Professional Documents
Culture Documents
AliasStudio™ (Part I)
Uwe Rossbacher - Autodesk
MA115-2P Like the real world, the virtual world too provides different ways to model form. This session takes a
classic geometry representation, NURBS (Non-Uniform Rational B-Splines) and looks at it from the
perspective of a sculptural material. As a technology, there are strengths and weaknesses, but as a
material, the properties of the math become a part of the allure of the medium.
Take a fascinating and intimate look at surface modeling and learn why this material has become an
essential part of shape definition for all the automotive companies and the top product design firms in
the world.
Uwe has a deep knowledge of automotive concept design and technical surfacing and currently
focuses on creating and delivering demonstrations, technical marketing materials and field education.
Uwe also supports Autodesk product management efforts by identifying and defining market and user
requirements.
During his time with Alias, Uwe focused his efforts on refining the technical surfacing product
specifications according to the needs of customers worldwide, and was a key resource in the
development of many new surfacing tools within AliasStudio. Before joining Alias, Uwe held marketing
and technical positions at ICEM. Most recently Uwe worked at the VW concept studio in Potsdam,
Germany.
Uwe received a Masters Degree in Engineering and Technical design from the University of
Technology in Dresden, Germany.
Like the real world, the virtual world too provides different ways to model form. This session takes a classic
geometry representation, NURBS (Non‐Uniform Rational B‐Splines) and looks at it from the perspective of a
sculptural material. As a technology, there are strengths and weaknesses, but as a material, the properties of
the math become a part of the allure of the medium.
Take a fascinating and intimate look at surface modeling and learn why this material has become an essential
part of shape definition for all the automotive companies and the top product design firms in the world.
Before computer came into the game
Back in the days before computers, architects, engineers, and artists would draw their designs for buildings, roads,
machine parts by using pencil, paper, and various drafting tools. These tools included rulers and T‐squares for drawing
straight lines, compasses for drawing circles and triangles and protractors for making precise angles. Of course, a lot of
interesting‐shaped objects couldn't be drawn with just these simple tools, because they had curved parts that weren't just
circles or ellipses. Often, a curve was needed that went smoothly through a number of predetermined points.
This problem was particularly acute in shipbuilding: although a skilled artist or draftsman could reliably hand‐draw such curves
on a drafting table, shipbuilders often needed to make life‐size (or nearly life‐size) drawings, where the sheer size of the
required curves made hand drawing impossible.
Because of their great size, such drawings were often done in the loft
area of a large building, by a specialist known as a loftsman. The term
lofting originally came from the shipbuilding industry where loftsmen
worked on "barn loft" type structures to create the keel and bulkhead
forms out of wood. This was then passed on to the aircraft then
automotive industries who also required streamline shapes.
To aid in the task, the loftsman would employ long, thin, flexible strips of wood, plastic, or metal, called splines. The splines were
held in place with lead weights, called ducks because of their resemblance to the feathered creature of the same name.
The resulting curves were smooth, and varied in curvature depending on the position of the ducks.
As computers were introduced into the design process, the physical properties of such splines were investigated so that they
could be modeled mathematically on the computer.
The “Ducks” were replaced with so called Control
Vertices (CV).
Development of NURBS (Non Uniform Rational Basis, or Bézier Spline) began in the 1950 by engineers who were in need of a
mathematically precise representation of freeform surfaces like those used for car bodies and ship hulls, which could be exactly
reproduced whenever technically needed.
The pioneers of this development were Pierre Bézier who worked as an engineer at
Renault, and Paul de Casteljau who worked at Citroën, both in France. Bézier worked
nearly parallel to de Casteljau, neither knowing about the work of the other. But
because Bézier published the results of his work, the average computer graphics
user today recognizes splines (which are represented with control points lying off
the curve itself ) as Bézier splines while de Casteljau’s name is only known and used
for the algorithms he developed to evaluate parametric surfaces. In the 1960s it
became clear that non‐uniform, rational B‐splines are a generalization of Bézier
splines.
At first NURBS were only used in the proprietary CAD packages of car companies. Later they became part of standard computer
graphics packages.
Real‐time, interactive rendering of NURBS curves and surfaces were first made available on Silicon Graphics workstations in
1989. In 1993, the first interactive NURBS modeller for PCs, called NöRBS, was developed by CAS Berlin, a small startup company
cooperating with the Technical University of Berlin.
The layout of the patches is the basic knowledge
Often surface modeling is described as a magic thing. The modeler community mostly keep the secret of how to model the
highest quality level, called Class A. There is a lot of myth’s about it around. Following are described some techniques to
find and train patch layout. This knowledge is independent from the software that will be used and fits most of the time
even traditional clay modeling techniques.
1 How would you make it in foam?
To find the first steps in building a surface model it helps to imagine how this process would be, when using a block of foam and
a saw to work out the shape.
Similar to the most preferred sketching view, the NURBS modeler starts to develop the centerline. This is the section of the
model that lays in the middle of it defining the side view. Building the curves of the center line the modeler gets an idea of how
many curves he needs to describe the shape of the object.
All surfaces crossing the centerline should be build as one
1 Bezier surface. This helps to avoid discontinuities of the
surfaces at the centerline. Lots of designs require a strict
radius behavior of the surfaces in a certain area close to the
centerline. The “one‐surface‐across‐the‐centerline”
approach has the disadvantage that when CV modification
on the surface is required, always the corresponding CV has
to be picked as well, to maintain the symmetry. This cost a
bit more time, but the price is, that the surface is always
Centerline surfaces 100% smooth across the centerline.
Different to a classical approach (at first layout some curves
2 to describe the surfaces building the width of the car) often
the use of simple surface planes, their positioning and some
direct modeling is the faster method that fulfills the idea of
modeling. In clay the designer always sees the material, the
volume. It can be said hat there is always physical property.
The same would come with using shadeable property in
software process. That’s why it is good to show in virtual
world as soon as possible surfaces that can be shaded.
Width of the car
A modeling workflow based on simple planes requires a fast re‐parameterization of those planes. When the former
planes already are shaped and with certain degree, it is often too time consuming to change the position of each CV
individually. A re‐approximation technique is much faster. The surface will be trimmed and then regarding this trim edge
re‐calculated. The result is a completely re‐shaped surface done by the internal re‐approximation algorithm.
With this step it becomes clear if the parts defining the width
3 of the model fit together. For cars it is important, that the
crowning of the side window and the body side fit together.
This can be verified building the shoulder surfaces with
correct angle conditions to both side surfaces.
See tangent angle example that will come in Part 2!
Marry the parts
4 5
connection and muscles Rocker and Fillets
2 Detect the feature lines and build the slabs first
Scan data (polygons) of a physical model
Sometimes the modeler just gets a scan of a physical model. For further design iterations this scan has to re‐modeled in NURBS
(Reverse Engineering). Using Gaussian Shader the molder can detect the areas of curvature change on the model. This gives a
good hint regarding the layout of the surface boundaries.
In AliasSudio Blend curves can be created directly on
top of the polygons (Mesh).
The colorized areas gives a pretty good hint about the major slab surfaces that have to be build first. Its important to say that
those physical models usually are filleted and with all transition surfaces. Therefore slabs will not appear anymore with their real
size but partial hidden or trimmed. The modeler must “extend” the colorized areas to create the slabs in their original size.
It’s a good method to fit the slabs first on the smaller portion (like they appear on the filleted physical model) to extend them
after fitting. When the fit is with smooth and low degree surfaces, the extend will provide reasonable results.
Section data (curves, rawdata) of a physical model
Still there are cases where just a section model is
available. Here the modeler finds the slabs by
“interpreting” section lines.
One approach is to isolates main section lines. Then
they will be rebuild with NURBS curves. This can be
done with all the main section lines and is a save
method to find the areas where a Slab character turns
into a Transition character.
The section line still is one continues line.
The blue section in the image beside is
with three “parts”, two main pieces and
?
one transition piece (fillet).
The modeler needs to find the points
where the fillet goes into the main
curves.
?
First the modeler creates the two main
curves. He overbuilds the section line. It is
with the modelers skill to interpret, where
the main curves “leaves” the section line.
Then the modeler build the transition
curve. It is helpful, when the curve has
some kind of history so that the modeler
can move the endpoints of the transition
curve along the main curve to find the right
point, where the transition starts. In
AliasStudio the Blend curve type is ideal for
this job.
The curvature plots calculated on the
created curves also can give a good hint
about the transition point.
With this method all points, where a slab
part goes into a transition part, can be
marked, like in the image beside. This
knowledge is the base for building main
surfaces (slabs) and transition surfaces.
Interpreting every or lots of scan lines seems a bit time consuming. That’s why there is a second approach using surfaces to
interpret many section lines in one step. For that, the user works with simple surfaces and visual sections ,cut through these
surfaces. The surfaces has to stay relatively simple (moving hulls instead of moving every single CV) and the visual sections give a
permanent feedback about the level of fitting.
For example a simple draft surface will be
created. This first surface doesn’t have to
fully fit the sections yet.
Based on the first draft surfaces another draft will be created. It is very helpful when this second draft has a historical
connection to the first draft. In this case the second surface should just fit the section lines in terms of the right angle (being
parallel).
Calculate visual sections!
Adjust the draft angle to follow
the section lines!
Fitting the first draft to the sections, the second draft always will follow. The second draft will be fit modifying the first one
only. With this method the theoretical line can be defined very fast.
Fit this surface by moving CV’s!
3 Close the entire model first in theory
Finishing a surface model often it comes to areas that are difficult to proceed with. Typically these are areas where more than
two radii come together, or where transition surfaces are washing out.
A good method for those cases is to close the model first just using sharp edges. All fillets should be avoided. Often surfaces
must be build that wont even appear after filleting and that usually wont be considered finding the right patch layout.
The next step is to build the fillets as long as they reach without getting complicated or washed out. This step is relatively easy to
do. Just areas with a clearly defined fillet situation will be worked on.
The left over regions are washouts or magic corners where many radii come together and have to be blended. To fill these blend
regions first the entry lines for the blends have to be marked. As a general advice the natural flow of the fillet edges should be
continued. Its obvious that the surfaces between these continued fillet edges act as a blend and is not a fillet anymore. With this
method most of those situations can be managed.
2
1
3
The natural flow of the fillet edges will be maintained and
blended into the natural flow of the wheel.
But!
Sometimes establishing a classical patch layout can become too time consuming. There are shapes where it is better to just
sculpt the entire model out of one surface by inserting segments (raising its mathematical complexity). It is comparable to
craftsmanship where the sculptor cuts the form out of one block of foam.
This method has the advantage that the software controls the internal continuity by itself and the digital sculptor has the
freedom to concentrate just on the form he is working on. It seems that the ability of modifying the shape of those “one surface
objects” are endless but when it comes to concrete engineering or package requirements often this method has limitations. The
modeler checks the technical requirements using analyses tools and adapts the surface model via moving CV’s. He cannot use
the technical input directly as a base for his model like he could do it using a traditional patch layout.
The design of the shower head was defined based on the splitting line along the entire model.
The engineer had difficulties to establish the patch layout based on this line. The most critical area is on the tip of the shower
head where the classical layout just offers are triangle patch. On the other hand, the engineer found too many surfaces. That can
be difficult because the higher number of surfaces makes it more difficult to control the highlight flow through the entire surface
set.
A digital sculptor used the “one surface”
approach. He almost matched the split line
that was given as a technical requirement.
Literally he came closer and closer by
adjusting the CV’s. Saving patches he could
easily control the highlight of his patch.
This method is not as accurate as building
surfaces based on the split line but it helps
to sculpt organic surfaces.
Surface Evaluation
Software renders surfaces using shader, environments and shadow calculation to become close to the reality. But in surface
modeling the stakeholders just need to evaluate the shape of a sculpture. Colors and similar effects are trouble. Therefore in the
model shop models will be coated just in white (reduced to the necessary) to get the pure shape, avoiding any distraction by
visualization gadgets. Only shadows play a role to evaluate form.
NURBS technology offers another method of surface evaluation. Skilled software modelers are able to judge surfaces in accordance
the CV spacing and their flow. In competition to shaded evaluation techniques the CV picture becomes an reasonable instrument
for surface evaluation.
1 Shading
To evaluate Surfaces in Clay, the molder works with foil, called Dynoc. A little bit of water on top of the smooth clay surface sucks
the Dynoc onto it. Now the environment reflects on the foil and any inconsistencies of the surface shape will be visible. If the
shape of the clay should be improved, the Dynoc has to be removed.
Using Dynoc in clay process the modeler cannot watch the reflections while he is scraping the Clay. In software process the
modeler can modify the surfaces while the reflections (diagnostics) are on. This is a huge advantage to reach surface quality much
faster.
Most software for NURBS modeling offer shading tools that visualize the selected surfaces. But often the user calculate zebra
stripes, which are often spherical environment . This evaluation is not good enough to judge high end surface quality.
It is important to know how the evaluation tool
calculates the reflection lines. Additional to that it is
good when the light source creating the reflection lines
can be moved above the model.
In AliasStudio the Iso Angle Tool is the most accurate
evaluation regarding highlights on the surface set, even
when these “highlights” are not comparable with
reflections in the real world.
“Reasoning“ behind Iso‐angle analyses
Iso‐angle literally means "a line of constant angle" on a
surface. Here is an analogy: on a map of the world,
sometimes you can see what are called "iso‐therms" ‐
these are lines of constant temperature. Similarly, "iso‐
bars" are lines of constant barometric pressure. These
line are used to indicate temperature and pressure
trends on the globe.
Iso‐angle, the tool, by default, shows you the line of
zero angle between the surface normals of the surface
and an infinite "light source direction". In fact, you
should stop thinking of this as a lighting kind of
calculation, but as an analysis of the surface properties
purely. The pointed arrow in the interface is there to
just indicate the direction with which the zero angle is
being evaluated.
Iso‐angle therefore provides a very tight and accurate way of evaluating the properties of a surface. It will indicate surface
properties (like trends, continuity across boundaries etc.) way more accurately than spherical maps of zebra stripes.
When used in the multiple band (the colored bands) mode, each colored band is indicating a line of constant angle with the
direction of the vector ‐ for example, the white band could be the zero angle, the red one next to it could be the line of constant
5 degree angle,
the green one next to it the 10 degree angle etc. This kind of evaluation is called iso‐photes actually, and is used in mathematical
analysis of surfaces.
2 CV picture
The analogy between “ducks” used by loftsman and CV’s in NURBS technology is a perfect way to understand the importance of
a good CV flow to get good surfaces.
NURBS modeling software often offers various User Interface
capabilities for surfaces creation and manipulation. But all this is
just a mask. The common ground is always the position of the CV’s.
For a loftsman the duck placement was the only possibility to get a
nice curve with aesthetic acceleration and so is the CV placement
for a NURBS modeler. So the secret of well shaped surface models is
with their CV layout. Choosing a NURBS modeling software it
should be taken care, that CV’s can be visualized and modeled
directly.
Common rules about CV spacing
As a first rule it can be said, that the CV’s has to look nice and they should flow beautifully (there are several exceptions when it
comes to the CV flow). Experienced NURBS modelers can “read” the shape of a NURBS model by investigating the CV’s only.
But was is nice and what is beautiful? Some people say: “Beauty is the phenomenon of the experience of pleasure, through the
perception of balance and proportion of stimulus. It involves the cognition of a balanced form and structure that elicits attraction
and appeal towards a person, animal, inanimate object, scene, music, idea, etc.”
Judging beauty is always depended on the audience and relative. To illustrate this there is a nice quote from Francis Bacon.
“There is no excellent beauty that has not some strangeness in the proportion.”
Technical surfacing exists between creativity of design and requirements of Engineering. Any definition of Beauty seems to be
relative and doesn’t fit in strict engineering requirements. But the Surface modeler needs to put a good understanding of a
beautiful sense in his work to create good surface sets and therefore a lot of inspiration is available.
Even when the judgment of CV structure is relative there are some rules introducing two parameters.
B
A
1. Both Parameters should change smoothly and within symmetry if appropriate. Drawing the change of A and B in a graph, the
resulting curves, must be nice, smooth and not wavy. There is no engineering rule about these curves. The user must consider
his own sense of beauty, symmetry and proportion.
A/B
!
# of CV
CV#1 CV#2 CV#3
2. Concentrate CV’s where the geometry shows more curvature in its shape. A good analogy is to imagine the speed of the hand
when drawing a curve with a pencil. Where the speed is slow, the artist tries to create curved shape, the CV’s should be
concentrated. Where the speed gets faster, less CV’s are needed to describe this portion.
3 Surface Continuity
When defining a form, an important factor is the continuity between surfaces ‐ how smoothly they connect to one another.
One example of where surfacing excels is automotive body panels. If two curved areas of the panel have different radii of
curvature and are blended together, maintaining tangential continuity (meaning that the blended surface doesn't change
direction suddenly, but smoothly) won't be enough. They need to have a continuous rate of curvature change between the two
sections, or else their reflections will appear disconnected.
Position G0
This continuity specifies if the edge of two surfaces (natural edge or trimmed edge) fit within a given tolerance. If the geometry
edge or endpoint fits within a tolerance the result is good in terms of G0 continuity. This measurement can be qualified as a
digital check.
Tangency G1
This continuity specifies the angle between corresponding normal's that stands on the edges of the reference and the geometry.
If this angle is within a tolerance the measurement is good in terms of G1 continuity. This measurement can be qualified as a
digital check.
Additionally to the measurement of the surface normal's there is a check in terms of co‐linearity of the tangents (lines connecting
the CV’s). This criterion is interesting just for continuity measurements between two natural edges. Not every NURBS modeling
system offers this check (AliasStudio) but it should be investigated by every user.
Curvature G2/G3
Curvature G2 (radius) Acceleration G3 (rate of change of curvature)
The continuity measurement in terms of curvature should not be judged as a digital check anymore. In here it is more important
to evaluate the flow and the smoothness of the curvature acceleration. A perfect curvature result just can be evaluated using
curvature plots.
4 Curvature plots
When it comes to curvature measurement lots of systems offer locators that measure G2 continuity on the patch borders and
these typical zebra stripes to evaluate “highlights”.
These two surfaces obviously looks fine together, but this is not true. The
evaluation tools are just not the right ones.
C The G2 locator simply compares the value of curvature on both surface
edges within a certain tolerance. This information is not enough in terms of
judging highlight quality. Even the zebra stripes often are just a spherical
map on the surface set and doesn’t give a useful feedback about the
smoothness of the entire surface set. They don’t show acceleration of
curvature within the shape.
Just a curvature plot on a section cut through the surface set shows that the
acceleration of the curvature of both surfaces doesn’t match. Sure G2
continuity is achieved, but its is not a good result regarding the flow of the
highlights.
That’s why it makes no sense to judge the highlight quality of a surface set just using G2 checker. The surface set must be cut and
curvature combs must be calculated on the sections.
This curvature comb show a well
balanced G3 result. This judgment is
with the skill level of the operator and
can be qualified as analog, because
there is not a certain tolerance that
would make sense all the time.
This result is well balanced too. The
small step in the curvature plot (G2
break) doesn’t have a noticeable
impact on the final highlight picture. In
fact, this surface set has only G1
continuity but it is still good.
It is very helpful to see the two surfaces beside milled out. Often it becomes clear that a strict G2 achievement is not necessary to
reach high end surface quality in terms of visual highlights.
Class A
For reaching the top there must be always a bar, a measurement, a level. In freeform surfacing such a top level can be found
in the automotive industry. Here is enough potential to build surfaces as good as possible and to accumulate knowledge
and skills to create those high end surfaces called Class A.
1 What is Class A?
Class A surfaces is a term used in automotive design to describe a set of freeform surfaces of high quality. Although, strictly, it is
nothing more than saying the surfaces have curvature and tangency alignment to near perfect aesthetical reflection quality.
The point when Class A quality for the first time is required is not fixed. As more as the design becomes final, as more
engineering and feasibility requirements have to be recognized. A clean and light surface structure is the base to incorporate
these requirements in a digital model. The final result is a surface set that will be given to tooling or to further CAD departments
and its final quality level is called Class A.
In automotive design, the first virtual surface models appear at the concept stage already. A fast visualization of shape and
proportion is valid. Based on sketches, packages and scanned quarter scale models, the digital sculptor creates the first surface
model. At this stage technical requirements doesn’t play such a role. The interpretation of the styling idea is the main approach.
Its called Concept Modeling.
2 Two different aspects of Class A
The challenge for Class A modeling is to combine the aesthetic superiority with hard requirements from engineering. A surface
set that appears just beautiful but without meeting engineering requirements will not be considered as Class A.
Highlight Quality Engineering requirements
•Curvature combs •Tolerances
•G3 •Split lines
•Acceleration of highlights •First flange
•knee ratio •Panel gap
•Fully filleted
As the digital design process gets mature less Data Control Models get milled out but the quality level remains. The Studios try to
push the point of design freeze more and more backwards to gain time to improve the styling. For Class A modeling this means,
that it has to be establish sometimes along the process to be ready when the project is done.
3 Reverse Engineering
Class A modeling means a lot of investment in time. During extensive design iterations often it makes no sense to require the
highest quality level of surfaces. In the past Class A quality often was required just after the design freeze. This point was
reached with a so called Data Control Model done and available only in clay. This model had the final design features included. It
was scanned and then the model had to be re‐captured as NURBS in Class A quality to serve the following CAD processes. So the
Class A modeling was mainly using scan data as input and a certain deviation tolerance was given to the molder. It was called as
reverse engineering.
Those requirements were ideal for outsourcing
the work. That is why today most of the Class A
modeling work is done with Tear One Suppliers
around the big automotive companies and so
most of the knowledge and skills about it. Its an
interesting phenomenon that the best Class A
modelers are working as contractors for those
suppliers and cannot be found as employees.
4 And where could Class A go in the future?
To make the design process more effective, the studios engage engineers early on look at engineering requirements
to get guidance from it. Another point to make the process more effective is to improve the surface quality of the
first models to make them re‐useable for the next design steps. Some automotive companies even don’t speak
about conceptual design anymore. They established a process where the design modeling flows meaningless into
engineering and tooling.
“A community of modelers has established general criteria for data to be considered class A. Prior to checking edge continuity,
curvature, highlights, or shapes it is the surface structure that has to be well established. In presentations regarding class A
surfacing I try to make it clear: The structure of the surface data is the basis of Class A surfacing. “
In comparison with traditional modeling virtual modeling is still very young. It heavily depends on the mathematical
progress. The tremendous development speed of technology every year opens new kind of workflows. Especially modeling
techniques from the Entertainment industry are influencing workflows in the Automotive industry. Polygon modeling and
Subdivision Surfaces are just a few topic coming from there. Regarding NURBS modeling three paradigms will be touched
on the following pages.
1 NURBS versus Bezier mathematic
Most surface modeling systems have a common mathematical foundation called B‐Splines. Some of them creates NURBS
geometry and some creates Bezier geometry. Mathematically a single segment NURBS surface is equivalent to a single Bezier
surface patch. Mathematically Bezier surfaces are a subset of NURBS. AliasStudio is capable of creating NURBS and Bezier
surfaces.
The image shows two curves having the same shape.
The upper curve has 6 CV’s and 3 segments (4 edit points). It’s a NURBS curve
The curve below has 6 CV’s and just 1 segment (2 edit points). It’s a Bezier curve.
When moving the marked CV’s it becomes obvious that a Bezier CV influences the entire curve and a NURBS CV just has
influence within its segment. This partial influence increases the risk of wavy curvature plot and with this the risk of a bad
highlight picture when it comes to surfaces. That’s why often it is recommended to work with single segmented geometry know
as BEZIER mathematic. It has the disadvantage of more work taking care for the surface connections, but almost guarantees good
highlights.
Using multi segment geometry can be an advantage in several surface modeling situations. But software is unable to provide G3
continuity between the segments when there is not enough mathematical freedom.
To avoid internal G3 breaks (like shown below) the geometry should always have a minimum degree of 5. The degree validation
used in here is for AliasStudio. Other software have different rules to specify the degree of a surface. Basically the geometry
must have six Control Vertices to avoid internal G3 breaks.
A solution where the degree of the geometry doesn’t count is when using strictly single segmentation approach. This is known
as using Bezier Surfaces.
2 Modeling method
CAD software packages use two basic methods for the creation of surfaces.
The first begins with construction curves (splines) from which the 3D surface is then swept (section along guide rail) or meshed
(lofted) through.
The second method is direct creation of the surface with manipulation of the surface poles/control points.
Both methods have their strength. Their use depends on the modeling situation.
Procedural modeling
Curve network approach:
•Fits designers who think in feature lines.
Gives a fast 3D interpretation of the intended shape.
traditional patch layout based on curves:
•Lacks in controlling the “inner CV’s”
•Requires a huge effort of planning to keep history of
edge curves and surface.
The surface is a result of curve modification and cannot
be shaped directly.
Surfaces ruled by parameters:
•Additionally to curves surfaces can be defined by
parameters like radii, vectors, length.
•Serves engineering approach
Direct modeling
Direct modeling lives of of CV manipulation. To do so, it is needed to hold the overall number of CV’s down. To align two surface
with each other, a special align or matching command is needed. This implies massaging every surface match individually.
Currently it is the best way to ensure a top highlight quality of the entire surface set, but it requires a gentle surface layout that is
based on primary surfaces and secondary surfaces that are dependent on this.
It may sound threatening to manipulate all CV’s individually. But as long as possible, the digital sculptor manipulates entire CV
rows or uses tools that allow a modification of many CV’s based on a rule how the influence on each CV gradually become less.
With this technique, NURBS becomes the first legit virtual material.
Practical Modeling Techniques
One helpful approach to understand and master digital surface modeling is to base design workflows on proven methods from the
traditional craftsmanship and translate them into the world of computers, software and NURBS.
1 Surfaces might be bigger than they appear on a final model
The basic surfaces (often they are called slabs) appear on the final model always trimmed. A good analogy is the craftsmanship of clay
modeling where the modeler moves a fixed template along a guide. The template cuts clay where it touches the volume and it cut “air”
to. The entire “surface” the template is “cutting is exactly the surface that has to be modeled in software, even when the template cuts
air and the corresponding digital surface stands out. The digital surface will be trimmed later, but its basic shape must be modeled first.
This depends on the stage of
the design process. Production
cars that has been modeled
after design freeze have a
different layout that not
necessarily following this rule.
The colorized wheel lip should
get a certain highlight flow. To
achieve this, the “underlying”
trimmed surfaces must be
shaped to support the final
sculpturing of the wheel lip
surface.
This is an example how surfaces that even wont be seen in the final model “hold” a feature (blue fillet) together.
The blue fillet surface set must have a nice
highlight flow. But because of the hole in the
bumper it looks like there is no surface the
two middle fillet pieces can be aligned to.
The surfaces “around” the hole in the
bumper shows are actually bigger and they
are connected establishing a nice highlight
flow, even when they are trimmed later on
describing the hole.
But only this curvature connection allows to
align the blue fillets all way long, even there
where they appear as “hanging in the air”
(when the model finally is trimmed).
2 Angle conditions along surface boundaries
Final surface sets are always filleted. Those filets often play a significant role expressing features. In the knee of a fillet there might
be an ultra shiny highlight gloss. The tangent lines of a fillet (the lines where a fillet starts) mark the region where a flat and slow
highlight from the big slab surfaces starts to speed up into the much more curvy fillet.
So it is clear that the shape of such fillets are important for the design expression in two ways:
• Nice and determined Radius entry lines
• Constant or smooth change of knee radii to ensure a nice highlight.
The shoulder surface usually will be build with
position continuity (FIXED).
Building the fillet just with this simple position continuity is the reason of the problem with the fillet described following.
Fillet to be done
The resulting fillet often has problems regarding the entry lines or the highlight along the fillet knee.
This fillet is a constant fillet. The radius entry lines show an This fillet is a chordal fillet. The thickness of the highlight at
uneven and bad behavior. the knee varies unevenly.
The reason for this bad fillet behavior is the uneven change of the angle between both surfaces. In this case the angle between
the two surfaces becomes smaller and at the end it becomes bigger again. The tangent checker shows an inflection of the angle
change ( in the middle).
This simple example illustrates how a rolling
ball would mark uneven radius entry line on
both reference surfaces when their angle to
each other is not controlled.
Controlling the angle changing from one end to the other gives a much smoother and controlled result for the quality of the final
fillet. The tangent checker shows just the maximum and the Minimum of the angle exactly at Start and End of the fillet.
In Alias this can be controlled using the TANGENT ANGLE option in the surface creation tools.
This fillet is a constant fillet. The radius entry lines are even This fillet is a chordal fillet. The thickness of the highlight at
(linear interpolation between the two ends). the knee varies evenly (in accordance a linear interpolation).
3 Theory Modeling
Both Slab surfaces will be cut first, using a long
1 blade. The cutting edge of the blade could be
imitated in Software by a profile curve.
The modeler has to balance the crown of both Slabs
to each other. He can do that by examination of
both surfaces from the side and the top view.
The final indication is the sharp edge between both
Slab’s. Its shape shows if both crowns fit to each
other.
To define the transition (often it’s a radius) the
2 modeler tapes the two entry lines (Tangent offset)
on the smooth slabs. The modeler exams both lines
by checking them from the appropriate view.
When the transition should be a radius, the modeler
3 uses a drawing circle to get the right distance for
each tape from the sharp edge.
Using a rake, the modeler cuts the clay between the
4 tapes. After he roughly achieved the shape of the
transition, he uses a template blade with a cutting
edge that was made after the profile the transitional
surface should have or after the specific radius.
The modeler slides the blade along both tapes to
not touching the already finished slabs.
The last step is to remove the tapes and to carefully
smooth the entire surface set.
A finished surface model almost has no sharp lines. Everything is with fillets and transition surfaces. But recognizing modeling step 1
there must have been a sharp “theoretical line” beneath those fillets. Regarding this it is an interesting experiment to inspect the hood
of a car like shown below. The inspector moves along the front of a car and notices there three vital points (A B C) where the feature of
the hood appears in three different ways.
C
There is one position (B), where the virtual theoretical
line, and with this even the fillet that is build on top,
appears straight. On Position A it appears concave, on
A
position C it appears convex. So in B the “theoretical
line” MUST be straight, means planar. B
C
A
Here is an example from industrial design where the theoretical line is not crisp and causes irritation with the final design where
fillets are incorporated.
This effect is a basic rule in technical surfacing to make major features appear crisp and strong from all different views. Software
products offer tools that can planarize a curve or a surface edge to get this effect. The plane that is the base for such curves
rarely appears parallel to the three main views (side, front and top). So it is needed to be able to modify a curve set while the
curve still maintains its planar character in 3D.
Advanced modeling and surfacing techniques
with Autodesk Alias Studio
NURBS modeling is a fascinating modeling technique only existing in the virtual world. When we understand it
as tool among others used in the design process, interacting with the real world via milling and scanning, it can
become a powerful next generation element in Design and Styling.