = 1.25
Before
NOTE
XC
After
If you wish to nonuniform scale a solid body containing analytic surfaces, first
convert those sheet bodies into bsurfaces using the Convert function, then sew
them together into a new solid body valid for nonuniform scaling.
With the NonUniform Scale method, Undo Last is available even if the
rescaled object had been converted to a different kind of object.
NOTE
Arc
YC
ZC
XC
Before
Spline
YC
Scale Factors
XC Scale = 1.35
YC Scale = 1.02
ZC Scale = 1.00
ZC
XC
After
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C-7
Transformations
The figure below illustrates Rotation About a Point, with multiple copies.
Original Object
Number of Copies: 3
Subdiv Factor: 4
Rotation Angle: 270
Reference Point
ZC
YC
XC
Line Parallel To ZC
C-8
EDS
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Unigraphics NX
Transformations
Transformed Object
YC
ZC
XC
Reference Line
Original Object
Two Points
Existing Line
Reference
Point
Z
Y
Number Of Copies: 7
Rotation Angle: 315
Reference Point: Arc Center
EDS
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C-9
Transformations
Associative Offset
Curves
No Associativity
Mirrored Curves
Parent Curves
(Not Mirrored)
C-10
EDS
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Unigraphics NX
Transformations
Hollow
The Hollow operation creates a cavity inside, or a shell around an existing solid,
based upon a specified thickness. The entire solid body is hollowed during this
operation.
In the figure below, the top face has been selected as the face to be pierced.
Thickness
Face to be
pierced
Before
After
Positive values will hollow the existing solid so that the wall thickness
is measured inward from the original faces of the solid.
Negative values for the wall thickness will result in a hollow that forms
a shell of the specified value around the original solid.
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C-11
Transformations
Body
Face
Offset
face
Pierced
face
Type
Filter
Default
Thickness
Alternate
Thickness
A unique thickness may be assigned for each face with the Offset Face option.
When Offset Face is selected, the Alternate Thickness text box becomes active.
Using variable thickness hollows reduces the number of features in the part (as
the offset features are not required) and results in more compact models.
C-12
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Unigraphics NX
Transformations
In this activity the Hollow operation will be used to take material away from the
model of a plastic molded part.
Step 1 Open the Part File.
Right
Set the Display Mode to Shaded and Rotate the part (third
mouse button) to verify that the solid requires hollowing.
EDS
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C-13
Transformations
Right face
C-14
EDS
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Unigraphics NX
Boolean Operations
Boolean Operations
Appendix D
PURPOSE
Unite
Subtract
Intersect
EDS
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D-1
Boolean Operations
Boolean Operations
Boolean operations are used to create a single solid body out of two or more
existing solid bodies. Unigraphics senses when a solid already exists in a file
and another is being created, and the following menu appears for the Boolean
Operation.
The new solid may be created as a separate solid using Create, or a Boolean
operation (Unite, Subtract, or Intersect) may be performed on the two solids
during creation to make one resultant solid.
D-2
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Boolean Operations
The Boolean Operations may also be created as a separate feature using the
InsertFeature Operation options shown in the menu below. When using these
operations, a Target Solid and a Tool Solid need to be specified to perform the
boolean operation.
NOTE
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D-3
Boolean Operations
Tool solids
Unite
This option allows two or more solid bodies to be combined into one.
Target solid
Completed solid
Tool solids
Before
D-4
After
EDS
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Unigraphics NX
Boolean Operations
Subtract
This option allows material to be removed from a solid body (Target Body) by
using another solid body as the Tool Solid, leaving empty space where the Tool
body existed.
Tool solid
Target solid
Before
After
Tool solid
Intersect
This Boolean allows a new solid to be created from two solids. The resultant
solid will be that portion which is common to both of the selected solids.
Before
After
Target solid
Tool solid
TIP Intersecting the target solid with more than one tool solid in one
operation will result in an unparameterized solid.
EDS
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D-5
Boolean Operations
D-6
EDS
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Unigraphics NX
Glossary
Glossary
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GL-1
GL
GL
Glossary
GL-2
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Unigraphics NX
Glossary
EDS
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GL-3
GL
GL
Glossary
GL-4
EDS
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Unigraphics NX
Glossary
EDS
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GL-5
GL
GL
Glossary
GL-6
EDS
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Unigraphics NX
Glossary
EDS
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GL-7
GL
GL
Glossary
version - A term which identifies the state of a part with respect to a series of
modifications that have been made to the part since its creation.
view - A particular display of the model. View parameters include view orientation
matrix; center; scale; X,Y and Z clipping bounds; perspective vector; drawing
reference point and scale. Eight standard views are available to the user: Top,
Front, Right, Left, Bottom, Back, TfrISO (topfrontright isometric), and TfrTri
(topfrontright trimetric).
view dependent edit - A mode in which the user can edit a part in the current work
view only.
view dependent modifications - Modifications to the display of geometry in a
particular view. These include erase from view and modify color, font and width.
view dependent geometry - Geometry created within a particular view. It will only
be displayed in that view.
WCS - Work Coordinate System.
WCS, work plane - The WCS (Work Coordinate System) is the coordinate system
singled out by the user for use in construction, verification, etc. The coordinates of
the WCS are called work coordinates and are denoted by XC, YC, ZC. The XCYC
plane is called the work plane.
Work Coordinate System - See WCS.
work layer - The layer on which geometry is being constructed. You may create
objects on only one layer at a time.
work part - The part in which you create and edit geometry. The work part can be
your displayed part or any component part which is contained in your displayed
assembly part. When displaying a piece part, the work part is always the same as
the displayed part.
work view - The view in which work is being performed. When the creation mode
is view dependent, any construction and view dependent editing that is performed
will occur only in the current work view.
XC axis - Xaxis of the work coordinate system.
YC axis - Yaxis of the work coordinate system.
ZC axis - Zaxis of the work coordinate system.
GL-8
EDS
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Unigraphics NX
Index
Index
A
ABS, GL-1
Absolute Coordinate System, GL-1
Active View, GL-1
Analyze Shape, 11-2
Dynamic Deviation Gauge, 11-22
Dialog, 11-22
Parameters, 11-22
Reference Options, 11-22
Grid Section Analysis, 11-42
Section Analysis, 11-29
Dialog, 11-30
Multiple Sections, 11-31
Procedure, 11-31
Multiple Sections, 11-32
Parallel Planes, 11-31
Radial Planes, 11-32
Analyze Shape Toolbar, 11-2
Angle, GL-1
Arc, GL-1
Arcs, B-26
Arc Creation Chart, B-32
Creating Arcs, B-27
Fillets, B-33
ASCII, GL-1
Aspect Ratio, GL-1
Assemblies, GL-1
Associativity, GL-1
Attribute, GL-1
B
Background, 17-76
Background Patterns, 17-77, 17-29
Background Types, 17-76, 17-29
Body, GL-1
Boolean Operations, D-2
Intersect, D-5
Subtract, D-5
Target and Tool Solids, D-4
Unite, D-4
C
Category, Layer, GL-2
Chaining, GL-2
Circle, GL-2
Circles, B-26
Circle Creation Chart, B-32
Creating Circles, B-28
Component, GL-2
Part, GL-2
Cone
Direction, GL-2
Origin, GL-2
Constraints, GL-2
Construction Points, GL-2
Control Point, GL-2
Control Points, B-5
Convert, Curves to BCurves, GL-2
Coordinate Systems, GL-3
Sketch, GL-7
Counterclockwise, GL-3
Current Layout, GL-3
Cursor, GL-6
Curve, GL-3
Curve Creation, B-1
Arcs, B-26
Circles, B-26
Explicit Curves, B-2
Line Creation, B-10
Options, B-8
Point Method, B-8
String Mode, B-9
Curve on Surface, 14-14
Dialog, 14-14
Procedure, 14-15
IN
Defaults, GL-3
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IN-1
IN
Index
Defining Points, GL-3
Deform Sheet, 16-16
Deviation Check, 16-19
Dialog, 16-20
Dialog Options, 16-16
Edit A Copy, 16-19
Edit Original Sheet, 16-19
Name, 16-19
Procedure, 16-21
Section Analysis, 16-19
Degreeoffreedom Arrows, GL-3
Depth of Field, 17-86
Aperture Setting, 17-87
Focal Distance, 17-87
Focal Length (Lens Size), 17-87
Tips, 17-87
Design in Context, GL-3
Developed Curves
, 14-2
Bridge Curve, 14-3
Curve on Surface, 14-14
Deviation, 11-18
curve to face, 11-19
edge to face, 11-18
Dialog Bar, B-4
Location Fields, B-4
Parameter Fields, B-4
Dimension Constraints, GL-3
Direction, Cone, GL-2
Directory, GL-3
Displayed Part, GL-3
E
Edit During Update, 12-15
Accept, 12-16
Accept Remaining, 12-16
Continue, 12-16
Delete, 12-17
Edit, 12-17
Information, 12-16
Out of Date Features, 12-19
Review the Model, 12-17
Step, 12-16
Step Back, 12-16
Step Back To, 12-16
Step To, 12-16
Suppress, 12-17
Suppress Remaining, 12-17
Undo, 12-16
IN-2
F
Face, GL-3
EDS
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Unigraphics NX
Index
Face Analysis, 11-2, 11-6, 11-8
analysis type, 11-7
Gaussian radius, 11-7
maximum radius, 11-7
mean radius, 11-7
minimum radius, 11-7
normal radius, 11-7
sectional radius, 11-7
U radius, 11-7
V radius, 11-7
display type, 11-3, 11-4
fringe, 11-3
hedgehog, 11-3
resolution, 11-4
Procedure, 11-10
sectioning plane, 11-7
Failed Update, 12-15
Feature Operations, 12-1, 13-1
Mirror, 12-2
Patch, 13-7
Sew, 13-2
H
Half Angle, GL-2
Hollow, C-11
Body, C-12
Face, C-12
Region, C-12
Wall Thickness Value, C-11
Negative Values, C-11
Positive Values, C-11
Features, GL-4
File, GL-4
Fillets, B-33
2 Curve Fillet, B-36
3 Curve Fillet, B-37
Fillet Creation Methods Chart, B-40
Procedure, B-34
Simple Fillet, B-35
Trim Options, B-34
Filtering, GL-4
Font
Box, GL-4
Character, GL-4
Line, GL-4
Foreground, 17-71
Types, 17-73
G
Generator Curve, GL-4
Geometric Constraint, GL-4
Global Shaping, 16-27
Control By Function, 16-28
Control By Surface, 16-29
Dialog, 16-27
Overcrown, 16-29
Procedure, 16-30
Stretch, 16-30
IN
Grid, GL-4
EDS
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IN-3
IN
Index
Tangent to Curve, Perpendicular to Another,
B-15
Tangent to Curve, Perpendicular to Line, B-16
Tangent to Two Curves, B-15
Through a Point and at an Angle to XC Axis,
B-11
Through a Point and Horizontal, B-10
Through a Point and Parallel to Line, B-12
Through a Point and Perpendicular to Line, B-12
Through a Point and Vertical, B-10
Through a Point, at an Angle to Line, B-12
Through a Point, Perpendicular to Curve, B-14
Through a Point, Tangent to Curve, B-14
Listing Window, GL-5
Loaded Part, GL-5
M
Make Current Feature, 12-15
Failed Update, 12-15
Edit During Update, 12-15
Match Edge, 16-31
Dialog, 16-32
Materials, 17-19
Ambient Factor, 17-20
Diffuse Factor, 17-20
Index of Refraction, 17-20
Mirror Factor, 17-20
Roughness, 17-20
Specular Factor, 17-20
Translucency, 17-20
Menu, GL-5
Mirror, 12-2
Procedure, 12-3
Mirror Through a Line, C-8
Model, GL-6
Model Navigator, 12-8
Make Current Feature, Usage Considerations,
12-12
Out of Date Features, 12-19
Reorder Before, After, Application, 12-10
Reordering with the Model Navigator, 12-11
Procedure, 12-11
Model Space, GL-5
Modeling for Flexibility, 12-20
P
Parametric Design, GL-5
Part, GL-5, GL-6
Partially Loaded Part, GL-6
Parts Used, mff_edit_poles_1, 11-20
Patch, 13-7
Confirm Upon Apply, 13-11
Create Hole, 13-9
Dialog, 13-8
Procedure, 13-11
Reverse Removal Direction, 13-10
Selection Steps, 13-8
Target Body, 13-8
Tool Face, 13-8
Tool Sheet, 13-8
Playback, 12-14
Point Constructor, A-1
Angle on Arc, A-7
Angle on Ellipse, A-7
Arc Center, A-6
Control Point, A-5
Coordinate System, A-9
Cursor Location, A-3
Ellipse Center, A-6
End Point, A-4
Existing Point, A-3
Inferred Point, A-2
Intersection Point, A-5
Offset, A-9
Quadrant Point, A-8
Sphere Center, A-6
Point Constructor Offset, A-9
Cylindrical Offset, A-11
Offset Along Curve, A-13
Rectangular Offset, A-10
Reset, A-10
Spherical Offset, A-12
Vector Offset, A-12
Point Set, GL-6
Point Subfunction, GL-6
Preselection Highlighting, B-5
Object, GL-5
IN-4
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Index
Real Time Dynamics, GL-6
Scale, C-5
Non-Uniform Scale, C-6
Textures, 17-25
Bump Maps, 17-28
Cast Texture Parameters, 17-31
Rough Texture Parameters, 17-32
Types, 17-30
Wrapped Dimple, 17-33
Wrapped Knurl, 17-33
Wrapped Tread, 17-33
Pattern Textures, 17-34
Types, 17-36
Texture Space, 17-26
Arbitrary Plane, 17-26
Cylindrical, 17-26
Spherical, 17-27
Uv, 17-27
WCS Auto Axis, 17-27
Transparency Textures, 17-38
Types, 17-40
SCS, GL-7
TfrISO, GL-4
Sew, 13-2
Sewing Sheets, 13-2
Procedure, 13-3
Sewing Solids, 13-3
Procedure, 13-4
TfrTri, GL-7
Refresh, GL-6
Right Hand Rule, GL-6
Rotate About a Line, C-9
Existing Line, C-9
Point and Vector, C-9
Two Points, C-9
Rotate About a Point, C-8
Rotation, GL-6
Sheet, GL-6
Sketch, GL-6
Coordinate System, GL-7
Solid Body, GL-7
Spline, GL-7
Stored Layout, GL-7
Stored View, GL-7
String, GL-7
Subassembly, GL-7
Subtract, D-5
Surface, GL-7
Swoop Surfaces, 15-18
Dialog, 15-18
Procedure, 15-19
Symmetric Bridge, 14-9
Procedure, 14-9
System, GL-7
IN
Trim, GL-7
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IN-5
IN
Index
U
Unigraphics, GL-7
Unite, D-4
Units, GL-7
Upgrade, Component, GL-7
V
Version, GL-8
View, GL-8
Isometric, GL-4
Trimetric, GL-7
Work, GL-8
Visual Effects, 17-70
Background, 17-76
Effects, 17-82
Environment, 17-81
Foreground, 17-71
Visualization, 17-3
Adding Materials, 17-15
Categories, 17-17
Dialog, 17-16
Procedure, 17-17
Tips, 17-41
Adding Textures, 17-15
Categories, 17-17
Dialog, 17-16
Procedure, 17-17
Tips, 17-41
Set-Up, 17-5
High Quality Image, 17-5
Rendering Method, 17-7
Set-Up Options, 17-9
Action Options, 17-13
IN-6
W
WCS, GL-8
Work Layer, GL-8
Work Part, GL-8
X
XCAxis, GL-8
Y
YCAxis, GL-8
Z
ZCAxis, GL-8
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Student Profile
Industrial Design With Shape Studio
Name
Employer
U.S. citizen? Yes / No
Date
9. Please list other completed CAD/CAM/CAE courses and the provider including Unigraphics CBT
and CAST:
Course
Provider
10. Please check the box that best describes your current skill level in the various Unigraphics
disciplines listed below.
none
novice
intermediate
advanced
future use
Wireframe Modeling
Solid Modeling
Parametric Modeling
Drafting
Assemblies
Manufacturing
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Additional Comments
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Day 1
Monday Morning
Introduction & Overview
Instructorled Mouse Activity
Workbook Section 1
Lesson 1
Getting Started
Afternoon
Lesson 2
Working With the WCS and Raster Images
Workbook Section 2
Project Description
Workbook Section 3
Capture the Stylists Intent (begin)
Lesson 3
Creating Splines
Workbook Section 3
Continue
Lesson 4
Editing Splines (begin)
Day 2
Tuesday Morning
Brief Review
Lesson 4
Lesson 5
Afternoon
Workbook Section 4
Lesson 6
Lesson 7
Lesson 8
Day 3
Wednesday Morning
Brief Review
Lesson 8
Free Form Styling Surfaces (continue)
Workbook Section 5
Create and Edit the Side Body Surfaces
Lesson 9
Editing Free Form Surfaces
Afternoon
Workbook Section 6
Create a Transition Surface (begin)
Lesson 10
Creating Transition Surfaces
Workbook Section 6
Create a Transition Surface (continue)
Lesson 11
Lesson 12
Analyzing Surfaces
Feature Operations and the Model Navigator
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Day 4
Thursday Morning
Brief Review
Workbook Section 7
Create the Snowmobile Hood
Lesson 13
Free Form Feature Operations
Workbook Section 8
Complete Surfacing of the Snowmobile Hood
Lesson 14
Creating Advanced Curves
Workbook Section 9
Add a Headlight to the Snowmobile Hood (begin)
Afternoon
Workbook Section 9
Add a Headlight to the Snowmobile Hood (continue)
Lesson 15
Creating Advanced Surfaces
Workbook Section 10 Begin Construction of the Hood Scoop
Lesson 16
Advanced Edit Features
Workbook Section 11
Workbook Section 12
Day 5
Friday Morning
Brief Review
Workbook Section 11 Complete Construction of the Hood Scoop (continue)
Workbook Section 12 Complete the Snowmobile Hood (continue)
Lesson 17
Visualization Techniques (begin)
Afternoon
Workbook Section 13 Add Visualization Techniques to the Snowmobile Hood
(begin)
Lesson 17
Visualization Techniques (continue)
Workbook Section 13
(continue)
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Selected
Geometry
Nothing
A screen
position
An existing point
The existing
point
An endpoint or midpoint of a
line, arc, or partial ellipse
The control
point
The circle or
ellipse
The center of
the circle or
ellipse
The control
point (end
point)
The
knotpoint
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Examples
or
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Y
X
1
2
2
1
Select a point
Select a curve
Select limiting point/object
(if necessary)
2
1
A bisector line
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1
3
2
1
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Define point
Select tangent object
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2 curve fillet
3 curve fillet
3
1
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Description
Dimensions
Dimensions may be specified in several different ways. When working with standard
sized drawings, users may select the drawing size from the standard pull-down
menu. For non-standard sized TIFF images, users may set the dimensions using the
Height and Length data entry fields.
Location
The location of the image plane is specified by the location and orientation of the
current WCS. Change the WCS to the desired location and orientation before
importing the raster image. The lower left corner of the image is placed at the WCS
origin.
TIFF Image
The TIFF Image is specified by first choosing the TIFF Image button in the dialog. The
file containing the image may then be selected from the file selection menu. Once
specified, a sheet body with the specified dimensions and location will be created.
The TIFF image is applied to the sheet body.
Units
Automatic
Aspect Ratio
This option is a toggle that determines whether the Height/Length aspect ratio is kept
to the aspect ratio of the original selected TIFF image. By default, this toggle is ON,
meaning that the aspect ratio for the specified image plane is automatically set to the
aspect ratio of the selected TIFF image. As the Height value is entered into the data
field, the Length value is automatically calculated. Note that this option also applies
when you select a standard size from the size option menu. If this is not desired,
toggle the Automatic Aspect Ratio OFF. If the toggle is OFF, the image plane is
constructed to the exact dimensions in the data entry fields. In some cases, this may
cause extra area in the image plane that is not covered by the mapped image,
however, the image will be mapped to the plane without distorting the aspect ratio of
the original image.
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Spline Continuity
Common Term
Internal Continuity
Curve to Curve
Continuity
Same Position
C0
G0
Same Slope
C1
G1
Same Curvature
C2
G2
With the Symmetric constraint, the curvature comb will be parallel to the curve
at the point of symmetry. Continuity conditions are easy to describe with a
simple illustration:
G0
The curves are in contact at the end points,
but not tangent.
Three poles form a line. Adjacent combs are not the same length.
G1
The curves are tangent. Notice that the common pole and the adjacent
pole in each curve form a straight line.
Adjacent combs may have
sharp angle between them.
G2
The curves are tangent. Notice that the combs, which have an identical scale
factor, are the same length at the point of contact. This is curvature continuity.
Symmetric
Comb and its mirror flow
together smoothly.
The curvature has zero rate of change at the plane of symmetry. The curve is
perpendicular to the plane of symmetry. The comb is parallel to the curve at the end
point.
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Trimming Sheets
There are two functions available for trimming sheet bodies, Trimmed Sheet
and Trim Body. Each function is used for a different application.
Trimmed Sheet may be used to trim a single sheet body to multiple boundaries,
while Trim Body may be used to trim multiple target sheets to a single
boundary.
TIP While Trim Body may be used with sheets and solids, Trimmed Sheet
may be used with sheets only.
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Rendering Method
The rendering method options are generally arranged in order of increasing
realism and, thus, increasing processing time. The table below presents the
Rendering Method options:
Rendering Method
Description
Flat
Phong
Gouraud
Improved
Preview
Photo-Realistic
Ray Traced
Ray Traced/FFA
(Feature Following Anti-aliasing)
Radiosity
Hybrid Radiosity
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Material Types
The Materials portion of the dialog is shown below.
Material
Types
Constant
Matte
Metal
Phong
A variation on plastic
Plastic
Conductor
Dielectric
Environment
Glass
Mirror
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Light Types
The basic light types are listed below.
Light Type
Description
Ambient
An Ambient Light provides global illumination for the scene. This light does not cause
shadows and illuminates all objects equally, regardless of the orientation. You may
control the intensity and color of the light.
Standard
Eye
An Eye Light source is located at the viewpoint, or directly on the Z axis of the screen.
You may control the intensity and color of the light. This type of light does not cause
shadows in the scene.
Standard
Distant
A Distant Light is a light source such as the sun, which may be thought of as being lo
cated infinitely far away. You may control the intensity, color, and a vector that defines the
direction of the light. This light can cast shadows (only shown in High Quality Image
shading) and requires the least computation to determine shadowing.
Standard
Point
A Point Light emits light equally in all directions. You may specify the location, intensity,
and color of the light, and set it to generate shadows (only in High Quality Image
shading). The default position for Point Lights is the right-hand corner of the view.
Standard
Spot
A Spot Light is similar to a Point Light source, except that it is constrained by a cone
shape. You may specify the location, intensity, and color of the light, and set it to gener
ate shadows (only in High Quality Image shading). The default position for Spot Lights is
in the upper right corner of the view. The default target position is the center of the view.
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The icons for the basic light types are shown below.
Ambient
Standard Eye
Standard Distant
Standard Point
Standard Spot
Scene Top
Scene Front
Scene Bottom
Scene Left Top
Scene Right Top
Scene Left Bottom
Scene Right Bottom
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Foreground Types
None
Fog
This option provides exponential attenuation of color as the distance is modified. You may
use this option to simulate a diffuse atmosphere. When observing the scene with Fog
applied, only the geometry is affected by the Fog. Fog has two parameters:
Distance-represents the distance at which Fog begins to take effect
Fog Color-becomes less dominant as the Distance parameter increases
Depth Cue
Similar to the Fog foreground type. Provides a linear attenuation of color within a specified
range. It interpolates between a specified Target Color within a range of distances (near to
far). The parameters are:
Near Distance-minimum distance for the Depth Cue effect
Far Distance-maximum distance for the Depth Cue effect
Target Color-color for the effect
Ground
Fog
Simulates a layer of fog that attenuates with increasing altitude. The parameters are:
Color-color for the fog
Point-reference point for the normal vector
Normal-vector that controls the direction of attenuation of the fog
Distance-distance in global coordinates at which the fog completely obscures the scene
Fog Height-determines the rate of decrease for the fog effects
Snow
TIFF Image
Light
Scatter
Provides the effect of snowflakes falling in front of the viewing camera. The effect is
produced by placing random snowflakes on two planes at different scales in front of the
camera. The parameters are:
Color-specifies a color for the snow
Near Scale, Far Scale-specify the relative size of the flakes on the two planes
Flake Size-specifies the average size of a flake
Density-controls the density of the snowfall
Noise Level-determines the irregularity of the snowflakes
This option positions a TIFF image in front of the generated shaded image. The
parameters are:
Color-specifies a color to be made transparent within the image
X and Y Position-specifies distance from the upper left corner of the graphics window to
the position of the image in the foreground (measured in pixels)
Tiff Image-allows you to select the image to be displayed
Creates an atmospheric scattering of light effect, with attenuation. The parameters are:
Samples-determines the sample rate of the light scattering
Density-controls the density of the light
Max Distance-controls the distance to which light is calculated
Noise Scale-specifies the scale of irregularity in the light scattering
Noise Level-determines the amount of random variation in the light scattering
Attenuation-specifies how quickly light attenuates with distance from the source
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Background Types
The Primary Background mode is the background used behind the geometry in
the scene, while the Secondary Background mode is the background used for
reflecting objects.
The four background types available are:
Type
Simple
Mixed
Ray Cube
Two Planes
Description
This option automatically uses the Primary background.
This option combines the Primary and Secondary backgrounds.
This option utilizes both Primary and Secondary backgrounds.
The Primary background functions as the background and the
Secondary background functions as the image that is reflected in
the geometry.
Similar to the Ray Cube option, this option utilizes both Primary
and Secondary backgrounds.
Graduated
Tiff Image
Environment
Description
This option allows you to specify a single-colored background.
This option provides a sky with clouds type background. You may
specify the sky color, cloud color, and the size and amount of
detail in each cloud. This background is supported only with the
Improved, Ray Traced and Photo-Realistic modes of High
Quality Image shading.
This option provides two colors, one at the top of the screen and
another color at the bottom. The screen between the two colors
interpolates between them. You may specify both the top and
bottom colors. This background is not supported with the Flat or
Gouraud modes of High Quality Image shading.
This option allows you to select an image file from an outside
directory for use as the background. Only uncompressed TIFF
files should be used as backgrounds.
This option sets up a virtual, six-sided environment cube around
the model geometry. When configured, the Environment option
displays the environment cube as the background for a shaded
image of the model. The environment cube parameters are
controlled within the Environment option of the Visual Effects
dialog.
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Date
Location
UG Version NX
Please give your honest opinion about the training you have received during this class. Provide
additional comments on the reverse side of this evaluation form.
Please check the box if you would like your comments, regarding the training you just received,
featured in our training publications. We will contact you if more information is needed.
Hotel Accommodations (if applicable) Hotel name
What was your overall impression of this hotel?
Poor 2
Poor 2
Poor 2
Poor 2
Comments
1. Were the course objectives clearly defined and were they met?
Please explain:
Yes
No
2. Were concepts effectively communicated so that you understand how to apply the
software? Yes No Please explain:
3. How well prepared do you now feel to use the functions covered in this course in your day
to day activities? Please explain:
Yes
No
over
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5. Was the workbook snowmobile activity effective in reinforcing the concepts taught?
Yes
Please explain:
No
6. What additional topics related to industrial design would you like to see covered in this
course? Please explain:
7. Do you have any other suggestions on how the course could be improved?
Please explain:
Yes
No
8. In order to continually improve our courseware a post class survey is conducted; would you
be willing to participate in this survey. (If you checked this box, make sure that your name is on the sheet.)
Course - What was your overall impression?
Poor 2
Additional Comments
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