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jeff4136
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Posted: 19 October 2008 at 6:46am | IP Logged Quote jeff4136

Re:
http://www.mcadcentral.com/proe/forum/forum_posts.asp?TID=35 992&TPN=20
Pro/ENGINEER Forum : Rant & Rave
Topic: Solidworks vs. ProE 
Author: design-engine
Date: 18 October 2008 at 8:29pm 

> We should make a discussion about Max dihedral angle.

A good idea. Geometry analysis doesn't get a lot of air time and I
don't know of any good, freely available practical application
learning resources. Maybe someone else does and can post links? Most
of the little bit I (think I) know about the subject was picked up
from Rhino group discussions and program documentation.

> Under 1 is tangent I presume...  
> Can you use dihedral angle to verify continuity? I didn't think so
> but I would like to understand that math in more detail.

As a preamble it should be said; in general everything is subject to
tolerances, both model accuracy and sometimes analysis function
resolution / tolerance. (Rhino creates independent render / shaded
view meshes and analysis function meshes. I'm not sure what Pro/E
does as both analysis function Quality / Number / Step settings and
changing Model Display settings affect analysis function output of a
Shaded Curvature analysis.)

Dihedral angle is the measure of tangent angles across a quilt
(explicit or implied by coincident one sided edges) seam boundary, so
it is a measure of (G1) continuity. I've never seen a PTC published
angular tolerance value; e.g. what value does it consider to be 'good
enough' when creating a tangent constrained Boundary Blend, a Round,
etc. There is a config option, tan_angle_for_disp, to set the
threshold for display of tangent vs. sharp edges. Minimum value is
1.5 degrees per WF2 documentation. I checked the Current Session
default, it's .026180 radians(? I assume). Wonder if that's an
indication or hint?

Subject to form and function considerations (aesthetic and practical;
Class A(ish) requirements? before or after segmented tool paths or
polishing out tool marks? will there be downstream modeling concerns
like failure to offset a quilt or trouble running a blend or round
across a seam? etc.) I usually don't consider anything over a couple
of tenths of a degree 'good enough' and am usually struggling with
geometry definitions to go that wide. Typical for 'clean' surfaces is
less than a couple, maybe a few, hundredths of a degree. I think
Round features on not so nice surfaces tend to go wider, half a
degree not uncommon? I don't pay as much attention to that type of
geometry so may be way off but it seems Rounds play by their own set
of rules, maybe for speed or more tolerant, 'robust' solutions.

> I define g2 five different ways and A class is defend by three
> definitions.
>
> g2 can be defined by:
>
> 1 if you can take a derivative of the comb plot to get back to
>   the original equation hence the curve in question where it
>   joins another curve.
> 2 Guass analysis: Gauss is usually used to check for concavity vs
>   convexity issues. But Gauss shaded analysis can be used at where
>   two surfaces join to understand curvature.
> 3 Comb Plot
> 4 zebra stripes
> 5 Shinny surfaces with a crisp specular highlight
>
> Surface normals is useless to understand curvature but it could
> be considered possible because it uses x/r for the length of the
> curve normal jetting out from a surface.
   
Ok. What you've listed are tools and ways (you'll have to explain #1
to me) to evaluate geometry. I think it's important, especially for
those less familiar, to visit the ~definition~ of G2, or curvature,
continuity. It is equal curvature at a common end point of two tangent
curves, an 'instantaneous' value. The reason I think that's important
is because it is common to equate G2 with "smooth" when it is only a
part of that quality with rate of change being the rest.
Understanding that will help in understanding how to interpret what
the various analysis functions, particularly the graphs, are telling
us about curvature continuity. (It also helps with understanding what
to expect, and why we sometimes don't get what we expect, from a
curvature constraint.)

With regard to Shaded Curvature analysis, Gaussian curvature is just
one type. Cycle thru the rest as well to get a better idea of how
surfaces are 'flowing' and sometimes what's happening on the
boundaries. Gaussian curvature is the product of principle curvatures
giving it the unique ability to identify developable or 'flat wrap'
surfaces as a zero multiplicand gives a zero product.

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solidworm
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Posted: 19 October 2008 at 1:12pm | IP Logged Quote solidworm

> 1. if you can take a derivative of the comb plot to get back to
   the original equation hence the curve in question where it
   joins another curve.

i don't understand your statement but i guess you are referring to equal left and right derivatives (in 2d) of curvature comb at the joining point which is the requirement of C3 (equal derivatives -both value and direction- for g3).
C3 in 2d , G3 in 3d.  am i right?


Edited by solidworm on 19 October 2008 at 1:33pm
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jeff4136
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Posted: 19 October 2008 at 5:14pm | IP Logged Quote jeff4136

Cn, Gn isn't something spent much time trying to comprehend.  Some note
scraps I've collected...
2008-10-19_171316_C1C2G1G2_txt.zip
Regarding n = 3...
......
[Just thought I'd give credit where due for the image: g2-g3_Bryan_Elwood.gif.
 Brian was a Solidworks & Rhino user that used to frequent a Rhino group.
 A knowledgable and helpful guy.  Haven't seen a post from him in a long time. 
 Our (cad users) loss.]

Edited by jeff4136 on 19 October 2008 at 5:50pm
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design-engine
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Posted: 20 October 2008 at 11:12am | IP Logged Quote design-engine

JUST TO ADD TO JEFF's POST:

Compared to Alias Studio Pro/E is just a little off from being about to control G2 curves that drive G2 surfaces. In my Level seven ISDX workshop
http://www.proetools.com/courses/isdx/level7.htm we make serious comparisons and make reference to automobile industry standards of A-Class surfacing techniques.   After demonstrations in Alias the class try to affect the same control in Pro/E. We note the first CV of the NURBS control is locked. In Alias you can slide it in and out. Because the curve is aligned curvature the first CV should be locked while the second CV remains flexible in and out changing the comb plots Jeff shows above.

In Alias the curve gets the most control if the curve is converted first to five degree curve. y=x^5 (or higher) The auto industry calls it 'sweeten the curve' By sweeting/tweaking the curve you are simply adjusting the comb plot geometry witch ultimately adjusts how light reflects off the surface. On the other hand Pro/E does not let us convert the curve degree while a proe curve be it ISDX or ISDX converts on the fly to only a four degree curve.

I spent the past 15 years trying to understand what hi-level industrial designers meant by "I have more control in Alias" I also spent the first 6 years of the fifteen arguing with them. In the end I learned Alias and run Pro/ENGINEER at a much higher level... Knowing my tool much better in the end. I found that comparing to Alias gave me a much more rich understanding of my base software limitations.

We have an Alias class with Harley and LG the week of November 7th. ?Harley uses both Pro/E and Alias. (I can teach that class however we have an Alias guru Joel who teaches that class.   

I think Jeff made his same push with Rhino...     Where do you work Jeff?   Too bad your still on WF2.0 hu... you must work for a large manufacture?



Edited by design-engine on 20 October 2008 at 11:48am


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jeff4136
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Posted: 20 October 2008 at 7:06pm | IP Logged Quote jeff4136

Understanding the effects of CV manipulations is much easier
when you have something to fiddle with.

2008-10-20_190522_nonrational_deg_2_beziers.prt.zip

I'm interested in hearing more about degree 4 curves in Pro/E.

Independent and like old hardware and software.

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design-engine
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Posted: 20 October 2008 at 10:20pm | IP Logged Quote design-engine

When you force continuity the curve (upon export to Alias or Rhino) is a single span four degree curve.   In ISDX you can't actually see the CV's (control Points)when you have Curvature set.    In ISDX you can set 'control points' on.

Edited by design-engine on 20 October 2008 at 10:21pm


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jeff4136
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Posted: 21 October 2008 at 3:01pm | IP Logged Quote jeff4136

That is truly interesting.  The most recent documentation I have on the
subject is probably (I'd have to find it and look) relavent to 2001 and
it states that Pro/E will only create curves with maximum degree of 3.
Cool.

Re 'more control' I've been meaning to clean up and organize scraps of
reference (now, how did that work?) models.  The attached, if you play
with the curves, illustrates the limitations and increasing control
inherent to them.  (The rest being user interface tools allowing implicit
or explicit manipulation of the curves defining entities.)
2008-10-21_150008_nonrat_bezier_and_basis_splines.prt.zip

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Posted: 21 October 2008 at 4:22pm | IP Logged Quote design-engine

where do you work jeff.   At least tell me what city you work in.   Pro/E needs to go to five degree if it matters any with respect to continuity. I'm just observant and notice these things.

Edited by design-engine on 21 October 2008 at 4:46pm


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mgnt8
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Posted: 22 October 2008 at 9:40am | IP Logged Quote mgnt8

 "G2 is a similar idea but a bit more complicated in the way the
     math works out."

Never heard of geometric continuity as opposed to parametric. I get C2 is the dervative of the tangent vector but what is the math behind G2?

It would be helpful if the CV's in ISDX surface edit could be parametrically constrained like Jeff's splines or at least locked to datum curves & points like style curve points.

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Posted: 22 October 2008 at 10:42am | IP Logged Quote marschalek

Here is a quick description that I give to students
about tangency and curvature continuity, I use the
analogy of position, speed, and acceleration. Speed is
the derivative (or rate of change) of position just as
tangency is the derivative of position.

G0 is positional continuity, G1 is tangential continuity
(speed), and G2 is curvature continuity (acceleration).

G2 is not inherently better than G1, it depends on the
need. G2 continuity is like having smooth acceleration,
the smoothest ride in a car with no jerks. Sometimes we
want to use G1, as in highlight lines, to invoke a
feeling of change just as someone might accelerate a car
to "feel" the speed.

Your eye can see the difference in a model or part just
like your body can feel the difference in a car.

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