Many times we come across corners during modeling components. Fillets in such zones are always challenging and in some complex cases, filleting becomes a major time taking process. Blend Corner option in Fillet command of Part Design and GSD Workbench of CATIA V5 gives more control of the shape you desire. We shall now illustrate how to use Blend Corner in Part Design workbench.
The real interactive image file format : With Smart Render Graphic plug-in for 3ds Max you can generate interactive SRG files. Unlike other raster file formats available in the market such as JPG, BMP, PNG and GIF formats, SRG images allows you to have the following features: LOOK : http://www.srg-online.com/
Ecofriendly motorcycle designed to run on a zero-emission electric engine.
With people getting more conscious about the energy they consume and their carbon footprints, designers are finding new ways to help people save emissions and reduce their dependence on fossil fuels. Electricity is definitely the fuel of the future, and auto designers have adopted some weird ways to save this fuel.
V-Ray 1.5 Service Pack 3 is compatible with Autodesk 3ds Max 6.xx/7.xx/8.xx/9.xx/2008/2009 as well as Autodesk 3ds Max Design 2009. Both 32-bit and 64-bit OS are supported.
Key new features New features included: - VRayFastSSS2 sub-surface scattering material - Linear Workflow - Mesh-based lights - V-Ray light material as direct light - V-Ray Fog environmental effect - Vector Displacement - Import Proxy as mesh - Support for Max Arch & Design materials - Region Rendering directly in VFB
Complete changelog since 1.50 SP2
Build 1.50.SP3 official (1 March 2009) (cumulative changelog since build 1.50.SP2) =================== New features:
VRayFastSSS2 material for simulating accurate sub-surface scattering;
VRayEnvironmentFog atmospheric effect;
VRayLightMtl has options to generate direct light;
VRayLight has a "Mesh" mode to allow geometric lights;
Support for the 3ds Max Arch&Design material (most basic options are supported);
Support for vector displacement in VRayDisplacementMod;
Global ambient occlusion for all supported GI engines (irradiance map, light cache, photon map);
Added VRayVectorDisplBake material and VRayNormalMap textures to help produce and use textures for vector displacement;
Modified features:
V-Ray requires a SSE2-capable processor even for 32-bit versions;
Reduced flickering for time-interpolated irradiance maps;
Support for volumetric irradiance maps, light cache and photon maps;
VRayFur uses volumetric irradiance maps/light cache to speed up rendering;
VRaySun is never visible to GI rays (removes spots from the sun in the irradiance map);
The "Default lights" option now has three possible values - "off", "on" and "off with GI";
Added MaxScript access to the include/exclude lists of VRayLights (including VRaySun and VRayIES) through the "excludeList", "includeList" and "inclExclType" MaxScript properties;
Camera information (transformation, FOV etc) is written to .vrimg and OpenEXR files when using the "Raw image file" option of the V-Ray VFB; vrimg2exr also translates this information;
Support for region rendering directly in the V-Ray VFB;
The "Affect alpha" option of VRayMtl has been replaced with "Affect channels" option and allows propagation of all render elements, not only the alpha channel;
The alpha channel is correct for glossy refractions that have the "Affect channels" option set to "Color+alpha" or "All channels";
The "Use irradiance map" option in VRayMtl materials now concerns the light cache too;
VRayDirt texture has include/exclude options for objects that should affect and should be affected by the dirt texture;
The default Distribution parameter of VRayDirt is set to 1.0 (corresponds to using the dirt for ambient occlusion);
Camera overrides (e.g. spherical, box etc), work when rendering through a VRayPhysicalCamera, picking the exposure from it;
Added another preview option to VRayProxy (preview from file as faces instead of edges);
Added animation export parameters to the meshExport() MaxScript function;
Option to specify the maximum number of faces in the preview of exported .vrmesh files;
VRayProxy has the possibility to extract the geometry from the .vrmesh file as a 3ds Max mesh;
When exporing a .vrmesh file, V-Ray will put up a warning if the file already exists;
In VRayProxy objects, a sequence of '#' characters in the file name is replaced with the current frame number;
Added "Horizontal offset" and "Vertical offset" parameters to VRayPhysicalCamera;
Added "Horizontal shift" parameter to the physical camera;
The MultiMatte render element has an "affect matte objects";
The MultiMatte render element works with transparent objects;
The VRayZDepth render element works with transparent objects (when "Enable filtering" is ON);
The VRayZDepth render element has filtering enabled by default;
Added "Affect matte objects" option to VRayExtraTex render element;
VRayExtraTex render element works with transparent objects;
Render element names reverted to VRay* (without underscore);
Option to restart render slaves for DR after the rendering completes;
The distributed rendering settings window can be resized now;
Check/uncheck all selected servers in DR settings dialog;
Support for the incremental modes of the irradiance map in distributed rendering;
V-Ray will transfer the 3ds Max gamma settings for DR rendering;
Some small changes in the network code to see if DR is more reliable;
Public means of transportation like metro trains or buses seems to be the only viable solution to curb down the growing problem of on-road traffic in urban environments. Responding to the widespread apprehension, British designer Stefan Reto Mathys has devised a city transportation unit called the “Urban Frog” to give a new dimension to the train design. The city train not only provides a mass and brisk transportation, but it levitating up on a trial also creates more space for the pedestrians in the city. Replacing the massive coaches with small tubes, the Urban Frog gives access to the passengers from both sides through five butterfly doors that open sideways, allowing the commuters step in and sit in two back to back rows safely and effortlessly. In addition, the urban train incorporates self-controlled motor elements that connect the containers with the two arms coming down like a clamp, converting the passenger train into a cargo carrier at night.
One of the most obvious changes in the new CS4 applications is the user interface, and this change will also be carried over into the next version of Adobe’s Photoshop. This decision is described in detail by Adobe’s John Nack.
Nack describes how Adobe has been trying to make the interfaces on their apps more consistent and shows off a screenshot of the new Mac Photoshop “application frame”. This application frame contains both user interface elements as well as documents themselves. Despite expressing his own initial resistance, Nack explains the advantages to the consolidated window:
- It facilitates N-up (2-up, 3-up, etc.) document layouts that adapt as you adjust the interface. Think “live window tiling”–great for comparing, compositing, etc. - It makes it easier to move the entire application and its contents, including from one monitor to another. - It prevents documents from getting obscured by panels (palettes). - It blocks out the contents of the desktop, minimizing visual clutter.
Someone at Mercedes-Benz is either truly inspired or clearly suffering from dementia. What better way to showcase the future of hydrogen-electric fuel cell technology than with this stunning roadster concept. For nearly a year, 150 “trainees and dual education system students worked on the overall concept, development, assembly, and completion of the F-CELL Roadster.” Basically a bunch of design students were brought on by Daimler to “demonstrate how the topic of sustainable mobility has become an integral part of our vocational training…” The result is not only a throw back to the Benz Patent Motor Car from 1886, but a leap forward with integrated next-gen technologies like a drive-by-wire joystick replacing the traditional steering wheel and an emission free fuel cell system. Handle-bar mustache and goggles sold separately.
The Series 51 Continental models will enable customers to order ‘off the peg’ from an exclusive range created by Dirk van Braeckel’s team of Crewe-based designers.
Series 51 is named after the year that the first official styling department was established in Crewe by John Blatchley, who shaped the original and iconic 1950s Bentley Continentals.
Every Series 51 car will feature a highly-distinctive interior colour palette and unique exterior design cues.
Detailed information about all of the available three-tone interior designs and further options and accessories are available at www.bentleymotors.com. The new Series 51 models can be ordered from September 2009. From the official Press Release:
Bentley Continental GTC Series 51 InteriorBentley’s Colour and Trim team, managed by Melinda - June Jenkins, have designed some bespoke three-tone interiors which demonstrate the full potential of leather hide colours and showcase the creative application of contrast stitching and piping.
The first example of their work will be the Continental GTC displayed at Frankfurt which features Imperial Blue as a main and secondary hide, Linen seat and door inserts and Newmarket Tan as the accent colour.
Series 51 cars will also feature several unique interior details including the use of non-indented hide for diamond quilting, contrast piping for the seats and doors as well as bespoke Series 51 treadplates.
Bentley Series 51 Veneer AmboynaBentley’s designers have selected a range of premium-quality materials for the dashboard and centre console to complement the three-tone interiors.
The Dark and Bright ‘Engine Spin’ aluminium options provide a striking contrast with darker and lighter hide colour choices and a special, limited-edition Amboyna veneer reserved for Series 51.
A belief that even the smallest detail presents an opportunity to delight and surprise customers has always be a key element of the Bentley design story.
Series 51 follows this principle, where even the overmats and boot carpets are now colour matched and given contrast binding.
Bentley Series 51 Unique WheelBoth the Continental GT and GTC offer a powerful road presence and the Series 51 cars further accentuate these sporting credentials with some eye-catching exterior styling. A 20” 14-spoke polished Diamond wheel with a dark centre cap provides Series 51 cars with a purposeful and stylish appearance.
The cars will be further distinguished by a signature ‘51’ badge on the front wings.
To further enhance and personalise the Continental GT a new two-tone paint can be commissioned which complements the contrasting interior configuration.
This highly distinctive colour split (with one colour running over the hood, roof and flowing down to the boot) is a classic design used on many sporting Bentleys of the past. John Blatchley and Bentley Design
John BlatchleyJohn Blatchley’s gift for design was recognised from the very outset of his career. Just a few years after graduating from the Regent Street Polytechnic, and still only in his early twenties, Blatchley was heading the styling team at the renowned London coachbuilder Gurney Nutting.
His striking and often flamboyant work for Gurney Nutting’s customers would in turn see him recruited by Rolls-Royce and Bentley.
Blatchley quickly established himself at Crewe and was renowned for the quality and realism of his water colour renderings, line drawings and wax models.
His reputation for being able to turn his hand to any complex or bespoke design task was well-founded - he created a royal crest for Princess Margaret’s car over the course of just one weekend.
Bentley CraftmanshipDuring an 18-year period as the company’s Chief Stylist, Blatchley would design some of Bentley’s most iconic post-war models including the MK6, R-type Continental, the S-series and T Series – cars renowned for effortlessly blending the sporting and prestige styling cues associated with the Bentley marque.
Today the Bentley Design team, led by Dirk van Braeckel, continues to use original hand sketches to shape a new generation of Crewe-built cars like the new Mulsanne and Continental Supersports and John Blatchley’s original design language is still a source of much inspiration.
The almost unlimited palette of interior and exterior colours sourced and created by the Colour and Trim department ensures that every Bentley customer has the ability to create a bespoke design.
Presented at the 2009 Frankfurt Motor Show, the Ghost is the most powerful Rolls-Royce ever produced thanks to the 563 hp delivered by the new 6.6 liter V12 engine. The design takes inspiration by the spirit of the 1930s, contemporary furniture, architecture and yachts.
First announced at the 2006 Paris Motor Show and known as the RR4 project, the Ghost was previewed by some design sketches in the spring 2008 and by the 200EX Concept unveiled at the 2009 Geneva Motor Show.
Following the positive reaction to the 200EX, very few changes were made in the transition to the production Ghost, which has maintained the design created by Ian Cameron’s and Helmut Riedl’s design and engineering teams.
The Rolls-Royce Ghost is powered by a new, 6.6 litre twin-turbo V12 engine, unique to the model.
Featuring direct injection, it produces 563bhp and delivers 780 Nm of torque available at just 1,500rpm.
The 0-60 mph sprint takes 4.7 seconds and the top speed is 155mph (electronically limited).
The unit is coupled with a eight-speed, shift-by-wire, automatic ZF gearbox. The feeling of "endless, surging power" is illustrated by the power reserve gauge on the fascia, replacing the more common rev counter.
The powertrain emittes 317g/km of CO2. Fuel consumption is 20.8 mpg / 13.6 l/100km.
From the official Press Release:
Design
“Simplicity is the hardest design principle to follow.” Ian Cameron, Chief Designer
Ghost’s flowing lines are dominated by its majestic ‘Yacht Line’ styling. Large, uninterrupted surfaces flow between finely sculpted horizontal lines that provide definition.
Together, the upward-sweeping sill line and low-cut roof create a powerful profile, almost as though the cabin has been pushed toward the rear.
Powerful shoulders and flanks draw in sharply as they flow from the rear wings to the tail lights, while touches such as the optional chromed exhausts hint at Ghost’s more dynamic nature.
While incorporating classic Rolls-Royce design cues – the elevated prow, long hood, short front overhang, sharply raked A-pillar and elegant tail – Ghost exudes an informal aura.
Contemporary touches include self-righting wheel centres and the Xenon headlamps that frame the latest evolution of the Rolls-Royce grille.
Here the sides of the intake have been curved inwards and the vanes set back into the opening. “We wanted this to be less reminiscent of the traditional Parthenon style and more like a jet intake,” says Ian Cameron.
A contrasting Silver Satin finish (introduced on 200EX) is an option for the hood, grille and windscreen surround. The finish is achieved by setting silver metallic paint under a layer of lacquer, giving a flawless matte finish.
The central principle of delivering simplicity out of complexity runs throughout Ghost. Everything is designed, engineered and crafted to enhance the drive and ride experience, not to complicate it.
Interior Design
“Ghost is as refined and cosseting as anything this marque has ever produced.”Charles Coldham, Interior Designer
Inside Ghost, the interior design team has come up with a contemporary ambience while staying true to Rolls-Royce Motor Cars’ traditions of fine materials and peerless comfort.
There are elegant, frosted lamps and chrome door handles, traditional violin key switches and eyeball air vents, frosted white dials and refined instrumentation. Deep-pile carpets can be complemented by optional lambswool floor mats for a truly luxurious feel.
Ghost is entered through substantial doors. Housed within the front doors are integrated Teflon-coated umbrellas.
The rear doors are traditional, rear-hinged coach doors, opening to a generous 83 degrees. Once the passenger is inside, these doors can be closed at the touch of a button.
The interior space is filled with natural light, enhanced by the optional Panorama Sunroof, which extends from the front into the rear compartment.
Four-zone automatic air conditioning can be individually tailored to each passenger’s requirements, with separate controls for front and rear.
Automatic air recirculation, condensation prevention and solar compensation are delivered through classic chromed eyeball vents controlled via organ-stop plungers.
Within Ghost’s ample doors and high shoulder line, occupants feel serene, cosseted and safe. In the rear, the intimate ambience of the lounge seat is emphasised by its position behind the C-pillar, heightening the sense of privacy.
The informal seating creates a convivial environment, its slight curve allowing you to turn more easily towards the person next to you. Its elevated position gives a clear view past the electronically retracting Spirit of Ecstasy to the road ahead.
Individual lounge seating is offered as an alternative to the standard lounge configuration. This allows the addition of a massage function and also perforated leather for a cooling stream of air from the seat surface.
Auxiliary rear climate control allows the passenger to regulate the temperature of the air on their side of the car, without intrusion on the other. A cool box with interior illumination and integrated champagne glasses is also available.
Veneered picnic tables are another option, incorporating the finest leather and veneers matched to the rest of Ghost’s interior. Fitted to the rear of each front seat, these tables are a traditional Rolls-Royce design cue and finished with a veneered surface with leather-covered backs.
“Ghost is designed to be an escape from the outside world.”Alan Sheppard, Interior Designer
Enhancing the Ghost ambience is an audio system delivering an exquisite experience. 600 Watts of sound are delivered through a 10-channel amplifier and 16 speakers, including two floor-mounted subwoofers.
USB and auxiliary inputs allow for the integration of external audio devices and a 12.5 GB hard drive enables storage of music files from USB or CD player sources.
Available as an option with both seating arrangements is Theatre Configuration, which allows all settings that do not directly affect the driver to be controlled from the rear sea
t. The functions are displayed on two 9.2in LCD screens in the back of the front seats; these can be angled to suit the viewers by a central, armrest-mounted, rotary controller. The screens can be regulated independently of each other and the entertainment can also be listened to individually with most headphones. A six-disc multi-media changer, mounted in the glove compartment, is fitted as part of this option.
Technical features
Ghost is built around a steel monocoque body, which means there is no separation of chassis and body. The advantage of this construction is a reduction in exterior dimensions while preserving interior space.
Consequently while Ghost is over 400mm shorter overall than the Phantom saloon its interior space is comparable.
The body has been engineered with a double front bulkhead to help insulate the interior from engine noise. It is constructed from steel sections and then wrapped in steel panels, which are brazed by hand.
This allows a near-seamless join, which is then sanded by hand until it is perfect. In total, Ghost’s frame contains 4.9m of seam weld and braze and 6,988 spot-welds.
The hood and windscreen surround are then honed from aluminium.
Double-wishbone front suspension and multi-link rear suspension work with a four-cornered, air-suspension system and electronic variable damping to deliver the refinement that has been associated with Rolls-Royce for more than 100 years.
The new air suspension system in Ghost is so sensitive that it can detect even the smallest of changes. For example, it will sense the movement of a single rear passenger from one side of the seat to the other and compensate accordingly.
A complex computer system reads multiple inputs from sensors around the car; the dampers alone make individual load calculations every 2.5 milliseconds. T
his ensures not only perfect comfort but also precise steering and dynamics for the driver. The air suspension system also incorporates a lift and kneel function, raising or lowering Ghost by 25mm.
Ghost also has a series of complex electronic aids to keep it composed on virtually any surface. These include Anti-Roll Stabilisation, Dynamic Brake Control and Dynamic Stability Control, including Dynamic Traction Control and Cornering Brake Control.
These individual technologies work together under dual Integrated Chassis Management systems, meaning that even when subjected to a vigorous test Ghost remains perfectly poised. Its handling and safety systems operate as one, imperceptibly to the driver and passengers, to maintain optimum contact with the road in any condition.
“Our challenge,” says Engineering Director Helmut Riedl, “has been to preserve the prerequisite levels of comfort while delivering the most modern, dynamically interesting drive ever in a Rolls-Royce.”
Safety remains paramount and the very latest technologies are used in Ghost. Side-impact beams in the front and rear doors combine with progressive rear crumple zones to absorb impacts.
The Advanced Crash and Safety Management (ACSM) system takes measurements 2,000 times per second from sensors located around the vehicle.
The ACSM uses this information – in conjunction with the engine and chassis management systems – to judge which safety features to deploy in which areas in the event of an accident. If necessary, ACSM will activate – among other things – seatbelt pre-tensioners and all encompassing airbags surrounding the cabin, creating a safe zone for all occupants.
Modern features
The driver sits in a slightly elevated position behind the wheel, described as the authority position. This makes the view of the road much clearer.
The fascia has been kept deliberately clear; it is spacious in design and has an intuitive layout. The controls are neatly sculpted, with the more important functions emphasised by accents of chrome.
The soft light of the instrument panel glows through the familiar black-rimmed steering wheel, which in turn employs a number of violin keys as well as an ergonomic roller-ball control.
The control centre display is concealed behind a veneered panel until its services are called upon. All features such as satellite navigation, telephone, communication and entertainment functions are displayed here and managed via a central rotary controller, flanked by quick-access buttons on the front centre console.
The optional driver assistance systems and technologies in Ghost are notable for their discretion and ease of operation. From the moment the driver approaches the car, optional Comfort Entry allows easy access, unlocking the doors when the key fob is within 1.5 metres and the cool chromed handle is grasped. Once you are in the car, voice control allows you to select from the control systems menus without using the central controller.
For ease of manoeuvring, cameras located around the car serve a number of purposes. Rear, front side and top view cameras can combine to give a fish-eye view at blind junctions or provide ground images with obstacle recognition and reverse path prediction when parking.
Positioned discreetly within the grille is a Night Vision** camera. When activated, this safety feature works with Pedestrian Recognition to detect objects up to 300 metres away and display them on the central screen in the dash. The car’s control system receives infrared heat images from the camera and, taking into account the car’s speed and direction, classifies them to assess imminent danger. It then determines what action, if any, needs to be taken and if necessary displays a warning to the driver.
The Head-up Display relays crucial information such as speed or navigation directions onto the windscreen directly in front of the driver. This information is visible only to the driver and can be tailored to show only the details required and at a position suitable to the driver.
Electronic control systems include Lane Departure Warning, High Beam Assistance - which manages the operation of dipped and main beam lights while driving at night - and Active Cruise Control with Stop & Go.
Paint and colors
Passing through 60 pairs of hands, the production process involves more than 2,000 individual operations and takes at least 20 days to complete.
Ghost shares the same paint shop as Phantom and spends seven days being painted and polished.
Five stages are required for the Ghost body. First a phosphate electro-coat is applied to protect against corrosion, then a layer of primer, a colour coat and finally two coats of clear lacquer.
The body is hand-sanded between each layer and once the final coat is applied it is hand-polished for five hours.
Ghost is available in 12 exterior colours, each of which can be contrasted by the optional Silver Satin hood.
Automotive Designer: How to Start a Career in Automotive Design
We all love flashy automobiles, motorcycles, trucks, buses, coaches and vans and want to own them. But with Automotive Design training, we can also be involved in making them. Read on to learn more about how to start a career in Automotive Design. What is Automotive Design?
Automotive Design is largely concerned with the development of road vehicles. Automotive designers handle the visual appearance or aesthetics of vehicles and contribute to the creation of concepts for vehicles. Automotive designers create exterior designs, interior designs, as well as color and trim designs of vehicles. What are the Educational Requirements for an Automotive Designer?
To understand the role and context of automobile form development and representation, a student needs to get college training in Automotive Design.
For instance, a Bachelor of Science degree in Automotive Design offers various courses oriented around the automobiles design process. Students learn how to sketch and make three-dimensional representations of automobile designs using a wide range of tools. They combine their artistry with cutting-edge digital tools to make 3D and sculptural models of vehicles and hone their visual senses, constructional understanding and other design skills that come in handy in Automotive Design. Students also learn other key aspects of Automotive Design like styling and ergonomics. What is the Occupational Outlook for an Automotive Designer?
Automotive Designers literally put us on the road with style. They are responsible for the style, function, quality, and safety of automobiles and other aspects that make driving pleasurable. Designers employed by large corporations, manufacturing establishments or design firms generally work in well-lighted and comfortable settings and keep regular hours, according to the U.S. Bureau of Labor Statistics, www.bls.gov. The Bureau also notes that employers increasingly expect new designers to know how to use computer-aided design software.
Because tastes can change rapidly, designers need to be well read, open to new ideas and influences, and quick to react to changing trends. More and more design work is being performed overseas, but most design jobs-in particular those not related to a highly technological design of a product -will still remain in the U.S. because design is essential to a firm's success, and firms still want to retain control over the process of design.
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