Thursday, June 22, 2006
For Techniques1 (pictures not included)
Industrial Design
Contents
I. INTRODUCTION
II. CRITERIA
III. APPLICATIONS
A. Product Design
B. Packaging
C. Transportation
IV. METHODS
V. HISTORY
A. The Bauhaus
B. Scandinavian and Dutch Designers
C. American Designers
D. Industrial Design in the 1980s
Microsoft® Encarta® Encyclopedia 2002. © 1993-2001 Microsoft Corporation. All rights reserved.
I INTRODUCTION
Industrial Design, art and science involved in the creation of machine-made products. It is concerned with aesthetic appearance as well as with functional efficiency. The success of a design is measured by the profit it yields its manufacturer and the service and pleasure it affords its owner.
Apple iMac Apple Computer introduced the appealing iMac personal computer with an eye-catching design in 1998. The low-cost computer has a curvy, translucent case and comes in five bright tropical colors.Newsmakers/Liaison Agency
The term industrial design was originated in 1919 by the American industrial designer Joseph Sinel. Initially, industrial designers dealt exclusively with machine-made consumer products. Eventually, however, the scope of the profession enlarged to include the design of capital goods, such as farm machinery, industrial tools, and transportation equipment, and the planning of exhibitions, commercial buildings and packaging.
II CRITERIA
Under prevailing standards of design, a product should have beauty of line, color, proportion, and texture; high efficiency and safety of operation; convenience or comfort in use; ease of maintenance and repair; durability; and expression of function in terms of form. The relative importance of any of these standards may vary depending on the object. Thus, line and proportion may be more desirable in a sofa than in a tractor, where durability and easy maintenance may be paramount. A consideration basic to all good design is the factor of realistic cost. Thus, effective industrial design requires, besides artistic ability, combined knowledge of engineering principles and materials, production techniques and cost, and marketing conditions.
III APPLICATIONS
Industrial design has applications not only in consumer products but in interior building space, packaging, and transportation.
A Product Design
Braun Multipress MP 32 The Braun Multipress MP 32 is an example of industrial product design. Created in 1965 by G. A. Muller, this relative of the blender combines attractive, streamlined form with a functional product. Meeting standards for industrial design that were current for its time, the Multipress was safe, efficient, and easy to use.Bridgeman Art Library, London/New York
Today industrial design has been applied to practically all consumer products, notably to home appliances, such as air conditioners, irons, and washing machines; office equipment, such as typewriters, dictaphones, and duplicating machines; electronic communications equipment, such as radios, television sets, phonographs, and tape recorders; bathroom and lighting fixtures; furniture; hardware and tableware; automobiles; and photographic equipment. Industrial design is applied also to products involved in distribution, such as trucks and automatic vending machines, and to industrial materials and equipment.
The industrial designer must be concerned not only with product design but with the conditions under which products are sold. In planning retail stores and display areas, for example, the industrial designer works with the architect to increase the revenue-producing interior space and to create arrangements and atmosphere conducive to sales. Industrial designers also work to facilitate the profitable operation of railroad stations, airports, hotels, shopping centers, exhibitions, restaurants, public auditoriums, television stations, and offices.
B Packaging
The fundamental problem of design in packaging is to provide all the essential information, such as the instructions for use of the product and the legally required identification of its contents, while fulfilling the broader purpose of selling the product. Because of the current trend toward self-service in merchandising, the importance of packaging increases constantly.
C Transportation
High-Speed Train The French high-speed electric train, the Train à Grande Vitesse, is designed for speed. It travels up to 260 km/h (160 mph).Sarval/Rapho/Photo Researchers, Inc.
Industrial design has made valuable contributions in the field of transportation. Only the largest industrial-design offices are equipped to design the interior of ocean liners, aircraft, trains, buses, and other public vehicles. The exterior and dynamic characteristics of these highly complex mechanisms impose strict interior design limitations. In jet airliners, for example, interior space must be maximally utilized to increase the payload without sacrificing the comfort of the passengers. In ocean liners space and weight factors are not so crucial. To compete with other forms of transportation, present-day ocean liners are designed to offer service and luxury features not feasible in aircraft, trains, or buses.
IV METHODS
Every design problem requires special procedures, timing, and techniques, but there is a general routine applicable to all. After the industrial designer is informed of the needs of the client—including data on the intended market for the product, budget allocation, and company policy and equipment—specialists associated with the designer conduct a study of competitive products and an extensive field survey of the manufacturer's plant. A design program is planned, and preliminary designs of the proposed product are then sketched on the basis of the available plant facilities. Rough sketches are chosen for further refinement and study, and the client is then presented with design studies, often in the form of a small model or of a mock-up. Following the selection of the approved design, working drawings indicating the choice of materials and the specifications for finishing and assembly are prepared. A handmade working model is then manufactured and submitted to the client for approval. In the case of an automobile, for example, one or several are handmade and tested at proving grounds before final machine dies are ordered and production begins.
The industrial designer is essentially the creator of a pattern to guide the operations of skilled persons or machines. The development of industrial design led to the creation of new procedures, such as the method of encasing a product to be redesigned in soft modeling clay, in order that the modifications in the design may be molded directly from the old products. Another industrial-design method is based on the fact that small models do not reflect accurately the design characteristics of the full-scale product. Distortion often occurs in magnification as a result of highlights and shadows that change basic spatial relationships. To view the design in full scale, the profession employs a photographic system in which a small drawing is projected to full scale on a section of a wall. Revisions of the design are then made directly on the wall projection by the industrial designers.
V HISTORY
Before the Industrial Revolution, goods were handmade by artisans, who were usually involved in the whole process of creation, took pride in their work, and often sold their wares directly to the customer. The development in the 18th century of the factory system, with mass production and specialization of labor and the appearance of middlemen, changed the situation. Factory workers tending machines had little involvement with a product and felt no responsibility to the buyer. Factory owners were often chiefly concerned with profits. As a result, although many products, such as cast-iron stoves and building units, were functional, many more were ugly and badly made. Applications of machine-made ornament in hopes of disguising low quality and pleasing a mass market were usually an aesthetic failure. A few late 19th-century reformers, such as the English designer William Morris and members of the Arts and Crafts movement, protested and advocated a return to the standards of medieval handicrafts. They influenced art nouveau style and the Vienna Secession (see Sezessionstil) movement, but these attempts at improved design had little effect on mass production at the time.
A The Bauhaus
The concept of industrial design did not really take hold until 1919, when the German architect Walter Gropius founded the Bauhaus, an artistically revolutionary school of design in Weimar, Germany. The Bauhaus became a center for artists trying to combine aesthetic concerns with new industrial materials and techniques, in what became known as the International style. They generally advocated simplicity of form that was adapted to the object's function.
B Scandinavian and Dutch Designers
In the prosperous years that followed World War I, industrial design also became important in Scandinavia and the Netherlands. Backed by a long craft tradition, such designers as the Swedes Erik Gunnar Asplund and Sven Markelius, the Finn Alvar Aalto, and the Danes Arne Jacobsen and Hans Wegner created simple functional designs in furniture and other goods. In the Netherlands, under the influence of the movement known as De Stijl , such men as J. J. P. Oud and Gerrit Thomas Rietveld advocated clean, sharp, geometric design.
C American Designers
In the U.S., manufacturers turned to industrial design as a means of competing in the welter of postwar consumer goods. Many inferior products were characterized by superfluous decoration, imitation materials, haphazard and nonfunctional juxtaposition of components, crude color, and easily marred finishes. The art deco style, in attempts to capture machinelike qualities in design, was too often used superficially. In the 1920s the designers Norman Bel Geddes, Henry Dreyfuss, Raymond Loewy, and Walter Dorwin Teague established the first important industrial design studios. They all emphasized beauty in functionalism and stressed the elimination of unnecessary decoration and the simplified rearrangement of components. Among the first products to reflect aesthetic planning were automatic refrigerators, designed by Loewy; cameras and optical instruments, designed by Teague; and telephone equipment and clocks, designed by Dreyfuss. Following the unqualified success of these first designs, many other designers entered the field, notably Egmont Arens, Harold Van Doren, and Russell Wright.
The closing of the Bauhaus by the Nazi government in 1933 resulted in the flight of many staff members, who spread the principles of functionalism throughout the Western world. Mies van der Rohe, Marcel Breuer, and others went to the United States. The Hungarian-born designer László Moholy-Nagy became director of the New Bauhaus in Chicago and later founded his own school of design. In 1944 a group of leading industrial designers founded a nonprofit association now called the Industrial Designers Society of America to promote the study and practice of industrial design. Inclusion in design collections, such as the prestigious one in the Museum of Modern Art in New York City, has brought deserved recognition to outstanding designers and their companies.
D Industrial Design in the 1980s
By the mid-1980s there were several hundred industrial-design offices in the U.S. and thousands of designers employed by manufacturing firms. Industrial designers were also firmly established in the economies of Europe, Japan, and many developing countries; Italian and Japanese designers, in particular, exerted a powerful international influence. Numerous schools offered courses in industrial design. Many national design societies and government councils on design belonged to the International Council of Societies of Industrial Design, founded in London in 1957. A common concern of the profession was how to adapt new technology, with its benefits and hazards, to human needs.
Microsoft® Encarta® Encyclopedia 2002. © 1993-2001 Microsoft Corporation. All rights reserved.
Contents
I. INTRODUCTION
II. CRITERIA
III. APPLICATIONS
A. Product Design
B. Packaging
C. Transportation
IV. METHODS
V. HISTORY
A. The Bauhaus
B. Scandinavian and Dutch Designers
C. American Designers
D. Industrial Design in the 1980s
Microsoft® Encarta® Encyclopedia 2002. © 1993-2001 Microsoft Corporation. All rights reserved.
I INTRODUCTION
Industrial Design, art and science involved in the creation of machine-made products. It is concerned with aesthetic appearance as well as with functional efficiency. The success of a design is measured by the profit it yields its manufacturer and the service and pleasure it affords its owner.
Apple iMac Apple Computer introduced the appealing iMac personal computer with an eye-catching design in 1998. The low-cost computer has a curvy, translucent case and comes in five bright tropical colors.Newsmakers/Liaison Agency
The term industrial design was originated in 1919 by the American industrial designer Joseph Sinel. Initially, industrial designers dealt exclusively with machine-made consumer products. Eventually, however, the scope of the profession enlarged to include the design of capital goods, such as farm machinery, industrial tools, and transportation equipment, and the planning of exhibitions, commercial buildings and packaging.
II CRITERIA
Under prevailing standards of design, a product should have beauty of line, color, proportion, and texture; high efficiency and safety of operation; convenience or comfort in use; ease of maintenance and repair; durability; and expression of function in terms of form. The relative importance of any of these standards may vary depending on the object. Thus, line and proportion may be more desirable in a sofa than in a tractor, where durability and easy maintenance may be paramount. A consideration basic to all good design is the factor of realistic cost. Thus, effective industrial design requires, besides artistic ability, combined knowledge of engineering principles and materials, production techniques and cost, and marketing conditions.
III APPLICATIONS
Industrial design has applications not only in consumer products but in interior building space, packaging, and transportation.
A Product Design
Braun Multipress MP 32 The Braun Multipress MP 32 is an example of industrial product design. Created in 1965 by G. A. Muller, this relative of the blender combines attractive, streamlined form with a functional product. Meeting standards for industrial design that were current for its time, the Multipress was safe, efficient, and easy to use.Bridgeman Art Library, London/New York
Today industrial design has been applied to practically all consumer products, notably to home appliances, such as air conditioners, irons, and washing machines; office equipment, such as typewriters, dictaphones, and duplicating machines; electronic communications equipment, such as radios, television sets, phonographs, and tape recorders; bathroom and lighting fixtures; furniture; hardware and tableware; automobiles; and photographic equipment. Industrial design is applied also to products involved in distribution, such as trucks and automatic vending machines, and to industrial materials and equipment.
The industrial designer must be concerned not only with product design but with the conditions under which products are sold. In planning retail stores and display areas, for example, the industrial designer works with the architect to increase the revenue-producing interior space and to create arrangements and atmosphere conducive to sales. Industrial designers also work to facilitate the profitable operation of railroad stations, airports, hotels, shopping centers, exhibitions, restaurants, public auditoriums, television stations, and offices.
B Packaging
The fundamental problem of design in packaging is to provide all the essential information, such as the instructions for use of the product and the legally required identification of its contents, while fulfilling the broader purpose of selling the product. Because of the current trend toward self-service in merchandising, the importance of packaging increases constantly.
C Transportation
High-Speed Train The French high-speed electric train, the Train à Grande Vitesse, is designed for speed. It travels up to 260 km/h (160 mph).Sarval/Rapho/Photo Researchers, Inc.
Industrial design has made valuable contributions in the field of transportation. Only the largest industrial-design offices are equipped to design the interior of ocean liners, aircraft, trains, buses, and other public vehicles. The exterior and dynamic characteristics of these highly complex mechanisms impose strict interior design limitations. In jet airliners, for example, interior space must be maximally utilized to increase the payload without sacrificing the comfort of the passengers. In ocean liners space and weight factors are not so crucial. To compete with other forms of transportation, present-day ocean liners are designed to offer service and luxury features not feasible in aircraft, trains, or buses.
IV METHODS
Every design problem requires special procedures, timing, and techniques, but there is a general routine applicable to all. After the industrial designer is informed of the needs of the client—including data on the intended market for the product, budget allocation, and company policy and equipment—specialists associated with the designer conduct a study of competitive products and an extensive field survey of the manufacturer's plant. A design program is planned, and preliminary designs of the proposed product are then sketched on the basis of the available plant facilities. Rough sketches are chosen for further refinement and study, and the client is then presented with design studies, often in the form of a small model or of a mock-up. Following the selection of the approved design, working drawings indicating the choice of materials and the specifications for finishing and assembly are prepared. A handmade working model is then manufactured and submitted to the client for approval. In the case of an automobile, for example, one or several are handmade and tested at proving grounds before final machine dies are ordered and production begins.
The industrial designer is essentially the creator of a pattern to guide the operations of skilled persons or machines. The development of industrial design led to the creation of new procedures, such as the method of encasing a product to be redesigned in soft modeling clay, in order that the modifications in the design may be molded directly from the old products. Another industrial-design method is based on the fact that small models do not reflect accurately the design characteristics of the full-scale product. Distortion often occurs in magnification as a result of highlights and shadows that change basic spatial relationships. To view the design in full scale, the profession employs a photographic system in which a small drawing is projected to full scale on a section of a wall. Revisions of the design are then made directly on the wall projection by the industrial designers.
V HISTORY
Before the Industrial Revolution, goods were handmade by artisans, who were usually involved in the whole process of creation, took pride in their work, and often sold their wares directly to the customer. The development in the 18th century of the factory system, with mass production and specialization of labor and the appearance of middlemen, changed the situation. Factory workers tending machines had little involvement with a product and felt no responsibility to the buyer. Factory owners were often chiefly concerned with profits. As a result, although many products, such as cast-iron stoves and building units, were functional, many more were ugly and badly made. Applications of machine-made ornament in hopes of disguising low quality and pleasing a mass market were usually an aesthetic failure. A few late 19th-century reformers, such as the English designer William Morris and members of the Arts and Crafts movement, protested and advocated a return to the standards of medieval handicrafts. They influenced art nouveau style and the Vienna Secession (see Sezessionstil) movement, but these attempts at improved design had little effect on mass production at the time.
A The Bauhaus
The concept of industrial design did not really take hold until 1919, when the German architect Walter Gropius founded the Bauhaus, an artistically revolutionary school of design in Weimar, Germany. The Bauhaus became a center for artists trying to combine aesthetic concerns with new industrial materials and techniques, in what became known as the International style. They generally advocated simplicity of form that was adapted to the object's function.
B Scandinavian and Dutch Designers
In the prosperous years that followed World War I, industrial design also became important in Scandinavia and the Netherlands. Backed by a long craft tradition, such designers as the Swedes Erik Gunnar Asplund and Sven Markelius, the Finn Alvar Aalto, and the Danes Arne Jacobsen and Hans Wegner created simple functional designs in furniture and other goods. In the Netherlands, under the influence of the movement known as De Stijl , such men as J. J. P. Oud and Gerrit Thomas Rietveld advocated clean, sharp, geometric design.
C American Designers
In the U.S., manufacturers turned to industrial design as a means of competing in the welter of postwar consumer goods. Many inferior products were characterized by superfluous decoration, imitation materials, haphazard and nonfunctional juxtaposition of components, crude color, and easily marred finishes. The art deco style, in attempts to capture machinelike qualities in design, was too often used superficially. In the 1920s the designers Norman Bel Geddes, Henry Dreyfuss, Raymond Loewy, and Walter Dorwin Teague established the first important industrial design studios. They all emphasized beauty in functionalism and stressed the elimination of unnecessary decoration and the simplified rearrangement of components. Among the first products to reflect aesthetic planning were automatic refrigerators, designed by Loewy; cameras and optical instruments, designed by Teague; and telephone equipment and clocks, designed by Dreyfuss. Following the unqualified success of these first designs, many other designers entered the field, notably Egmont Arens, Harold Van Doren, and Russell Wright.
The closing of the Bauhaus by the Nazi government in 1933 resulted in the flight of many staff members, who spread the principles of functionalism throughout the Western world. Mies van der Rohe, Marcel Breuer, and others went to the United States. The Hungarian-born designer László Moholy-Nagy became director of the New Bauhaus in Chicago and later founded his own school of design. In 1944 a group of leading industrial designers founded a nonprofit association now called the Industrial Designers Society of America to promote the study and practice of industrial design. Inclusion in design collections, such as the prestigious one in the Museum of Modern Art in New York City, has brought deserved recognition to outstanding designers and their companies.
D Industrial Design in the 1980s
By the mid-1980s there were several hundred industrial-design offices in the U.S. and thousands of designers employed by manufacturing firms. Industrial designers were also firmly established in the economies of Europe, Japan, and many developing countries; Italian and Japanese designers, in particular, exerted a powerful international influence. Numerous schools offered courses in industrial design. Many national design societies and government councils on design belonged to the International Council of Societies of Industrial Design, founded in London in 1957. A common concern of the profession was how to adapt new technology, with its benefits and hazards, to human needs.
Microsoft® Encarta® Encyclopedia 2002. © 1993-2001 Microsoft Corporation. All rights reserved.
Descriptive Geometry (Lecture 1 & 2)
Descriptive Geometry
What is descriptive geometry?
Descriptive Geometry is a study of points, lines and planes and their relationship in space. A knowledge of descriptive geometry is essential to solving 3-dimensional problems. Descriptive geometry graphically represents 3-dimensional problems on a 2-dimensional surface- “in this case”- your drawing paper.
It is based on the principles of orthographic projections. Solution involving descriptive geometry depends upon the use of frontal, profile, horizontal and auxiliary planes of projections.
Descriptive Geometry is the graphic representation of the plane, solid, and analytical geometry used to describe real or imagined technical devices and objects. It is the science of graphic representation in engineering design that forms the foundation, or grammar, of technical drawing.
After completing this course, the student will be able to:
1. Create auxiliary views of inclined planes
2. Use reference planes and fold lines when creating auxiliary views.
3. Explain auxiliary view projections theory.
4. Define primary, secondary and tertiary auxiliary views.
5. Define width, depth and height auxiliary views.
6. Create successive auxiliary views.
7. Create a partial auxiliary view.
8. Create a view in a specified direction using auxiliary view.
9. Define the theoretical principles of descriptive geometry.
10. Identify and define the direct view, revolution and axis rotations.
11. Draw different views of an object using the horizontal and vertical axis as applied to the front top and side view as point of reference.
12. Define and create the true-length view and point view of a line by the auxiliary method.
13. Locate a line or a point on a plane.
14. Identify, define and create parallel, intersecting, and perpendicular lines.
15. Construct true length lines in space.
16. Identify, define and construct parallel and perpendicular planes.
17. Determine the angle between a line and a plane, and between two planes.
18. Define and apply the principles of geometric intersections.
19. Identify, define and apply the intersection of lines and planes using the edge view method.
20. Identify, define and create the intersection of a plane and a solid using the cutting plane method.
21. Identify, define and create the intersection of a plane and a solid using the auxiliary view method.
22. Identify, define and create the intersection of two solids.
23. Identify, define and create the intersection of two planes.
24. Define and apply the theoretical principles of geometric developments.
25. Identify and classify the various types of developments.
26. Identify, define and create the developments of various solids and transition pieces.
Methods and Topics:
1. Intersections and developments
2. Fundamentals of descriptive geometry
3. Auxiliary views and revolutions
Source:
Technical Graphics communication by Bertoline, Wiebe, Miller & Nasman
Technical Drafting, Metric Design and Communication by Spence/Atkins
Prepared by:
Manuel C. Dacanay jr.
Instructor
AUXILIARY VIEW
There are times when one of the six principal views will not completely describe an object. This is true when there are inclined and oblique surfaces in the object. In these cases an auxiliary view can be created. The auxiliary view represents a true size view of an inclined plane.
An auxiliary view is an orthographic view that is projected onto any plane other than the frontal, horizontal or profile plane. An auxiliary view is not one of the six principal views.
An auxiliary view can be created by positioning a line of sight (LOS) perpendicular to the inclined plane.
There are two methods of creating auxiliary view : The fold-line method and reference plane method.
On the fold-line method, the object is imaginarily suspended in a glassbox to show the six principal views. However, when the object are projected, the six views does not represent the inclined plane in true size and shape; it always appears either on edge or foreshortened.
Another plane is then created to represent the 7th side of the box, this is what we call an auxiliary plane. The auxiliary plane is parallel to the inclined surface. The LOS required to create the auxiliary view is perpendicular to the new projection plane (auxiliary plane) and to the inclined surface. The auxiliary plane is perpendicular and connected by a fold-line to the frontal plane. The glass box is now unfolded with phantom lines identifying the fold-lines. In the auxiliary plane the 7th view (auxiliary view) is now projected in true size.
The reference plane method of creating an auxiliary is simply a variation of the fold-line method. In the fold-line method, the frontal plane is used as a projection surface to locate the fold-line that is used to construct the auxiliary view. This fold-line is used as a reference plane for transferring distances from the top view to the auxiliary view. The reference plane method is a technique that locates a plane relative to the object, instead of suspending the object in the glass box. The single plane (reference plane) is now use to transfer all the measurement necessary to produce the auxiliary view. The reference plane can be positioned anywhere relative to the object. The advantage of the reference plane is that, if positioned correctly, it can result in fewer measurements when constructing auxiliary views and it does not require a large working sheet to produce the unfolded glass box.
Auxiliary view classifications
Auxiliary views are created by positioning a new line of sight (LOS) relative to the object. It is possible to create any number of auxiliary views, including a new auxiliary view from an existing auxiliary view.
Primary auxiliary view – is a single view projected from one of the six- principal views.
Secondary auxiliary view – is a single view projected from a primary auxiliary view.
Tertiary auxiliary view – is a single view projected from a secondary or another tertiary auxiliary view.
Source:
Technical Graphics communication by Bertoline, Wiebe, Miller & Nasman
Technical Drafting, Metric Design and Communication by Spence/Atkins
Prepared by:
Manuel C. Dacanay jr.
Instructor
What is descriptive geometry?
Descriptive Geometry is a study of points, lines and planes and their relationship in space. A knowledge of descriptive geometry is essential to solving 3-dimensional problems. Descriptive geometry graphically represents 3-dimensional problems on a 2-dimensional surface- “in this case”- your drawing paper.
It is based on the principles of orthographic projections. Solution involving descriptive geometry depends upon the use of frontal, profile, horizontal and auxiliary planes of projections.
Descriptive Geometry is the graphic representation of the plane, solid, and analytical geometry used to describe real or imagined technical devices and objects. It is the science of graphic representation in engineering design that forms the foundation, or grammar, of technical drawing.
After completing this course, the student will be able to:
1. Create auxiliary views of inclined planes
2. Use reference planes and fold lines when creating auxiliary views.
3. Explain auxiliary view projections theory.
4. Define primary, secondary and tertiary auxiliary views.
5. Define width, depth and height auxiliary views.
6. Create successive auxiliary views.
7. Create a partial auxiliary view.
8. Create a view in a specified direction using auxiliary view.
9. Define the theoretical principles of descriptive geometry.
10. Identify and define the direct view, revolution and axis rotations.
11. Draw different views of an object using the horizontal and vertical axis as applied to the front top and side view as point of reference.
12. Define and create the true-length view and point view of a line by the auxiliary method.
13. Locate a line or a point on a plane.
14. Identify, define and create parallel, intersecting, and perpendicular lines.
15. Construct true length lines in space.
16. Identify, define and construct parallel and perpendicular planes.
17. Determine the angle between a line and a plane, and between two planes.
18. Define and apply the principles of geometric intersections.
19. Identify, define and apply the intersection of lines and planes using the edge view method.
20. Identify, define and create the intersection of a plane and a solid using the cutting plane method.
21. Identify, define and create the intersection of a plane and a solid using the auxiliary view method.
22. Identify, define and create the intersection of two solids.
23. Identify, define and create the intersection of two planes.
24. Define and apply the theoretical principles of geometric developments.
25. Identify and classify the various types of developments.
26. Identify, define and create the developments of various solids and transition pieces.
Methods and Topics:
1. Intersections and developments
2. Fundamentals of descriptive geometry
3. Auxiliary views and revolutions
Source:
Technical Graphics communication by Bertoline, Wiebe, Miller & Nasman
Technical Drafting, Metric Design and Communication by Spence/Atkins
Prepared by:
Manuel C. Dacanay jr.
Instructor
AUXILIARY VIEW
There are times when one of the six principal views will not completely describe an object. This is true when there are inclined and oblique surfaces in the object. In these cases an auxiliary view can be created. The auxiliary view represents a true size view of an inclined plane.
An auxiliary view is an orthographic view that is projected onto any plane other than the frontal, horizontal or profile plane. An auxiliary view is not one of the six principal views.
An auxiliary view can be created by positioning a line of sight (LOS) perpendicular to the inclined plane.
There are two methods of creating auxiliary view : The fold-line method and reference plane method.
On the fold-line method, the object is imaginarily suspended in a glassbox to show the six principal views. However, when the object are projected, the six views does not represent the inclined plane in true size and shape; it always appears either on edge or foreshortened.
Another plane is then created to represent the 7th side of the box, this is what we call an auxiliary plane. The auxiliary plane is parallel to the inclined surface. The LOS required to create the auxiliary view is perpendicular to the new projection plane (auxiliary plane) and to the inclined surface. The auxiliary plane is perpendicular and connected by a fold-line to the frontal plane. The glass box is now unfolded with phantom lines identifying the fold-lines. In the auxiliary plane the 7th view (auxiliary view) is now projected in true size.
The reference plane method of creating an auxiliary is simply a variation of the fold-line method. In the fold-line method, the frontal plane is used as a projection surface to locate the fold-line that is used to construct the auxiliary view. This fold-line is used as a reference plane for transferring distances from the top view to the auxiliary view. The reference plane method is a technique that locates a plane relative to the object, instead of suspending the object in the glass box. The single plane (reference plane) is now use to transfer all the measurement necessary to produce the auxiliary view. The reference plane can be positioned anywhere relative to the object. The advantage of the reference plane is that, if positioned correctly, it can result in fewer measurements when constructing auxiliary views and it does not require a large working sheet to produce the unfolded glass box.
Auxiliary view classifications
Auxiliary views are created by positioning a new line of sight (LOS) relative to the object. It is possible to create any number of auxiliary views, including a new auxiliary view from an existing auxiliary view.
Primary auxiliary view – is a single view projected from one of the six- principal views.
Secondary auxiliary view – is a single view projected from a primary auxiliary view.
Tertiary auxiliary view – is a single view projected from a secondary or another tertiary auxiliary view.
Source:
Technical Graphics communication by Bertoline, Wiebe, Miller & Nasman
Technical Drafting, Metric Design and Communication by Spence/Atkins
Prepared by:
Manuel C. Dacanay jr.
Instructor
