are invisible in the picture.
So what you see it's a common band that has lost all those characteristics of the original in order to protect the process.
We also did an "invisible setting" prototype which has built in Flexibility.
If you are in the jewelry industry you would know what I mean and it is close to a miracle.
It's a shame I can not share details and this is why I am planning my next major work on something 10 times more complex then this, at least.
It's will be for my own business and for the jewelry industry as well.
I hate to tease people and then not to be able to produce anything more than an image.
But I thought it would be better than nothing, at least for jeweler designers, so they can see that there are more and more users and that complexity it is not something to shy away from, and it's worth the time spent because the returns on production are far larger than for special orders and this is why GH is useful.
We can design a piece of jewelry usually in less then 1 hour, hence GH is not really worth the time.
But for production with so many variables (Finger sizes controlling most of the outcome together with stone sizes etc.) then GH it's a MUST!
I really appreciate everyone's comments and suspicions and I understand why.
99% of the people out there do not really understand the complexity of jewelry at the industrial level. It' s not just form but the post-production that's the killer.
This industry it's still an hybrid of technology and art with, and due to the lack of the old school pros, unfortunately, we face very lousy and unpredictable execution in the post production (after the casting process). This leaves you with a design process and intention that requires a lot of control over every possible variant of the object.
One wrong design aspect it's multiplied thousands of times at the benches (for every single piece) = bad profits!
It sound more serious that it is but very few companies are willing to do so (delivering good product vs low quality and this also happens because the consumer is not longer aware of the difference. So, who does keep quality, it's only because of integrity, third party QA or just pride).
This is way GH is invaluable. This is why that Def looks like out of proportion for that (Visual) simple band.
It is because there are dozens and dozens of variable effecting everything else. In fact it is not even complete as it is in order to cover everything but the most critical ones.
Sorry for the long replays. I am an instructor and a professional jeweler by trade since I was very young and I love to teach, so I overflow with explanations... and Components :)).
Next time it will be "in the open" as they say...…
uments:
1. You are targeting CATIA don't you? (not exactly tomorrow but ... soon) and/or SolidWorks (hello C# haven't we met before?).
2. You MUST deal with nested block instances instead of what you are trying to do right now (I'm talking about the real MERO things not abstract Lines and points). This is not doable with GH components I'm afraid (but it's rather easy with code).
3. You MUST deal with RDBMS in order to keep track with what's going on in your company per project per case per designer (who sells that bolt? what's his cat name? is he a reliable supplier? what I'm doing in life? ... that sort of "queries"). At this point: CATIA is 1% CAD things and 99% PLM stuff (Product Life cycle Management). We do want that since it's 21st century running don't we?.
I hear you: but these are 3 arguments ... indeed but ... hey who's counting? he he.
Method:
A. This def attached has a very simple C# that gets mesh Pts and makes a nice U/V style collection of points (DataTree in plain English).
B. Then we go to that umbrella sticks thingy: we can calculate anything (already the thing does "some") plus your collections of divided points (with the right way, he he) VS a given node: you said (Skype) that you want to calculate angles with these (from 2 to 6) in mind: obvious since you are doing real-life MERO things.
C. Then we could calculate the appropriate Planes for PlaneToPlane transformations: get a nested instance definition (the red things that you've showed to me yesterday) placed at 0,0,0 (Plane.WorldXY) and put in in every Plane collection related with every node (clash defection is an obvious must).
Case resolved, closed: what about that Vodka?
More in Skype
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merely automates finding clear intersections between pairs of objects and then splits the objects along those intersection *curves*, deletes the trims, then joins the remains, and cycles on. But within the confusing Rhino Settings tolerance value, wherever surfaces actually just sort of come closely together, there *is* *no* clear intersection curve. So it bugs out and stops working EVERY time you try more than a dozen or two spheres.
Some software can do this by switching to volumetric pixels (voxels). $9K-$30K Geomagic Freeform is an example of this. It also fails sometimes, often due to memory issues, as you can imagine since it needs to fill all inner space of each sphere definition with 3D pixels.
Materialize Magics for $16K can often handle such Booleans well. It will take a seeming lifetime to figure out such often pirate software kludges though.
One thing you can try though is to simply drape a mesh or NURBS plane onto the top of your spheres.
There's a well known *reason* your Booleans are failing. Nobody here has yet even hinted at it:
The main reason is that Rhino/Grasshopper developers don't care about the human element. The math exists to make this work very fast, every time. It just has to join things *right*, incorporating human knowledge of kissing surfaces, instead of acting stupidly, like some pocket calculator. But that would involve hacks that make 99% of complex Booleans work instead of 10%, and we can't have that since it will be SLOWER for the other 1% that just happen to have no nearly kissing or really kissing surfaces.
You could also use the new Cocoon plugin to do a surface *around* your structures, with a given radius of extension beyond the spheres, then offset that surface back the same radius. That is 100% robust, but won't offer quite as sharp of intersections, more rounded, like most everybody wants anyway.
You can *test* Boolean failures, by running a Grasshopper intersection command, to see the intersection curves, and zoom in to see how badly many of them are, all knotted, or twisted, or even with gaps, often with gaps.
It's a math problem nobody at McNeel wants to solve, sorry.
Just write a check for $25K and spend six months taking notes, like I did, and you can merge your simple spheres finally.…
Added by Nik Willmore at 6:33pm on October 20, 2015
ther math and logic. i can usually conceptualise what i want to do and cobble some semi working thing together but don't know which components to use and how to patch it. so i'm super happy to have someone who knows what he's doing to find this interesting.
and i'm glad you mention the fanned frets again, there is one input parameter that's still missing for the multiscale frets to be fully parametric, it's the angle of the nut or which fret should be straight. it depends a bit on personal preferences and playing posture what is more comfortable. so being able to adjust this easily would be cool. again i have no idea how the maths for that work or if you can just rotate each fret the same amount around it's middle point. The input either as fret number (for the straight fret) or as a simple slider from bridge to nut should do as input setting.
Here are the two extremes and the middle ground:
i've been thinkin today while analysing your patches and cleaning up my mess what exactly the monster should do.
Here are the input parameters needed, i think it's the complete list
scale length low E string
scale length high e string
fret angle/straight fret
string width at nut
string width at bridge
number of frets
fretboard overhang at nut (distance from string to fretboard bounds)
fretboard overhang at last fret
string gauges
string tensions
fretboard radius at nut (for compound radius fretboard radius at bridge is calculated with the stewmac formula)
fretwire crown width
fretwire crown height
action height at nut (distance between bottom of string and fretwire crown top)
action height at last fret
pickup 1 neck position
pickup 2 middle position
pickup 3 bridge position
nut width
the pickup positions should be used to draw circles for the magnet poles on each string so they are perfectly aligned and can be used for the pickup flatwork construction. ideally they would need a rotation control aligning the center line of the pickup so it's somewher between the last fret angle and bridge angle. personally i do this visually depending on the design i'm looking for, some people have huge theories on pickup positioning but personally i don't believe in it.
that should result in everything needed to quickly generate all the necessary construction curves or geometry for nut/fingerboard/frets/pickups. this is the core of what makes a guitar work, the more precise this dynamic system is the better the guitar plays and sounds.
i posted another thread trying to understand how i could use datasets form spreadsheets,databse, csv to organize the input parameters. What would make sense for the strings for example is hook into a spreadsheet with the different string sets, i attached one for the d'Addario NYXL string line which basically covers all combos that make sense.
The string tension is an interesting one, and implmenting it would sure be overkill albeit super interesting to try. it should be possible to extrapolate from the scale length of each string what the tension for a given string gauge of that string would be so that you could say 'i want a fully balanced set' or 'heavy top light bottom) and it would calculate which SKU from d'addario would best match the required tension. All the strings listed in the spreadsheet are available as single strings to buy.
i'm trying to reorganize everything which helps me understand it. i just discovered the 'hidden wires' feature which is great since once i understood what a certain block does or have finished one of my own, i can get the wires out of the way to carry on undistracted. a bit risky to hide so many wires but it makes it so much easier not to get completely lost :-)
btw, the 'fanned fret' term is trademarked, some guy tried to patent it in the 80's which is a bit silly since it has been done for centuries. there is a level of sophistication above this as well, check out http://www.truetemperament.com/ and that really is something else. it really is astounding how superior the tuning is on those wigglefrets, the problem is that it's rather awkward for string bending and also you can't easily recrown or level the frets when they are used. …
e matching with a dedicated component which creates combinations of items. You can find the [Cross Reference] component in the Sets.List panel.
When Grasshopper iterates over lists of items, it will match the first item in list A with the first item in list B. Then the second item in list A with the second item in list B and so on and so forth. Sometimes however you want all items in list A to combine with all items in list B, the [Cross Reference] component allows you to do this.
Here we have two input lists {A,B,C} and {X,Y,Z}. Normally Grasshopper would iterate over these lists and only consider the combinations {A,X}, {B,Y} and {C,Z}. There are however six more combinations that are not typically considered, to wit: {A,Y}, {A,Z}, {B,X}, {B,Z}, {C,X} and {C,Y}. As you can see the output of the [Cross Reference] component is such that all nine permutations are indeed present.
We can denote the behaviour of data cross referencing using a table. The rows represent the first list of items, the columns the second. If we create all possible permutations, the table will have a dot in every single cell, as every cell represents a unique combination of two source list indices:
Sometimes however you don't want all possible permutations. Sometimes you wish to exclude certain areas because they would result in meaningless or invalid computations. A common exclusion principle is to ignore all cells that are on the diagonal of the table. The image above shows a 'holistic' matching, whereas the 'diagonal' option (available from the [Cross Reference] component menu) has gaps for {0,0}, {1,1}, {2,2} and {3,3}:
If we apply this to our {A,B,C}, {X,Y,Z} example, we should expect to not see the combinations for {A,X}, {B,Y} and {C,Z}:
The rule that is applied to 'diagonal' matching is: "Skip all permutations where all items have the same list index". 'Coincident' matching is the same as 'diagonal' matching in the case of two input lists which is why I won't show an example of it here (since we are only dealing with 2-list examples), but the rule is subtly different: "Skip all permutations where any two items have the same list index".
The four remaining matching algorithms are all variations on the same theme. 'Lower triangle' matching applies the rule: "Skip all permutations where the index of an item is less than the index of the item in the next list", resulting in an empty triangle but with items on the diagonal.
'Lower triangle (strict)' matching goes one step further and also eliminates the items on the diagonal:
'Upper Triangle' and 'Upper Triangle (strict)' are mirror images of the previous two algorithms, resulting in empty triangles on the other side of the diagonal line:
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sinergetici associati alla compresenza simultanea di differenti strumenti di analisi e digital design all'interno di un processo di progettazione in svolgimento. I partecipanti utilizzeranno Grasshopper (modellatore parametrico per Rhino): l'uso di questo editor grafico di algoritmi si integra alla perfezione con gli strumenti di modellazione di Rhinoceros 3D espandendo le possibilità di corstruire modelli parametrici altamente complessi. Per generare una complessità simile saranno utilizzati collegamenti live ai diversi programmi elencati di seguito: . Autodesk Ecotect Analysis via GECO . FEA software GSA via SSI Durante questi intensi 3 giorni, i partecipanti impareranno il workflow dei plug-ins con l'aiuto di esempi esplorando una panoramica dei differenti software, le possibilità di testare le performances di un progetto o l'uso di strumenti addizionali non legati ad un singolo sistema (es. accentuazione, formazione, reazione parametrica) [english text] The focus of the workshop is to integrate and correlate the synergistic effect associated with simultaneous presence of different digital design- and analysis tools in an ongoing design process. The main attention is set on easy to handle interface , which should be used at a early stage of conceptual design to respond to external and internal influences in a intelligent and sustainable way. Participants will use the software Grasshopper as a parametric modeling plug-in for Rhino. The usage of this graphical algorithm editor tightly integrated with Rhino's 3-D modeling tools open up the possibility to construct highly parametrical complex models. To generate this complexity we will use live linkages to several programs listed below: . Autodesk Ecotect Analysis via GECO . FEA software GSA via SSI In this 3 intense days, the participants should learn the workflow of the plug-ins with the help of examples and get an overview of the different software's, there possibilities for evaluating the performance of a design or the usage of additional tools to be not chained to a single system . (e.g. parametrical accentuation, parametrical formation, parametrical reaction) [.] Dettagli : Istruttori: Thomas Grabner & Ursula Frick from [uto]. lingua del corso: inglese (saranno disponibili tutor di supporto ma è richiesta una conoscenza di base della lingua unglese).
Quote d'iscrizione (min 12 max 20 posti): educational* : € 280.00 + iva professional: € 450.00 + iva * studenti, docenti, ricercatori, dottorandi e laureati fino a un anno dalla data di laurea OFFERTA EARLY BIRD SPECIAL: le prime 5 domande di iscrizione pervenute entro il 31 Dicembre 2011 avranno diritto ad una quota di iscrizione scontata del 20% Quote d'iscrizione E.B. SPECIAL: E.B. SPECIAL educational* : € 224.00+ iva E.B. SPECIAL professional: € 360.00+ iva. ulteriori info, dettagli e iscrizioni: http://www.co-de-it.com/wordpress/nexus-advanced-grasshopper-workshop-with-uto.html…
radiance parameters to get rid of blotching. To add another level of complexity to my problem, I am running simulations with a translucent material with the following properties: void trans testTrans
0
0
7 0.478 0.478 0.478 0.000 0.010 0.178 0.635
I have had no issues with the renderings when I use clear glazing, as seen on this image:
However the blotching-issue becomes very noticeable when I introduce translucent glazing into the scene:
For the two above cases I used the following parameters:
_av_ is set to 0
xScale is set to 2
_ab_ is set to 6
_dc_ is set to 0.5
_aa_ is set to 0.2
_ad_ is set to 2048
_st_ is set to 0.5
yScale is set to 2
_ps_ is set to 4
_ar_ is set to 64
_as_ is set to 2048
_ds_ is set to 0.25
_pt_ is set to 0.1
_dr_ is set to 1
_pj_ is set to 0.9
_dp_ is set to 256
_dt_ is set to 0.25
_lr_ is set to 6
_dj_ is set to 0.5
_lw_ is set to 0.01
I ran another test with increased Radiance parameters and got the following output:
with the following parameters:
_av_ is set to 0
xScale is set to 6
_ab_ is set to 6
_dc_ is set to 0.75
_aa_ is set to 0.1
_ad_ is set to 4096
_st_ is set to 0.15
yScale is set to 6
_ps_ is set to 2
_ar_ is set to 128
_as_ is set to 4096
_ds_ is set to 0.05
_pt_ is set to 0.05
_dr_ is set to 3
_pj_ is set to 0.9
_dp_ is set to 512
_dt_ is set to 0.15
_lr_ is set to 8
_dj_ is set to 0.7
_lw_ is set to 0.005
Although the second blotching case is much better than the first, it is still very bad for hours when the sun is lower in the sky. The above images are rendered for a clear sky at 18:00 in Germany in a West-facing room.
Sorry for the long post! Can someone help? Kind regards, Örn
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nside the zone. I would move your comfort evaluation surface to be 1 meter off the ground in order to be representative of typical human height.
Also, you did not intersect the ground with the rest of the zone geometry, resulting in an incorrect energy simulation. After intersection, you also get one surface of the ground zone that is not inside any buildings. I fixed these two things in the attached file ad it works:
I would also recommend breaking the top surface of the ground up into sub-surfaces so that you can capture the variation in ground surface temperature that happens across the outdoors. Second, I would recommend putting some windows on your buildings as the exterior surface temperature of windows can be very different than that of opaque surfaces. Finally, you should keep in mind that the outdoor maps are assuming a very basic outdoor wind profile by default and, to accurately understand outdoor comfort, you really should be incorporating wind patterns after running a CFD. This discussion has some information about importing CFD from other programs to GH:
http://www.grasshopper3d.com/group/ladybug/forum/topics/import-cfd-result-to-honeybee
-Chris…
ino al suo utilizzo per la risoluzione di tematiche di modellazione complessa di ARCHITETTURA e DESIGN.Durante le lezioni si insegneranno i comandi avanzati del software Rhinoceros ed inoltre i discenti, alla fine del percorso formativo saranno anche in grado di creare modelli attraverso il linguaggio della Plug-in avanzata Grasshopper(http://www.grasshopper3d.com/photo).
Il workshop si divide in due moduli che possono essere frequentati anche separatamente:
STRUTTURA
mod.1 _MODELLAZIONE BASE con Rhinoceros | Venerdì 14 Dicembre e Sabato 15 Dicembre | dalle 10,00 alle 19,00
Scadenza iscrizione: Lunedì 10 Dicembre
mod.2 _MODELLAZIONE AVANZATA con Rhinoceros e Grasshopper | Domenica 16 Dicembre e Lunedì 17 Dicembre | dalle 10,00 alle 19,00
Scadenza iscrizione: Mercoledì 12 Dicembre
SINTESI
mod.1 _MODELLAZIONE BASE con Rhinoceros
L’obbiettivo del corso è quello di insegnare in tempi brevi, gli strumenti base della modellazione 2D e 3D e la renderizzazione dei modelli creati. Le ore saranno dedicate allo studio dell’interfaccia del software Rhinoceros e all’apprendimento dei comandi base per la gestione del documento di progetto; si approfondiranno i comandi più utilizzati per l’editing e la costruzione del disegno per arrivare alle operazioni booleane semplici e complesse. Inoltre si imparerà a costruire e trasformare curve e superfici free-form. Le nozioni ed i metodi verranno trasmessi trattando temi e problematiche reali di design ed architettura.
mod.2 _MODELLAZIONE AVANZATA con Rhinoceros e Grasshopper
Il secondo modulo tratterà forme complesse implementando la modellazione avanzata di Rhinoceros con le potenzialità espresse dalla plug-in Grasshopper. La plug-in di Rhinoceros permette di disegnare abbandonando l’usuale interfaccia dei software di rappresentazione, consentendo un rapporto più diretto con il linguaggio proprio del computer: la programmazione. Questo cambiamento porta ad una radicale variazione del rapporto che il progettista ha con lo strumento di rappresentazione digitale. I partecipanti saranno orientati verso un nuovo rapporto con le forme create che oltre ad essere frutto di trasformazioni delle entità primitive che Rhinoceros propone, si costruiranno anche in relazione a parametri variabili.
Nel corso si imparerà a comporre algoritmi semplici, di carattere principalmente geometrico, in grado di generare forme e gestire i comportamenti delle stesse se sottoposte a variabili esterne.
In fine si imparerà a confrontarsi con un contesto evolutivo, che influenza i parametri della rappresentazione portando a dei modelli dinamici.
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