Lesson

Lesson Objective: In this lesson, we will introduce the ISDX module, talk about the importance of free-form design and its fit with traditional Pro/ENGINEER design elements. Mc tiu Bi hc: Trong bi hc ny, chng ti s gii thiu m un ISDX, ni v s quan trng (c a) thit k v s ph hp (ca) n mu (dng)- t do v i Pro truyn thng/ nhng phn t Thit k K

ART TO PART Ngh thut Chia ra

When Pro/ENGINEER burst on the scene, it was a revolutionary way to design mechanical components. The biggest difference between Pro/ENGINEER and its competition at the time was the way in which you approached solid modeling. Khi no Pro / Thi t k s n trn cnh, itwas mt cch cch mng Thi t k nhng thnh phn c kh.~ S khc nhau ln nht gia Pro/ K s v cuc thi (ca) n lc l cch m trong (ci) bn tip cn nht tr lm mu AutoCAD had been around for years, but was limited to two-dimensional design. Other three-dimensional modeling packages used a Boolean approach to design. In other words, you created primitives (spheres, rectangles, cylinders, rounds, chamfers, holes, etc.) and either used them to add material or cut-away material. AutoCAD c c vng quanh trong nhiu nm, nhng c gii hn ti thit k hai chi u.~ Nhng gi lm m hnh ba chiu khc s dng mt cch tip cn " i s Boole " thi t k.~ Ni cch khc, bn to ra nhng nguyn thy ( Nhng hnh cu, nhng hnh ch nht, nhng hnh tr S, Nhng gc ln, nhng l vn vn.) v hay s dng h thm vt cht hay ct - ra khi vt cht.

Pro/ENGINEERs approach to modeling was to sketch a two-dimensional profile and then perform an operation to that profile, such as extrude, revolve, sweep, blend, etc. It also had some primitive sort of features, such as rounds, chamfers, shell, etc. that did not require a two-dimensional sketch. These were referred to as Pick and Place features. Pro/ K ss cch tip cn ti lm m hnh s phc tho mt mt ct hai chiu v sau thc hin mt thao tc ti mt ct , nh y ra, quay trn, qut, ha hp, vn vn.~ N cng c nhng loi c tnh, such " nguyn thy " no nh S, Nhng gc ln, v vn vn. m khng yu cu mt bc ha hai chi u.~ y c tham chi u ti nh nhng c tnh " La chn v Ch " By allowing the user to sketch a profile, it opened up the ability to deal with more complex shapes and create more complicated products in less features than a traditional Boolean system. Bng vic cho php ngi s dng phc tho mt mt ct n c m ra kh nng gii quyt nhng hnh dng phc tp hn v to ra nhng sn phm phc tp hn trong t nhng c tnh hn mt h thng i s Boole truyn thng. Regardless of the method by which you created mechanical components, most (if not all) of these systems required dimensional information to define the size and location of the features. For a design that is ultimately used in manufacturing, this is critical. Without dimensions, manufacturers would not be able to make the parts. Bt chp ca phng php bi bn to ra nhng thnh phn c kh a s ( Nu Khng phi l mi th) Ca thng tin kch thc i hi nhng h thng ny nh ngha kch thc v s nh v (v tr) (ca) nhng c tnh.~ (Cho) mt thit k m (th) cui cng c s dng trong s sn xut, y ph bnh.~ Khng c nhng kch thc, nhng nh sn xut khng c kh nng lm nhng phn. A New Era Mt Thi i Mi

With the widespread use of CNC (Computer Numerically Controlled) Machining tools, the ability to design complex products with less emphasis on dimensions became easier. CNC tools use X, Y, and Z coordinate data to define the shape, so any volume in 3D space could be calculated without using a single dimension. Vi s s dng CNC lan rng (My tnh Bng s Kim sot) ch to nhng cng c, kh nng thit k nhng sn phm phc tp Vi t nhn mnh hn trn nhng kch thc tr nn d dng hn.~ Nhng cng c CNC Tumourse X, Medicine, V Z D liu ta nh ngha hnh dng, v vy bt k th tch (m lng) no trong khng gian 3 chiu c th c tnh ton khng c vi c s dng mt kch thc n. When this happened, there became a greater emphasis on the look of the product than merely the function of the product. Aesthetics in design gave birth to the distinction between industrial design and traditional engineering. This was most

evident in the automotive industry, as concept cars started to have more curves and bubbles than angles and straight lines. Khi (ci) ny xy ra, tr nn mt nhn mnh ln hn trn ci nhn (ca) sn phm so vi n thun Chc nng (ca) sn phm.~ M hc trong thit k gavebirth ti s phn bi t gia thit k cng nghip v truyn thng sp t.~ y (th) hi n nhin nht trong cng nghi p t mt, nh nhng t khi ni m bt u c nhiu ng cong v nhng bt hn nhng gc v s ngay thng k. There was still a major division between the Art and Part of design. Artists created hand sketches, or some minimal electronic sketches that defined the ultimate look of the product, but it was left up to the engineer to bring this idea down to something that could be manufactured and hold up to the daily use of the product. Vn cn c mt b phn chnh gia " Ngh thut " v " Phn " (ca) thit k.~ Nhng ngh s to ra nhng bc ha bn tay, hoc cc tiu no in t phc ha m nh ngha(xc nh) Tumourltimate ci nhn (ca) sn phm, nhng n c li ti k s a tng ny xung cho ci g m c th c sn xut v a ln ti s s dng hng ngy (ca) sn phm

Alias|Wavefront

B danh| Mt sng

As computer technology became better, so did the ability for people to capture realistic renderings of objects. In the entertainment industry, Alias|Wavefront has been a leader in creating computer animations that simulate realistic places and objects. Many of the science fiction and anime productions today take advantage of this technology to create breathtaking imagery and amazing realism, mixing real-life footage with computer-generated sequences and events. As cng ngh my tnh tr nn tt hn hn, kh nng (cho) nhng ngi cng vy bt nhng trt lt hi n thc (ca) nhng i tng.~ Trong cng nghi p tr gii tr, B danh | Mt sng l mt lnh o Trong vic to ra hot cnh my tnhs iu m phng nhng ch v nhng i tng hi n thc.~ Nhi u khoa hc vin tng v nhng s sn xut anime hm nay tn dng cng ngh ny () to ra hnh tng ly hi v lm kinh ngc ch ngha hin thc, cnh quan thc trn vi nhng chui v nhng s ki n c pht sinh bi my tnh In the manufacturing industry, companies can produce startling images of products months or even years before the product is ever released. The problem has always been the Art to Part aspect of using the technology. Trong k ngh ch to, nhng cng ty c th sn xut git ny mnh nhng nh (ca) nhng thng nhng sn phm hay thm ch nhng nm trc khi sn phm c tng gi i phng.~ Vn C lun lun L " Ngh thut Chia ra " Kha cnh ca vic s dng cng ngh.

Data Transfer

S di chuyn d liu

With Industrial Designers using Alias|Wavefront, and Product Engineers using Pro/ENGINEER, it is required that some data transfer occur. There are a number of national and international data exchange formats available (IGES, STEP, VDA, DXF, etc.) and there is even a special Alias-Pro exchange format (Granite) that exists. The problem, however, is on the Alias side. With Nhng nh thi t k cng nghi p s dng B danh| Mt sng, v nhng k s Sn phm s dng Pro/ K s, n c yu cu s di chuyn d liu no xut hi n.~ C mt s khun dng trao i d liu quc gia v quc t sn c ( Nhng globulin min dch E, Bc VDA, DXF, vn vn.) v c thm ch mt khun dng trao i Pro B danh c bi t ( hoa cng) m tn ti. Vn , tuy nhin, trn cnh B danh A model in Alias|Wavefront is made up of edges and surfaces. There is no solid volume in the renderings that we create. Because a solid volume is not required, the accuracy of the edge definitions is also not required. You can create two surfaces that appear to touch, but actually have tiny gaps. When you create a rendering of the model, you still get the result you are looking for. Mt m hnh trong B danh| Mt sng c to ra ca nhng mp v nhng b mt.~ Khng c th tch (m lng) c trong nhng trt lt m chng ti t o ra.~ V mt th tch (m lng) c (th) khng phi c yu cu, s chnh xc (ca) nhng nh ngha mp cng (th) khng phi c yu cu.~ Bn c th to ra hai b mt iu "appear " ti s s m, nhng tht s c nhng l hng nh xu.~ Khi bn to ra mt trt lt (ca) m hnh, bn vn cn c kt qu bn tm kim When you send this model to Pro/ENGINEER (through any of the exchange formats), you end up with a surface model in Pro/E. By default, Pro/ENGINEER tries to look for a completely closed surface model in which to automatically generate a solid model. When it encounters a single gap, it is unable to do this. Khi bn gi m hnh ny cho Pro/ K s (xuyn qua bt k (ci) no ca nhng khun dng trao i), bn kt thc ln trn vi mt m hnh b mt Pro/ E.~ Bi s h hng, Pro/ K s th tm kim mt m hnh mt ng mt cch y trong t ng pht sinh mt m hnh c no.~ Khi n gp mt l hng n, n (th) khng th l m iu ny. The Product Engineer is then forced to attempt a surface fix of the part (which could be very simple, very difficult or impossible), or discard the imported geometry and start a new model from scratch. The K s Sn phm c bt buc c gng mt iu cn tr b mt (ca) phn (m c th rt n gin, rt kh hay khng th t c), hoc vt b hnh hc nhp khu ri v bt u mt m hnh mi t u. If the Product Engineer decides to use the imported geometry, in any form, then the ability to make dimensional or shape changes drastically diminishes, since the

imported geometry can not be modified. Going back to Alias to modify this does not update the Pro/ENGINEER imported geometry. Nu K s Sn phm quyt nh ti hnh hc nhp khu usethe, trong bt k mu (dng) no, th kh nng lm nhng s thay i kch thc hay hnh dng quyt li t lm nh li, t hnh hc nhp khu khng th c sa i.~ i quay tr l i B danh iu ch nh (ci) ny khng cp nht Pro/ hnh hc nhp khu K s. Finally, in Alias, you must be conscious of your global coordinate system, otherwise, the geometry, when imported into Pro/ENGINEER lies in an arbitrary location, away from the default datum planes and other geometry used to create the solid model. This makes it very difficult for the Product Engineer to use this geometry, because it does not lie on an easily definable set of planes. Finally , trong B danh, bn phi (th) c thc i vi h ta ton cu (ca) cc bn, cch khc, hnh hc, khi c nhp khu vo trong Pro/ nhng li ni di K s trong mt s nh v (v tr) chuyn quyn, ra khi t nhng my bay phn t d li u mc nh v hnh hc khc dng to ra cht rn lm mu.~ (Ci) ny lm rt kh (cho) K s Sn phm s dng hnh hc ny, v n khng ni di trn mt s ng cng d dng c th nh ngha (ca) nhng my bay.

ISDX
Pro/ENGINEER already had a very robust surfacing toolset that enabled Product Engineers and Designers alike to create very complex models. For the Product Engineer, there is a comfort level with these tools, because they are still driven on dimensional information. For the Industrial Designer, these tools take away a bit of the free-form creativity that they are used to in Alias|Wavefront. Pro/ K s c c Mt to mt toolset rt linh hot m cho php (cho) nhng K s Sn phm v nhng ngi thit k ging nhau to ra nhng m hnh rt phc tp.~ (Cho) C thcuct K s, l mt mc tin nghi vi nhng cng c ny, bi v h c iu khi n cn trn thng tin kch thc.~ (Cho) nh thit k cng nghip, s cm nhng cng c ny ra khi mt mu sng to " mu (dng)t do " m h c s dng Bigly print B danh| Mt sng. Because of this, there is still the division of labor, and software tools used. Pro/ENGINEER knew the importance of creating a seamless tool that would have the feel of a designers tool, but be embedded into the parametric world that generates manufacturable products. This is where the Interactive Surfacing Design Extension (ISDX) module comes into the picture. V Auntief (ci) ny, cn l b phn (ca) lao ng, v nhng dng c phn mm c dng.~ Pro/ K s Bit s quan trng ca vic to ra mt cng c khng ghp ni m c cm xc (ca) mt ngi thit ks cng c, nhng (th) nhng vo trong th gii tham s m pht sinh nhng sn phm sn xut.~ y l u s X l b mt Tng tc m un M rng (ISDX) Thit k t n vo

trong Bc tranh With this tool, you can create three dimensional curves and surfaces, devoid of any dimensions, and combine them to generate very robust solid surface models or features that can be used with other traditional Pro/ENGINEER features to create a final product model. By utilizing the ISDX tools in the beginning, the Designers can create the free-form models that they need. The Product Engineer, working with a native Pro/ENGINEER file, can then turn this free-form model into a final product, complete with a detailed drawing. Vi cng c ny, bn c th to ra ba ng cong kch thc v nhng b mt, trng rng bt k kch thc no, v kt hp h pht sinh b mt c rt linh hot Models hay nhng c tnh m c th c s dng vi Pro truyn thng khc/ nhng c tnh K s to ra mt thnh phm lm mu.~ Bng vic dng nhng cng c ISDX trong s bt u, nhng ngi thit k c th to ra nhng m hnh mu (dng)- t do m h cn.~ K s Sn phm, lm vic vi mt Pro bn ng/ h s K s, c th ri quay m hnh mu (dng)- t do ny vo trong mt thnh phm, y vi mt bn v chi tit. If a design change is required,(and it always is), the Designer or Engineer can edit the ISDX features, and these changes will propagate all the way through to the final product without a single transfer of data. If mt s thay i thi t k c yu cu,( v n lun lun), Ngi thit k hay K s c th son tho nhng c tnh ISDX, v nhng s thay i ny s sinh sn sut dc ng xuyn qua ti thnh phm khng c mt chuyn i n (ca) d li u

BREAKDOWN THE DIVISION OF LABOR S c B phn (ca) Lao ng

With aesthetics becoming more important to the customer than ever before, we can no longer ignore the division of labor that has existed between Industrial Designers and Product Engineers. Vi m hc tr nn quan trng hn i vi khch hng so vi bao gi trc y, chng ti c th khng cn l i b phn (ca) lao ng m tn ti gi a nhng nh thit k cng nghip v nhng k s Sn phm. Industrial Designers, while still focused on the look and feel of the final product, must also become more aware of the manufacturing side of the equation. It is important to know how you are going to create the product so you can design realistic product features into your model. You also must be aware that changes to your design may need to occur for structural as well as manufacturing

reasons. Just because you love the look of the product doesnt mean that it is going to function the way you want it to, or be realistic to create. Nhng nh thit k cng nghip, trong khi vn cn tp trung vo v ngoi ca thnh phm, phi cng tr nn thc hn ca cnh sn xut (ca) phng trnh.~ Quan trng bit bn s to ra sn phm nh th no sao cho bn c th thit k nhng c tnh sn phm hin thc vo trong m hnh (ca) cc bn.~ Bn cng phi thc m thay i ti desi (ca) cc bngn c th cn xut hin (cho) thuc kt cu cng nh sn xut nhng l do.~ Ch bi v bn yu ci nhn (ca) sn phm doesnt c ngha rng n s vn hnh cch m bn mun n ti, hay (th) hin thc to ra. Product Engineers, while still focused on the manufacturability and usability of the product, must now consider the aesthetics of the model. It is not merely enough that you can get a surface feature to work, you must also understand the boundary conditions and the curvature of the surface, and how it reacts to light. Nothing could be worse than a product that looks and functions like it should, but contains unsightly shadows and obvious seam lines and bumps that resulted from poor surface continuity. This will make all the difference in the world when a customer can choose between two similar products on the shelf. Sn phm sp t, trong khi vn cn tp trung vo s sn xut v tnh kh dng ca Sn phm, phi by gi xem xt m hc (ca) m hnh.~ Khng phi n thun l bn c th a mt c tnh b mt ti cng vic, bn phi cng hiu nhng iu ki n bin v un cong ca b mt, v N phn ng li nh th no chi u sng.~ Khng c g c th Xu hn So vi mt sn phm m nhng ci nhn v nhng chc nng thch n Cn phi, Nhng cha ng nhng hnh bng kh coi v s khu hin nhin k v xc ln m kt qu t tnh lin tc b mt ngho.~ It is with this statement, that we must proceed to teach Product Engineers how to use ISDX to capture Design aesthetics, while we teach the Industrial Designer to use ISDX as an alternative to Alias|Wavefront to generate visually appealing product models without compromising the ability to seamlessly transfer over to a manufacturing design tool. N vi s pht biu ny, m chng ti phi theo ui dy rng Sn phm sp t lm sao ti useISDX bt m hc Thit k, trong khi chng ti dy nh thit k cng nghi p s dng ISDX nh mt gii php ti B danh| Mt sng pht sinh Sn phm trc quan khn thi t m hnh khng c vi c tha hip kh nng ti chuyn i khng ghp ni qua ti mt cng c Thit k sn xut.

ACCESSING ISDX Truy nhp ISDX

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

You can also access this through Insert, Style from the menu bar. When working in the style feature, you can create as many entities as you need to in a single style feature. It is recommended that you create at least the minimum number of entities to create a single style surface. This will become more evident as we get into the training. Bn c th cng truy nhp s Insert, Style t thanh thc n.~ Khi lm vic trong c tnh kiu, bn c th to ra nhiu thc th nh bn cn Bigly print Mt c tnh ki u n.~ N c khuyn co iu bn To ra ti ti thiu b mt s lng nhng thc th to ra mt kiu n ti thiu.~ (Ci) ny s tr nn hin nhin h n khi chng ti vo trong s hun luyn. Style Toolbars and Menus Nhng thanh cng c Kiu v nhng thc n The style feature has icons and menu items all about the user interface. In the feature toolbar, you have the following icons that are related to the style feature (shown at the top of the next page). c tnh kiu c nhng bi u tng v nhng tit mc thc n u v giao di n ngi dng.~ Trong thanh cng c c tnh, bn c nhng biu tng sau y m lin quan n c tnh ki u (c cho thy ti nh (ca) trang ti p theo).

In the system toolbar, there are two sets of icons related to the style feature. These are shown below. Trong thanh cng c h thng, l hai s ng cng (ca) nhng bi u tng lin quan n c tnh ki u.~ y c hi n ra di.

Each of these icons will be described in greater detail in the coming lessons. In the menu bar, there is a Styling menu, which looks like the following when expanded. Tng ci ca nhng biu tng ny s c m t trong chi tit ln hn trong nhng bi hc ang n.~ Trong thanh thc n, c mt thc n Kiu thit k, m trng nh s theo sau khi m rng.

Again, we will go into more detail about these menu items in the upcoming lessons. Xin nhc li, chng ti s i vo trong nhiu chi tit hn v nhng ti t mc thc n ny trong nhng bi hc sp n

LESSON SUMMARY Tm lc Bi hc
ISDX is a module in Pro/ENGINEER designed to give the user (whether it is an Industrial Designer or a Product Engineer) the ability to create free-form surfaces from three-dimensional curves, curves projected onto surfaces, or curves sketched on a two-dimensional plane all without needing a single dimension. ISDX l mt m un Pro/ K s c Thit k a cho ngi s dng (li u c phi l mt nh thi t k cng nghi p hay mt Sn phm Sp t) kh nng to ra nhng b mt mu (dng)- t do t nhng ng cong ba chiu, the pigeonrves c chiu ln trn nhng b mt, hay nhng ng cong phc ha trn mt my bay hai chi u- mi th khng c vi c cn mt kch thc n Designers must understand the downstream manufacturing operation and Engineers must understand the surface curvature and aesthetic nature of product design. By working in Pro/ENGINEER with ISDX, both Designers and Engineers can accomplish both goals, and create robust models that adapt to changes much easier than using two separate software packages. Nhng ngi thit k phi hi u Xui dng nguyn cng v nhng k s phi

hiu un cong b mt v thin nhin thm m ca thit k sn phm.~ Bng vic lm vic trong Pro/ K s Vi ISDX, C nhng ngi thi t k l n nhng K s c th hon thnh c hai mc ch, v to ra nhng m hnh linh hot m lm thch nghi ti nhng s thay i d dng nhiu hn so vi s dng hai ring bi t nhng b phn mm ng dng.

2
Lesson Objective: In this lesson, we will go through an example that demonstrates the basic steps to creating a surface from four boundary curves using the style feature. Mc tiu Bi hc: Trong bi hc ny, chng ti s i xuyn qua mt v d m trnh din nhng bc c bn ti vic to ra mt b mt t bn ng bin s dng c tnh kiu.

EXAMPLE INTRODUCTION Li gii thiu V d

For this example, we will create a single style feature that contains four style curves and a style surface. We will not worry about all of the details for each step, because we will get to the details in the upcoming lessons. For now, this shows the typical steps to using the style feature. (Cho) v d ny, chng ti s to ra mt c tnh kiu n m cha ng bn ng cong ki u v mt b mt kiu.~ Chng ti s khng lo lng tt c cc chi ti t (cho) mi bc, bi v Chng ti s ti nhng chi tit trong nhng bi hc sp n.~ By gi, (ci) ny cho thy nhng bc tiu biu ti vic s dng c tnh kiu. Launch Pro/ENGINEER Wildfire, and set your working directory to c:\people\ISDXTrain. Start by creating a new part called Style_Example. Keep the default datum planes turned on, but turn off any other datum features. Gi i thiu Pro/ Hn hp cht d chy K s, v t th mc lm vic (ca) cc bn ti C:\ nhng ngi \ISDXTrain. Bt u bng vi c to ra mt phn mi gi l Style_Example.~ Gi nhng my bay phn t d liu mc nh c quay,

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

This will bring up the toolbars and Styling menu that we saw in the first lesson. We are now ready to create our style curves. (Ci) ny s mang trn nhng thanh cng c v Ki u thit k thc n m chng ti nhn thy trong u tin bi hc.~ Chng ti (th) by gi sn sng to ra kiu (ca) chng ta un cong.

NEW STYLE CURVES Nhng ng cong kiu mi

We will begin by going to a TOP view. We should already see a grid laid out on the TOP plane, as shown below. This grid is referred to as the Active Plane. Chng ti s bt u bng vic i n mt thng di n.~ Chng ti cn phi ti n mt li c t trn my bay nh, nh c cho thy di.~ Li ny c tham chi u ti nh My bay Tch cc.

We will turn off the view of datum planes now to make it easier to see what we are doing. We will then click on the new style curve icon, which looks like the following. We s tt quan ni m v nhng my bay phn t d liu by gi lm d dng hn nhn thy ci g chng ti lm.~ Chng ti s ri kch vo biu tng ng cong kiu mi, nhng ci nhn no nh s theo sau

The dashboard for the New Curve will appear, as shown below. Dashboard (cho) ng cong Mi s xut hi n, nh hin ra di.

For this example, we will create our four curves on the existing Active Plane. Therefore, we will select the Planar option in the dashboard. (Cho) v d ny, chng ti s to ra bn ng cong (ca) chng ta trn My bay Tch cc hi n hu.~ Bi vy, chng ti s la chn ty chn Plan Trong dashboard. We will then use the left mouse button to pick three points, as shown in the figure below. As we click on point two, a straight segment appears between points one and two. When we pick on point three, the curve updates to remain tangent to all three points. This is just like a Spline in sketcher mode. Chng ti s ri s dng nt chut tri nht ba im, nh a vo hnh di.~ Nh chng ti kch vo khng phy hai, mt on thng xut hi n gia nhng im Mt (v) hai.~ Khi no chng ti Pick trn khng phy ba, ng cong cp nht li tip gip ti tt c ba im.~ y l ging nh mt Then chm trong kiu ngi phc tho.

We can see a purple filled dot at each point we pick. Once we have picked the third point, use the middle mouse button to complete this first style curve. Do NOT click on the middle mouse button again, or it will finish the entire style feature. We want to remain active in this style feature. Chng ti c th nhn thy mt mu ta b y ca hi mn ti mi im Chng ti S la chn.~ Mt l n chng ti nht im th ba, s dng nt chut gi a hon thnh ng cong ki u u tin ny.~ Khng kch trn nt chut gia ln na, hay n S kt thc ton b c tnh kiu.~ Chng ti mun ti vt tch tch cc trong iu ny gi tn c tnh.

Now, we will create a second curve. Click on the New Curve icon again, and this time, we are going to hold down the SHIFT key on the keyboard and move our mouse over the first curve as shown below. By gi, chng ti s to ra mt giy ng cong.~ Kch vo ng cong Mi biu tng l n na, v thi gian ny, chng ti v i gi SHIFTkey trn bn phm v di chuyn con chut (ca) chng ta qua ng cong u tin nh c cho thy di.

The SHIFT key enables us to dynamically snap to another object on our model. In this case, it will allow us to snap to the first style curve. We know when we are able to snap, because a little + symbol appears at the end of our mouse pointer (as we saw in the previous figure). Phm d ch chuyn cho php (cho) chng ta ng bt tanh tch ti i tng khc trn m hnh (ca) chng ta.~ Trong trng hp ny, n s cho php chng ta bt tanh tch ti u tin ng cong ki u.~ Chng ti bit rng khi Chng ti (th) c th bt tanh tch, V Mt Nh "+" k hi u xut hi n ch cui ca con tr chut (ca) chng ta (trong khi chng ti nhn thy trong hnh trc y). Once we click with the left mouse button, we will get an open purple circle that appears on the first curve in the location we specify. Continue to select the second and third point without holding down the SHIFT key. Once you select the third point, use the middle mouse button to finish this second style curve. Our resulting curve will look like the following. Mt l n chng ti kch vi nt chut tri, chng ti s a mt vng trn ta m m xut hin trn u tin ng cong trong s nh v (v tr) Chng ti Ch r.~ Ti p tc l a chn hai Vthird im khng c vi c gi phm dch chuyn.~ Mt ln bn la chn im th ba, s dng nt chut gia kt thc ng cong ki u (th) hai ny.~ ng cong kt qu (ca) Chng ta s trng nh s theo sau.

The first point of this second style curve is known as a soft point. A soft point can either be internal (does not lie on an endpoint of a curve), or an end point (lies at the endpoint of a curve). A soft point can be dragged along the curve on which it lies. To demonstrate this, we will use the Edit Curve tool. im u tin (ca) ng cong kiu (th) hai ny c bit nh mt im mm.~ Mt im mm c th hay l ni quan (khng ni di trn Mt endpoint (ca) Mt ng cong), hay l Mt im cui (ni di ti endpoint (ca) Mt ng cong).~ Mt im mm c th c ko l dc theo ng cong m trn (ci) n hp php.~ trnh din iu ny, chng ti s s dng ng cong Son tho Cng c.

EDIT STYLE CURVES

We will edit both of these curves so you can see how easy it is to change a style curve. Therefore, we will start by clicking on the Edit Curve icon, as shown below. Chng ti s son tho c hai nhng ng cong ny sao cho bn c th nhn thy tht d dng thay i mt ng cong ki u.~ Bi vy, chng ti s bt u bng vic kch vo bi u tng ng cong Son tho, nh hin ra di.

The dashboard for the Edit Curve tool looks like the following. Dashboard (cho) Son tho Curvetool trng nh s theo sau.

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

picking on the first of the two style curves that we created. When we do, it highlights in red, and the three purple curve points appear, as shown in the figure at the top of the next page. Chng ti s nhn thy tt c cc kha cnh khc nhau (ca) dashboard ny trong mt bi hc sau.~ By gi , chng ti s tp trung hon ton trong ca s ch lm vic.~ Chng ti s bt u bi s cuc ((s) thu hoch; (s) m thc; cy (t, kha); trn u tin ca hai ng cong kiu m Chng ti to ra.~ Khi no chng ti, N chi u sng mu , v ba im ng cong ta xut hin, nh hin ra trong hnh ti nh (ca) trang tip theo.

We will click on the third point (top endpoint) and drag it out towards the left to the approximate location shown in the following figure. Chng ti s kch vo im th ba ( nh endpoint) v ko n ngoi v pha bn tri ti s nh v (v tr) xp x c a vo hnh sau y.

We will notice two things when we do this. The first is that the second style curve (since it was tied with a soft point to the first) also moved. The second is that a small yellow line appears at the endpoint of the first curve that we moved. Chng ti s ch hai th khi Chng ti lm iu ny.~ u tin l ng cong kiu (th) hai (t n (th) b rng buc vi mt im mm ti u tin) cng c di chuyn.~ Giy l mt hng vng nh xut hi n ti endpoint (ca) ng cong u tin m chng ti di chuyn. This line is called a Tangent Line. It is used to determine the tangency for the endpoints of a style curve. Any internal points on a style curve derive their tangency automatically, and can not be changed. Only the end points for a style curve can have tangency conditions set. We will see this a little later in this lesson. Hng ny c gi l mt tip tuyn.~ N c dng xc nh s ti p gip (cho) endpoints (ca) mt ng cong ki u.~ Bt k im bn trong no trn mt ng cong kiu dn xut ra s ti p gip ca h t ng, v khng th c thay i.~ Ch nhng im cui (cho) mt ng cong ki u c th c nhng iu kin ti p gip c t.~ Chng ti s nhn thy iu ny mt cht sau trong bi hc ny. Now, with the edit curve tool still active, click on the second style curve so it becomes active, as shown in the figure at the top of the next page. By gi, vi cng c ng cong son tho vn cn tch cc, kch Auntien hai gi tn ng cong sao cho n tr nn tch cc, nh a vo hnh ti nh ca trang tip theo

Drag the first point (the one with the soft point) until it stops at the end of the first style curve, and then drag up the third point (the opposite end point) to the approximate location shown in the following figure. Ko im u tin (ci vi im mm) cho n khi n dng l i ti end ca u tin gi tn ng cong, v ri s ko trn im th ba (im cui i din) ti s nh v (v tr) xp x hi n ra trong hnh sau y.

STYLE CURVE 3 & 4

Kiu Un cong 3 & 4

We will go back to the New Curve tool and create a third style curve. For the first point, use the SHIFT key to snap to the first style curve, and then sketch the other two points. Use the Edit Curve tool once you are done sketching the three curve points to make sure the first point is at the end point of the first style curve. Chng ti s i quay tr li ng cong Mi cng c v to ra mt ng cong kiu th ba.~ (Cho) im u tin, s s dng SHIFTkey bt tanh tch ti u tin gi tn ng cong, v phc tho hai im khc.~ S dng cng c ng cong Son tho mt ln bn phc tho Ba im ng cong chc chn rng im u tin ch cui l im ca u tin gi tn ng cong. Style curve 3 should look like the figure at the top of the next page. Ki u un cong 3 Cn phi trng nh hnh ti nh (ca) trang ti p theo

Style Curve 4 should have a soft point at the first point and third point. Place point 1 on style curve 3, and point 3 on style curve 2. Use the Edit Curve option to ensure that these are at the endpoints. This curve will look like the following. Kiu Un cong 4 Cn phi c mt im mm ti im u tin v im th ba.~ t khng phy 1 trn ng cong kiu 3, v khng phy 3 trn kiu un cong 2.~ S dng ty chn ng cong Son tho bo m iu y ti endpoints.~ ng cong ny s trng nh s theo sau.

Now that we have all four of our style curves, we will create a style surface. Gi m chng ti c mi th Bn trong s nhng ng cong kiu (ca) chng ta, chng ti s to ra mt b mt ki u.

STYLE SURFACE
We will begin by selecting on the Surface tool, which looks like the following icon. We should still be in the same style feature. We have not finished it yet. Chng ti s bt u bng vic ti p tc chn Surfacetool, Nhng ci nhn no thch biu tng sau y.~ Chng ti cn phi vn cn trong cng ki u c tnh.~ Chng ti vn cha kt thc n.

The dashboard for the style surface tool initially looks like the following. Dashboard (cho) cng c b mt kiu thot tin trng nh s theo sau.

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

curve that we made, then hold down the Ctrl key on the keyboard and select the other three in a clockwise direction. Tt c cc ty chn u hin thi xm ngoi cho n khi chng ti nht nhng ng cong kiu m i di n cho ranh gi i (ca) b mt (ca) chng ta.~ Bi vy, chng ti s bt u bng vi c l a chn u tin ng cong kiu m chng ti lm, ri gi cha kha Ctrl trn bn phm v s chn la (K) khc Ba trong mt chi u kim ng h. NOTE: You can pick the boundary curves in any order. For consistency, we will pick them in a clockwise direction, as shown below. Ghi ch: Bn c th nht nhng ng bin trong bt k mnh l nh no.~ (Cho) s bn cht, chng ti s nht h trong mt theo chiu kim ng h khng khi pction , nh hin ra di.

Once we are done selecting all four curves, we will see a surface appear through these four style curves, as shown in the following figure. Once chng ti c lm la chn tt c bn ng cong, chng ti s nhn thy mt b mt xut hi n xuyn qua bn ng cong ki u ny, nh c a vo hnh sau y

If you recall, we made all four curves lie on the Active Plane using the Planar option. If this is all we really wanted, we could have used a Fill surface instead. We are going to change this, but first, rotate the model a little bit to see that it truly is a planar surface at this time (see the figure at the top of the next page). Nu Bn S gi li, chng ti lm cho tt c bn li ni di nhng ng cong trn Planeusing Tch cc l ty chn Plan.~ Nu y l mi thwe tht s mun, chng ti c th c c s dng mt lm y b mt thay vo .~ Chng ti s thay i iu ny, nhng u tin, quay m hnh Mt mu nh nhn thy rng n ng l mt b mt plan vo thi gian ny (nhn thy hnh ti nh (ca) trang tip theo).

We will edit the first and fourth style curves to add some depth to this surface. Chng ti s son tho u tin v kiu (th) t un cong thm chiu su no vo b mt ny.

EDIT CURVES W/SURFACE

One of the tools that makes working in ISDX easier is to show viewpoints. Currently, we have been working in only one viewpoint. We can rotate the model if we need to, but it is often easier if we need to make changes in multiple orientations, to see a four-viewpoint view. Mt trong nhng cng c m lm lm vi c trong ISDX d dng hn s cho thy nhng quan im.~ Hin thi, chng ti lm vi c trong ch c mt quan im.~ Chng ti c th quay m hnh nu Chng ti cn, tr phi n thng d dng hn nu Chng ti cn lm nhng s thay i trong nhiu nh hng, nhn thy mt s nhn bn quan im. To do this, click on the following icon in the system toolbar. lm iu ny, kch vo bi u tng sau y trong thanh cng c h thng

This will change the working window into four quadrants, as shown below. (Ci) ny s thay i ca s ch lm vic vo trong bn gc phn t, nh c cho thy di

The upper left quadrant is a TOP view, the lower left quadrant is a FRONT view, the lower right quadrant is a RIGHT view, and the upper right quadrant is an isometric view. Gc phn t tri trn l mt thng din, gc phn t pha tri di l mt hnh chi u t trc, gc phn t ng thp hn l mt s nhn ng, v gc phn t ng trn l mt s nhn ng c. We will go back to the Edit Curve tool, and select on the first style curve that we created. It will highlight in all four quadrants. In the dashboard, we need to convert this curve type from Planar to Free. By doing this, we will be able to move the points away from the Active Plane. Chng ti s i quay tr li cng c ng cong Son tho, v s chn l a trn u tin ng cong kiu m Chng ti to ra.~ N s chi u sng trong tt c bn gc phn t.~ Tin dashboard, chng ti cn chuyn i kiu ng cong ny t Plan Gi i phng.~ Bng vi c lm iu ny, chng ti s c kh nng dn nhng im i t My bay Tch cc In the message window, we will be prompted to confirm this conversion, as shown below. Trong ca s thng bo, chng ti s c nhc xc nhn s chuyn i ny, nh c cho thy di.

We will click on Yes to proceed. In the RIGHT view quadrant (lower right), drag the middle point of this curve up to form an arc, as shown in the following figure. Chng ti s tip tc kch Big medicine Theo ui.~ Trong s nhn ng mt phn t ng trn (tay sang s hnh qut) (Quyn thp hn), ko im gia (ca) ng cong ny ln trn thnh lp mt cung, nh c a vo s theo sau xut hi n.

You will be able to dynamically watch all four quadrants update as you do this. Now, we are going to select on the fourth style curve, convert it to Free, then drag its center point up about halfway between the active plane and the curve that we moved before. Do this in the RIGHT view since it is easier to see the point and the direction we are dragging in this quadrant. Bn s c kh nng ng canh gc tt c bn gc phn t s cp nht khi Bn lm iu ny.~ By gi, chng ti l mt bc thang l a chn trn ng cong kiu (th) t, chuyn i n Gii phng, ri ko im trung tm (ca) n ln trn quanh na ng gia my bay tch cc v ng cong m chng ti di chuyn trc y.~ iu ny trong s nhn ng t n d dng hn nhn thy im v phng hng hay khng chng ti l s cn (s ko) trong gc phn t ny. The result is shown at the top of the next page. Kt qu c hin ra ti nh (ca) trang ti p theo

Now that we have moved the first and fourth style curves to form arcs, we will adjust the boundary conditions of these curves to ensure a normal condition with the Active Plane. Gi m chng ti di chuyn u tin v nhng ng cong kiu (th) t thnh lp nhng cung, chng ti s iu chnh nhng iu ki n bin ca nhng ng cong ny bo m mt iu kin bnh thng vi My bay Tch cc.

TANGENCY LINE Hng Tip gip

First, click on the viewpoint icon again to return to a single viewpoint, turn on the display of datum planes, and rotate your model (if necessary) to see the following view. u tin, kch vo biu tng quan im ln na () tr li mt quan im n, bt mn hnh (ca) nhng my bay phn t d liu, v quay m hnh (ca) cc bn ( Nu Cn thit) nhn thy s nhn sau y.

With the Edit Curve option still active, and the fourth curve still selected, pick on the first end point with the soft point (touching style curve 3). We should see the tangency line appear, as shown in the figure at the top of the next page. Vi Son tho Curveoption vn cn tch cc, v t ng cong vn cn chn, l a chn trn im cui u tin Vi im mm (vic chm ki u un cong 3).~ Chng ti cn phi nhn thy hng tip gip xut hi n, nh a vo hnh ti nh (ca) trang tip theo.

We will place our mouse over this line, and then hold down the right mouse button to see a list of options to define tangency. We will select the option Normal, as shown in the following figure. Chng ti s t con chut (ca) chng ta qua hng ny, v gi nt chut phi nhn thy mt danh sch (ca) nhng ty chn nh ngha s ti p gip.~ Chng ti s l a chn ty chn Bnh thng, nh a vo hnh sau y.

Once we select Normal pick on the TOP datum plane. The tangency line should automatically snap to a vertical line (or perpendicular to the TOP plane), as shown below. Mt l n chng ti l a chn s la chn Bnh thng trn my bay phn t d liu nh.~ Hng tip gip cn phi t ng bt tanh tch ti mt ng thng ng

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

Repeat this for the other endpoint on this same curve, and for the two endpoints on the first style curve. When we are done, our surface should look like the figure at the top of the next page. Lp l i iu ny (cho) endpoint khc trn iu ny Cng Un cong, v (cho) hai endpoints trn u tin gi tn ng cong.~ Khi chng ti c lm, b mt (ca) chng ta cn phi trng nh hnh ti nh ca trang tip theo.

Now, we are going to copy the fourth style curve to create an internal curve to this surface. By gi, chng ti v i sao chp ng cong ki u (th) t to ra mt ng cong bn trong ti b mt ny.

COPY STYLE CURVE

Go to the Edit Curve tool, and then select the fourth style curve (the smaller arced curve). Once it is highlighted, go to Edit, Copy from the menu bar. The newly copied style curve will sit right on top of the curve from which it was copied, and a purple X appears on one of the endpoints, as shown below. i n cng c ng cong Son tho, v sau la chn ng cong ki u (th) t (ng cong arced nh hn).~ Mt ln n c chiu sng, i n Son tho, Sao chp t thanh thc n.~ Mi sao chp nh ng cong ki u Ngi ngay trn ca ng cong t n c sao chp, v mt mu ta " X " Xut hin

trn mt trong s the endpoints, nh hin ra di.

The X represents a fixed point. Usually, Fixed points are the internal points to a style curve (such as the second point in each of the curves). As we move this new style curve to its new location, we will see the fixed point turn into a soft point (with the open circle). " X " i din cho mt im c nh.~ Thng thng, nhng im c nh l nhng im bn trong ti mt ng cong ki u ( Nh im (th) hai trong ton b nhng ng cong).~ As chng ti di chuyn ng cong ki u mi ny ti s nh v (v tr) mi (ca) n, chng ti s nhn thy s quay im c nh vo trong mt im mm (vi vng trn m). Using the left mouse button, drag this new style curve along the length of the surface, you should see the two endpoints riding along the second and third style curves. Drag it approximately half way along the surface, as shown below. S dng nt chut tri, ko ng cong ki u mi ny dc theo chiu di (ca) b mt bn cn phi nhn thy hai endpoints ci dc theo hai v vt th ba gi tn nhng ng cong.~ Ko n approximately na cch dc theo b mt, nh c cho thy di.

Once you have the curve there, go to the Edit Curve tool again, and switch over to a four-viewpoint view. Move the three points on this new style curve (without holding down the SHIFT key) until you get the following. Mt l n bn c ng cong , i n ng cong Son thotool l n na, v

s chuyn i qua ti mt bn- s nhn quan im.~ Di chuyn ba im trn ng cong ki u mi ny (khng c vic gi phm dch chuyn) cho n khi bn c s theo sau.

Once you have the new style curve looking like the one above, click on the middle mouse button to finish editing it. Now we will make it an internal curve to the style surface. Mt l n bn cho php ng cong kiu mi trng nh ci trn, kch vo nt chut gia kt thc son tho n.~ Gi chng ti s lm n mt ng cong bn trong ti b mt kiu.

INTERNAL SURFACE CURVE ng cong B mt Bn trong

Start by going back to a single viewpoint view. Click on the surface to highlight it in red, as shown below. Bt u bng vi c i ngc li ti mt s nhn quan im n.~ Kch vo b mt chiu sng n trong mu , nh c cho thy di.

Hold down the right mouse button, and select Edit Definition. This brings back up the surface dashboard, as shown below. Gi nt chut phi, v la chn nh ngha Son tho.~ (Ci) ny mang mt sau ln trn b mt dashboard, Nh hin ra di.

Just to the right of the word Internal, select on the black arrow, and then select the new style curve that we just copied. Once you select the curve, click on the middle mouse button. The curve will be added as an internal curve, and the surface will update automatically, as we can see in the following figure. Ch ti quyn (ca) t Bn trong , chn trn mi tn en,v sau la chn ng cong ki u mi m chng ti ch sao chp.~ Mt ln bn la chn ng cong, kch vo nt chut gia.~ ng cong s c thm khi mt ng cong bn trong, v b mt s cp nht t ng, nh chng ti c th nhn thy trong hnh sau y.

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

REGENERATE STYLE FEATURE Ti sinh c tnh Kiu

Before you finish out of the entire surface feature, you should regenerate it. In the system toolbar, you will see the regenerate icon, which has a red, yellow and green circle. One of these circles is larger than the others. If the green icon is larger, that means that the style feature is fully regenerated. If it is yellow, as shown below, we will need to click on this icon to regenerate the feature. Trc khi bn kt thc ra khi ton b c tnh b mt, bn cn phi ti sinh n.~ Trong thanh cng c h thng, bn s nhn thy biu tng hi phc, m c mt mu , mu vng v vng trn xanh l c.~ Nhng mt trong s vng trn ny l n hn nhng ngi (ci) khc.~ Nu bi u tng xanh lc l n hn, iu c ngha rng c tnh ki u c ti sinh hon ton.~ Nu l mu vng, nh cho thy rng di, chng ti s cn () kch vo biu tng ny ti sinh c tnh.

As we can see in our toolbar, the icon is yellow, so we need to click on it to regenerate it. When we do this, it will look like the following. Nh chng ti c th nhn thy trong thanh cng c (ca) chng ta, biu tng vng, v vy chng ti cn kch vo n ti sinh n.~ Khi chng ti lm iu ny, n s trng nh s theo sau.

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

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

The model tree shows a single style feature, as we can see in the following figure. Ci cy m hnh cho thy mt c tnh kiu n, trong khi chng ti c th nhn thy trong s theo sau xut hin.

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

LESSON SUMMARY Tm lc Bi hc
This lesson demonstrated some of the key elements to working with style curves and surfaces. In the remainder of the lessons, we will see these different elements in their entirety. Bi hc ny trnh di n mt s nhng phn t cha kha lm vic vi nhng ng cong ki u v nhng b mt.~ Trong phn d (ca) nhng bi hc, chng ti s nhn thy nhng phn t khc nhau ny Trong ton b ca h.~

Lesson

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

USAGE OF ACTIVE PLANES Cch dng (ca) nhng my bay Tch cc

Whenever you create a style feature, there is always an active plane, even if the grid lines are not visible. There can only be one active plane in the style feature at any given time. Bt c khi no bn to ra mt c tnh kiu, lun lun c mt my bay tch cc, d nhng hng li khng r rng.~ C th ch c mt my bay tch cc trong c tnh kiu vo bt k thi gian cho no. You can, however, specify where your active plane is, and switch it to other locations during the creation of style entities. You dissuation, tuy nhin, ch r u my bay tch cc (ca) cc bn, v s chuyn i n ti nhng s nh v (v tr) khc trong thi gian s to thnh (ca) nhng thc th kiu When creating style curves, the Planar option places the curve on the active plane. It ensures that all points along that curve are on the same plane. Khi vi c to ra gi tn nhng ng cong, Planaroption t ng cong trn my bay tch cc.~ N bo m tt c ci nhng im dc theo m ng cong trn cng my bay

SELECTING AN ACTIVE PLANE La chn mt My bay Tch cc

By default, when you first go into a style feature, the active plane is located on the TOP datum plane, as shown below. Theo mc nh, khi bn u tin i vo trong mt c tnh kiu, my bay tch cc c nh v trn my bay phn t d liu nh, nh c cho thy di.

To switch the active plane to a different datum plane, click on the following icon in the style toolbar. chuyn my bay tch cc Ti mt my bay phn t d liu khc nhau, kch vo biu tng sau y trong thanh cng c kiu.

Pick on the datum plane (RIGHT for example) where you want the active plane, and it will now appear on that plane, as shown in the following figure. S La chn trn my bay phn t d liu (Quyn chng hn) u bn mun my bay tch cc, v n s by gi xut hin trn my bay , nh c a vo hnh sau y.

CREATING AN ACTIVE PLANE To ra mt My bay Tch cc

If you do not have an existing plane from which to select an active plane, you will need to create one. There are two methods for creating datum planes on the fly while in the style feature. If you use the regular datum plane creation tool, you will get a plane that becomes grouped with the style feature in the model tree. This plane is automatically hidden, but can be available for other features to use downstream. Nu bn khng c mt my bay hin hu t mt my bay tch cc no n c la chn, bn s cn to ra mt.~ ~ C hai phng php to ra nhng my bay phn t d liu trn rui trong khi trong c tnh kiu.~ Nu bn s dng s to thnh my bay phn t d liu bnh thng cng c, bn s a mt my bay m tr nn c nhm li vi c tnh kiu trong ci cy m hnh.~ My bay ny (th) t ng c che giu, nhng c th sn sng (cho) nhng c tnh khc s dng xui dng. The second method is to create one using a special style tool. If you click on the active plane fly-out icon in the style toolbar, you will see another icon, as shown below. The phng php (th) hai s to ra mt s dng mt cng c kiu c bit.~ Nu bn kch vo my bay tch cc biu tng ngoi cn thn trong thanh cng c kiu, bn s nhn thy biu tng khc, nh hin ra di.

When you click on this icon, you will enter into create datum plane mode. This is the functionality that you use to create regular datum planes. For example, suppose you want to create an active plane that sits 100 inches off of the RIGHT datum plane, you would first click on the icon above, and then select the RIGHT datum plane. Khi bn kch vo biu tng ny, bn s vo Vo trong To ra kiu my bay phn t d liu.~ y l chc nng m bn s dng to ra nhng my bay phn t d liu bnh thng.~ Chng hn, gi thit bn mun to ra mt my bay tch cc m ngi 100 inch ra khi ca my bay phn t d li u ng, bn u tin kch vo biu tng trn, v la chn my bay phn t d liu ng. We would see the preview for creating the plane, shown below. We nhn thy s xem trc to ra my bay, c cho thy di

The datum plane creation window looks exactly the same as the regular one you use outside of the style feature. Ca s to thnh my bay phn t d liu trng chnh xc l cng nh bnh thng Mt Bn s dng bn ngoi (ca) c tnh kiu.

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

The biggest difference between creating a datum plane this way versus creating one using the regular create datum tool is how it reports in the model tree, and when you can use it. The s khc nhau ln nht gia to ra mt phn t d liu bng phng cch ny chng li vic to ra mt s dng bnh thng to ra cng c phn t d liu l n bo co trong ci cy m hnh, v khi bn c th s dng n nh th no. In the model tree, a datum plane created with the standard tool appears as another feature in the tree, grouped with the style feature, and hidden. It can be used for other non-style features as well as the style feature itself. Trong ci cy m hnh, mt my bay phn t d liu c to ra vi cng c tiu chun xut hin nh c tnh khc Trong ci cy, nhm li vi c tnh kiu, v trn(du).~ N c th c s dng (cho) bn thn nhng c tnh khng kiu khc cng nh c tnh kiu. A datum plane created using the style feature plane creation icon gets absorbed into that feature, and can only be accessed in that particular style feature. When you finish out of the style feature, it does not appear in the model tree not even as part of a group like a make datum does. Mt my bay phn t d liu c to ra s dng c tnh kiu bng phng biu tng to thnh c ht vo trong c tnh , v c th ch c truy nhp trong c tnh kiu c bit .~ Khi bn kt thc ra khi c tnh kiu, n khng xut hin trong ci cy m hnh- khng ngay c khi chia ra ca mt nhm nh mt " lm phn t d liu " hu ci. If you were to create a new style feature, the datum plane that we created in the last style feature is not available to use again. So, what is the advantage of the ability to create planes in style mode using this method? Nu bn s to ra mt c tnh kiu mi, my bay phn t d liu m chng ti to ra trong cui cng c tnh kiu khng c i vi s s dng ln na.~ V th, ci g l li th (ca) kh nng to ra nhng my bay trong kiu kiu s dng phng php ny?

As we mentioned in the last lesson, it is to your advantage to create many different style curves and surfaces in a single style feature. To do this, however, it might require a large number of active planes. You may not wish to have all of these active planes visible in the model tree, therefore you would use this tool to create one that is specifically needed for this style feature only. Nh chng ti cp trong bi hc cui cng, n ti li th (ca) cc bn to ra nhi u ng cong kiu khc nhau v nhng b mt trong mt c tnh kiu n.~ lm iu ny, tuy nhin, n c l yu cu mt s ln ca nhng my bay tch cc.~ Bn c th khng mun c tt c nhng my bay tch cc ny r rng trong ci cy m hnh, bi vy Bn s dng cng c ny to ra mt m ch c cn c bit (cho) c tnh kiu ny.

ACTIVE PLANE GRID DISPLAY Mn hnh Li My bay Tch cc

Even though there is always an active plane in your style feature, you can choose to turn on or off the visibility of the grid for this active plane. Even tuy nhin lun lun c mt my bay tch cc trong c tnh kiu (ca) cc bn, bn c th chn bt hay ra khi tnh r rng (ca) li (cho) iu ny tch cc bay. To do this, go to Styling, Preferences from the menu bar. This brings up the window shown at the top of the next page. lm iu ny, i ti Styling , Preferences t thanh thc n.~ (Ci) ny mang trn ca s c cho thy ti nh ca tip theo trang.

This window is broken up into different functions. These are: Ca s ny c gy ln trn vo trong nhng chc nng khc nhau.~ y : Surface Display Auto Regenerate Grid Surface Mesh

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

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

Since it is easier to identify the location of the active plane with the grid on, I recommend only turning it off if sketching curves is difficult to do with the grid visible. Therefore we will leave it on, and it comes on again by default when a new session of Pro/ENGINEER is started. NOTE: If you turn off the grid for one style feature, it is off for all style features until you either 1) turn it back on again, or 2) exit and re-enter Pro/ENGINEER altogether.

ACTIVE PLANE GRID SPACING

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

What we have the ability to control is the total number of grid lines we see. To control this, first we want to make sure we can see our active plane grid using the method described in the last section. Next, we will return to the styling preferences window using Styling, Preferences from the menu bar to get there. In the Grid section of this window, we can see the following field (the default value of 5 is shown).

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

Right now, we have a 4x4 grid pattern. The total number of grid spaces in a given direction is equal to one less than the specified grid spacing. Therefore, to have a 10x10 grid pattern, we would enter a value of 11 in the grid spacing, thereby giving us the following grid.

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

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

From the example above, we can easily see how we might be able to control the actual spacing itself in terms of our units. If we wanted to have grid spacing of , and we knew the overall size of our model was going to be 10 inches long, we could create a datum curve on the plane we wanted to use as an active plane that was 10 inches in length. Then, when we use this plane for an active plane, we would set the grid spacing to 21, thereby creating 20 equally spaced grids at each in that particular direction. The catch is that if the model gets larger than the datum curve, the active plane gets larger, and now our spacing is not anymore. Therefore, I would not rely on trying to govern the grid spacing in terms of an actual distance.

ACTIVE PLANE ORIENTATION

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

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

LESSON SUMMARY
There is always an active plane in your style feature. You can select any datum plane to use as an active plane, or create new ones. To ensure the ability to re-use planes as active planes in more than one style feature, you will need to create these planes as stand-alone features. Leave the grid visible most of the time unless it impedes your ability to see what you are doing. You can also adjust the grid pattern by changing the grid spacing value. You can not directly control the dimensional spacing of the grid, however.

EXERCISE
Create a new part called Active_Plane. Be sure to use a startpart as the template for this part. We want to create an active plane that is exactly 10 by 5 in size, and located 4 away from the TOP datum plane. We want the grid spacing for the active plane to be in the small direction (5 inch side).