PTC WF Surface

Freeform Surfacing using Pro/ENGINEER
Wildfire 4.0
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T2178-360-01
Authored and published using

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Copyright © 2008 Parametric Technology Corporation. All Rights Reserved.

Copyright for PTC software products is with Parametric Technology Corporation, its
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User and training guides and related documentation from PTC is subject to the copyright
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• Flexible Delivery Options – PTC University ensures you receive the same
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Precision Learning
Precision Learning In The Classroom

PTC University uses the Precision Learning methodology to develop
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• These key concepts are then reinforced by seeing them applied in the
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software application.
• You then apply the concepts through structured exercises.
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After the course, a Pro/FICIENCY assessment is provided in order for you to
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identify the class topics that require further review.
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Precision Learning After the Class

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Each student that enrolls in a PTC class has a PTC University eLearning
account. This account will be automatically created if you do not already
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have one.
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As part of the class, you receive additional content in your account:

• A Pro/FICIENCY assessment from the course content that generates a
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Recommended Learning Report based on your results.

• A Web-based training version of the course, based on the same
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instructional approach of lecture, demonstration and exercise. The

Recommended Learning Report will link directly to sections of this training
that you may want to review.
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Please note that Web-based training may not be available in all languages.
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The Web-based training is available in your account for one year after the
live class.
Precision Learning Recommendations
PTC uses a role-based training approach. The roles and the associated
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Please note that a localized map may not be available in every language and
that the map above is partial and for illustration purposes only.
Before the end of the class, your instructor will review the map
corresponding to the course you are taking. This review, along with instructor
recommendations, should give you some ideas for additional training that
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For Students: How to Use this Course Handbook
Guide Layout
The information in this guide is organized as topics to aid students in finding
information after the class is complete. Each topic is divided into the following
sections:
• Concept — This section contains the initial introduction to the topic and is
presented during the class lecture.
• Theory — This section provides detailed information introduced in the
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Concept.
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• Procedure — This section provides step-by-step instructions on how to
complete the topic within Pro/ENGINEER. Procedures are short, focused,
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and simple exercises that cover the specific topics to which they apply.
Procedures are found in this Student Handbook only. Not every topic has a
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Procedure as there are knowledge topics that can not be exercised.
• Exercise — Exercises are longer than procedures, and may cover multiple
topics, so not every topic will have an associated exercise. Exercises are
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typically more involved and use more complicated models. Exercises are
found in the printed Exercise Guide and the online exercise HTML files.
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Additionally, topics are organized into modules. Except for the first module,
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all modules are grouped to keep similar functionality together.

The first module is typically a process module. In this module, you are
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introduced to the generic high-level processes used during the course and
after the course is completed.
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Running Course Handbook Procedures and Exercises

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To make the exercises and procedures (referred to collectively as labs for the
remainder of this section) as concise as possible, each begins with a header.
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The header lists the name of the lab and a brief scenario. The header lists
the working directory, the file you are to open, and the initial datum display.
An example of a Procedure is shown below, but Exercises follow the same
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general rules:
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The following gives a brief description of the items highlighted above:

1. Procedure/Exercise Name — This is the name of the lab.
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2. Scenario — This briefly describes what will be done in the lab.

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3. Close Windows/Erase Not Displayed — This indicates that you should

close any open files and erase them from memory. Click the Close
Window icon until the icon is disabled and then click the Erase Not
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Displayed icon and click OK. These icons have been added to the
left side of the main toolbar.
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4. Folder Name — This is the working directory for the lab. Lab files are
stored on a module by module basis. Within each module, you will find
subdirectories for each lab. In this example, Extrude_Features is the
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working directory. To set the working directory, select the folder from
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the browser, right-click and select Set Working Directory

5. Model to Open — This is the file to be opened from the working directory
(extrude.prt for example). In the browser, right-click on the file and
select Open. The model could be a part, drawing, assembly, etc. Also,
if you are expected to create a model, you will see Create New here.
6. Datum Display Setting — The initial datum display is shown here.
For example, means that you should display datum
planes but not display datum axes, datum points and datum coordinate
systems. Before beginning the lab, set the icons in the datum display
toolbar to match those shown in the header.
7. Task Name — Labs are broken into distinct tasks. There may be one
or more tasks within a lab.
8. Lab Steps — These are the individual steps required to complete a task.
Two other items of note for labs:
• Saving — Saving your work after completing a lab is optional, unless
otherwise stated.
• Erasing models from memory — You should always erase models from
memory when a lab is complete.
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Training Agenda
Day 1
Module 01 ― Introduction to the Freeform Surface Modeling Process
Module 02 ― Understanding Freeform Surface Modeling Concepts
Module 03 ― Creating Initial Freeform Curves
Module 04 ― Developing Freeform Surface Models
Day 2
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Module 05 ― Advanced Tools and Techniques for Defining Freeform
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Shapes
Module 06 ― Creating Smooth Freeform Surface Models
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Module 07 ― Integrating Style and Parametric Features
Module 08 ― Techniques for Creating Common Detailed Shapes
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Module 09 ― Creating Complex, High Quality Freeform Models
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Table of Contents
Freeform Surfacing using Pro/ENGINEER Wildfire 4.0

Instructor Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Recommended Course Delivery Schedule . . . . . . . . . . . . . . . . . . . . . . iii
Introduction to the Freeform Surface Modeling Process . . . . . . . . . . 1-1
Introduction to Freeform Surface Modeling . . . . . . . . . . . . . . . . . . . . 1-2
Understanding Surface Modeling Paradigms. . . . . . . . . . . . . . . . . . . 1-4
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Combining Freeform and Parametric Modeling . . . . . . . . . . . . . . . . . 1-6
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Typical Pro/ENGINEER Freeform Modeling Process . . . . . . . . . . . . 1-8
Understanding Freeform Surface Modeling Concepts . . . . . . . . . . . . 2-1
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Understanding the Style Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Understanding Style Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
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Understanding the Style Modeling Environment . . . . . . . . . . . . . . . . 2-4
Using Style Tool Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-5
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Using Style Tool Key Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . 2-6
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Understanding Active Planes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-8
Understanding the Style Tool 4-View Layout . . . . . . . . . . . . . . . . . . . 2-9
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Understanding Style Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13

Creating Initial Freeform Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1
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Understanding Style Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2

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Introduction to Creating Style Curves . . . . . . . . . . . . . . . . . . . . . . . . 3-3

Creating Style Curves as Circles or Arcs . . . . . . . . . . . . . . . . . . . . . . 3-7
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Understanding Datum Features within Style . . . . . . . . . . . . . . . . . . 3-10

Creating Style Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11
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Manipulating Style Point Locations . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Editing Endpoint Tangency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21
Editing Soft Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-26
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Editing Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-30

Copying and Moving Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-34
Offsetting Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-38
Using the 4-View Layout to Modify Curves . . . . . . . . . . . . . . . . . . . 3-42
Analyzing Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-45
Using Imported Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-49
Using Imported 3-D Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-54
Using References from Design Models . . . . . . . . . . . . . . . . . . . . . . 3-55
Developing Freeform Surface Models . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1
Understanding Style Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2
Creating Boundary Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3
Creating Loft Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-6
Using Multiple Curves as a Single Boundary . . . . . . . . . . . . . . . . . . . 4-8
Creating a Blend Surface using the Radial Option. . . . . . . . . . . . . . 4-11
Creating a Blend Surface using the Uniform Option . . . . . . . . . . . . 4-14
Using Surfaces to Define Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-17
Creating a Curve on Surface Type Curve . . . . . . . . . . . . . . . . . . . . 4-19
Intersecting Surfaces to Create a COS . . . . . . . . . . . . . . . . . . . . . . 4-22
Creating a Curve using the Curve from Surface Tool. . . . . . . . . . . . 4-25
Manipulating COS Type Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-28
Advanced Tools and Techniques for Defining Freeform Shapes . . . . 5-1
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Manipulating Shapes using Internal Curves. . . . . . . . . . . . . . . . . . . . 5-2
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Creating Radial Path Planar Curves . . . . . . . . . . . . . . . . . . . . . . . . . 5-6
Copying Curves Proportionally. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-11
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Modifying Curve Shapes Proportionally . . . . . . . . . . . . . . . . . . . . . . 5-14
Unlinking Style Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-17
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Making Curves Planar Between Endpoints . . . . . . . . . . . . . . . . . . . 5-21
Editing Style Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-23
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Resolving Failed Style Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-26
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Creating Smooth Freeform Surface Models . . . . . . . . . . . . . . . . . . . . . 6-1
Understanding Curvature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2
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Connecting Style Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-4

Understanding Style Curve Connection Levels . . . . . . . . . . . . . . . . . 6-8
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Manipulating Curve Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10

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Connecting Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-13

Understanding Surface Connection Order . . . . . . . . . . . . . . . . . . . . 6-17
Analyzing Continuity of Freeform Designs . . . . . . . . . . . . . . . . . . . . 6-18
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Using the Curvature Analysis Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 6-20

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Using the Shaded Curvature Analysis Tool . . . . . . . . . . . . . . . . . . . 6-24

Using the Dihedral Angle Analysis Tool . . . . . . . . . . . . . . . . . . . . . . 6-28
Using the Reflection Analysis Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 6-32
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Integrating Style and Parametric Features . . . . . . . . . . . . . . . . . . . . . . 7-1

Understanding Parallel Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-2
Using Surfaces to Define Solid Geometry . . . . . . . . . . . . . . . . . . . . . 7-4
Exporting Curve Parameters for Modification . . . . . . . . . . . . . . . . . . 7-8
Referencing a Parametric Framework . . . . . . . . . . . . . . . . . . . . . . . 7-13
Manipulating Style Geometry using Editing Tools . . . . . . . . . . . . . . 7-16
Techniques for Creating Common Detailed Shapes . . . . . . . . . . . . . . 8-1
Creating Common Detailed Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . 8-2
Creating Scoops or Bulges using Intersecting Surfaces . . . . . . . . . . 8-4
Creating Scoops or Bulges with Definite Boundaries. . . . . . . . . . . . . 8-7
Creating Scoops or Bulges with Blurred Boundaries . . . . . . . . . . . . 8-11
Creating Split Surface Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-14
Creating Complex, High Quality Freeform Models . . . . . . . . . . . . . . . 9-1
Understanding Four-Boundary Surfaces . . . . . . . . . . . . . . . . . . . . . . 9-2
Using the Overbuild Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-4
Using the Create Boundaries Technique . . . . . . . . . . . . . . . . . . . . . . 9-7
Using the Void Boundary Technique . . . . . . . . . . . . . . . . . . . . . . . . 9-11
Creating a Four-Boundary Rounded Shape. . . . . . . . . . . . . . . . . . . 9-14
Creating a Triangular Shape using Four Boundaries . . . . . . . . . . . . 9-17
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Instructor Preface
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Module Overview
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Freeform Surfacing using Pro/ENGINEER Wildfire 4.0 is designed for users
who want to create models with freeform shapes, contours, and curvatures
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that do not have to be constrained by dimensions, parameters, or references.
Freeform surface models are created using the Interactive Surface Design
Extension (ISDX) modeling environment within the Style tool.
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As the instructor, you are responsible for teaching students how to

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create, modify, and analyze freeform curves and surface features in this
comprehensive, hands-on course. You also teach the students how to create
complex freeform shapes, maintain smooth freeform models, and integrate
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freeform Style features with conventional parametric geometry.

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As the instructor, your goal is to deliver the highest quality course possible. In
this module, you learn the design intent that the course developers had in
mind when writing the course. This includes notes on how to best present the
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course to students through your lectures and demonstrations. Additionally,

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module durations and other recommendations that are included have been
benchmarked during the testing of this course.
Objectives
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After completing this module, you will be able to:

• Deliver the course on schedule.
• Instruct students how to use the course materials.
• Deliver lectures using the course content.
• Deliver the demonstrations using the course content.
• Facilitate lab exercises.
© 2008 PTC P. i
Software Versions Used
Pro/ENGINEER Wildfire 4.0 — F000
Licenses Required
Note that you will need Pro/ASSEMBLY, Pro/FEATURE, Pro/SURFACE, and
Interactive_Surface_Design.
Instructor Materials
Before teaching this course, you must read and thoroughly understand the
following materials:
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1. Applicable Help Documentation
Review Online Help documentation by selecting the Help Center
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menu option from the Help drop-down menu within Pro/ENGINEER
Wildfire 4.0. Select Surfacing as the functional area and then select
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Freeform Surfacing (ISDX) as the module review in the Online Help
documentation.
2. Freeform Surfacing using Pro/ENGINEER Wildfire 4.0
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Review the Freeform Surfacing using Pro/ENGINEER Wildfire 4.0
(T2178) training material located in the New! PTC Customer Education
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& Knowledge project in Windchill ProjectLink.
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P. ii © 2008 PTC
Recommended Course Delivery Schedule
It is recommended that the course be run with the approximate times shown.
Delivery Knowledge
Day Module Lecture Demo Exercise
Times Check
1 Course 9:00 –
Intro 9:15 am
Module 9:15 – 10 min 15 min 30 min 5 min
1 10:15
am
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2 10:45
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Module 10:45 – 30 min 60 min
3 12:15
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pm
Lunch 12:15 –
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1:15 pm
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Module 1:15 – 85 min 5 min
3 2:45 pm
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4 4:40 pm
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Pro/FI- 4:40 –
CIENCY 5:00 pm
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2 Module 9:00 – 10 min 20 min 55 min 5 min

5 10:30
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am
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6 12:00
am
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Lunch 12:00 –
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1:00 pm
7 2:10 pm
8 3:25 pm
9 4:40 pm
Pro/FI- 4:40 –
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Keep the following in mind when using the course delivery schedule.
Successful delivery of the course requires careful time management.
© 2008 PTC P. iii

Although the course is quite full of content, keeping to the above schedule
will help you stay on track.
• The course delivery times have been worked out based on testing of the
course.
• It is recommended that you start the class at 9:00 am. Each module is
followed by a Pro/FICIENCY knowledge check. Module durations are
designed to include 5 extra minutes for the students to complete the
mandatory knowledge check.
• In general, you should aim to complete each course component
(lecture, demo, lab, and knowledge checks) within +/- 5 minutes of the
recommended time. If you are consistently running over, this can add up
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significantly by the end of the day. However, provide students with the full
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time allocated for labs since students would want to complete all tasks
in the lab exercises.
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• Course Introduction — Use this time to do introductions with the students.
Let the students familiarize themselves with the layout of the classroom
and building facilities. Give an overview of the course content and explain
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how the course fits in a role-based curriculum. Assure them that they will
learn a lot by the end of the course. Also make sure that the students have
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completed the prerequisites before taking this course.
• Lunch — Ensure that the lunch break does not exceed 1 hour. The
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students are free to work on additional lab exercises or review previous
modules during lunch time.
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Instructing Students How to Use the Course Materials

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Instructing students how to use the course materials is important because

the key concepts for each module are introduced during the lecture. Mention
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to the students that they can take notes in the Lecture Notes page at the
beginning of the module.
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Inform the students that the slides and reference material used by
the instructor are provided in each module in the training guide. It is
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recommended that students concentrate on what the instructor is presenting,

and review the reference material in the training guide at a later time. Remind
the students that by watching and listening to the instructor, they can gain
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valuable insights and additional tips on the topics covered in each module.
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Make sure that you review the Pro/FICIENCY questions at the end of each
module as part of the knowledge check process.
Also, do not hesitate to recommend that students should watch and listen
to the demonstration, without flipping through the guide. This is important
because you will be demonstrating and explaining the key concepts of the
module. Remind students that they have a copy of the demonstration - the
lab exercises in their training guide. Additional exercises, tasks, and optional
exercises are also included in most modules.
In addition, keep students’ attention to your lectures and demonstrations by
discouraging them to use the computers during your delivery of material. If
the classroom layout does not permit for separate lecture and lab spaces,
P. iv © 2008 PTC
have the students turn off their monitors (or close laptop screens) before
starting each module.
Remember that students learn better by the following approach:
Tell them (Lecture), show them (demo), and let them do it (lab).
Delivering Lectures Using the Course Content

Your lectures are meant to quickly introduce the module topics and inform
students why these topics are important to them. Remember, students learn
more by completing the exercises than listening to lengthy lectures.
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Discuss what each topic is and why it is important. You can do so by
expanding on the bulleted items in the lecture slides and detailing how they
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relate to the figures in the slides. You should NOT be reading the reference
notes under the slides to the students.
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Encourage students to ask questions, but do not hesitate to ask them to
hold their question until the demonstration if you can answer their question
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more effectively. Also, answer advanced or off-topic questions for a particular
student during lab time. U
Furthermore, you should NOT spend time on details, such as menu picks.
Save the detailed explanations for the demonstration or you will waste time
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by telling students the same thing more than once.
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The time durations have been allocated so that at least 95% of all students will
finish all the lab exercises, including the project. If you stick to these times,
you will be able to deliver the course according to schedule. Assure them that
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the course is designed so that they can complete it according to the schedule.
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Finally, practice your lectures several times so that you can deliver them with
a smooth flow. If you keep in mind that you are briefly describing topics, and
are NOT delivering all the reference material for the slides, then you should
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be able to deliver the lectures in the time allowed.

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Delivering Demonstrations Using the Course Content

Your demonstrations are meant to concentrate on showing your students
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how to perform a task and reinforce why the task is important. It is during
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the demonstration that students learn the menu picks and steps required to
complete various tasks. Do NOT skip the demonstrations to give students
more time for lab exercises. Effective demonstrations enable students to
complete their lab exercises with greater ease.
While performing the demonstrations, you should explain the clicks and
selections that you make and why they are important. For example, it is
important that students understand why certain steps are used to complete a
task. It is also important to explain the design intent of all tasks.
It is critical that you practice the demonstrations so that you can complete
them within the allocated time. The times allocated for demonstrations in
each module are reasonable for well-practiced demonstrations.
© 2008 PTC P. v
Also, do not hesitate to answer advanced or off-topic questions for a particular
student during lab time. Answering these types of questions in front of the
group can easily take an additional 5-10 minutes.
Remember that students learn more by completing the exercises
themselves rather than watching lengthy demonstrations.
Facilitating Lab Exercises

It is critical that you maximize lab time since students learn best by completing
their lab exercises.
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Download and install the lab files and desktop exercises for the class on each
student workstation. The zip archives can be found in the NEW! Customer
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Education & Knowledge project in ProjectLink.
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Be sure that C:\users\student\Freeform_WF4 class directory is set as the
Pro/ENGINEER Wildfire 4.0 startup directory in all the student workstations.
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The desktop exercises are organized with a launch page (index.htm) that is
found in the T2178_360_HTML folder. Load this page for each student prior
to the class, and ensure that it is open at the beginning of each day. You
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should also create a desktop shortcut to T2178_360_HTML\index.htm and
name it Freeform Exercises.
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Students will launch the HTML version of the procedures, exercises, and
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projects by selecting the links on this page. Each time a link is selected, the
student is taken to the appropriate lab. On the lab page, the student can click
the Return to Exercises link, which takes them to back to the main page,
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or the Mark Complete and Return link, which takes them back to the main
page and displays a check mark next to the link, indicating completion.
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When you complete the course, click the Clear Checks button at
the bottom of each student’s desktop HTML page. This will delete
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the cookies that are stored for indicating completed links. Note that
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this does not reset the actual Pro/ENGINEER lab files. The lab files
must be deleted and extracted again from the zip archive.
Ensure that ALL students progress through the labs by continually walking
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around and helping them. It is a fact that most students will try a task a few
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times before asking for help. It is also a fact that students are much more
inclined to ask a question when you are casually walking around the room. In
addition, many students lose sight of the task at hand while trying to follow
picks and clicks in the lab exercises. Identify the areas where students seem
to be struggling and give extra help to resolve the problematic areas. Do
NOT spend lab time preparing for the next module, checking your e-mail, or
surfing the Internet. Complete your preparations before or after class hours,
if necessary.
As the instructor, it is critical that you emphasize the real-world
importance of the tasks students perform in the lab exercises. You
should explain to students why they need to know certain features,
functions, and options, and why they are important.
P. vi © 2008 PTC
Start the lectures in a timely manner and refer to the delivery schedule for
time recommendations. Give the class a 5 minute warning near the end of
each lab, and then start the next lecture promptly.
Remember, students learn the most by successfully completing the
lab exercises. As the instructor, it is up to you to facilitate the lab
exercises properly to ensure their success.
Build Code(s)
Title/Version Build
F000
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Pro/ENGINEER Wildfire 4.0
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Summary
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After successfully completing this module, you should know how to:
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• Deliver the course on schedule.
• Instruct students on how to use the course materials.
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• Deliver lectures using the course content.
• Deliver the demonstrations using the course content.
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• Facilitate lab exercises.
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© 2008 PTC P. vii

P. viii
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© 2008 PTC
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Module 1
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Introduction to the Freeform Surface
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Modeling Process
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Module Overview U
This module is an overview of the freeform surface modeling and the surface
modeling paradigms used within Pro/ENGINEER. You also learn how,
in Pro/ENGINEER, you can combine freeform surfacing with parametric
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modeling to create styled models that contain engineered detail and precision.
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Finally, you learn about the freeform modeling process typically used within
Pro/ENGINEER. This simplified process is used at most companies, although
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your specific company process may differ. The process is supported

throughout the course modules.
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Objectives
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• Understand and describe freeform surface modeling.
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• Understand and describe the two modeling paradigms used within

Pro/ENGINEER.
• Understand and describe how freeform and parametric modeling can be
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combined in a Pro/ENGINEER model.

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• Understand and describe a typical Pro/ENGINEER freeform modeling

process.
© 2008 PTC Module 1 | Page 1

Introduction to Freeform Surface Modeling
Freeform surface modeling enables engineers to create highly
precise and distinctly aesthetic product designs.
Freeform surface modeling is used for:

• Shapes with high curvature.
• Sculpted shapes.
• Shapes that are difficult to create
using parametric features.
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• Models requiring tangent or curvature
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continuity.
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Motorcycle Helmet
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Water Faucet Hedge Trimmer

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Introduction to Freeform Surface Modeling – Theory

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Freeform surface modeling enables you to design models that have:

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• Geometric shapes with high curvatures, or curvature in two directions.

• Fluid, sculpted, or organic shapes.
• Shapes that are difficult or impossible to design using parametric surface
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features.
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• Smooth shapes with tangent or curvature continuity.

Images displayed above are examples of models that you can create using
freeform surface modeling techniques.
• A motorcycle helmet
• A water faucet
• An electric hedge trimmer
Common Freeform Surface Modeling Scenarios

The following are standard scenarios in which freeform surface modeling
yields better results, since it requires interactive modeling:
• Your colleague has developed a foam model of a product shape. You
create a model that matches to the mock-up.
Module 1 | Page 2 © 2008 PTC

• You receive an e-mail attachment with the concept sketches of a molded
suitcase. You develop a Pro/ENGINEER Wildfire model.
• You have drawings of an automobile mirror with views and sections. You
create a digital model of the mirror.
• The internal components of a Personal Digital Assistant (PDA) are known.
You intuitively create the body design.
• You design a toy based on the data available in IGES form.
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Understanding Surface Modeling Paradigms
You can use two different surface modeling paradigms within
Pro/ENGINEER.
Parametric Surface Modeling:

• Dimensionally controlled
• Engineering type features
Freeform Surface Modeling:
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• Driven by intuition and feel
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• Aesthetic requirements
Select either method, based on:
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Inner Door Panel
• Design input
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• Design intent
• Designer’s background U
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Outer Door Panel

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Pro/ENGINEER Surface Modeling Paradigms – Theory

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There are two surface modeling paradigms in Pro/ENGINEER:

• Parametric Surface Modeling
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– Parametric surface modeling uses techniques similar to solid modeling.

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– Creates surface features that are ultimately driven by dimensions,

parameters, or mathematical equations.
– Parametric surface modeling (also known as Pro/SURFACE) forms the
basis for the other surface modeling course: Surface Modeling with
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Pro/ENGINEER.
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• Freeform Surface Modeling

– Creates surface features that are driven by intuition, feel, and aesthetic
requirements.
– Freeform surface modeling (also known as the Interactive Surface
Design Extension, or ISDX) forms the basis for this course.
Selecting a Surface Modeling Paradigm

Both of these approaches can deliver the required surface model shape. You
can select a suitable approach based on the following factors:
• The design input:
– Hard data and dimension values.
– Sketches or conceptual drawings.

• The design intent:
– Control geometry based upon dimensions.
– Manipulate curve and surface geometry interactively.
• The designer’s background:
– Design engineers may prefer parametric surface modeling.
– Designers with industrial design or artistic backgrounds may prefer
freeform surface modeling.
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Combining Freeform and Parametric Modeling
You can create product shapes using a combination of freeform
and parametric modeling.
Many product shapes are best created

utilizing a combination of:
• Parametric surface models with
freeform curves and surfaces.
• Freeform surface models with
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parametric framework and relations.
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Ring Model
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PDA Model Blower Model

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Combining Freeform and Parametric Modeling – Theory

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Using Pro/ENGINEER, you can combine freeform surfacing with parametric

modeling to create styled models that contain engineered detail and precision.
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• Many product shapes are best created using a combination of parametric

and freeform surface features.
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• Using ISDX (Interactive Surface Design Extension) enables you to combine

the parametric feature-based modeling approach with the unconstrained
freeform surface modeling approach.
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• For example, while designing jewelry you may use freeform surface
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modeling tools to create the sculpted shapes, and parametric surface

modeling tools to create a ring base and precise jewel cavities.
Techniques for Combining the Modeling Paradigms

To combine both the modeling paradigms, you can:
• Create freeform features with references to the geometric features.
• Create a parametric framework and then create freeform features with
references to the framework.

• Define blends and transition surfaces using freeform surfaces in a
parametric surface model.
The figures above display a ring model created with a combination
of parametric and freeform surface features, a freeform PDA model
with parametric framework to modify the overall dimensions, and
a blower model in which the blending surface (highlighted in wire
mesh) is created as the freeform surface.
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Typical Pro/ENGINEER Freeform Modeling
Process
The typical freeform modeling process can be summarized in
four steps:
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1. Creating a Design Framework 2. Creating Style Features
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3. Blending Parametric and

Style Features 4. Refining the Design
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Creating a Design Framework

Begin your freeform design by creating a framework of reference geometry
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that defines key characteristics of your design. You can use a framework to
define overall size, the location of attachments, design limits, and so on. The
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framework can include datum features, copied geometry, imported 3-D data,
or even images of conceptual sketches.
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Creating Style Features

You can create freeform surface features using the interactive modeling
environment within the Style tool. Style curves and surfaces enable you to
create design models with complex and high-curvature shapes. Referencing
the previously defined framework enables you to parametrically control your
freeform design.
Blending Parametric and Style Features

A freeform model typically contains both style and parametric features. You
can combine standard Pro/ENGINEER parametric features and freeform
features to create a detailed solid model. Features that reference the style
features will update as the style features are edited. Style features that
reference parametric features will update as you edit the parametric features.

Refining the Design
You typically refine the look and feel of a freeform design by adding or editing
style curves and surfaces. You can add curves to influence the shape of a
surface, end conditions changed, surface details added, and so on. The
relationship between parametric and style features in a Pro/ENGINEER
model ensures that edits to the style features are propagated to all referencing
features in the model.
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PROCEDURE - Process Exercise
Objectives
After successfully completing this exercise, you will be able to:
• Create a datum plane for use as a model’s framework.
• Create a style surface using the Style tool.
• Create parametric features that reference a style surface.
• Create a style curve using the Style tool.
• Edit a style surface using the Style tool.
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Scenario
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You have taken over the design of a cover model that was started by a
colleague at your company. This component is part of a user interface so it
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must be both functional and aesthetically pleasing.
The framework of the model contains functional information including
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attachment locations and overall size. You will add an additional feature
to the existing framework. You will then use the style curves to create a
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styled surface that defines the look and feel of the cover. You will add
detailed geometry to the model by creating standard parametric features that
reference the styled surface.
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After the initial phase of the design has been completed, you refine the design
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by making edits to both the style and parametric features of the model.
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Step 1: Add a datum plane to the existing design framework.

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1. Open the COVER.PRT part model.

• Click Open from the main toolbar at the top of the interface.
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• In the File Open dialog box, click Working Directory .

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• Double-click module_01, right-click the Process folder and select

Set Working Directory.
• Double-click the Process folder to view its contents.
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• Select COVER.PRT and click Open.

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2. Click Axis Display , Point

Display , and Csys Display
from the main toolbar at the
top of the interface to disable
their display.

3. Create a datum plane at the
center of the existing framework.
• Click Datum Plane Tool
from the feature toolbar on the
right side of the interface.
• In the Graphics window, select
datum plane RIGHT.
• While pressing the SHIFT
key, click and drag the small,
white, square drag handle to
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the curve, as shown.
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• Select the Properties tab.
Edit the name to Center and
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click OK.
The datum planes and sketch features that make up the framework
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of this model will be referenced by both the style and parametric
features used to further define the model.
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Step 2: Create a styled surface using the Style tool.
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1. In the model tree, select the Insert Indicator , right-click, and

select Cancel. Press ENTER to accept the default value of Yes.
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2. Click Plane Display to disable their display.

3. In the model tree, select Style 1, right-click, and select Edit
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Definition.
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4. In the style tree, located in

the lower portion of the model
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tree, select each of the four style

curves and observe each as they
are highlighted in the Graphics
window.
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A single style feature typically contains multiple style curves and

surfaces.

5. Create a style surface using the four style curves as boundaries.
• Click Surface from the style feature toolbar.
• Press CTRL and select the four curves, as shown.
• Click Complete Feature to complete creation of the style
surface.
• Click Done from the style toolbar.
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Step 3: Add parametric features to further define the model.
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1. Edit the selection filter, located in the lower-right corner of the

Pro/ENGINEER window to Quilts.
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2. In the Graphics window, select the surface created in the previous

task.
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3. Mirror the style surface.

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• In the feature toolbar, click

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Mirror Tool .
• In the model tree, select
FRONT as the mirror plane.
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• Click Complete Feature .

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4. Merge the two surfaces into one.

• Click in the Graphics window
to de-select the mirror feature.
• Press CTRL and select both
surface quilts, as shown.
• In the feature toolbar, click
Merge Tool , to merge the
two quilts into one.

5. Add solid thickness to the model,
referencing the surface quilt.
• With the merge feature still
selected, click Edit > Thicken.
• Edit the thickness to 1 and
press ENTER.
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6. Remove material to form four
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access holes.
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Sketch 2.
• Click Extrude Tool .
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• In the dashboard, edit the
depth from Specified Depth U
to Through All .
• Click Remove Material .
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7. Round the sharp edges.

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• Click Round Tool .

• Press CTRL and select the
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five edges shown.

• In the dashboard, edit the
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value to .5 and press ENTER.

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Step 4: Edit the styled surface.

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Definition.
2. Click Plane Display to enable their display.
3. Right-click in the Graphics window, click Set Active Plane, and
select datum plane CENTER.

5. Create an internal control curve of the surface to be referenced.
• Click Create Curves from the feature toolbar.
• Click Planar in the dashboard, if necessary.
• Press SHIFT and click to place the start point of the curve on the
lower boundary of the surface, as shown.
• Press SHIFT and click to place the end point of the curve on the
upper boundary of the surface, as shown.
• Click Complete Feature to complete creation of the style curve.
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6. Edit the style surface and add the new curve to its definition.
• In the style tree, select the surface feature, right-click and click
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Edit Definition.
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• In the dashboard, click to activate the Internal Curves field

then select the previously created curve.
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surface.
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Notice how the internal curve has influenced the shape of the
surface.

7. Add additional points to control
the internal curve’s shape.
• If necessary, select Style 1
from the model tree, right-click,
and select Edit Definition.
• Select the previously created
curve, right-click, and select
Edit Definition.
• Right-click in the Graphics
window, select Active Plane
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Orientation.
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• Right-click the curve and
select Add Midpoint.
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• Right-click the curve, just
above this first midpoint and
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• Right-click the curve just U
below the first midpoint and
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8. Edit the end conditions of the

curve.
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• Select the upper end point of

the curve.
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• Right-click the tangent handle

and select Normal. In the
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model tree, select FRONT.

• Select the lower end point of
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the curve.
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and select Draft Tangent.

• In the model tree, select TOP
and edit the draft tangent
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angle value to – 3.
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9. Add a curvature analysis to the
curve.
• Click Pause Feature from
the dashboard.
• Click Curvature from the

main toolbar.
• Select the curve you are
currently editing.
• In the Curvature dialog box,
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type 1 for the scale and press
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ENTER.
• In the lower left of the
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Curvature dialog box, select
Saved from the drop-down
list.
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• Click Accept from the
Curvature dialog box.
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10. Edit the shape of the curve.

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• Press CTRL + D.
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• Click Show All Views from the main toolbar.

• Click Resume Feature from the dashboard.
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• In the lower-right view, refine the shape of the curve using the
curvature plot as a guide. Observe the shape of the surface
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updating in each view, as you move points.

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surface.
• Click Delete All Curvature .

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Step 5: Make final edits to the model.
1. Apply a reflection analysis to the

model.
• Click Analysis > Geometry >
Reflection.
two top surfaces of the model,
as shown.
• In the lower left of the
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Curvature dialog box, select
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Saved from the drop-down
list.
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Reflection dialog box.
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2. Edit the initial design framework.
• In the model tree, right-click Sketch 1 and select Edit.
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• Double-click the 40 dimension, edit it to 55 and press ENTER.
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• Click Regenerate Model to update the geometry.
• Click Analysis > Delete All > Delete All.
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• In the model tree, select Style 1, right-click, and select Hide.

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3. Click Save from the main toolbar and OK from the Save Object
dialog box.
4. Click Close Window from the main toolbar at the top of the
interface to close the window containing COVER.PRT.
This completes the procedure.

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Module 2
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Understanding Freeform Surface Modeling
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Concepts
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Module Overview U
In this module, you learn basic concepts of the Style tool, features, and the
modeling environment. You also learn to work more efficiently within the
environment using shortcut menus and keyboard-mouse combinations.
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You will learn to use the Active plane and 4-view layout, both concepts unique
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to the style modeling environment. Finally, you learn about preferences that
you can set to customize the working environment.
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Objectives
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• Understand the Style tool.
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• Understand style features.

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• Understand the Style modeling environment.

• Use Style tool shortcut menus.
• Use Style tool keyboard-mouse combinations.
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• Understand the active plane concept.

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• Understand and use the Style tool 4-view layout.

• Understand available Style tool preferences.

Understanding the Style Tool
The Style tool enables you to interactively manipulate curves
and surfaces to easily create freeform design models.
The Style Tool

• Dynamically interactive
• Flexibility for changes
• Conceptual designs
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Flashlight Concept 1
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Flashlight Concept 2 Flashlight Concept 3

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The Style Tool – Theory

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The Style tool provides a feature set that enables you to interactively and
intuitively manipulate curves and surfaces to easily visualize and create
freeform design models.
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• You can drag and manipulate curves while the surfaces update dynamically.
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• Freeform models provide flexibility for design changes or to explore

alternate variations of a design.
• You can use concept images or mockup data to create freeform conceptual
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design models.
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Understanding Style Features
Use the Style tool to create style features that define your design.
Create Style Curve Features

• Shape visually.
• Manipulate interactively.
• Boundaries, sections, and trajectories.
• Use for style or parametric features.
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Create Style Surface Features
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• Use style curves or other curves/edges. Shape Visually
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Style Curves Style Surfaces

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Understanding Style Features – Theory

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The Style tool enables you to create style features in a special modeling
environment within Pro/ENGINEER. The environment has specific drop-down
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and pop-up menus, as well as Style-specific toolbar icons.

Style is a spline-based freeform modeler that enables you to create freeform
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2-D and 3-D curve features as well as freeform surface features.

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Create Style Curve Features

Within the Style tool you can create style curves that you can use to:
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• Shape the model visually.

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• Manipulate interactively to make changes to the model.

• Define boundaries, sections, or trajectories.
• Create references for other style or parametric features.
Create Style Surface Features

Within the Style tool you can also create style surfaces by referencing style
curves, model edges, or parametric datum curves.
Note that a style feature may consist of any number of curve and
surface features.

Understanding the Style Modeling Environment
Pro/ENGINEER provides a special modeling environment for
creating style features.
Modeling Interface
• Styling menu
• Toolbars
• Shortcut menus
• Shortcut keys
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• Style tree
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Views and Orientation
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• View layouts
• Active plane
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• View orientations
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Style Environment
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Style Modeling Environment - Overview

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When you create a style feature, Pro/ENGINEER provides a special modeling

environment, including:
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• The styling menu in the main menu.

• Style-specific right-click shortcut menus.
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• Style-specific keyboard combinations.

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• Style and surface analysis toolbars.

• Style preferences.
• Style tree.
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• Style also activates menu options within the standard drop-down menus
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that are not accessible while creating other features.
Views and Orientation

The style modeling environment also provides options for views and
orientations of the model:
• You can toggle between a single view layout and a 4-view layout to create
and manipulate style curves and surfaces.
• You can define an active plane for creating style curves.
• You can edit style curves by orienting the model to the active plane
orientation or any of the saved view orientations.
The figure on the slide highlights style-specific menus and toolbars.

Using Style Tool Shortcut Menus
There are several context-sensitive shortcut menus available
within the Style tool.
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Style Tool Shortcut Menus – Theory

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Shortcut menus within the Style tool are context sensitive. While performing
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a task, right-click to access the appropriate menus.
Shortcut Menus
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The images above are provided for reference. There are difference
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context-sensitive options, depending on the task at hand:

• Generic shortcut menu.
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• Shortcut menu when manipulating curve tangents.

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• Shortcut menu when manipulating soft points.

• Shortcut menu when manipulating hard points.
• Shortcut menu when manipulating curves

Using Style Tool Key Combinations
There are several keyboard-mouse combinations available
Selections Curve Create/Edit
• Double-click: Edit Definition • SHIFT: Snap to geometry.
• CTRL + ALT: Lock horizontal or • ALT: Move normal.
vertical drag. • SHIFT + ALT: Extend point.
• CTRL: Copy and move by • CTRL + ALT: Lock horizontal
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dragging. and vertical drag.
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• CTRL + SHIFT: Move by dragging. • ALT: Drag tangent length.
Surface Create/Edit • CTRL + ALT: Drag tangent
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angle.
• CTRL: Add curves to selection.
• SHIFT: Add curve to chain.
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Style Tool Key Combinations – Theory
Pro/ENGINEER uses several keyboard-mouse combinations within its
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workflow, for example, click to select, middle-click to accept or complete,

right-click for shortcut menus. Above, you will see additional keyboard-mouse
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combinations that you can use when creating or editing a style feature.
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Selections
• Double-click – When editing the definition of a style feature, double-clicking
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a curve or surface in the feature will enable you to edit its definition.
The alternative method is to select the entity, right-click, and select Edit
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Definition from the shortcut menu.

• CTRL + ALT – When dragging geometry, during a move or copy operation,
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this keyboard combination locks drag movement to be in either a horizontal

or vertical direction.
• CTRL – Select a curve to copy and move by dragging.
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• CTRL + SHIFT – Select a curve to move by dragging, without copying.

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Surface Create/Edit
• CTRL – Press CTRL to select multiple curves as surface references.
• SHIFT– Press SHIFT to add a curve to a chain of curves defining a surface.
Curve Create/Edit
• SHIFT – Snap to existing geometry. When you press the SHIFT key and
click, the cursor is followed by a snap cursor when creating or moving a
curve point. If you do not press the SHIFT key, snapping is disabled.
• ALT – When you press the ALT key, a curve point can only be dragged in a
direction normal to the active plane.
• SHIFT + ALT– You can add points to extend a curve by pressing SHIFT +
ALT and clicking at either end of the curve.

• CTRL + ALT – This keyboard combination locks the drag movement of
curve points to be in either a horizontal or vertical direction.
• ALT – With the tangent vector visible, press ALT to drag and change only
the tangent length.
• CTRL + ALT – With the tangent vector visible, press CTRL + ALT to drag
and change only the tangent angle.
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Understanding Active Planes
Points on a style curve are projected onto the active plane.
The Active Style Plane

• Default active plane
• Setting active plane
• Internal active plane
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Default Active Plane
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Set Active Plane Internal Active Plane

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Active Style Plane – Theory

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When you define style curves, the points are projected onto the current
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datum plane, known as the active plane.

• By default, the Style tool assigns datum plane TOP as the active plane.
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Setting the Active Style Plane

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Any datum plane or planar surface can be set as the active plane.
• The active plane is displayed with a grid.
Style enables you to assign different active planes while creating or editing
curves, and without exiting the Curve dialog box.
Internal Active Planes

You can also create an internal datum plane in the Style tool that is
automatically assigned as the active plane for the current style feature.

Understanding the Style Tool 4-View Layout
In the Style tool, you can display a model in a single or 4-view
layout.
4-View Layout
Resize
Switching
Style Orientations
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Active Plane
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Zooming
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The 4-View Layout

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You can use a multi-pane view or a 4-view layout to create and edit the
style geometry.
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In a 4-view layout, the system displays the top view in the upper-left window,
the front view in the lower-left window, and the right side view in the
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lower-right window. The default view is displayed in the upper-right window.

• The 4-view layout displays four orthographic windows.
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• The 4-view layout is particularly useful in creating and manipulating 3-D

curves.
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Resizing the 4-View Layout

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• You can drag the sidebars or the central intersection of the four windows
to resize them.
• To restore the default layout, you double-click the central intersection.
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Switching Between the Layouts and Views

• You can click View > Show All Views to toggle between the single and
4-view layouts.
• Alternatively, you can right-click and select Show All Views or click the
Toggle Views icon from the main toolbar.
• In a single view layout, you can click View > Show Next View to toggle
between the default, top, front, and side views.
Style View Orientations

In a single view layout or 4-view layout, you can you can orient the model
using the following options:
• Default orientation.

• Active plane orientation.
• Saved 3-D views.
• Auto-generated 3-D orientation.
Using Active Plane Orientation

• To edit curves on a specific plane, you can set the active plane by
right-clicking and selecting Active Plane Orientation. The system then
sets the active plane parallel to the screen.
• In a 4-view layout, you need to position the cursor over the desired view
window, then right-click and select Active Plane Orientation.
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• The active plane orientation is particularly useful in manipulating curves
and points that have been aligned to a plane other than the default plane.
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Zooming, Panning, or Rotating the Views in a 4-view Layout
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• In a 4-view layout, you position the cursor over the chosen window and use
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the standard zoom, pan, or rotate commands.
• To reset a view in a 4-view layout, you position the cursor over the desired
view window, right-click, and select Default Orientation or Active Plane
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Orientation.
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PROCEDURE - Understanding the Style Tool 4-View
Layout
Scenario
Manipulate model views using the Style tool’s 4-view layout.
4-View 4view_flash.prt
Task 1: Start the Style tool and start the 4-view layout.
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1. In the model tree, select Style 2, right-click and select Edit Definition.
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2. In the main toolbar, click Show All Views to start the 4-view
layout.
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3. Click and drag the horizontal and vertical sashes to resize the
windows.
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4. Click and drag the intersection of the sashes to resize all four
windows. U
5. Double-click the intersection of the sashes to reset the 4-view window
sizes.
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Task 2: Toggle between 4-view and single view layouts.

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1. Click Show All Views to toggle to the single view layout.

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2. Click View > Show Next View to show the right side view.
3. Click View > Show Next View three more times to toggle through the
front and top views before returning to the default view.
4. Click Show All Views to toggle to the 4–view layout.
5. Right-click in the lower-left

window and select Show All
Views.
Notice that the front view is
now displayed in the single
window.

6. Right-click View > Show All Views to toggle to the 4-view layout.
7. With your cursor in the upper-left window, middle-click and drag to
spin the model.
8. Right-click in the same window and select Default Orientation.
9. Click in the upper-right window.
10. Click Named View List and select Back.

11. Right-click in the same window and select Default Orientation.
12. Click Done to leave the Style tool.
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Notice that the window returns to a single view because you

have left the Style tool.
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Task 3: Use the Active Plane Orientation.

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1. In the model tree, select Style 1, right-click and select Edit Definition.
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Notice the window returns to a 4-view layout because that is the

layout you were in when you were last in the Style tool.
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2. Click Show All Views to toggle to the single view layout.

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3. In the Style tool, select the curve

CF-0, right-click, and select Edit
Definition.
4. Right-click, and select Active
Plane Orientation.
5. Click Done to close the Style tool.

6. Click File > Erase > Current and then click Yes from the Erase
Confirm dialog box.

Understanding Style Preferences
Preferences for display, curvature plots, and surface mesh can
be defined in the Styling Preferences dialog box.
Styling Preferences:
• Surface
• Display
• Auto Regenerate
• Grid
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• Surface Mesh
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• Quality
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Styling Preferences
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Setting Style Preferences

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You can define preferences for display, curvature plots, and surface mesh
using the Style tool. Click Styling > Preferences to open the Styling
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Preferences dialog box.

• Surface – Use the Default Connections option to enable or disable surface
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connection. When enabled, connections are established automatically

when you create surfaces. Note, a connection may not always be possible.
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• Display - Use the Grid option to display the grid for ease of modeling.
• Auto Regenerate
– Curves – When enabled, the child curves are automatically regenerated.
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– Surface – When enabled, the child surfaces are automatically

regenerated.
– Shaded Surface – When enabled, the child surfaces are automatically
regenerated during modification of a parent if the display mode is
wireframe or shaded.
• Grid - Use the Spacing option to edit the spacing of the grid.
• Surface Mesh
– On – Displays the surface mesh.
– Off – Disables display of the surface mesh.
– Off When Shaded – Displays the surface mesh except when the model
is shaded.
• Quality – Increases or decreases the number of mesh lines displayed in
both directions.

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Module 3
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Creating Initial Freeform Curves
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Module Overview
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In this module, you learn basic concepts of creating and editing style
points and curves. You also learn how to analyze the curves you create
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for curvature.
Finally, you learn to reference images, imported data, and design models
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when creating freeform curves.

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Objectives
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• Understand style curves.
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• Create style curves.

• Create style curves that are splines, circles, and arcs.
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• Understand the creation of datum features within a style feature.

• Manipulate style point locations.
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• Edit endpoint tangency conditions.

• Edit curves by splitting, combining, and extending.
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• Copy and move curves.

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• Offset curves.
• Modify curves in the 4-view layout.
• Analyze curves.
• Reference images in a design.
• Use imported 3-D data in a design.
• Use references from design models.

Understanding Style Curves
You can use freeform style curves to create both parametric
and style features.
Uses of Style Curves

• Freeform Surface Boundaries
• Parametric Feature References
• Sections and Trajectories
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Surface Boundaries
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Trajectory Section Reference

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Understanding Style Curves - Theory

You use style curves to interactively and visually define the freeform shape of
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a curve.
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Uses of Style Curves

You can use completed style curves for the following:
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• As boundaries for freeform style surfaces such as loft and blended surfaces.
• As references for the creation of parametric features.
• As sections and trajectories for parametric features such as the sweep,
swept blend, and variable section sweep.

Introduction to Creating Style Curves
Style curves are splines that are interactively drawn and shaped
Style Curves
• Internal Points
• Tangent Control at Endpoints
Defining Shape
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Style Curve Types
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• Free
• Planar
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• Curve on a Surface (COS)
• Curve from a Surface Three Internal Points
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Planar Style Curve Endpoints with Tangent Control

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Creating Style Curves - Theory

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In freeform surfacing, creating good curves is necessary when you create a

feature with high-quality surfaces, because all surfaces are defined directly
from curves.
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Style curves are splines drawn through two or more points. A set of internal
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points and endpoints define the curve.

You can use the Style tool to create 2-D or 3-D unconstrained curves, or
to create constrained curves by snapping to other features such as points,
edges, and other curves.
Defining a Curve’s Shape
You can place points that define a curve’s shape by interactively clicking
in the Graphics window to specify point locations. When you are finished
placing the points, middle-click to complete the placement.
You can define points lying free in space (free) or constrained to specific
planes (planar) when creating style curves.
The shape of the curve is further refined by editing point locations and
endpoint tangent conditions.

Style Curve Types
Free - A free curve lies in the 2-D or 3-D space.
• Two-dimensional Free Curves – You can create a free 2-D curve by
selecting points on an active plane in a single view layout.
• Three-dimensional Free Curves – You can create 3-D curves by:
– Defining a 2-D curve and then modifying the points in 3-D space.
– Defining 3-D curves by selecting the points in a minimum of two windows
in a 4-view layout.
– Snapping to 3-D geometry and then unlinking the points.
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Planar - You use the Planar option in the Curve dashboard to create a planar
curve. The planar curve is attached to the active plane and all points are
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placed on that plane.
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• Offsetting an Active Plane – While creating a planar curve, you can offset
the active plane by entering the offset value in the dashboard.
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You can convert planar curves to free curves and visa versa, using
Edit Definition. U
Curve on a Surface (COS) – You can create a COS curve by manually
specifying the points through which you want the curve to pass on a surface,
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projecting a curve onto a surface.

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Curve from Surface – You can create a free or COS curve by offsetting
an existing curve along a surface.
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The 4-view layout is very useful when creating 3-D curves. It

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enables you to drag and manipulate a curve in any of the views, and
the curve updates dynamically in the other view windows.
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PROCEDURE - Introduction to Creating Style Curves
Scenario
Create simple 2-D and 3-D style curves.
Intro_Curve intro_curve.prt
Task 1: Create a free curve.
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1. Start the Style Tool from the feature toolbar.
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Notice that the active plane is now visible on the TOP datum
plane, identified by the brown grid.
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2. Right-click and select Active Plane Orientation.
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3. Right-click and select Curve.
• Click Free in the dashboard if
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necessary.
• Working left to right, from the
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center of the model, select
locations for four points, as
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shown.
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4. With the curve still selected, right-click and select Edit Definition.
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5. Spin the model and notice that the four points and resulting curve
were placed on the active plane.
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6. Click Named View List and select Front.

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7. Select the point shown and drag it upward, off of the active plane.
8. Spin the model to notice that the free curve you initially created in 2-D
curve is now a 3-D curve.
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Note the gray “ghost” curve visible when spinning the model is the
shape of the original curve prior to your edits. This ghost display
will be removed when the curve is completed or by clearing the
Show Original check box in the dashboard.

Task 2: Edit the curve to be planar and then change its shape.
1. In the dashboard, click Planar.

2. In the model tree, select datum plane TOP.
3. Click Named View List and select Front.

4. Select the same point and attempt to drag it upward, off of the active
plane.
Because the curve is now a planar curve, the points cannot be
moved off of the TOP datum plane, only within it.
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5. Right-click and select Default
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Orientation.
6. Right-click and select Active
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Plane Orientation.
7. Click Plane Display to U
disable their display.
8. Select and move the points, as
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9. Select the left endpoint, then

drag the length and angle of the
tangent handle.
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10. Click Complete Feature .

11. Click Done .
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Creating Style Curves as Circles or Arcs
Create circle and arc geometry within the Style tool.
Shapes
• Circles
• Arcs
Options
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• Free/Planar
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• Radius value
Resulting Curve
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Sketched Circle and Resulting Spline
• Spline Curve
• Edit the Curve
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Circle to Create Recess Sketched Arc and Resulting Spline

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Creating Style Curves as Circles or Arcs – Theory

Besides using the versatile spline shape for style curves, it is often desirable
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to create exact arc or circle geometry without having to exit the Style tool.
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Options
You can create arc and circle geometry within the Style tool. You can create
arcs and circles as either free or planar curves. You can also specify the
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radius value as well as the angles of the endpoints for arcs. In addition, you
can snap the centers or endpoints to existing geometry.
Resulting Curve
The resulting curve is created as a spline curve. It matches the exact circle
or arc shape, and you can manipulate it using the Edit Curve tools like any
other style curve.
In the image shown, circular curves are used to create a recess for buttons
on the display cover model.

PROCEDURE - Creating Style Curves as Circles or Arcs
Scenario
Create style curves using the Circle and Arc tools.
Circ_Arc circ_arc.prt
Task 1: Create two style curves using the Circle tool.
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2. Click Create Circles from
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the curve flyout in the style
toolbar.
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• Right-click and select Active
Plane Orientation.
• Click Planar in the dashboard
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if necessary.
• Select the References tab
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and if necessary, edit the

Offset value to 0.
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• Click to place the circle at the

center of the active plane.
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• Edit the radius to 200.

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3. Click Create Circles .

• Select the References tab
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and edit the Offset value to

160.
• Click to place the circle at the
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center of the active plane.

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• Right-click and select Default
Orientation.
Task 2: Add an arc to the style feature.
1. Right-click and select Set Active Plane.

2. Select datum plane FRONT from the model tree.

3. Click Arc from the style toolbar.
• Right-click and select Active Plane Orientation.
• Click Planar in the dashboard if necessary.
• Select the References tab and if necessary, edit the offset value
to 0.
• Click to place the arc center, as shown.
• Edit the start angle to 126.
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• Edit the end angle to 180, if necessary.
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Orientation.
5. With the curve still selected,
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right-click and select Edit

Definition.
• Press SHIFT, select the
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bottom endpoint, and drag to

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snap to the lower circle curve.

• Press SHIFT, select the top
endpoint, and drag to snap to
the upper circle curve.
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6. Click Done .

Understanding Datum Features within Style
You can create datum planes internal or external to the style
feature.
Datum Features
• Axes
• Points
• Curves
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• Planes
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Internal Datum Planes
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• Internal to the style feature.
• Visible only in the style feature. Creating Internal Datum Planes
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Style Feature Closed While Editing Style Feature

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Understanding Datum Features within Style – Theory

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You create datum planes from within the Style tool that are either internal or
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external to the style feature being created. However, you create datum axes,
points, and curves external to the style feature.
Creating Datum Features

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The Style tool enables you to create any type of datum feature, such
as axes, points, curves, and datum planes. Once created, these datum
features appear before the current style feature in the model tree and can
be referenced by the style feature. You can edit these features outside
of the Style tool.
Creating Internal Datum Planes

You use the Internal Plane option within the Style tool to create datum
features internal to the style feature. This is useful for planes that are only
used in the context of a particular style feature. All standard creation options
are available, and you can view and edit the datum plane when editing the
parent style feature.

Creating Style Points
You can use several point types and attachment methods to
control style curves.
Point Types
• Free Points
• Constrained Points
Attaching Points
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• Use SHIFT
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• Use Snap
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Fixed Endpoints and Free Mid-Point
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Fixed on Vertex, Soft on Edge Soft Endpoints and Free Mid-Point
Creating Style Points – Overview

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To create a spline-type curve, you need to define at least two style points.
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• Every point on a curve has a position, tangent, and curvature.

• The tangents of the internal points of the curve are created and maintained
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by Pro/ENGINEER; you cannot change them.

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• You can change the direction and magnitude of an endpoint’s tangent. By

selecting an endpoint, you can view the tangent vector located at that point.
Point Types
There are two general types of style points, free and constrained.
• Free Point - A point lying in space that is not connected to any other entity.
• Constrained Points:
– Soft Point- You attach a style curve to style curves, datum curves, solid
and surface edges, surfaces, and datum planes by snapping a point to
these entities. This creates a soft point. Soft points attached to different
entities are represented differently. A hollow circle represents a soft
point attached to a curve or an edge, and a hollow square represents a
soft point attached to a surface or datum plane.

– Fixed Point - When you create a point by snapping it onto an existing
datum point, vertex, or datum plane, style creates a fixed point. A
fixed point appears as an X. You cannot drag a fixed point because it
references a defined datum point or vertex. To snap an endpoint to a
vertex, right-click the endpoint and select Lock to Point.
Attaching Points
You can attach points to existing model geometry using one of two methods:
• Pressing SHIFT and dragging the point to the entity on which you want to
attach the point.
• Activating the Snap option from the Styling menu and then dragging the
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point to the entity on which you want to attach the point.
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PROCEDURE - Creating Style Points
Scenario
Create free and planar curves by attaching style points to existing curves.
Style_Pnts style_pnts.prt
Task 1: Create a free curve by attaching soft endpoints to existing curves.
1. Select Style 1, right-click, and select Edit Definition.
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2. Right-click, select Set Active Plane, and then select RIGHT.
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• Click Free from the dashboard,
if necessary.
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• Press SHIFT to snap the start
point to the closest curve. U
• Select a point location
approximately in the center of
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the model, as shown.
• Press SHIFT to snap the end
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point to the far curve.

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Notice the circles at each end of the curve, signifying the soft
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point attachment to the curves.

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4. Right-click and select Edit

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Definition.
5. Select and drag each endpoint
along the curve it is attached to.
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6. Click Show All Views to see

the curve is now a 3-D curve.

Task 2: Edit the curve to be planar and observe the fixed endpoints.
1. In the dashboard, click Planar,

then select datum plane RIGHT.
2. Click Show All Views then

right-click and select Active
Plane Orientation.
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The “X” symbol now at each end of the curve signifies that the
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points are now fixed points. They are located at the intersection
of the curves and datum plane RIGHT.
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Task 3: Create a curve with fixed and soft endpoints, then add a mid-point.

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• Click Free from the dashboard,
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if necessary.
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Orientation.
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point to the end of the curve,
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as shown.
• Press SHIFT to snap the end
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point to the middle of the far

curve.
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Definition.
3. Select the endpoint closest to
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you, right-click, and select Lock

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to Point.
4. Right-click the curve and select
Add Midpoint.
5. Click and drag the far endpoint
along the curve.
6. Click Show All Views .

7. In the lower-right view, select the
middle point and drag it upward.
8. Click Show All Views .

10. Click Done .
11. Right-click and select Default Orientation.
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Manipulating Style Point Locations
Manipulate the location of a curve’s style points using a number
of methods.
Manipulating Point Locations

• Dragging Points
• Numerically
• Constraining Movement
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Show Original Option
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Dragging Control Points
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Dragging Multiple Points Dragging a Single Point

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Manipulating Style Point Locations - Theory

To modify the shape of a curve, you can manipulate the location of the style
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points defining it.

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Dragging Points
You can use the following options to drag the points.
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• Default – Dragging curve points enables you to modify the curve shape.
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• Control points – Dragging control points enables you to modify the curve
shape.
• Multiple points – You can select many points on a single curve or multiple
curves to modify their location.
Controlling Numerically
You can change the location of a free point by changing the coordinates.
However, you cannot numerically modify the location of a soft point or a fixed
point.
Constraining Movement
By default, unattached points move freely. You can constrain the movement
using the Free (Default), Horizontal/Vertical or Normal options.

Show Original Option
No matter which method you use to manipulate style points, Pro/ENGINEER
displays a ghost image of the original curve, prior to movement of any points.
When the curve feature is completed, the ghost image is automatically
removed. This tool enables you to easily compare the original curve shape to
the new shape created by the manipulation of points.
You can toggle the ghosting behavior on and off by selecting or clearing the
Show Original option in the feature dashboard.
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PROCEDURE - Manipulating Style Point Locations
Scenario
Edit the shape of a design by manipulating the location of style points.
Man_Pnts man_pnts.prt
Task 1: Numerically manipulate point locations.
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2. In the style tree, select curve
CF-26, right-click, and select
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Edit Definition.
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select Add Point.
• With the new point still
selected, select the Point tab.
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• Edit the Y coordinate value to
0 and press ENTER.
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• Edit the Z coordinate value to

125 and press ENTER.
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3. With the Point tab still open,

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select the top endpoint in the

curve.
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• Edit the Soft Point, Offset from

Plane value to 175 and press
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ENTER.
4. Select the bottom endpoint in
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the curve.
• Edit the Soft Point, Offset
from Plane value to – 175 and
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press ENTER.
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Task 2: Drag multiple points and then control points.
1. In the Style tree, select curve

Edit Definition.
Plane Orientation.
three points in the middle of
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• Press CTRL + ALT and drag
the three points to the right, as
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shown.
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Pressing CTRL + ALT when dragging points locks their
movement in either the vertical or horizontal directions.
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2. In the dashboard, click Control
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Points.
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• Drag the control points to
shape the top and bottom of
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Orientation.
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You can also numerically

control the location of
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control points.
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Task 3: Add and manipulate a midpoint.

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Edit Definition.
• With the new point still
selected, select the Point tab.
• Drag the point into a position,
as shown.
• Edit the X coordinate value to
• Edit the Y coordinate value to

Edit Definition.
• Drag the point into an
approximate position, as
shown.
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• Click Done .
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Editing Endpoint Tangency
The length and direction of endpoint tangency influences the
curve’s shape.
Editing Tangents
• Direct Manipulation
Constraining Tangents
• Natural
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• Free
Tangent Handle with Default Tangency
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• Fix Angle
• Horizontal
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• Vertical
• Normal
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• Align
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Drag Tangent Handle to Edit Tangency
Editing Endpoint Tangency — Theory

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To change the shape of a curve, you can manipulate the length and direction
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of an endpoint’s tangency by dragging and rotating the tangent handle or

modifying the numerical values.
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Constraining Tangents
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You can constrain the free endpoint tangents using the following options:
• Natural – System-defined length and angle of the tangent.
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• Free – User-specified length and angle of the tangent.

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• Fix Angle – Determines the current direction, but you are able to change
the length by dragging.
• Horizontal – Sets the current direction to horizontal, relative to the grid
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of the active datum plane.

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• Vertical – Sets the current direction to vertical, relative to the grid of the
active datum plane.
• Normal – Sets the current direction to be perpendicular to a reference
datum plane.
• Align – Sets the current direction to a reference location on a selected
curve.
• Symmetric – Sets the tangents of two adjoining curves to be the average
of the tangents at the end points.
Soft Point Connections

While constraining the tangents of a soft point, you can access the following
additional options to connect curves to other curves or surfaces:
• Tangent/Curvature

• Surface Tangent/Surface Curvature
• Disconnect
• Draft Tangent
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PROCEDURE - Editing Endpoint Tangency
Scenario
Edit the shape of two point curves using only tangency.
Edit_Tan edit_tan.prt
Task 1: Edit the tangency at the endpoints of a curve.
1. Select Style 1, right-click, and
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select Edit Definition.
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Edit Definition.
• Click each endpoint and
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drag the tangent handles, as
shown. U
Plane Orientation.
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3. Select the lower endpoint.

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datum plane TOP as the Draft

Tangent reference.
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• Click Tangent from the

dashboard.
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• Edit the Draft value to - 5.

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4. With the Tangent tab still open,

select the upper endpoint.
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datum plane TOP as the Draft
Tangent reference.
• Edit the Draft value to 5.

Task 2: Add normal and horizontal tangency to the endpoints of a curve.

Orientation.
Edit Definition.
• Select the endpoint on the
right.
• Right-click the tangent
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handle, select Normal, and
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select RIGHT as the normal
reference.
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3. Select the endpoint on the left.
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and select Horizontal.
• Select the Tangent tab, if
necessary.
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• Edit the Length value to 20.
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Task 3: Add normal tangency to both endpoints of a curve.

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Edit Definition.
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Plane Orientation.
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• Click the endpoint on the left.

• Right-click the tangent handle,
select Normal, and select Top
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as the normal reference.

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2. Select the endpoint on the right.
• Right-click the tangent handle,
select Normal, and select Top
as the normal reference.
• Select the Tangent tab, if
necessary.
• Edit the Length value to – 50.
Orientation.
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• Click Done .
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Editing Soft Points
When you edit the location of a soft point, it will move along the
entity to which it is attached.
Locating Soft Points
• Length
• Length Ratio
• Parameter
• Offset From Plane
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• Lock to Point
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Editing Location by Length
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or Length Ratio
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Soft Point Located by Offset Soft Point Moves as Reference

From Plane Plane Moves
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Editing Soft Points – Theory

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When you move a soft point, it moves along the entity to which it is attached.
You can slide a soft point along its reference geometry during curve edits.
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When you move a soft endpoint that has the tangency condition set, it does
not change the condition even if the location is changed.
Locating Soft Points
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The location of the soft point changes when you edit the parent entity. By
default, this is controlled by the property parameter, which maintains the
position of the point by keeping its parameter along the curve constant.
You may control the location of a soft point using the following options:
• Length – Location is determined from the beginning of the referenced
curve to the point.
• Length Ratio – Location is determined using a ratio of the distance of the
point from the beginning of the curve to the total length of the curve. For
example, a ratio of 0.25 is 25% along the length of curve.
• Parameter – Maintains the position of the point by keeping a consistent
parameter along the curve.
• Offset From Plane – Determines the position of the point by intersecting
the parent curve with a plane at a given offset from a datum plane.

• Lock to Point – Applies only if the current position of the soft point lies on a
defining point of the reference curve (typically an endpoint), and maintains
the reference to that particular point of the reference curve.
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PROCEDURE - Editing Soft Points
Scenario
Use various options to locate soft points along a curve.
Edit_Soft edit_soft.prt
Task 1: Edit the location of endpoints using the Length Ratio option.
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CF-9, right-click, and select Edit
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Definition.
• Select the endpoint closest to
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you.
• Select the Point tab.
• Edit the Soft Point, Length
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Ratio to 1.
• Select the endpoint farthest
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from you.
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• Edit the Soft Point, Length

Ratio to .6 and press ENTER.
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Notice the circle symbol, denoting that it is a soft endpoint.

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Task 2: Edit the location of an endpoint using the Length option.

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1. With the far point still selected,

select Length from the Type
drop-down list.
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2. Edit the Soft Point, Length value

to 100 and press ENTER.
Notice the value 80.530185 is placed in the value field, this is the
full length of the curve. A length of 100 is not possible because the
curve is only 80.530185 mm long.

Task 3: Edit the location of an endpoint using the Length option.
1. Select the closest point and

select Offset from Plane from
the Type drop-down list.
2. In the model tree, select RIGHT
as the offset reference.
3. Edit the Soft Point, Offset from
Plane value to 25 and press
ENTER.
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Task 4: Edit the location of an endpoint using the Lock to Point option.
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1. Select farthest point and edit the
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Soft Point, Length value to 75
and press ENTER. U
2. Right-click that same point and
select Lock to Point.
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Notice that the soft endpoint

locks to the nearest vertex.
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4. Click Done .
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Editing Curves
Edit curves by moving, adding, or removing the style points that
define them or, by splitting, combining, or extending the curve.
Moving Points
Adding and Deleting Points
Splitting and Combining Curves
Extending Curves
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• Free
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• Tangent
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• Curvature Curve Split and Point Added
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Split and Extended Free Point Added

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Editing Curves - Theory

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One method for editing a curve is to edit the style points that define that
curve. You can move, add, or remove style points to change the curve’s
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definition. You can also edit the curve itself, by splitting it, combining it with
another curve, or extending its length at the ends.
Adding and Deleting Points

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To define the shape of a desired curve, you may need to add or delete points.
• Adding Points – Select a curve and then click the location where you
want to add a point.
• Adding Midpoints – Use the Midpoint option.
• Deleting a Point – Select a curve and then click the point you want to
delete.
Splitting and Combining Curves

To split a curve, click the location on the curve where it is to be split, right-click,
and select Split. The split operation divides the curve into two segments that
are attached with a soft point. However, there is no connection between the
curves. The resulting curves change shape as they refit to the new defining
points. You can also combine the two curves. To combine curves, one of the

curves must have a soft point at the endpoint. The resulting curve readjusts
its shape to fit the new definition and maintain smoothness.
Extending Curves
You can extend a curve using the following options.
• Free – Press SHIFT + ALT and click anywhere on the screen to add a new
point. The curve shape is changed to accommodate the new point.
• Tangent – Press SHIFT + ALT and drag the endpoint. For tangent curves,
the curve extends along the original tangent direction.
• Curvature – Press SHIFT + ALT and drag the endpoint. For curvature
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continuous curves, the curve extends while maintaining curvature
continuity.
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PROCEDURE - Editing Curves
Scenario
Use various options to edit existing curves.
Edit_Curve edit_curve.prt
Task 1: Combine two curves and delete a point.
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Edit Definition.
3. Right-click the point shown and
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select Combine.
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Notice the combined curve contains five points and has been
renamed to CF-96.
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4. Right-click the middle point

shown and select Delete.
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Task 2: Add a midpoint to a curve, split it, and drag the intersection.

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Edit Definition.
Add Midpoint.
3. Right-click the new point and
select Split.
Notice in the Style tree that curve CF-95 has been replaced with
CF-97 and CF-98.

4. Select the endpoint that you
used to split the curve.
• Select the Point tab.
• Edit the X coordinate value to
– 30 and press ENTER.
• Edit the Z coordinate value to
– 150 and press ENTER.
• Click the Tangent tab.
• Edit the Angle value to 50 and
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press ENTER.
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Task 3: Extend a curves using the free and tangent options.
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Edit Definition. U
2. Click the right most endpoint of
the curve.
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3. Press SHIFT + ALT and click
just to the right of the endpoint,
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as shown.
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Notice that the old endpoint changes to an internal point while

a new endpoint is created where you clicked in the Graphics
window. This is a Free extension.
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4. Click the left most endpoint of

the curve.
5. Press SHIFT + ALT and drag the
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endpoint as shown.
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7. Click Done .
Notice that the endpoint moves along with the curve attached
to it, leaving an internal point at the old endpoint location. This
is a Tangent extension.

Copying and Moving Curves
Translate, rotate, and scale curves using the Copy and Move
tools.
Marquee
Rotation Jack
Copy and Move Curves
• Translate
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• Rotate
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• Scale Translate by Dragging the Marquee
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Moving a 3-D Curve Scale by Dragging the Marquee

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Copying and Moving Curves – Theory

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Use the Move and Copy tools to manipulate curves. You start the tools by
clicking Edit > Copy and Edit > Move. Both tools utilize a marquee box that
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controls the translation, rotation, and scale of the moved or copied curves.
Unlink
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The cleared Unlink check box ensures that all references to the original
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curve are maintained in the new curve. For example, if an endpoint has
a normal tangent condition in the original curve, that condition will also be
maintained in the new curve. If required, select the Unlink check box to
remove any references from the original curve.
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Marquee and Rotation Jack

The marquee and rotation jack are used to define direction and location
during copy and move operations.
• Marquee – The handles and frame surrounding the geometry being copied
or moved. Dragging these handles will translate and scale the geometry.
• Jack – This entity looks similar to a coordinate system and defines the
center of rotation used when rotating geometry during copy and move
operations.
Translation Operation
Drag selected style geometry anywhere in the Graphics window while
copying or moving it. In the dashboard, select one of the following to specify
the direction constraint while translating the geometry:

• Free – Geometry moves freely. This is the default translation constraint.
• Normal – Geometry moves along the normal of the active datum plane.
Alternatively, you can press the ALT key while dragging the geometry to
make it move along the normal of the active datum plane.
• Horizontal / Vertical – Geometry moves parallel to the active datum plane
either along the horizontal direction or along the vertical direction only.
Alternatively, press the CTRL + ALT keys while dragging the geometry to
make it move parallel to the active datum plane along either the horizontal
or vertical direction.
Scale Operation
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Use the handles on the marquee to scale the geometry while copying or
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moving it.
• Drag to Scale – Drag any corner, edge handle, or edge arrow on the
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marquee to scale the geometry.
• Scale by Value – In the Options tab, specify X, Y, and Z values for scaling
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geometry.
• Scale Types – In the dashboard, select one of the following to specify
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the Scale type.
– Center – Scales uniformly around the center of the marquee.
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Alternatively, you can press the SHIFT + ALT keys while dragging the
marquee to scale the geometry uniformly around the center axis.
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– Opposite – Scales geometry uniformly in the opposite direction of the

selected corner, edge, or face.
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Rotation Operation
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Use the rotation jack to rotate the geometry while copying or moving it.
• Drag Rotation – Drag the handles on the ends of the jack to rotate the
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geometry about the center of the jack.

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• Rotation By Value – In the Options tab, specify X, Y, and Z values for

rotating geometry about the center of the jack.
Transformation Types
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Select one of the following transformation types from the dashboard:

• Selection – Transforms the selected curves with the marquee.
Alternatively, you can right-click the rotation jack and select Transform
Selection. This is the default and most common type of transformation.
• Marquee – Transforms only the marquee and the rotation jack.
Alternatively, you can right-click the rotation jack and select Transform
Marquee. Because the rotation center is defined by the location of the
jack, you may be required to transform only the marquee, before rotating
geometry.
Note that planar curves can only be translated, scaled, and rotated
in two directions. COS type curves cannot be copied or moved.

PROCEDURE - Copying and Moving Curves
Scenario
Use the Copy and Move tools to create new curves.
Copy_Move copy_move.prt
Task 1: Copy and scale a curve.

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CF-1357.
3. Click Edit > Copy.
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4. Click the Z-axis of the jack and
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drag the curve in any direction
within the window. U
5. Release the wheel button when
complete.
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6. Click Undo until the copy

returns to its original position.
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Notice that the copy does not move along the Z-axis as you may
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have expected. This is because by default, the Unlink check

box is cleared, leaving the copy linked to the original curve.
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7. In the dashboard, select the Unlink check box.

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8. In the Move drop-down list, select Normal.

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9. Click Options to open the tab.
10. Click the Z-axis of the jack and

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drag the curve toward you, along

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the Z-axis.
11. Notice that when you release the
mouse, the move value for Z, in
the Options tab, returns to zero.
12. Clear the Relative check box and drag along the Z-axis again.
13. Edit the Move value for Z to 275 and press ENTER.
Task 2: Scale the copy.

2. In the model tree, select datum plane FRONT.

4. Click and drag the upper-right
marquee handle to scale the
copy.
5. Click Undo until the copy
returns to its original position.
Notice that the curve was scaled with the lower-left corner
locked in position.
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6. In the dashboard, select Center
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from the Scale drop-down list.
7. Click and drag the upper-right
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copy, as shown.
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8. If necessary, click Option to
open the Option tab.
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9. Edit the move value for Y to 0
and press ENTER.
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Task 3: Scale the copied curve, using the Move tool.

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2. With the copied curve still selected, right-click and select Edit
Definition.
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Notice that the copied curve is the same as a curve created

using the Curve tool.
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4. Click Edit > Move.

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5. Select the copied curve as the curve to be moved, if necessary.

6. In the Move drop-down list, select H/V.
7. Click and drag the lower-left

curve horizontally, as shown.
9. Click Done .

Offsetting Curves
Create style curves using the Curve Offset tool.
Offset Curve
• Direction Reference
• Normal
• Value
• Editing
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Curve Offset Normal to Plane
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COS Offset on Surface Reference Curve Offset Parallel to Plane

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Offsetting Curves – Theory

You can use the Offset Curve tool to duplicate a curve by offsetting it a
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distance from the original, existing curve within the Style tool. Click Styling >
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Offset Curve from within the style feature to start the Offset Curve tool.
Offset Direction
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You can offset a curve normal or parallel to a reference. The reference used
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varies depending on the type of curve being offset. By default, Normal is

cleared in the dashboard and curves are offset parallel to a reference. When
you click Normal, the curve will be offset normal to a reference.
Below is a list of the references used for each type of curve when creating
an offset curve:
• Free – The offset reference plane of a free curve is selected by
Pro/ENGINEER. You edit the direction reference by clicking the direction
collector and selecting a datum plane or planar surface.
• Planar – The offset reference of a planar curve cannot be edited. It is the
reference plane used to create the curve.
• COS – By default, you offset a COS curve a distance from the original
curve, on the surface referenced by the curve. Clicking Normal will offset
the curve normal to the reference surface of the COS curve.

Offset Value
Drag the handle displayed on the selected curve to change the offset distance
or double-click the display value for the offset and specify a new offset value.
Alternatively, specify a new offset value in the Offset box on the dashboard.
You select the Offset check box to export the offset value for modification
outside the Freeform Surfacing tool. You can then edit the dimension in the
standard Pro/ENGINEER environment.
Some offset values can produce cusps or self-intersecting curves.
In this situation, the curve is automatically split into multiple curves
to retain the cusp point. This results in more than one offset curve
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entity.
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Editing Offset Curves
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You cannot edit the shape of an offset curve. You must convert an offset
curve to an independent curve before editing it. Use Edit > Convert to make
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an offset curve independent of its parent curve.
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PROCEDURE - Offsetting Curves
Scenario
Create new curves using the Offset Curve tool.
Off_Curve off_curve.prt
Task 1: Create an offset curve.

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OF-1393.
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3. Click Styling > Offset Curve.
4. Drag the offset handle to an
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offset value of 10, if necessary.
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By default, the offset distance is parallel to the TOP datum plane.
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5. In the dashboard, click Normal

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to make the offset distance

normal to datum plane TOP.
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6. Right-click, select Direction

Collector, and click datum plane
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FRONT.
The offset distance is now
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normal to datum plane

FRONT.
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7. Clear the Normal check box.

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The offset distance is now

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parallel to datum plane

FRONT.
Task 2: Convert the offset curve to a standard curve.
1. With the offset curve selected, right-click and select Edit Definition.
Notice that the shape of the curve cannot be edited, only the
offset values and references.
2. Click Cancel Feature .

3. Select the offset curve and click
Edit > Convert.
4. Click Yes to confirm the
conversion.
Definition.
Notice that the dashboard
and curve now appear as
a standard curve when
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editing.
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Task 3: Offset a COS curve.
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1. In the style tree, select curve CF-1395.
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This curve was created using the COS option.
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2. Click Styling > Offset Curve.

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3. Drag the offset handle towards

you, to an offset value of – 10.
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The curve is now offset

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normal to the surface it was

created on.
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4. Clear the Normal check box, if

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necessary.
The curve is now offset on
the surface it was created
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on.
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6. Click Done .

Using the 4-View Layout to Modify Curves
You can use the 4-view layout to create and modify curves.
Using 4-View Layout

• Create 3-D curves.
• Manipulate curves.
• See edits in all views.
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Editing in a 4-View Layout
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Using the 4-View Layout – Theory

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You can use the 4-view layout option within the Style tool to create and
manipulate style curves and surfaces. When activated, the system creates
front, top, right, and 3-D views of the model. You can re-size each window
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and then independently spin/pan/zoom in each window.

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When using the 4-view layout, changes made to style features in one window
display dynamically in the other three windows. This is particularly useful
for creating and manipulating curves in 3-D space, as you see their shape
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change on three planes simultaneously.

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In this example, a spline style curve is being edited in 3-D space and you can
see it update simultaneously in all views.
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PROCEDURE - Using the 4-View Layout to Modify
Curves
Scenario
Edit curves using the 4-view layout.
4-View 4-view.prt
Task 1: Create an offset curve.
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2. In the style tree, select curve CF-1407, right-click, and select Edit
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Definition.
3. Click Show All Views from the main toolbar.
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4. In the lower-right view, drag the
tangent handles at each end of
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the curve to adjust the shape, as
shown.
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Notice that with the 4-view layout, it is easy to see how edits
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affect the design from every angle.

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Edit Definition.
7. In the upper-left view, drag the
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three points to adjust the shape,

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as shown.
The 4-view layout, it is especially useful when editing 3-D curves.

Edit Definition.
10. In the lower-right view, drag the
point shown to adjust the shape.
12. Click Done .

The 4-view layout is only
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available when you use the
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Style tool. As soon as you
click Done to exit the
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Style tool, the 4-view layout
is no longer available.
When you restart the Style
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tool, the model will again
appear in the 4-View layout. U
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Notice that the Style tool is still using the 4-view layout.
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14. Click Show All Views to disable the 4-view layout.

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15. Click Done .

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Analyzing Curves
Analyze curves to ensure that your finished model meets the
styling requirements of your product.
Analyzing Curvature
• Curvature plots.
• Using curvature plots:
– Analyze shape.
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– Analyze quality.
• Plot settings.
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Curvature Plot
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3-D Analysis in the 4-View Layout

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Analyzing Curves – Theory

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You should analyze curves during the modeling process to ensure that
tangency and curvature requirements of your design are maintained.
Curvature Plots
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You can graphically plot the curvature of a curve. The curvature plot displays
normal vectors proportional to the curvature along the length of the curve.
Analysis of curves is important because a distorted curve, unless analyzed,
may appear clean and smooth. You use the curvature plot to:
• Capture the intended shape of a curve.
• Evaluate the curve quality. For a smooth curve, the curvature plot should
be smooth. It should be devoid of unwanted distortions. However, a corner
or crease in the curvature plot does not indicate a crease in the curve, but
displays a sharp change in the curvature.
Using 3-D Curvature Plots

You can use the curvature plot when editing the shape of curves. When
editing the shape of a 3-D curve, if you use the curvature plot in one view, you

may not receive an accurate assessment of the correct shape of the curve.
To manipulate the shape of a 3-D curve, you should use the 4-view layout.
Curvature Plots Settings

You can modify the display settings of the curvature plot using the following
options available in the Curvature dialog box:
• Quality – Modify the number of segments on the plot.
• Scale – Modify the relative scale of the plot.
• Type – Edit the type from Curvature (default) to display Radius or Tangent
analyses.
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Saved Analysis
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You save curvature analyses and reuse them at any point in time. Use the
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following steps to save a curvature analysis:
• Edit the definition of the curve you are analyzing.
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• Click Pause Feature from the dashboard.
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• Click Curvature from the main toolbar.
• Select the curve you are currently editing.
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• Change the settings as required.

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• In the lower left of the Curvature dialog box, select Saved from the
drop-down list.
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• Click Accept from the Curvature dialog box.

• Click Resume Feature from the dashboard.
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You can hide, un-hide, and delete saved analyses from the Saved Analysis
dialog box, opened by clicking Analysis > Saved Analysis.
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Alternatively, you can click Analysis > Hide All and Analysis > Delete All to
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manage saved analyses in the model.
Best Practices
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You should analyze the curves and surfaces that define your model as they
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are being created. This ensures that your finished model meets all of your
product’s styling requirements.

PROCEDURE - Analyzing Curves
Scenario
Analyze curves to ensure tangency and curvature requirements are met.
Analyze analyze.prt
Task 1: Apply a curvature analysis to a curve.
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Definition.
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3. Click Pause Feature from the dashboard.
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4. Click Curvature from the main toolbar.
• Select the curve you are currently editing.
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• In the Curvature dialog box, type – 200 for the scale and press
ENTER.
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• In the lower left of the Curvature dialog box, select Saved from
the drop-down list.
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• Click Accept from the Curvature dialog box.

5. Click Resume Feature from the dashboard.
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Note that if you create an analysis feature without pausing the

feature creation, the analysis dialog box does not open so you
are not able to adjust the analysis scale, quality, and so on.
You can however edit these options using the Saved Analysis
dialog box.
Task 2: Apply a curvature analysis to a curve and edit that curve.
Definition.
2. Click Pause Feature from the dashboard.

3. Click Curvature from the
main toolbar.
• Select the curve you are
currently editing.
• In the Curvature dialog box,
ENTER.
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4. Click Resume Feature from
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the dashboard.
5. Drag the inner points to shape
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the curve approximately, as
shown. U
Notice that both curvature
analysis features update as
the curve is being adjusted.
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Task 3: Use the Saved Analysis dialog box to manage saved analyses.
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1. Click Analysis > Saved Analysis.

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2. In the dialog box, click Hide Analysis to Hide the first analysis in
the list.
3. Select the second analysis in the list and then click Delete Analysis
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to remove it.
4. Close the Saved Analysis dialog box.
5. Click Done .

Using Imported Images
You can insert an image into your model and create style curves,
using the image as a visual reference.
Using an imported image:
• Apply the image to a plane.
• Fit the image to your model.
• Position the image in your model.
• Manipulate the image visually.
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• Use the image as a visual reference when creating curves.
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Position and Fit the Image Use Image as a Visual Reference

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Using Imported Images – Theory

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In a style feature, you can apply images to a specified plane. You can use
images to create style curves by tracing contours or in sketch, when creating
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solid features.
Applying Images
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To use an image, you need to apply it to a datum plane.

Fitting Images
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Once you apply an image, the system provides horizontal and vertical
location bars that assist in defining the image size. The Fit option will then
scale the image to the distance defined between the location bars.
Positioning Images
Once you have fit the image to your model, you position it using the blue jack
locator. Simply drag the jack to a defined location in the image, and then drag
the image and jack to a defined location in the model.
Manipulating Images
You can use the Rotate, Move, and Scale options in the Trace Sketch dialog
box to position and scale the images visually on the screen. You can use the
Transparency option to dynamically manipulate the display of the image on
the screen.

Tracing Curves
You use the applied image as a visual reference for creating or “tracing” style
curves or sketch geometry.
• Setting transparency – You can change the transparency of the images
to view the image contours and geometry together.
• Using images to sketch curves – You can create a style feature with
an image applied to a datum plane and then exit the feature. The image
remains visible outside the style feature. Use the image as a reference in
Sketcher to create parametric curves.
• Using multiple images – By using multiple datum planes, you can use
multiple images and create different curves on different planes.
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PROCEDURE - Using Imported Images
Scenario
Add a image representing the concept shape of a vaporizer to the model.
Then, use that vaporizer image as a tracing reference for defining style
curves.
Ref_Image vap_base.prt
Task 1: Apply an image to datum plane FRONT.
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nl
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2. Click Styling > Trace Sketch.
• In the Trace Sketch dialog
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box, click Front.
• Click Working Directory . U
• Double-click Images, select
VAP_FRONT.JPG, and click
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Open.
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Task 2: Fit the image to the model.

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1. Right click and select Set Active Plane.

• Select datum plane FRONT.
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2. Zoom in, and click and drag the three yellow dimensioning bars
inward to align with the reference lines drawn in the image, as shown.
Notice that the horizontal reference dimension is 116.
3. In the Trace Sketch dialog box, select Horizontal as the Fit option.
4. Type 116 as the value and click Fit to scale the image.
5. Click Properties in the Trace Sketch dialog box, type 10 in the
Transparency field, and press ENTER.
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Task 3: Position the image in the model.

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1. Drag the blue jack to align it at

the bottom, center zero location,
as shown.
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2. Click the image (not on the blue

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jack) and drag it to align the

blue jack on the datum plane
intersection, as shown.
3. Click OK from the Trace Sketch
dialog box.
4. Click Done to complete the
style feature.
5. Press CTRL + D to reorient the
model.

Task 4: Create a style curve using the image as a tracing reference.
1. Start the Style Tool .

• Select datum plane FRONT from the model tree.
3. Click Create Curves .

• Click Planar from the
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dashboard, if necessary.
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• Select the References tab in
the dashboard.
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• Type 0 as the offset values and
press ENTER, if necessary.
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• Select locations for five points
as shown, using the image as
a visual reference.
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4. Click Complete Feature from the dashboard.
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5. Right-click and select Edit Definition.

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6. Drag points to refine the curve shape.

7. Click Complete Feature from the dashboard.
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8. Click Done to complete the style feature.

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Using Imported 3-D Data
Reference imported curve, surface, and point data to create
style features.
Imported 3-D Data

• Imported curves
• Imported surfaces
• Scan curves
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• Faceted geometry
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COS Created on Imported Surface
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Style Surface from COS Completed Design

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Using Imported 3-D Data – Theory

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You can use imported data from sources such as IGES, STEP, VDA, and
so on to create style features. Common methods for using this data are
listed below.
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• Use imported curves to directly build surfaces.

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• Convert imported curves to datum curves or style curves to build surfaces.

• Snap style curves to imported surfaces.
• Drop curves onto imported surfaces.
• Use edges of the imported surface data to build surfaces.
• Use faceted data to create surface models.
The image above shows the model of an eyepiece developed using the
imported surface data of a head model.

Using References from Design Models
You can design freeform surface models with reference to
design models.
Design References
• Skeleton Models
• Framework
• Curve References
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• Surface References
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Exploded View of Style Geometry
Referencing Design Geometry
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Curve Endpoints Referencing

Skeleton Geometry
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Using References from Design Models – Theory

Like any Pro/ENGINEER features, you can add design intent to freeform
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surface models by referencing design information in other models. Updating

the referenced design models will then automatically update referenced style
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features.
Design Framework
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Create or copy a design framework into your freeform surface model. You
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can reference a framework of datum features to control important engineering

detail such as overall size, attachment locations and so on.
Style Feature References

You can create style curves that reference geometry in other models for point
locations and endpoint conditions. Style surface can reference edge and
surface geometry to define surface boundaries, tangent conditions, and so on.

PROCEDURE - Using References from Design Models
Scenario
Create style features that reference a common skeleton model.
Ref_Design ref_design.asm
Task 1: Create a style feature, referencing design copied from a skeleton.
1. In the model tree, expand

both REF_BASE.PRT and
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REF_DESIGN.PRT.
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2. Select the External Copy
feature in each model. Notice
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the same sketch curve geometry
is copied into each model from
the skeleton model.
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3. In the model tree, right-click REF_DESIGN.PRT and select Open.
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5. Right-click and select Set Active Plane, then select datum plane
RIGHT from the model tree.
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• Click Planar from the

dashboard and in the
Reference tab, edit the
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offset value to 0, if necessary.

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point of the curve to horizontal

sketch segments shown.
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• Select a point location

approximately in the center of
the model, as shown.
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• Press SHIFT to snap the

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end of the curve to horizontal

sketch segments shown.

8. With the curve still selected, right-click and select Edit Definition.
• Click Plane Display to enable their display.
• Press SHIFT and drag the middle point until it snaps to datum
plane RIGHT.

12. Right-click and select Surface.

• Click in the Graphics window
to de-select any already
selected items.
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four sides of the copied sketch
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geometry, as shown.
• Right-click and select Internal
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Collector.
• Select the previously created
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style curve, as shown.
• Click Complete Feature . U
• Click Done .
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13. Click Window > Close.
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Task 2: Edit the design model and notice that the style geometry also
updates.
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1. In the model tree, expand

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REF_DESIGN_SKEL.PRT.
2. Right-click Sketch 1 and select
Edit.
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3. Edit the 60 dimension to 80.

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4. Click Regenerate .
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5. In the model tree, right-click

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Sketch 1 and select Edit.

When design information in the skeleton model is updated,

the external copy features and all related geometry are also
updated. This includes the style curve and surface you created
in this exercise.

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Module 4
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Developing Freeform Surface Models
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Module Overview
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In this module, you the learn basic concepts of creating style surfaces. You
also learn to use surfaces to define style curves. Finally, you learn how to edit
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those surfaces and curves.
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Objectives
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• Understand style surfaces.

• Create boundary surfaces.
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• Create loft surfaces.

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• Use multiple curves as a single boundary.

• Create a blend surface using a radial option.
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• Create a blend surface using a uniform option.

• Use surfaces to define curves.
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• Create a curve on surface type curve.

• Intersect surfaces to create a COS.
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• Create a curve from surface.

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• Manipulate COS type curves.

Understanding Style Surfaces
Create complex and high-curvature surface geometry using the
interactive Style tool.
Types of Surfaces
• Boundary surfaces
• Loft surfaces
• Blend surfaces
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• Composite surfaces
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Boundary Surface
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Loft Surface Blend Surface

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Understanding Style Surfaces – Theory

You can create freeform style surface geometry within Pro/ENGINEER to
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conceptualize and refine a product form.

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Types of Style Surfaces

You can create the following types of style surfaces using style curves, datum
curves, sketches, or edges:
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Fo
• Boundary Surfaces – Have a rectangular or triangular boundary. A set of

primary curves with optional internal curves defines the complete boundary
of the surfaces.
• Loft Surfaces – Created from a set of non-intersecting curves that flow in
the same direction.
• Blend Surfaces – Created by selecting one or two primary curves and
one or more cross curves. A cross curve is a curve that intersects the
primary curve(s). There is no restriction to the number of cross curves you
can select to define blend surfaces.
• Composite Surfaces – Surfaces with more than one curve as a single
boundary or internal curve are composite surfaces. You press SHIFT and
select multiple curve segments as a single boundary. You press CTRL to
select multiple boundaries.

Creating Boundary Surfaces
Create style surfaces referencing three and four sided
boundaries.
Boundary Surfaces
• Triangle: Three Boundary Surfaces
• Rectangle: Four Boundary Surfaces
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Three Boundary Surface Four Boundary Surface
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Creating Boundary Surfaces – Theory

You can create style surfaces using boundaries. You can add internal
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curves to modify the shape. You can work interactively with style surfaces
by manipulating the boundary and the internal curves. Boundary surfaces
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are particularly useful when you create conceptual models where you
interactively and intuitively design the shapes.
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Three or Four Boundaries

PT
A boundary surface can reference either three or four boundaries.

• Triangle – You create triangular surfaces using three boundaries.
Triangular surfaces have one degenerate edge. The edge opposite the
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degenerate vertex is called the natural boundary. When you create a

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triangular surface, the first boundary curve you select becomes the natural
boundary.
• Rectangle – You create rectangular surfaces using four boundaries. You
can use style curves, datum curves, and solid and surface edges as
boundaries.
Rules for Defining Boundary Curves

The defining curves of style surfaces must intersect each other. However, the
curves may extend past each other. They should either be connected to each
other with soft-point, or attached to a common reference as fixed points. You
can also use partial boundaries when creating style surfaces.

PROCEDURE - Creating Boundary Surfaces
Scenario
Create three and four-boundary surfaces, using solid edges, sketched
curves, and style curve boundaries.
Bound_Surf bound_surf.prt
Task 1: Create a four-boundary surface.
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nl
2. Click Surface from the style
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toolbar.
3. Press CTRL and select the four
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boundaries shown.
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Note that you can select the four boundaries in any order.
The selected boundaries include a solid edge, two sketched
curves, and a single style curve.
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5. Click Done .
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Task 2: Create a three-boundary surface.

PT

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toolbar.
3. Select the top edge of the solid
cylinder.
When you create a triangular surface, the first boundary curve

you select becomes the natural boundary. This is the boundary
that is opposite of the degenerate vertex.

4. Press CTRL and select the other
two style curves, as shown.
6. Click Done .
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Creating Loft Surfaces
A loft surface references non-intersecting curves that flow in
the same direction.
Loft Surfaces
• Reference non-intersecting curves.
• Curves flow in same direction.
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Loft Curves
U Loft Surface
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Creating Loft Surfaces – Theory
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You can create loft surfaces by selecting a set of non-intersecting curves that
flow in the same direction as boundaries.
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The images above display a loft surface created by referencing four

non-intersecting parametric curves. Notice that all the curves flow in the
In
same direction.
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PROCEDURE - Creating Loft Surfaces
Scenario
Create a loft surface through a series of sections.
Loft_Surf loft_surf.prt
Task 1: Create a loft surface.
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2. Click Surface from the style toolbar.
3. Press CTRL and working from back to front, select the four loft
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sections, as shown.
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Note that you create a loft surface by selecting boundary curves

that flow in the same direction across a model. You cannot select
curves randomly, they must be selected in a single direction
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across the model.

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5. Click Done .
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Using Multiple Curves as a Single Boundary
You can create style surfaces using more than one curve as a
single boundary.
Multiple Segments Boundaries:

• Press SHIFT to select.
• Joined using tangent or curvature.
• Results in a composite surface.
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Select Multiple Curves
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Tangent or Curvature Continuity Composite Surface

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Using Multiple Curves as a Single Boundary – Theory

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You can use more than one curve to create a single boundary of a surface,
however the resulting surface will be a composite surface.
Selecting Multiple Curves as a Single Boundary

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Press SHIFT to select multiple curves that define a single surface boundary.
If you are selecting a boundary that is not the first boundary of the surface,
you will need to first release the CTRL key, before pressing SHIFT.
Tangent or Curvature Continuity

The set of curves along a single boundary can consist of different types of
curves, but they must join at the ends with tangent or curvature continuity.
Composite Surface
Creating a surface from a boundary containing multiple curves will result in
the creation of a composite surface. Composite surfaces are composed of a
set of surface patches but are treated as a single surface quilt. The surface
normals of the component surfaces are oriented consistently with each other.

PROCEDURE - Using Multiple Curves as a Single
Boundary
Scenario
Create a style surface using a boundary containing multiple curve segments.
Multi_Bound multi_bound.prt
Task 1: Create a boundary surface with a multi-segment boundary.
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toolbar.
• Select the lower arc-shaped
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curve, CF-32, as the first
boundary. U
upper arc-shaped curve,
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CF-34, as the second
boundary.
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• With CTRL still pressed, select

the lower-left curve, CF-25, as
the third boundary.
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• Release CTRL and press

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SHIFT, then select the

upper-left curve, CF-26, as the
second boundary segment.
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PT
Notice that the error message in the lower-left of the

Pro/ENGINEER window states: “The chain is not tangent.” You
must join multiple curves with tangent or curvature continuity if
they are to be used as a single boundary.
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Task 2: Edit the curve’s end condition so that you can use it as a boundary.

2. In the style tree, select CF-26,
right-click, and select Edit
Definition.
3. Select the endpoint shown,
right-click on the tangent handle,
and select Tangent.

Task 3: Create a boundary surface with a multi-segment boundary.
1. Select anywhere in the Graphics window to de-select the selected

curve.

toolbar.
• Select the lower arc-shaped
curve, CF-32, as the first
boundary.
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nl
upper arc-shaped curve,
CF-34, as the second
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boundary.
• With CTRL still pressed, select
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the lower-left curve, CF-25, as
the third boundary.
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upper-left curve, CF-26, as the
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second boundary segment.
• Release SHIFT, press CTRL
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and select the lower-right

curve, CF-27, as the fourth
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boundary.
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upper-right curve, CF-28,
as the second boundary
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segment.
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4. Click Done .
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Notice that the completed

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surface is a single quilt,

composite surface,
containing three surface
patches. It is a composite
surface because it was
created from boundaries
containing multiple curve
segments.

Creating a Blend Surface using the Radial Option
Use the Radial option to control the shape of a blended surface.
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Without Radial Option Without Radial Option – Top View
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With Radial Option With Radial Option – Top View

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Creating a Blend Surface using the Radial Option – Theory

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In the example shown, a blended surface is created by selecting one primary

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curve and one cross curve as a boundary.

You can further control the shape of this type of blended surface using the
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Radial option.
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• Radial - The Radial option controls the sweep of the cross curve. If you
select the Radial option, the cross curve sweeps radial to the primary
curve. If you do not select the Radial option, the cross curve sweeps along
the primary curve, keeping the cross-sections parallel to the cross curve.
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A cross curve is a curve that intersects the primary curve.

PROCEDURE - Creating a Blend Surface using the
Radial Option
Scenario
Create a surface and then edit its shape by clearing the radial option.
Radial_Surf radial_surf.prt
Task 1: Create a surface using the Radial option.
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• Select the large primary curve, CF-0.
• Right-click and select Cross Collector.
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• Select the small cross curve, CF-3.
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3. Start the Named View List from the main menu and select Front.
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5. Right-click and select Active Plan Orientation.
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6. Click Options in the dashboard. Notice that Radial is the default

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option selected in the tab.

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Notice that the radial option creates a surface by sweeping the

cross curve normal to each point on the primary curve.

Task 2: Remove the Radial option from the surface.
1. Clear the Radial check box in

the Options tab.
3. Click Done .
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nl
Notice that, without the radial option selected, the surface is
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created by sweeping the cross curve parallel to primary curve.
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Creating a Blend Surface using the Uniform
Option
Use the Uniform option to control the shape of a blended surface.
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Without Uniform Option Without Uniform Option – Front View
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With Uniform Option With Uniform Option – Front View
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Creating a Blend Surface using the Uniform Option – Theory

In the example shown, a blended surface is created by selecting two primary
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curves and one cross curve as a boundary.

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You can further control the shape of this type of blended surface using the
Uniform option.
• Uniform - The Uniform option controls the sweep of the cross curve along
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the primary curves. If you select the Uniform option, the cross curve is
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scaled uniformly along the primary curves. If you clear the check box,
the cross curve is scaled non-uniformly to preserve a consistent loft over
the blend.
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A cross curve is a curve that intersects the primary curve.

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PROCEDURE - Creating a Blend Surface using the
Uniform Option
Scenario
Create a surface and then edit its shape by clearing the uniform option.
Uniform_Surf uniform_surf.prt
Task 1: Create a surface using the Uniform option.
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• Press CTRL and select the two longer curves as primary curves.
• Right-click and select Cross Collector.
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• Select the small cross curve.
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3. Right-click and select Active Plan Orientation.

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4. Start the Named View List from the main menu and select Front.
5. Click Options in the dashboard. Notice that Uniform is the default
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option selected in the tab.

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Notice that the Uniform option creates a surface by sweeping the

cross curve along the primary curves, scaling the cross curve
uniformly along the primary curves.

Task 2: Remove the Uniform option from the surface.
1. Clear the Uniform check box in the Options tab.

3. Click Done .
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Notice that without the Uniform option selected, the cross curve
is scaled non-uniformly to preserve a consistent loft over the
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blend.
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Using Surfaces to Define Curves
You can use several methods to create curves using surfaces
as references.
Creation Methods
• Using the COS Option
• Drop Curve
• COS By Intersect
• Curve from Surface
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– Free
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– COS
The COS Option and Drop Curve
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COS By Intersect Curve from Surface

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Using Surfaces to Define Curves – Theory

You can create several types of curves that use surfaces as references.
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Methods for creating these curves are as follows:

PT
• Curve on Surface (COS) Option – You can create a COS by manually

specifying the points through which you want the curve to pass on a surface
by selecting the COS option in the curve creation dashboard.
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• Drop Curve – The Drop Curve tool enables you to select an existing
Fo
curve and project it onto a selected surface.
• COS By Intersect – The COS By Intersect tool enables you to

intersect a surface with another surface or datum plane to create a curve.
• Curve from Surface – You can use the Curve from Surface tool to create
a Free or COS curve by selecting a point on the surface through which
the curve must pass.
Curve on Surface (COS)

All of the methods above, except the Curve from Surface, with the Free
option, produce a Curve on Surface (COS) type curve. All points of a COS
type curve are constrained to lie on a single surface so the curve is also on
the surface. The curve is a child of the surface, and updates accordingly
when the shape of the surface changes.

The Drop Curve and COS By Intersect methods enable you to create COS
type curves across multiple surface patches. You cannot do this in single
operation when using the COS Option or Curve from Surface methods.
If you use the Free option when creating a curve using the Curve
from Surface method, it has no parent/child relationship with to
the surface. When the surface shape is changed, the curve will
not change accordingly.
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Creating a Curve on Surface Type Curve
Create a curve directly on a surface or by projecting an existing
curve onto a surface.
Curve on Surface (COS)

• Create using the COS option.
• Project an existing curve onto a surface using Drop Curve .
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Creating a COS Directly Projecting a Curve onto a Surface
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Creating a Curve on Surface Type Curve – Theory

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You can create a curve on a surface using the following methods:

• Using the COS Option – You create a COS by selecting a surface and then
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defining the points by clicking directly on the surface. Style creates a COS
that passes through these points and is constrained to lie on the surface.
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• Dropping a curve – You project a curve onto a surface or set of surfaces

using Drop Curve . The curve is projected normal to a selected plane.
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When you project a curve on a composite surface, individual COS curves

are created for each component of the composite surface.
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PROCEDURE - Creating a Curve on Surface Type Curve
Scenario
Create a curve on surface type curve by placing points directly on the surface
or dropping an existing curve onto the surface.
COS cos.prt
Task 1: Create a curve on surface using the COS option.
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2. Click Create Curves from
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the style toolbar.
• In the dashboard, click COS.
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• Press SHIFT and place a soft
point on the upper boundary
of the surface.
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• Click the surface to place two
additional points, as shown.
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• Press SHIFT and place a soft

point on the lower boundary of
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the surface.
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5. Drag the points to adjust the shape, as shown in the previous image.
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6. Spin the model to observe that the curve has been placed on the
surface.
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Task 2: Create a COS by dropping an existing curve onto the surface.

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1. Select anywhere in the Graphics window to de-select the curve you

just created.
2. Click Drop Curve from the

style toolbar.
• Select the circular curve.
• Right-click and select Surface
Collector.
• Click on the surface that the
curve will be dropped on.

Notice that by default, the TOP datum plane is selected as the
direction reference. You can edit this at any time.

4. Click Done .
5. Spin the model to observe that
both curves have been placed
on the surface.
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Intersecting Surfaces to Create a COS
You can create COS type curves by intersecting surfaces as well
as datum planes.
Intersecting References
• Create a COS at the intersection of two surfaces.
• Create a COS at the intersection of a surface and a datum plane.
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Intersecting Surfaces Intersecting a Plane and Surface
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Intersecting Surfaces to Create a COS – Theory

You can create COS type curves by intersecting two surfaces or a surface
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with a datum plane. You can reference surface geometry from solid models,
imported geometry, or style features.
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Curves of this type are useful in a variety of applications such as adding

boundaries to a style feature, creating style curves related to existing models,
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and so on.
PT
Intersecting References
The first reference selected when creating a COS type curve, using the COS
by Intersection method must be a surface. The second reference can be
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either another surface or a datum plane.

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PROCEDURE - Intersecting Surfaces to Create a COS
Scenario
Create COS type curves by intersecting imported surfaces and datum planes.
Intersect inter_curve.prt
Task 1: Create a COS type curve by intersecting imported surface data.
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2. Click COS By Intersect
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from the style toolbar, in the
fly-out, next to Drop Curve .
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• Select the upper surface, as
shown. U
• Right-click and select Second
Collector.
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• Select the side surface, as
shown.
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You can reference surface geometry from solid models, imported

geometry, or style features to create COS type curves.
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Task 2: Create three COS curves by intersecting datum planes with

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surfaces.
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1. Click Plane Display to

enable their display.
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2. Click COS By Intersect .

shown.
Collector.
• Select datum plane TOP.

shown.
Collector.
• Select datum plane FRONT.
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shown.
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Collector. U
• Select datum plane RIGHT.
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Task 3: Create a style surface referencing the curves created in the

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previous tasks.
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2. In the model tree, right-click Imported Feature id 23, and select

Hide.
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3. Click Surface .
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4. Click anywhere in the Graphics

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window to de-select all geometry.

boundary curves shown.
7. Click Done .

Creating a Curve using the Curve from Surface
Tool
You can create a free or curve on surface (COS) curve from a
parallel isoline of a surface.
Location Options
• Select a location on the surface.
• Drag or specify a relative value to position the curve.
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• Free or COS type curves.
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• From a single surface patch.
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Select to Locate Cannot Cross Surface Patches

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Creating a Curve using the Curve from Surface Tool – Theory

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You can create a free or COS curve from a parallel isoline (isoparametric) of
a surface. You can create a curve from surface curve by selecting the point
on the surface through which the curve must pass.
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After the curve is created, you can edit it as you would any other curve.
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Locating the Curve from Surface

After the curve is placed, you can drag the curve across the surface to
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position it. In the Options tab, you can position the curve by specifying a
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relative value between 0 and 1 along the curve.

The curve is exactly on the middle of the surface when the value is 0.5.
You can press CTRL and click the surface to change the direction of the curve.
Curve Types
Curves created using the Curve from Surface tool can be free or COS.
Limitations of Curve from Surface

If you select a composite surface (a surface consisting of more than one
surface patch), a curve will only be created on the selected patch.

PROCEDURE - Creating a Curve using the Curve from
Surface Tool
Scenario
Create a curve using the Curve from Surface tool.
From_Surf from_surf.prt
Task 1: Create a curve from surface.
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2. Click Styling > Curve from
Surface and click on the
surface, as shown.
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3. Click Free in the dashboard, if
necessary. U
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4. Press CTRL and click the
surface again to change the
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curve’s direction.
Notice that the curve does
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not span the entire surface.

This surface is a composite
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surface and you can only

create curves from a single
surface patch.
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5. Select SF-15 from the style tree to see the isoline dividing the surface
feature.
6. Click Repaint .
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7. Press CTRL and click on the surface to change the curve’s direction
back to a horizontal orientation.
8. Click Options and edit the

curve’s relative location value to
.1 and press ENTER.
9. Click and drag the curve until
the value in the Options tab is
approximately .5.

Task 2: Edit the surface that the new curve was created from.
1. Select the curve CF-8, right-click,

2. Click and drag the midpoint of
this curve, as shown.
4. Spin the model and observe
that the curve you created using
Curve from Surface does not
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follow the modified surface.
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Free type curves from surface do not maintain a parent/child
relationship with the surface they were created from.
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5. Select the last curve created (created using Curve from Surface) ,
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right-click, and select Edit Definition.
Notice that the curve which was created using Curve from
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Surface is now like any other curve and can be edited as such.
The Curve from Surface dashboard is only available during
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creation of the curve.

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7. Select the surface, right-click,

8. Right-click and select Internal
C
Collector.
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9. Select the curve created using

the Curve from Surface option
as the surface’s internal curve.
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11. Click Done .

Manipulating COS Type Curves
You can manipulate COS type curves by editing the curve or
references of the curve.
Manipulating a COS Shape

• Edit point locations.
• Edit the parent surface.
COS Across Surface Patches
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• Drop Curve
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• COS By Intersect
Unlink from Surface
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Manipulating the COS
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Reference Surfaces Unlinked from Surface
Manipulating COS Type Curves – Theory

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A COS type curve consists of point locations lying on a surface, with the
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curve through the points also lying on the surface. To manipulate a COS type
curve, you can then either manipulate the points or the parent surface.
In the case of a COS created using Drop Curve or COS By Intersection,
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you can also manipulate the curve that was dropped or the surfaces forming
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the intersection.
Editing the Parent Surface

The surface that a COS type curve lies on is the curve’s parent surface.
When a parent surface is edited:
• A COS type curve readjusts itself to the new shape.
• If the modification is such that the dropped curve intersects only a part of
the surface, the curve is projected onto the available surface.
• If the surface cannot accommodate a dropped curve, the operation fails.
Creating COS Across Surface Patches

You can create COS type curves across surface patches using the Drop
Curve or COS By Intersect tools.

Using the Curve from Surface tool or the COS option to create a COS type
curve will only enable you to create a curve on a single patch. In these cases,
you must create a COS for each surface patch and join it to the other COS.
A COS that joins to another COS becomes the child of the COS to which it
joins. If the parent surfaces are tangential, you can connect the COS with
tangent continuity.
Unlinking COS
To convert a COS to a free curve, click Edit > Unlink. In this case, the curve
breaks its relation with the parent surface.
You can unlink COS curves created using the Curve from Surface tool or
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the COS option by editing the definition of the curve and changing it to a
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planar or free curve.
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PROCEDURE - Manipulating COS Type Curves
Scenario
Manipulate the shape of COS type curves.
Man_COS man_cos.prt
Task 1: Manipulate curve so that it crosses the surface patches.
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2. Click No hidden .
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3. Right-click curve CF-547 and
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4. Drag the curve end shown and
attempt to connect it to the end
of curve CF-549. U
The step above cannot be completed because a single COS
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type curve cannot span surface patches.

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5. Click Undo .
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6. Press SHIFT and drag the

endpoint, attaching it to the
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surface boundary as a soft point.

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9. Click COS from the dashboard, if necessary.
10. Click to place two endpoints on the middle surface patch, near the
ends of the existing curves, as shown.
It is important that you do not click beyond the middle surface
patch when placing the two points.
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Definition.
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13. Press SHIFT, then drag and

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attach each endpoint as soft

points, to the existing curves.
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14. Right-click the tangent handle

of each endpoint and select
In
Tangent.
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17. Drag the endpoint, as shown.
Observe how the curves
remain connected, and on their
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reference surfaces.

Task 2: Edit the drop curve by editing the reference surface and curve.
1. Right-click curve DF-553 and

2. Right-click and select Surface
Collector.
3. Press CTRL and select the
middle surface patch.
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You can use Drop Curve and COS By Intersect to create COS
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type curves across surface patches.
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5. Right-click curve DF-552 and
select Edit Definition. U
6. Drag a point on the curve, as
shown.
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9. Select the middle point of the

curve.
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10. Click Point tab in the dashboard

and edit the X coordinate to 280
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and the Y coordinate to - 105.

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Task 3: Edit a COS type curve to a free type curve.
1. Click Shading .
2. Right-click curve DF-554 and select Edit Definition.
3. Select Free from the dashboard.
4. Select Yes to accept the conversion to a free type curve.
You can also click Edit > Unlink to remove a curve’s reference
to a surface and other references.

5. Start the Named View List
and select Front.
Add Midpoint.
7. Drag the new point off the
surface, as shown.
9. Click Done .
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10. Spin the model to observe that
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the curve is no longer laying on
the surface.
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Module 5
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Advanced Tools and Techniques for
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Defining Freeform Shapes
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Module Overview U
In this module, you learn to use advanced tools and techniques for defining
and editing freeform shapes.
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Objectives
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• Manipulate a surface shape using internal curves.
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• Create radial path planar curves.

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• Copy curves proportionally.

• Modify curve shapes proportionally.
• Unlink style curves from references.
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• Make curves planar between endpoints.

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• Use surfaces to define curves.

• Create a curve on surface type curve.
• Edit style surfaces.
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• Resolve failed style geometry.

Manipulating Shapes using Internal Curves
You can manipulate the shape of a surface by adding internal
curves to the surface definition.
Adding Internal Curves

• Can be added in both directions.
• Any number can be added.
• Can connect to opposite
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boundaries.
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Rules for Adding Internal Curves
Without Internal Curve Control
• Cannot attach to adjacent
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boundaries.
• Curves in two directions must
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connect to each other.
• Curves attached to same U
boundary, cannot intersect within
boundaries.
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• Cannot intersect the boundary
more than once.
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• Cannot add COS type curves. With Internal Curve Control

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Manipulating Shapes Using Internal Curves – Theory

You use internal curves to manipulate the shape of a style surface.
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Adding Internal Curves

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When adding internal curves, you should remember the following:

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• You can add internal curves in both directions (u and v).

• There is no limit to the number of internal curves you can add to a surface.
• You can add free or planar curves as internal curves on two opposite
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boundaries.
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Rules for Adding Internal Curves

When adding internal curves, the following rules apply:
• You can attach internal curves only to opposing boundaries and not to
adjacent boundaries.
• If you attach curves in two directions, then they must be attached to each
other.
• If you attach multiple internal curves to the same boundaries, the curves
should not intersect within the surface.
• You cannot attach an internal curve if it intersects the surface boundary at
more than two points.
• You cannot add a COS type curve as an internal curve.

Best Practices
You should add only the minimum number of internal curves required to
define the required surface shape.
Use Styling > Preferences to control the Surface Mesh display. The mesh
display will help ensure that you have not distorted the surface by the addition
of internal curves.
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PROCEDURE - Manipulating Shapes using Internal
Curves
Scenario
Manipulate the shape of a surface by adding internal curves to the definition.
Internal internal.prt
Task 1: Add internal curves to the surface definition.
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2. Select surface SF-15, right-click
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Collector.
4. Select each of the three possible
U
internal curves to observe how
each influences the shape of the
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curve.
5. Select curve CF-23, as shown.
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6. Press CTRL and select CF-26 to

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add a second internal curve to

the surface definition.
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7. Press CTRL and attempt to

select CF-13 as the third internal
C
curve.
PT
Notice that the surface does not update. Pro/ENGINEER will not
accept this curve as an internal curve because it does not attach
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to the internal curves in the other direction.

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8. Press CTRL and select curve CF-13 again to remove it from the
internal curve list.

Task 2: Edit the third curve so that it can also be referenced by the surface.
1. Select curve CF-13, right-click

Plane Orientation.
midpoint of the curve down until
it snaps to curve CF-23, as
shown.
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4. Right-click the curve, just to the
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left of the midpoint, and select
Add Point, as shown.
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5. Press SHIFT and drag the new
point down until it snaps to curve U
CF-26, as shown.
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Orientation.
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8. Select surface SF-15, right-click

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9. Press CTRL and select CF-13

as the third internal curve.
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11. Click Done .

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Creating Radial Path Planar Curves
You can create curves on soft planes. Soft planes are active
planes located normal to a selected curve.
Positioning the soft plane:

• Length Ratio
• Length
• Parameter
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• Offset from Plane
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• Lock to Point
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Normal to Parent Curve at Point
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Copy Normal to Curve Normal to Curve’s Active Plane

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Creating Radial Path Planar Curves – Theory

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You can create a radial path planar curve by creating points on a soft plane.
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The soft plane is normal to the parent curve at a selected point on the parent
curve and normal to the parent curves’s active plane. The soft plane can slide
PT
along its parent curve while remaining normal to the parent curve. When the
parent curves are updated, the planes and the planar curves are regenerated.
Positioning the Soft Plane

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You can use the following option to define the position of the soft plane and
how the soft plane’s position updates during regeneration.
• Length Ratio – Maintains the position of the soft plane to the percentage
of the length from the start of the parent curve to the plane, relative to the
total length of the parent curve. This is the default option.
• Length – Defines the distance from the start of the parent curve to the
soft plane.
• Parameter – Maintains the position of the soft plane by keeping its
parameter constant along the curve.
• Offset from Plane – Defines the position of the soft plane by intersecting
the parent curve with a plane at a given offset.
• Lock to Point – Locks the soft plane on the parent curve at the closest
defining point, typically an endpoint.

Copying Radial Path Planar Curves
You can copy existing radial path planar curves to create more radial path
planar curves using the Copy tool. You can press ALT to drag the copied
curve along the parent curve of the soft plane.
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PROCEDURE - Creating Radial Path Planar Curves
Scenario
Create a radial path planar curve on a soft plane, copy that curve, and then
add it to the definition of a surface.
Soft_Plane soft_plane.prt
Task 1: Create a radial path curve on a soft plane.
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3. Click Planar from the dashboard
and in the Reference tab, edit the
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4. Right-click and select Reference U
Collector.
5. Place the soft plane by clicking
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on the curve, as shown.
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6. In the main toolbar, select TOP

from the Named View List .
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7. Select the References tab from

the dashboard.
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8. Edit the Radial Plane, Length

Ratio Value to .2 and press
C
ENTER. Notice how the soft

plane’s location changes.
PT
9. Edit the value to .8 and press

ENTER.
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Notice that the new soft plane is normal to the selected curve
and the curve’s reference plane at the location selected.

10. Slightly rotate the model, as
shown.
11. Press SHIFT and select the
upper curve shown as the new
curve’s start point.
12. Release SHIFT and select the
second point.
lower curve shown as the new
curve’s end point.
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Definition.
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Plane Orientation.
17. Shape the curve, as shown,
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by editing point locations and
tangency.
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Task 2: Drag a copy of the radial path curve.

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2. Click Edit > Copy.
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3. Select the previously created curve, if necessary.

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4. Press ALT and drag the Z-axis

of the jack along the reference
curve, as shown.
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7. Select References from the toolbar.
8. Edit the Radial Plane, Length Ratio field to .2 and press ENTER.

10. In the Style tree, select SF-1013,
Definition.
Collector.
12. Press CTRL and select the two
internal curves shown.
14. Click Done .
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Copying Curves Proportionally
You can create proportional copies of single curves and their
linked parent curves using the Copy Proportional tool.
Copy Proportional
• Linked
• Unlinked
Conditions and Limitations
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• Free and Planar
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• Soft Points
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• Fixed Points
• Linked Copies
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• Unlinked Copies Unlinked Proportional Copy
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Edit After Copy Linked Proportional Copy
Copying Curves Proportionally – Theory

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The Copy Proportional tool enables you to duplicate the selected geometry,
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retaining the original proportions when the endpoints of the selected curve
move to new positions during duplication.
Copy Proportional Conditions and Limitations

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The following conditions and limitations are applied when using the copy
proportional tool:
• Free and Planar – You can copy planar and free curves but not COS type
curves.
• Soft Points – Soft point connections are maintained when copying a set
of linked curves.
• Fixed Points – You cannot create a linked copy of curves that reference a
curve with fixed points.
• Linked Copies – Linked copies move along the parent curve.
• Unlinked Copies – By default, unlinked copies move parallel to the active
plane.

PROCEDURE - Copying Curves Proportionally
Scenario
Create proportional copies of single curves and their linked parent curves.
Proportional proportional.prt
Task 1: Create a proportional copy of a single curve.
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2. Select curve CF-4.
3. Click Edit > Copy Proportional.
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4. Clear the Unlink check box if
necessary.
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5. Using the arrowhead handles,
drag the curve, as shown.
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Notice that the copy moves parallel to the original curve’s active
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plane and changes size proportionally, no matter where you

drag the endpoints.
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Task 2: Create a proportional copy of a curve and its parents.

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1. Right-click and select Clear.

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Notice that the two parent

PT
curves of CF-9 are also

copied.
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3. Using the arrowhead handles,

drag the curves, as shown.
4. Select the Unlink check box.
Notice that the linked parents
are no longer a part of the copy.
5. Clear the Unlink check box.
The selected curve is linked
or referenced to the parent
curves using soft points at
each endpoint.

6. Press CTRL and select curve
CF-6, as shown.
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Task 3: Edit a copied curve.
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1. With the four new curves still
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selected, right-click and select
Edit Definition.
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Notice that you can now
edit the curves like any
other curve. The Copy
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Proportional tool is only
accessible during the copy
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operation.
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3. Click Done .
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Modifying Curve Shapes Proportionally
You can apply proportional updates to curves in order to see
predictable results when you make modifications to referenced
geometry.
Proportional Update
• Using Proportional Update
• Planning for Proportional Update
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Original Curve
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With Proportional Update Without Proportional Update
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Modifying Curve Shapes Proportionally — Theory

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When you select the Proportional Update option, you force the free points of
the curve to move proportionally in relation to the reference (soft) points.
In
Using Proportional Update

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When you change the location of a point on a curve without the Proportional
Update option applied to it, the shape is altered based on the new location of
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only the point being moved. This is a non-proportional change. If you want
to change the entire shape of the curve proportionally, you can apply the
Proportional Update option to the curve.
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Planning for Proportional Update

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You need to plan your model so that changes in the model size or proportions
produce predictable and desirable results. You may need to use the
Proportional Update option with a number of curves to achieve a predictable
update of the model.
The figure in the lower-right corner of the slide depicts a
non-proportional modification of a curve. The figure in the lower-left
corner depicts the same modification but with Proportional Update
option applied to the curve.

PROCEDURE - Modifying Curve Shapes Proportionally
Scenario
Use the Proportional Update option to modify curve shapes.
Mod_Prop mod_prop.prt
Task 1: Edit the shape of curves without the Proportional Update option
enabled.
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2. Select curve CF-545, right-click,
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3. Drag the style points of the
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curve, as shown.
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Notice that the interior points of the three attached curves do not
move as the endpoints are dragged.
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Task 2: Enable the Proportional Update option for the three attached
curves.
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1. Click Undo until the feature is returned to its original shape.

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3. Select curve CF-548, right-click, and select Edit Definition.

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4. In the dashboard, click the Proportional Update.

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Task 3: Edit the shape of curves with the Proportional Update option
enabled.

2. Drag the style points of the
curve, as shown.
4. Click Done .
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Notice that with the Proportional Update option enabled, the
interior points of the three attached curves moved proportionally
as the endpoints were dragged.
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Unlinking Style Curves
You can unlink style curves from the geometry that they
reference.
Unlink Curves
Unlink COS Type Curves
• Create a complex 3-D free curve.
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Unlinked Fixed Point
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Soft Points Unlinked Soft Points

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Unlinking Style Curves – Theory

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You can unlink style curves to modify parent/child relationships between style
PT
features and the geometry they reference.
Unlinking COS Type Curves

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You can create complex 3-D curves by creating a COS type curve and then
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unlinking it from its creation references.

• To unlink sketched COS type curves, select the curve and then use Unlink
option. This creates a free curve that is no longer attached to the surface.
• When creating COS type curves by dropping curves, the dropped curve is
linked to the projected curve and reference surface. Unlinking a dropped
curve breaks the associativity between them.
• You cannot reestablish the link for the projected curves that you have
unlinked.

PROCEDURE - Unlinking Style Curves
Scenario
Edit the style feature by unlinking its style curves from referenced geometry.
Unlink unlink.prt
Task 1: Unlink a style curve from the sketched curve framework.
1. Select Sketch 1 from the model tree, right-click, and select Delete.
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2. Select Cancel from the Delete dialog box.
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This dialog box warns you that because Style 1 is a child of
Sketch 1, deleting Sketch 1 will also delete Style 1. Unlinking
the curves in Style 1 from the Sketch 1 geometry enables you to
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delete Sketch 1 without deleting Style 1.
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5. Right-click each of the curve’s

three soft points and select
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Unlink.
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7. Click Done .
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8. Select Sketch 1 from the model tree, right-click, and select Delete.
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9. Select OK from the Delete dialog box.
You can delete the sketch feature this time because the style
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curve was no longer linked to it.

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Task 2: Unlink fixed points from one style curve and link them to another
curve.

3. Press SHIFT and drag the style
point to curve CF-564, as shown.
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4. Select curve CF-555 in the
graphics window.
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graphics window.
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graphics window.
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9. With your cursor over the

selected curve, right-click, and
select Delete Curve.
10. Click Yes to confirm deletion of
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the curve.
Task 3: Create a 3-D curve by unlinking a dropped curve.
1. Click Surface .
2. Press CTRL and select the 4
Collector.
4. Select the internal curve shown.

6. Click Drop Curve .
8. Right-click and select Surface
Collector.
9. Select the surface, as shown.
11. In the Style tree, select the surface feature, right-click, and select
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Delete.
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12. Click Unlink from the Delete dialog box.
13. In the Style tree, select curve CF-572, right-click, and select Delete.
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14. Click Unlink from the Delete dialog box.
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15. Click Done .
16. In the Resolve dialog box, select
dropped curve feature, and then
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click Convert .
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17. Click close and then Done .

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Making Curves Planar Between Endpoints
You can make free curves planar between their endpoints.
Planar on Endpoints Option

• Internal points cannot be constrained.
• Endpoints cannot have tangent constraint.
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Free Curve Free Curve Planar on Endpoints

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Making Curves Planar Between Endpoints – Theory

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You can make free curves planar between their endpoints using the Planar
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on Endpoints option. Pro/ENGINEER modifies free tangents, if necessary,

while making the curves planar between their endpoints.
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Note that using the Planar on Endpoints option does not change a
free type curve to a planar type curve. It only moves the internal
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points to the same plane as the endpoints. You can move them out
of that plane at any time.
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Planar on Endpoints Rules

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You cannot make curves planar between their endpoints if they contain:
• Constrained internal points.
• Endpoints with tangent constraints.
The curves do not maintain history after being made planar.

PROCEDURE - Making Curves Planar Between
Endpoints
Scenario
Edit the free curve so that all points between its endpoints lie on the same
plane.
Planar_Curve planar_curve.prt
Task 1: Make the free curve planar between its endpoints.
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1. Select Front from the Named View List .
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2. Select Style 1 from the model tree, right-click, and select Edit
Definition.
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4. Right-click the curve and select Planar on Endpoints.

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6. Click Done .
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Note that the curve is not a planar curve. It remains a free curve.
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The points between its endpoints have only been moved to the
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same plane that the endpoints are on.

Editing Style Surfaces
You can change the shape of a style surface by altering the
surface type, boundary curves, or internal curves.
Editing Methods
• Edit the defining curves.
• Add/remove internal curves.
• Change surface type.
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Two Point Internal Curve Five Point Internal Curve

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Editing Style Surfaces – Theory

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You can edit the shape of a style surface using various methods.
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• You can redefine a style surface by specifying new defining curves.

• You can add or remove internal curves by redefining boundary surfaces.
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• You can change the surface type while redefining the surfaces.
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The figures above depict adding internal curves and points to

modify the shape of a style surface.
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PROCEDURE - Editing Style Surfaces
Scenario
Edit the style surface by adding internal curves and defining curve shapes.
Edit_Surf edit_surf.prt
Task 1: Add an internal curve to the surface definition.
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2. Select surface SF-579,
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Definition.
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Collector.
4. Select curve CF-555 as an U
internal curve of the surface.
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Task 2: Edit the shape of the internal curve.

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Add Midpoint.
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4. Right-click to the right of

the midpoint and select Add
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Midpoint to add a second

internal point.
5. Right-click to the left of the
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original midpoint and select Add

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Midpoint to add third internal

point.
6. Select and drag the midpoint, as

shown.
Notice that the surface
dynamically updates as the
defining curve is updated.

Orientation.
9. Click Done .
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Resolving Failed Style Geometry
You can resolve failed style features using the Resolve tool for
style features.
Resolve Tool for Style Features

• Failed and blocked features.
• Access to other style tools not
restricted.
• Cannot exit style feature without
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resolving failed features.
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Modify Parent/Child Relationships
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Resolve Dialog Box for Style

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Resolving Failed Style Geometry – Theory

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The style feature has its own resolve environment. Style features enter
Resolve mode:
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• When trying to regenerate a style feature with failed entities.

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• When trying to exit or complete a style feature with failing entities.

• By invoking the Resolve tool when you click Edit > Resolve.
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Resolve Tool for Style

The Resolve dialog box provides:
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• Information about the failed and blocked features. Blocked features are
entities that cannot be regenerated until a failed parent is resolved.
• Tools to resolve the failed features.
Resolve does not restrict access to other tools in the style feature. You may
close the Resolve dialog box and continue to create geometry or modify
it to resolve failed features.
You are not able to exit the style feature until all the objects are resolved.
Modify Parent/Child Relationships

In a style feature, if an entity refers to another entity that is created prior to
the current feature, it becomes a child. However, the style geometry created
within the current feature maintains a flexible hierarchy, enabling you to
modify the parent/child relationship.

PROCEDURE - Resolving Failed Style Geometry
Scenario
The Style tool’s resolve mode enables you to resolve failed style geometry.
Resolve resolve.prt
Task 1: Delete style entities and resolve the subsequent failures.
1. Select Style 1 from the model tree, right-click, and select Edit
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Definition.
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2. Press CTRL, then select curves CF-572 and CF-545 from the style
tree.
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3. Right-click and select Delete.
4. Click Suspend from the Delete dialog box.
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5. Click Done . This opens the Resolve dialog box.
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Note that selecting Suspend deletes the selected parent but
suspends the deletion of its children. When the children fail
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regeneration due to the missing parent, you will resolve the

failures using resolve mode.
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6. Select the first failed curve

CF-548 from the Resolve dialog
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box’s list of failed features and

click Redefine .
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endpoint until it snaps to the end

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of curve CF-564.
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9. Select the second failed curve

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CF-549 from the list of failed

features and click Redefine .
endpoint until it snaps to the end
of curve CF-564.

12. Select the third failed curve
CF-555 from the list of failed
features and click Redefine .
endpoint until it snaps to curve
CF-564.
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16. Select the failed curve CF-582
nl
from the list of failed features
O
and click Unlink .
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You can also delete curve CF-582 using Delete as it is no
longer needed in the feature. U
17. Select the failed surface SF-576
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from the list of failed features
and click Redefine .
rn
18. Right-click and select Primary

Collector.
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19. Press CTRL and select curve

In
CF-564, as shown.
C
21. Select the failed drop curve

PT
DF-577 from the list of failed

features and click Convert .
22. Now that you have resolved all
r
of the failed features, click Close

Fo
from the Resolve dialog box.

23. Click Done .
The Convert tool converted the drop curve to a sketched,

COS curve. It is no longer related to curve CF-572, which was
originally selected to be dropped on the surface.

Module 6
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Creating Smooth Freeform Surface Models
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Module Overview
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In this module, you first learn about curvature and its effect on a design. Next
you learn how to connect curves and surfaces in order to produce the desired
U
transition between them. Finally, you learn to use analysis tools that enable
you to verify the quality and smoothness or your design.
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Objectives
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• Understand curvature and its effect on curves and surfaces.
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• Connect style curves.

In
• Understand style curve connection levels.

• Manipulate curve connections.
• Connect style surfaces.
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• Understand surface connection order.

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• Analyze continuity of freeform design.

• Use the Curvature Analysis tool.
• Use the Shaded Curvature Analysis tool.
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• Use the Dihedral Angle Analysis tool.

• Use the Reflection Analysis tool.

Understanding Curvature
Curvature is an important measurement for determining the
quality of a freeform surface.
Curvature = 1/Radius
• Smaller Radius = Higher Curvature
• Larger Radius = Lower Curvature
Curvature Facts
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• Curvature of a straight line = 0.
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• Curvature of an arc is constant.
• Curvature of a spline changes
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constantly. Curvature Display – 1/Radius
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U
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Undesirable Acceleration and Change in Curvature Shown in

Inflection in Curvature a Reflection Analysis
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Understanding Curvature – Theory

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Freeform surface modeling often requires that certain measurements of

curvature be met to create a curvature continuous model. This is especially
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true when it comes to consumer products such as automobiles, cell phones,

and other products where the look of the model is as important as the function
of the design. Inconsistent acceleration or inflection of curvature does not
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produce visually appealing design surfaces.

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Curvature Definition
Curvature is defined as a portion of a surface that is proportional to 1/radius
at any given point on a curve. Hence, the smaller the radius value, the
greater the curvature. The lower the radius value, the higher the curvature.
To detect changes in curvature, you can use a combination of surface
analysis tools available in Pro/ENGINEER.
Curvature Facts
When designing surfaces with curvature, keep in mind the following:
• A straight line has zero curvature since 1/infinity = zero.
• A true arc has constant curvature at all points along the curve, based on
its radius.

• Splines, in general, have constantly changing curvature.
• Geometry can contain inflection points, in which the curvature switches
from one side of the surface to the other.
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se
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In
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Connecting Style Curves
You can connect style curves to various entities in a model.
Connect style curves to:

• Style curves.
• Datum curves.
• Surface and solid edges.
• Surface features and solid surfaces.
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• Datum planes. Tangent Edge Connection
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O
se
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Surface Curvature Connection Surface Tangent Connection
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Connecting Style Curves – Theory
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In order to create a curve that is connected to other entities, you need to

attach or snap the curve endpoint to another entity with a soft point. You can
then constrain the endpoint tangent vector as tangent, curvature, surface
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tangent, or surface curvature.

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You can connect style curves to the following entity types.

• Style curves.
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• Datum curves.
• Surface and solid edges.
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• Surface features and solid surfaces.

• Datum planes.
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When you snap a curve to an entity with a soft point, the snapped
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curve is a child or follower of the curve to which it is attached. The

other curve is referred to as a parent or leader.
Manipulating Connected Points

When you move the location of the soft point along the entity to which it is
attached, the set tangency condition is retained.
• You can connect the endpoint of a style curve to the endpoint of another
style curve or anywhere along the curve by constraining the tangent. You
can make the curve tangent-continuous or curvature-continuous.
• You can make a curve, that is attached with a soft point, tangent or
curvature-continuous to edges, datum curves, and datum axes. A curve
connected to edges or datum curves will be a child of the selected
reference.

PROCEDURE - Connecting Style Curves
Scenario
Create style curves and connect them to various pieces of model geometry.
Con_Curve con_curve.prt
Task 1: Create a curve connected to a solid edge and datum curve.
y
nl
3. Click Planar from the dashboard and in the Reference tab, edit the
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4. Right-click and select Set Active
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Plane, then select the front face
of the model. U
edge of the arc as the start point.
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end of the datum curve as the
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endpoint.
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Definition.
9. Click Point from the dashboard
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a then select the upper point of

the curve.
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10. In the Point tab, edit the Length

Ratio value to 0, if necessary.
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and select Tangent.

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12. With the Point tab still open,

select the lower endpoint of the
curve.
13. In the Point tab, edit the Length
Ratio value to 1, if necessary.
14. Right-click the endpoint’s
tangent handle and select Align.
15. Select the curve as the alignment
reference.
16. Drag the tangent handle to the
right, as shown.

17. Click Tangent from the dashboard.
18. In the Tangent tab, edit the tangent length to 10.
Task 2: Create a curve connected to a solid surface and datum curve.

2. Right-click and select Set Active
Plane, then select datum plane
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FRONT from the model tree.
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3. Press SHIFT and select the arc
surface as the start point.
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datum curve as the endpoint.
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Definition.
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7. Select the lower endpoint of the
curve.
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and select Normal.
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9. Select the model face as the

normal reference.
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10. Drag the tangent handle to the

right, as shown.
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11. Select the upper point, right-click

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the tangent handle, and select

Surface Tangent.
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13. Click Done .

Task 3: Edit the geometry and observe how connected curves follow.

Sketch 1 and select Edit.
2. Edit the 12 dimension to 24 and
the 25 dimension to 12.
Extrude 1 and select Edit.
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5. Press CTRL + G to regenerate
the model.
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Notice that all style curve connections update with the geometry
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they reference.
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In
C
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Understanding Style Curve Connection Levels
You can connect style curves using various levels of
connections.
Connection Levels
• Tangent
• Symmetric (Tangent)
• Curvature
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Symmetric (Tangent)
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se
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Curvature Tangent
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Understanding Style Curve Connection Levels – Theory

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You can connect a curve to another curve or surface using various levels of
tangency and curvature constraints.
In
Level of Connections
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You can connect a curve to another curve with the following levels of
connections.
PT
• Tangent – When you connect a curve as tangent-continuous, the endpoint

tangent has the same tangent direction as the parent curve at that point.
The parent curve remains unchanged. A tangent connection appears with
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the single arrow icon.

Fo
• Symmetric (Tangent) – The symmetric connection is different than the

other connection types because the symmetry applied is only temporary.
The symmetry connection actually applies a symmetrical tangent
connection, with the initial tangent angles of the two adjoining curves set
to the average of the tangents at the endpoints. After the symmetry has
been applied, the connection becomes a standard tangent connection and
can be edited as such. There is no real symmetric connection applied
that stays with a connection.

• Curvature – A curvature-continuous curve is influenced by the curvature
value of the parent curve. The parent curve remains unchanged. A
curvature connection appears with the double arrow icon.
In the figures above, the default connection condition has been
edited to show the symmetric (tangent), tangent, and curvature
connections. A curvature plot is shown on the curvature connection
figure so that you can see the continuous curvature between the
curves.
Connecting to Surfaces/Planes
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• You can connect a curve, that is attached to a surface with a soft point, as
tangent or curvature-continuous to the surface. A curve connected to a
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surface will be a child of that surface.
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• When you connect a curve to a surface that is located on a common
boundary of two surfaces, you must select the surface to which it should
be tangent.
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Manipulating Curve Connections
You can manipulate curve connections to change the shape of
your design.
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Modify Connection Type
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se
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Reverse a Connection: Change Parent/Child Relationship
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Modify Length and Direction of Connected Tangent Vectors

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Manipulating Curve Connections – Theory

PT
Connections between curves influence the shape of the curves. You can
manipulate these connection to change the shape of your design.
• Modifying the Connection Type – You can modify a connection from
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tangent to curvature or curvature to tangent. To change the connection

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type, use the dialog box or the shortcut menu.

• Reversing the Connection – You can change the parent/child relationship
of connected style curves by reversing the arrow direction. Click at the end
of the connection icon to change the arrow direction.
• Modifying Tangent Lengths and Direction – You can only modify the
tangent length of a child curve. However, you manipulate both the tangent
direction and length of a parent curve. This enables you to make relaxed
or tight connections.

PROCEDURE - Manipulating Curve Connections
Scenario
Connect curves using various connection levels.
Manip_Con manip_con.prt
Task 1: Manipulate the tangent connection between curves.
1. In the model tree, select
y
CONNECT, right-click, and
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Edit Definition.
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3. Select the left endpoint of the
curve. U
and select Tangent.
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5. Drag the tangent arrow to modify
the length of the tangent vector.
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Notice that the parent curve on the left remains unchanged

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as you drag the tangent arrow. Also, you can only modify the
tangent length as the tangent angle is controlled by the parent
In
curve.
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6. Drag the tail of the tangent

arrow, located just to the left of
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the connection point.

Notice that dragging the tail
modifies both the tangent
r
angle and tangent length of

Fo
the parent curve.
7. Click on the tail of the tangent

arrow (left side) to reverse the
tangency.
8. Drag the tangent arrow to adjust
the curve shape.
Notice that the parent
curve has changed with the
change in tangent direction.

Task 2: Observe how the symmetric connection behaves.
1. Right-click either the arrow or tail of the tangent arrow and select
Symmetric.
Note that the shape did not change because symmetric tangent
connections can only be applied to the parent curve.
2. Double-click the parent curve

(on the right) and select the
y
connection point.
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3. Right-click either the arrow or tail
of the tangent arrow and select
Symmetric.
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4. Select the Tangent tab, notice
that the connection level listed in
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the tab is Tangent.
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When you select Symmetric, you are not really applying
a symmetric connection level. You are applying a tangent
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connection, with the initial tangent angles of the two adjoining

curves set to the average of the tangents at the endpoints.
After the connection is applied, it behaves as any other tangent
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connection.
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5. Right-click the tangent arrow

and select Curvature.
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6. Drag the curvature arrow and tail

PT
to change the shape.

Notice that you can
manipulate the curvature
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connection in the same way

Fo
with the same limitations as

the tangent connection.
7. Click Complete Feature and Done .

Connecting Surfaces
The shape of a surface is influenced by the boundary and
connection conditions applied to it.
Surface Connections
• Normal to Plane
• Draft
• Position (G0)
• Tangent (G1)
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• Curvature (G2)
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G0 – Position
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G2 – Curvature G1 – Tangent
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Connecting Surfaces – Theory

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You can apply surface connections to influence the shape of a surface.

Surface connections, like curve connections, are based on the concepts of
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parents and children. A parent surface does not change its shape while a
child surface changes its shape to meet the parent.
You can connect a style surface to:
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• Another style surface within the style feature.

Fo
• Any solid, datum plane, or surface features constructed prior to the current
style feature.
To connect a surface to another surface, the relevant boundary curves must
be connected to one of the following entities.
• Boundary curves of the surface.
• Edges of the surface.
• Directly to the surface.
Surface Connection Limitations
The following limitations apply when connecting surfaces:
• Style surfaces can only be a follower of surfaces created in an earlier
feature.

• Style surfaces can only be connected if the relevant curves are connected
first.
Connection Types
You can apply the following connections to the boundaries of a surface:
• Normal – The boundary curve that supports the connection is planar. All
the cross boundary curves have curve tangents normal to the plane of
this boundary. An arrow pointing from the connected boundary, but not
crossing the boundary, represents a normal connection.
• Draft – All cross boundary curves have draft curve connections at the same
angle to the reference plane or surface relative to the boundary. A dashed
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arrow pointing from the common boundary represents the draft connection.
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When geometry is joined at a common boundary, the surfaces can connect
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at three different levels of continuity.
• Position (G0) – Implies that the surfaces share a common boundary, but
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that there is no shared tangent or curvature across the boundary. This is
represented by a dashed bar icon.
• Tangent (G1) – Implies that the two surfaces have a common boundary,
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and that at every point along that boundary they are tangent to each other.
A single arrow icon represents the tangent connection. When a parent
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surface changes its shape, the child surface adapts its shape to maintain
tangency with the parent. An arrow pointing from the parent to the child
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represents the Tangent connection.

• Curvature (G2) – Implies that the surfaces are tangent-continuous across
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the boundary and that they share curvature along the common boundary.
A double arrow icon represents the curvature connection. In a curvature
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connection, the surface constraint follows the concept of parents and

children. When a parent surface changes its shape, the child surface
adapts its shape to maintain curvature continuity with the parent.
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To attain a higher order of smoothness between the surface patches, you

PT
can define the continuity as curvature-continuous or G2. You need to

create G2 surfaces for aesthetic or engineering reasons such as:
– Exterior panels of automobiles that must have a shiny and glossy
surface finish, such as painted, chrome-plated, and glass surfaces.
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(Class A surfaces.)
Fo
– Products that need smooth surfaces to improve fluid-dynamic (or

aerodynamic) properties, like valves and flow meters.
The figures above display the surface connection icons and a
curvature plots for the position, tangent, and curvature connections.
Editing Connections
You can edit connections while editing the definition of a surface or by clicking
Surface Connect from the style toolbar. Using Surface Connect
displays only connection icons for each selected surface. It does not display
the reference boundaries seen when using Edit Definition.

PROCEDURE - Connecting Surfaces
Scenario
Modify the surface shapes by editing surface boundaries conditions and
connections.
Con_Surf con_surf.prt
Task 1: Edit connections at a surface boundary.
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1. In the model tree, select Style
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1, right-click, and select Edit
Definition.
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2. Select curve CF-1026,
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Definition.
3. Select the far-left endpoint,
right-click the tangent handle,
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and click Normal.
4. In the model tree, select TOP as
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the normal reference.

rn

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7. Select the far-left endpoint, right-click the tangent handle, and click
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Normal.
8. In the model tree, select TOP as the normal reference.
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PT
10. Click Surface Connect and

select the highlighted surface
SF-1077.
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Fo
11. Right-click the connection icon

at the far left and select Normal.
To make a boundary normal, you must edit the defining boundary

curves and then the surface connection at the boundary.

Task 2: Edit connections between surfaces.
1. Select the middle surface

SF-1078.
2. Select the surface connection
icon shown, right-click, and
select Tangent.
3. Click Yes to confirm connecting
curves will be edited accordingly.
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select Curvature.
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Notice that the connection
does not change and
displays the warning
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message, “The cross
curves are not connected U
with the same continuity as
the connection”.
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rn

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7. Drag the curve endpoints to

observe that the near endpoint
In
is not attached to a boundary of

the parent surface.
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8. Press SHIFT and drag the near

endpoint, connecting it to curve
PT
CF-1028, as shown.
9. Click Point in the dashboard and
type a length ratio value of 0.
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Fo
11. Select surface SF-1078,

Definition.
select Curvature.
14. Click Complete Feature and
Done .

Understanding Surface Connection Order
When creating multiple style surfaces, the latest surface is
always a child of the previous surface.
Connecting Surfaces
• Latest surface is child of previous surface.
• Connection influence is applied to the child surface.
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nl
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se
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Curvature Arrows Pointing to Child Yellow is Now Parent of Pink

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Understanding Surface Connection Order – Theory

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Because the influence of a connection is always on the child surface, the order
In
in which you create surfaces can have a significant effect on your design.
Connecting Surfaces Appropriately

C
While creating several adjoining surfaces, the Style tool makes the latest
PT
surface become the child of the previous surface. You can modify the
parent/child relationship to avoid an undesirable influence and improve
surface quality.
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You can modify parent/child references by editing references, connections,

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and recreating surfaces.

The left figure above shows a surface that is a child of its
surrounding surfaces. Notice that the curvature icons are all
pointing towards it. On the right side, the parent/child relationship
has been modified so that the surface in yellow is not the parent of
the surface in pink. Again, notice that the curvature icon is pointing
towards the pink surface.

Analyzing Continuity of Freeform Designs
Analyze the continuity of curves and surfaces to ensure a high
quality freeform design.
Analyzing Curvature
• Curvature
• Dihedral Angle
• Sections
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• Shaded Curvature
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Curvature Analysis
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Reflection Analysis Shaded Curvature Plot

In
Analyzing Continuity of Freeform Surfaces – Theory

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As a designer, you can analyze surfaces for problems related to the tangency
and curvature of connected surfaces. Most of the freeform surface models
PT
are made up of a series of interconnected surfaces that fit smoothly across

the entire shape. Surface analysis helps you achieve smooth freeform
shapes when designing consumer products.
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Surface analysis is an iterative process, typically performed after curve

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analysis to determine the surface quality. The surface, and its connections
with adjacent surfaces, must be of high quality.
Tools for Analyzing Continuity

Pro/ENGINEER provides various tools that you can use to analyze the
continuity of curves and surfaces:
• Curvature – Evaluates and displays the curvature of curves and surfaces.
Mathematically, the curvature is equal to 1/radius.
• Dihedral Angle – Displays the angle between the normals of two surfaces
that share an edge. You can use this to determine continuity during the
evaluation of neighboring surfaces.
• Sections – Evaluate surface continuity, especially across shared
boundaries.

• Shaded Curvature – Evaluates and displays the smallest and largest
normal curvature for every point on a surface. Color values are assigned in
ranges to display curvature. Values towards the red and blue ends of the
spectrum indicate maximum and minimum curvatures, respectively.
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In
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Using the Curvature Analysis Tool
You can use the curvature analysis tool to analyze curvature of a
curve or surface.
Curvature Plot
• Analyze curve or surface
smoothness.
• Analyze curve or surface
continuity.
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Connected without Continuity
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se
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Connected with Curvature Continuity Connected with Tangent Continuity

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Using the Curvature Analysis Tool – Theory

In
Curvature analysis enables you to determine the smoothness and continuity

of a curve or surface. You use the Curvature tool to graphically display the
curvature of selected curves or surfaces using a ’porcupine plot’ (equally
C
spaced lines that display the curvature of the surface). The line segments
PT
of the plot are equally spaced, and their length is proportional to the surface
curvature at that point.
When analyzing a surface, you can display the porcupine plot in two
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directions. The porcupine curvature plot enables you to discover

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discontinuities in curves or surfaces.
The Curvature Tool

While working in the Style tool, open the Curvature dialog box by clicking
Curvature from the main toolbar or by clicking Analysis > Geometry >
Curvature.
You can define the following elements and options within the dialog box.
• Geometry – The Geometry collector enables you to add or remove curves
and surfaces from the analysis.
• CSYS – The CSYS collector enables you to set a reference for curvature
plot output. This is usually not necessary.
You can customize or edit your analysis using the following options.

• Plot – You can select Curvature, Radius, or Tangent type plots from the
Plot drop-down list.
• Sample – Control the sampling of your plot by Quality, Number, or Step
values from the Sample drop-down list. Adjust the sample values using
the wheel button or slider.
The figures above show how the curvature plot along two connected
curves changes as the connection level between them changes.
• When connected without continuity, the connection is not smooth.
• With a tangent constraint added, the connection is smooth but
with a sharp acceleration in curvature.
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• With curvature continuity added, the connection is smooth with a
more gradual change in curvature.
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Similar plots appear when you analyze a surface, however, the plot
appears in two directions across the surface.
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se
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PROCEDURE - Using the Curvature Analysis Tool
Scenario
Analyze and edit the curvature of the model at its curve and surface
connections.
Curvature curvature.prt
Task 1: Analyze curvature along the model curves and surfaces.
y
nl
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2. Click Curvature , press
CTRL, and select the three
curves shown.
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3. Select FRONT from the Named
View List .
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4. In the Curvature dialog box,
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ENTER.
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Notice that the curvature accelerates sharply as the plot

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transitions in and out of the smaller arc shaped curve. For styled
designs, a more gradual transition in curvature is desirable.
In
5. Select Default Orientation from

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the Named View List .

6. Right-click and select Clear to
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clear the three curves from the

geometry collector.
7. Right-click and select Geometry
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Collector.
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8. Press CTRL and select the three

surfaces, as shown.
9. In the Curvature dialog box, edit the sample number to 3 in both

directions.
10. In the lower left of the Curvature dialog box, select Saved from the
drop-down list.
11. Click Accept from the Curvature dialog box.

Task 2: Edit curvature of the curve and surface connections.

Edit Definition.
2. Select the upper endpoint,
right-click the tangent arrow, and
select Curvature.
Notice that the curvature acceleration at that connection is now
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more gradual.
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3. In the Graphics window, select
curve CF-1051.
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right-click the tangent arrow, and
select Curvature.
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6. In the style tree, select SF-1068,

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Definition.
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icon, right-click, and select

Curvature.
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9. Click Done .
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PT
Every point along the surface connection is now curvature

continuous.
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Using the Shaded Curvature Analysis Tool
You can use the shaded curvature analysis tool to graphically
display a surface curvature.
Shaded Curvature
• Gaussian
• Maximum
• Mean
• Section
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In

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Using the Shaded Curvature Analysis Tool – Theory

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You can detect discontinuities in a surface based on the discontinuities that

appear in the shaded curvature plot.
The Shaded Curvature Tool
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Fo
While working in the Style tool, open the Shaded Curvature dialog box by
clicking Shaded Curvature from the main toolbar or by clicking Analysis
> Geometry > Shaded Curvature.
• Surface – The surface collector enables you to add or remove surfaces
from the analysis.
You can customize or edit your analysis using the following options:
• Plot – You can select Gaussian, Maximum, Mean, or Section type plots
from the Plot drop-down list.

After selecting a surface to analyze, a Color Scale dialog box opens enabling
you read values assigned to colors in the plot, as well as edit the style of
plot being used.
Shaded Curvature Plot Types

You can use one of the following shaded curvature plot types when analyzing
surfaces.
• Gaussian – Gaussian curvature is the product of the smallest and largest
normal curvature for every point on the surface. Shaded curvature displays
positive values (ridges), negative values (saddles), and zero values (for
example, cylinders and planes).
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• Maximum – Shaded curvature displays the largest normal curvature at
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every point on the surface.
• Mean – Shaded curvature displays the continuity between surfaces.
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• Section – Shaded curvature displays the curvature of cross-sectional cuts
parallel to a reference plane.
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The figures above show shaded Gaussian curvature plots when no
continuity, tangent continuity, and continuous continuity conditions
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are applied to surfaces connection.
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In
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PROCEDURE - Using the Shaded Curvature Analysis
Tool
Scenario
Measure the curvature of connected surfaces using the shaded curvature
analysis tool.
Shade_Curve shade_curve.prt
Task 1: Analyze the curvature of the connected surfaces.
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nl
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2. Click Shaded Curvature
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from the main toolbar.
3. Press CTRL and select both
surfaces.
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4. In the Shaded Curvature dialog
box, slide the Quality bar to 100.
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rn
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Notice that the maximum Gaussian curvature of the surface falls

within a range of -0.000720144 and 0.000530336. These values
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are listed in the dialog box and shown in the color chart.
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5. From the Plot drop-down list,

select Mean to display the
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continuity between surfaces.

6. In the lower-left of the Curvature
dialog box, select Saved from
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the drop-down list.

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7. Click Accept from the

Shaded Curvature dialog box.

Task 2: Edit the continuity between the surfaces.
1. In the Style tree, select surface

SF-1087, right-click, and select
Edit Definition.
2. Right-click the surface
connection icon between
the two surfaces and select
Curvature.
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nl
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Notice that after you change the connection to curvature, the
mean curvature range that appears left to right across the
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surface connection is now more uniform.
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5. Click Analysis > Saved
Analysis.
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6. In the Saved Analysis dialog

box, click Hide Analysis and
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then close the dialog box.

7. Click Done .
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In
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PT

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Using the Dihedral Angle Analysis Tool
You can use the dihedral angle analysis tool to measure the
angle between the tangents of adjoining surfaces.
Dihedral Angle
• Analyze angle between tangents.
• Check for continuity.
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Without Continuity
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With Continuous Continuity With Tangent Continuity

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Using the Dihedral Angle Analysis Tool – Theory

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The Dihedral Angle analysis tool measures the angles between the tangents
of the adjoining surfaces along the common edge and returns a numerical
value. This is useful in determining whether two surfaces are tangent (G1), or
the extent to which they deviate from tangency.
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The Dihedral Angle Tool

While working in the Style tool, open the Dihedral Angle dialog box by clicking
Analysis > Geometry > Dihedral Angle.
• Edge – The edge collector enables you to add or remove surface edges
from the analysis.

The figures above show dihedral angle plots when no continuity,
tangent continuity, and continuous continuity conditions are applied
to surfaces. Notice that in both the tangent and continuous
continuity conditions, the maximum and minimum dihedral angle
along the edges is zero.
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PROCEDURE - Using the Dihedral Angle Analysis Tool
Scenario
Measure the dihedral angel between tangents of connected surfaces.
Dihedral dihedral.prt
Task 1: Analyze the dihedral angle along connected surfaces.
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2. Click Analysis > Geometry >
Dihedral Angle.
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3. Select the connecting edge, as
shown.
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4. In the Dihedral Angle dialog box,
type 25 for the scale and press U
ENTER.
5. Slide the Quality bar to 100.
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Notice that in the dialog box and the Graphics window, the Max
dihedral angle is listed as 5.0 and the Min is listed as .1285.
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6. Spin the model if necessary, to better view the analysis.

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drop-down list.
8. Click Accept from the Dihedral dialog box.
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Task 2: Edit the surface connection.

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1. In the style tree, select surface

Edit Definition.
connection icon shown and
select Tangent.

5. Click Analysis > Saved
Analysis.
6. Select the analysis feature from
the list and click Edit Analysis
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7. In the Dihedral Angle dialog box,
ENTER.
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Notice that the Max dihedral angle is now listed as 0. The
maximum dihedral angle for a tangent or curvature-continuous
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connection is zero.
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8. Click Accept from the Dihedral dialog box.
9. Click Complete Feature . U
10. Click Done .
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Using the Reflection Analysis Tool
You can use the reflection analysis tool to graphically identify
inconsistencies in curvature.
Reflection Analysis
• Lights
• Angle
• Spacing
• Width
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Using the Reflection Analysis Tool – Theory

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You can use the Reflection analysis tool to simulate the reflection of light on
selected surfaces. The reflection analysis enables you to visually find surface
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defects and sharp accelerations in curvature across selected surfaces.

You can display curves that represent the reflection, due to linear sources
of light on a surface, when viewed from the specified direction. To view
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changes in the shaded reflection, spin the model and observe the dynamic
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changes in the display.
The Reflection Analysis Tool

While working in the Style tool, open the Reflection dialog box by selecting
Reflection from the main toolbar or by clicking Analysis > Geometry >
Reflection.
• Surface – The surface collector enables you to add or remove surfaces
from the analysis.
You can adjust the reflection properties used in the analysis using the
following options.
• Lights – Specify the number of light bands applied to the surface.

• Angle – Adjust the angle of lights applied to the surface using the Angle
slider. The default is 90 degrees.
• Spacing – Adjust the spacing between the linear light source applied to
the surface.
• Width – Adjust the width of the linear light source applied to the surface.
The figures above show a reflection analysis applied to surface
connections without continuity, tangent continuity, and continuous
continuity. While all three look very similar, you can see the
reflection across the connections gets smoother as the connection
changes from no continuity to continuous continuity.
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PROCEDURE - Using the Reflection Analysis Tool
Scenario
Simulate the reflection of light on the surface.
Reflect_Curve reflect_curve.prt
Task 1: Apply a reflection analysis to the model surfaces.
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2. Click Reflection from the
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main toolbar.
surfaces.
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4. In the Reflection dialog box, edit
the number of lights to 12.
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5. Spin the model and observe how
the reflection changes across
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surfaces and their connections.

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Notice that the reflection curves do not transition smoothly

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across the surface connection. This condition would not make a

visually appealing surface design.
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drop-down list.
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7. Click Accept from the Reflection dialog box.

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Task 2: Edit the surface connection to be tangent.

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1. In the style tree, select surface

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Edit Definition.
connection icon between
the two surfaces and select
Tangent.
3. Click Yes to confirm that
connecting curves will be edited
accordingly.
that the reflection change across
surface connection is now
smoother.

Note that, while the reflection looks smoother across the
connection, the connection is still tangent (G1) continuous. This
is good enough for some designs, but usually not good enough
for styled designs such as consumer products, automobiles,
and so on.
Task 3: Edit the surface connection to be curvature continous.
1. Right-click the tangent surface
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connection icon between the two
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surfaces and select Curvature.
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that the reflection change across
surface connection is now
seamless.
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Notice that because the surface connection is now curvature

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(G2) continuous, the reflection across the connection is

seamless.
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5. Click Done
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Module 7
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Integrating Style and Parametric Features
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Module Overview
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In this module, you first learn about parallel modeling and the benefits
provided by integrating style and parametric features. Next you learn to use
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surfaces to define solid geometry. You learn to export style curve parameters
so that they can be edited outside of the style environment. You learn to use
a parametric framework to define and control your design. Finally, you learn
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to manipulate style geometry using various edit tools.

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Objectives
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• Understand parallel modeling.
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• Use surfaces to define solid geometry.

• Export curve parameters for modification.
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• Reference a parametric framework.

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• Manipulate style geometry using edit tools.

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Understanding Parallel Modeling
Parallel modeling is the term used to describe the integration of
style and parametric features within a design.
Integrating Style Features with

Parametric Features
• Parametric Framework
• Style Curves and Surfaces
• Adding Dimensional Control to
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Style Features
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• Apply Solid Modeling Options
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A Style Feature Referencing
a Parametric Curve
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Exported Style Dimensions, Edited Solid Surface Defined by

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Outside of Style Style Surface
Understanding Parallel Modeling – Theory

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You can combine the advantages of parametric modeling and the flexibility
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of freeform features by integrating style and parametric features. You may

develop style geometry, that is referenced to parametric geometry, so that
when you make a change to the parametric geometry, the freeform geometry
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updates accordingly. You can also use style geometry as a base to develop
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parametric features.
Integrating Style Features with Parametric Features

You can create curves and surfaces to best capture the design intent,
regardless of whether the curves and surfaces are style or a parametric
features. You need to integrate the style and parametric features so that
modifications to either update in a predictable manner. The following
describes many ways that you can combine style and parametric features.
• Parametric Framework – A parametric framework of sketched curves
and datum features is often used as reference for style features. This
framework provides an efficient method to parametrically add engineering
detail such as overall height, attachment locations, and so on to your
styled model. As the parametric features in the framework are modified,
referencing style features will update accordingly.

• Style Curves and Surfaces – You can use style geometry as a reference
when creating various parametric features such as trajectories for sweeps,
curves used for trimming, surfaces to thicken, and so on.
• Adding Dimensional Control to Style Features – You can add
dimensional controls to style geometry by exporting style parameters or by
referencing existing parametric features.
• Apply Solid Modeling Options – You can apply solid modeling options
such as Copy, Transform, and Patterns to completed style features. You
can use the Warp tool to preform operations such as twisting and bending
of freeform geometry. Also, you can optimize freeform models using the
Behavioral Modeling (BMX) analysis tools.
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Using Surfaces to Define Solid Geometry
You can use surfaces to define or manipulate solid geometry.
Integrating Style Features with

Parametric Features
• Parametric Framework
• Style Curves and Surfaces
• Adding Dimensional Control to
Style Features
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• Apply Solid Modeling Options
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Thicken
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Replace Portion (Patch) Replace Surface
Using Style Surfaces to Define Solid Geometry – Theory

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You can use style surfaces to define solid geometry in a model. You can use
the style surface to add or remove solid material to a model.
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Methods for using Style Surfaces to Define Solid Geometry

You can use style surfaces to define solid geometry using any of the following
methods.
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• Depth Reference – You can extrude a solid extrusion up to a selected

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style surface.
• Solidify – You can use the Solidify tool to add or remove solid material
from a surface volume. You can add and remove material at the same time
by using the Replace Portion (Patch) option of the Solidify tool.
• Thicken – You can use the Thicken tool to add or remove solid material to
a specified distance normal to a surface.
• Replace – You can use the Replace Surface option in the Offset tool to
replace a solid surface with a single style surface.
Using the Replace Portion Option in the Solidify Tool

The Replace Portion option of the Solidify tool can simultaneously add and
remove material from your model. Because the feature can add and remove
material at the same time, all boundaries of a quilt being used as a replace

portion reference must lie on the solid surface. If this condition is not met, the
Replace Portion button will not be available in the Solidify dashboard.
The Replace Portion option is sometimes referred to as the Patch
option.
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PROCEDURE - Using Surfaces to Define Solid Geometry
Scenario
Use surfaces and various tools to define and manipulate solid geometry
in the model.
Solid solid.prt
Task 1: Reference a surface feature to remove material from the model.
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1. Select Extrude 3 from the model
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tree.
2. Click Edit > Solidify.
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3. In the dashboard, click Remove
Material .
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4. Click Complete Feature . U
Task 2: Replace the flat solid surface with a styled surface.
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1. Drag the Insert Indicator so that it is located just above Shell 1.

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2. In the model tree, expand Group TOP_SURF, select the four features
in the group, right-click, and select Unhide.
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feature Extrude 1 on the top

surface, move the mouse
slightly, and select that surface,
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as shown.
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4. Click Edit > Offset.

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5. In the dashboard, select

Replace Surface from the
drop-down list and select the
surface quilt.
7. Click View > Visability > Reset
Status and click Repaint .

Task 3: Use the Replace Portion option of the Solidify tool to add geometry
to the solid surface.
1. Drag the Insert Indicator so that it is located at the bottom of

the tree.
2. In the model tree, select Style 5.

4. In the dashboard, verify that
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Replace Portion With Quilt
has been selected.
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6. In the model tree, select Style 5,
right-click, and select Hide.
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Task 4: Use the Thicken tool to remove material from the model.
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1. In the model tree, select Fill 1.
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2. Click Edit > Thicken.
3. Drag the depth handle until the
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feature is 15 units thick.

4. In the dashboard, click Change
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Thickness Direction twice,

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so that the thicken operation

extends symmetrically about the
surface.
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5. In the dashboard, click Remove

Material .
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Exporting Curve Parameters for Modification
You can export the parameters of a style curve so that they may
be modified outside of the style environment.
You can export the following style curve parameters.

• Soft Point Locations
• Endpoint Tangents
• Offset Value of a COS
• Radial Plane Location
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Exporting Curve Parameters for Modification – Theory

You can export certain curve parameters so that they can be modified as
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dimensions outside of the style environment. If you edit the style feature,
an exported parameter will appear in the model as a dimension. You
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can edit and regenerate these dimensions, the same as you would any
Pro/ENGINEER dimension.
Exported Parameters
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You can export the following curve parameters.

• Soft Point Locations – For soft point locations, you can export the
following parameters.
– Length Ratio
– Length
– Parameter
– Offset from Plane
• Endpoint Tangents – For endpoint tangents, you can export the following
parameters.
– Length
– Angle
• Offset Value of a COS – You can export the offset value of a COS.

• Radial Plane Location – You can export the location of a radial plane
along its parent curve.
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PROCEDURE - Exporting Curve Parameters for
Modification
Scenario
Export parameters from the style feature and edit their values outside of
the style environment.
Export export.prt
Task 1: Edit a dimension from a datum plane internal to the style feature.
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Style 1, and select Edit.
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2. Double-click and edit the 200
dimension to 250.
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3. Click Regenerate . U
This dimension is from
a datum plane created
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internal to the style
feature. Dimensions from
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internal datum planes are

automatically exported to
the model level.
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Task 2: Export parameters from the style feature.

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2. In the style tree, select DTM1, right-click, and select Edit Definition.
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Notice that this datum plane is the internal datum plane that was
modified in the task above.
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3. Click Cancel from the Datum Plane dialog box.

Edit Definition.
5. In the dashboard, click Point.
the endpoint, as shown.
7. In the Point tab, select the Value
check box, to export the Offset
from Plane parameter.

8. In the Graphics window,
double-click curve CF-131.
9. In the dashboard, click
References and select the
Value check box, to export the
length ratio of the radial plane.
10. In the dashboard, click Tangent.
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12. In the Tangent tab, select the
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Angle check box, to export the
Tangent Angle parameter.
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13. In the Graphics window,
double-click curve CF-127.
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14. In the dashboard, click Tangent,
if necessary. U
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16. In the Tangent tab, select the

Angle check box, to export the
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Tangent Angle parameter.

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Done .
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Task 3: Edit dimensions that have been exported form the style feature.
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select Edit.
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2. Edit the dimensions as follows.

• Edit 95 to 50.
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• Edit 250 to 150.

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• Edit 270 to 250.

• Edit 340 to 0.

select Edit.
5. Edit the dimension .5 to .25.
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Referencing a Parametric Framework
You can reference a framework of parametric features to define
and control style features.
Framework Geometry Examples

• Sketched Curves
• Datum Features
• Solid Geometry
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• Parametric Surfaces
Controlling Datum Plane
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After Framework is Modified Controlling Sketched Curves
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Referencing a Parametric Framework – Theory

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You can define and control style features by referencing parametric geometry
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such as sketched curves, datum features, solid geometry, parametric

surfaces, and so on. This enables you to control the crucial dimensions of
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the style geometry as well as parametrically modify the model. Modifications

made to the framework will update referenced style geometry accordingly.
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Framework Geometry Examples

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The following are typical examples of how you can reference a framework
when creating style geometry.
• Sketched Curves – You can create sketched curves to define crucial
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controlling dimensions in your design. Curves and surfaces attached

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to those curves will update as you make modifications to the framework

curves.
• Datum Features – As with solid modeling, you can use datum features
such as planes, points, and axes as references when creating style
geometry. The datums can define the size and location of style geometry in
your model.
• Solid Geometry – You can always use style features to reference solid
geometry that exists in your model. You can attach style curves to solid
edges and surfaces. You can create style surfaces using solid edges as
boundaries.
• Parametric Surfaces – Many styled designs do not contain all style
surfaces. You can incorporate and reference surface geometry, that you
create using parametric surfacing tools, as part of a model’s parametric
framework.

PROCEDURE - Referencing a Parametric Framework
Scenario
Reference the framework of the model to define and edit the model.
Framework framework.prt
Task 1: Create style features referencing the parametric framework.
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2. Press CTRL, select curves CF-570 and CF-573 from the style tree,
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right-click, and select Hide.
3. Right-click, select Set Active Plane, and select datum plane UPPER
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from the model tree.
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5. Click Planar from the dashboard U
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three endpoints of the sketched
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curve Sketch 2, as shown.

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9. Select the left endpoint, right-click the tangent handle, select Normal,
and select datum plane MID.
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10. Click Tangent and edit the tangent length to 25.

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11. Select the right endpoint,

select Normal and select datum
plane MID.
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12. With the Tangent tab still open,

edit the tangent length to 25.
14. Right-click, select Set Active

Plane, and select datum plane
INTERNAL from the model tree.
two endpoints, at the end of the
sketched curves, as shown.

19. Right-click the curve and select Add Midpoint.

select Normal, and select datum
plane MID.
21. Select the lower endpoint,
select Normal, and select datum
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plane BASE.
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23. Press CTRL, select curves
CF-570 and CF-573 from the
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style tree, right-click and select
Unhide.
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25. Click Surface , press CTRL,
and select the four boundary
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curves shown.
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26. Right-click, select Internal

Collector, and select the last
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curve created.
click Done .
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Task 2: Edit the framework and observe how the style features update.
1. In the model tree, right-click Sketch 1, and select Edit.

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2. Edit the 39 dimension to 50 and click Regenerate .

3. Right-click UPPER and select Edit.
4. Edit the 15 dimension to 30. This time press CTRL + G to regenerate.
5. Right-click Sketch 2 and select

Edit.
6. Edit the 40 dimension to 50, the
25 dimension to 50, and the 24
dimension to 25.

Manipulating Style Geometry using Editing Tools
You can use various editing tools to manipulate a style geometry.
Typical Surface Editing Tools

• Pattern
• Merge
• Mirror
• Offset
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• Copy
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Patterned Style Feature
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Mirrored Style Feature Merged Style Feature

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Manipulating Style Geometry using Editing Tools – Theory

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You can further define and manipulate style geometry using tools found in the
edit menu and toolbar. These tools are used outside of the Style tool, after
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the style geometry has been completed.
Typical Surface Editing Tools

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The following is a list of typical editing tools that you can use to define and
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manipulate style geometry.

• Pattern – You can use the Pattern tool to quickly create patterns of style
and parametric features.
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• Merge – You can merge style surfaces into single surface quilts. This
tool is especially useful when creating geometry that is formed by the
intersection of multiple style surfaces.
• Mirror – You can use the Mirror tool to mirror surface geometry when
creating symmetrical designs.
• Offset – The Offset tool is used to create surfaces that are interior or
exterior to the design surface. You can use this to define the opposite
material side or simply as a tool for creating designs.
• Copy – You can copy surface patches and quilts to other locations in a
design. This is helpful when reproducing the same shape throughout
a model.
You cannot mirror style curves and surfaces from within the Style
environment.

PROCEDURE - Manipulating Style Geometry using
Editing Tools
Scenario
Manipulate existing style geometry using editing tools.
Edit_Tools edit_tools.prt
Task 1: Pattern a style feature.
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Definition.
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2. In the Style tree, select curve OF-598, right-click, and select Edit
Definition.
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3. In the dashboard, select the Offset check box.
4. Click Complete Feature and click Done
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Selecting the Offset check box exports the style parameter,

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associated with the offset curve, into the standard
Pro/ENGINEER modeling environment.
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5. With Style 3 still selected,

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right-click and select Pattern.

6. Click the 4 dimension, type 6,
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and press ENTER.

7. In the dashboard, edit the
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number of pattern members

from 2 to 5, and press ENTER.
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Task 2: Create and pattern an offset surface.

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1. Click Named View List and select Default Orientation.

2. Select Quilts from the drop-down list of the filter, located in the
lower-right of the window.
3. Zoom in and select the surface

from the first instance of the
pattern, as shown.
4. Click Edit > Offset.
5. Edit the offset value to .1 and
press ENTER.

7. With the offset surface still selected, right-click and select Pattern.
Task 3: Merge and pattern the offset surfaces to the main surface.
1. Click anywhere in the Graphics window to de-select all geometry.
2. Select the main surface of the

model, press CTRL, and select
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the first offset surface, as shown.
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3. Click Merge Tool from the
Edit features toolbar.
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4. In the dashboard, click Flip First
Direction , from the far left of
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the dashboard.
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6. With the merge feature still selected, right-click and select Pattern.
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8. Click Named View List and select Standard Orientation.

9. In the model tree, right-click Pattern 1 of Style 3, and select Hide.
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Task 4: Mirror the model and merge both surfaces.

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1. Click anywhere in the Graphics window to de-select all geometry.

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2. Select the main surface of the

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model and click Mirror Tool

from the Edit features toolbar.
3. In the model tree, select datum
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plane MID.
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halves of the model and click
Merge Tool from the Edit
features toolbar.

Module 8
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Techniques for Creating Common Detailed
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Shapes
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Module Overview U
In this module, you first learn how to create common detailed shapes that
are often used to finish up a styled design. Then, you learn various methods
for creating scoop and blend geometry. Finally, you learn how to create split
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surface geometry.
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Objectives
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• Create common detailed shapes.
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• Create scoops or bulges using intersecting surfaces.

• Create scoops or bulges with definite boundaries.
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• Create scoops or bulges with blurred boundaries.

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• Create split surface geometry.

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Creating Common Detailed Shapes
You can use the Style tool to create detailed shapes commonly
found in styled designs.
Creating Detailed Features

• Scoops
• Bulges
• Split or Tearing Geometry
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Modeling Techniques
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• Surface to surface intersections.
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• Using COS type curves.
• Blurred boundaries. Definite Boundary Scoop
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• Definite boundaries.
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Intersecting Surface Bulge Scoop from COS Boundaries

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Creating Common Detailed Shapes – Theory

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You can use the Style tool to create common detailed shapes in style or
solid geometry designs. These shapes are typically the finer, more detailed
shapes added near the end of the design process.
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Creating Detailed Features

• Scoops – Depressions of general or precisely defined shapes.
• Bulges – Protrusions on a surface that can be considered reverse scoops
from a construction standpoint.
• Split or Tearing Geometry – A recess with sharp edges, similar to those
found when material is split or torn.
Modeling Techniques
• Surface to Surface Intersections – You can use the resulting geometry
from intersecting surfaces to create scoop or bulge geometry.
• COS Boundaries – You can use COS type curves as boundaries to define
scoop or bulge surface geometry.

• Blurred Boundaries – The shape of geometry with blurred boundaries is
controlled by tangency conditions and intersections of geometry rather than
specifically defined cross-boundaries.
• Definite Boundaries – To define the scoop or bulge of a specific shape,
you must define cross-boundaries that define the entire shape of the
surface.
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Creating Scoops or Bulges using Intersecting
Surfaces
You can intersect surfaces to add scoop or bulge geometry
details to a model.
Surface to Surface Intersection

• Merge intersecting surfaces.
• Blend the intersection.
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Blended Intersection The Surface Merge

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Creating Scoops or Bulges using Intersecting Surfaces – Theory

You can create geometry to form scoops and bulges by intersecting surfaces.
First define the independent bulge or scoop surface, then merge it with the
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parent surface. The resulting surface defines a scoop or bulge that you can
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use to define detailed geometry in a surface or solid model.
Blending the Intersection

You can use fillets or create style blends to smooth the transition between the
scoop or a bulge with the parent surface.
You may not be able to control the shape of the boundary of an
intersecting bulge. Therefore, this type of a construction technique
is useful only in situations where the resultant intersection does not
need to be defined by the design intent.

PROCEDURE - Creating Scoops or Bulges using
Intersecting Surfaces
Scenario
Create bulge geometry by intersecting surfaces, then use that geometry to
define solid geometry.
Inter_Surfs inter_surfs.prt
Task 1: Create the scoop-shaped surface quilt.
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2. Click Surface in the style
toolbar.
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boundaries shown.
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Collector.
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internal curves.
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7. Click Done .
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8. Edit the selection filter to Quilts.

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9. Press CTRL and select the

second surfaces, as shown.
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10. Click the Merge Tool .

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11. If necessary, click Flip First

Direction and Flip Second
Direction to define the
merge, as shown.
13. Select Style 1 from the model tree, right-click, and select Hide.
14. Spin the model to observe the completed scoop geometry.

Task 2: Add a round and thicken the quilt.
1. Start the Round Tool from

the feature toolbar.
2. Select the edge of the scoop, as
shown.
3. Edit the radius to 15, press
ENTER, and click Complete
Feature .
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4. With the Quilts filter still on,
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select the model’s surface.
5. Click Edit > Thicken to add
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material to the surface.
6. Drag the depth in both directions
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to create various thicknesses.
7. Click Cancel Feature . U
Task 3: Use the quilt to manipulate the shape of a solid block.
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1. Drag the Insert Indicator so that it is located at the bottom of

the tree.
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2. Click Hidden line , and notice the surface embedded in the

bottom of the solid block.
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3. With the Quilts filter still on,

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select the surface quilt.

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5. If necessary, click the yellow

direction arrow to reverse the
solidify direction, as shown.
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7. Click Shading and spin the

model to observe the removed
material.
If the extruded material was
on the other side of this
scoop, the solidify feature
would have created a bulge
of material.

Creating Scoops or Bulges with Definite
Boundaries
You can use scoop or bulge geometry with definite boundaries
to add detailed shape to a model.
Creation Technique
• Create upper and lower surfaces.
• Create COS curves on both
y
surfaces.
nl
• Trim the surfaces as required. Defined Cross-Boundaries
• Create defining cross-boundary
O
curves.
• Create two boundary surfaces.
se
U
al
rn
te
In
Two, Four Boundary Surfaces Dropped Curves - Trimmed Surfaces

C
Creating Scoops or Bulges with Definite Boundaries – Theory

PT
You can create scoops and bulges with definite boundaries to add detailed
shape to your model. The shape of a definite boundary surface is defined
by the cross-boundaries of the surface, rather than the tangent condition
r
at the edge of the defined surface.

Fo
A typical process used to create scoops or bulges with definite boundaries

is as follows.
• Create or identify two surfaces in your model, one for the upper boundary
of the surface and one for the lower boundary.
• Create COS type curves on the upper and lower boundary surfaces.
• If necessary, use the COS type curves to trim the boundary surfaces.
• Create cross-boundary curves, connecting the COS curves created in
the previous step.
• Create a boundary surface defining the first half of the scoop or bulge
geometry.
• Create a second boundary surface defining the second half of the scoop or
bulge geometry.

PROCEDURE - Creating Scoops or Bulges with Definite
Boundaries
Scenario
Create a definite boundary scoop and use it to remove material from the
model.
Def_Bound def_bound.prt
Task 1: Drop curves and use them to trim the surfaces.
y
nl
O
2. ClickDrop Curve in the style toolbar.
se
halves of the large sketched
circle.
U
4. Right-click, select Surface
Collector, and select the upper
al
surface.
rn

te
6. Click Surface Trim and select the upper surface.

7. Right-click and select Curve Collector.
In

C
halves of the dropped curve.

9. Right-click, select Delete
PT
Collector, and select the

surface inside of the dropped
curve.
r

Fo
11. ClickDrop Curve in the style toolbar.

halves of the smaller sketched
circle.
Collector, and select the lower,
offset surface.

15. Click Surface Trim and select the lower, offset surface.
16. Right-click and select Curve Collector.

halves of the smaller dropped
curve.
surface outside of the dropped
y
curve.
nl
O
Task 2: Complete the sidewalls of the scoop.
se
2. Click Planar from the dashboard U
al
Plane, and select FRONT.
rn
4. Press SHIFT and select

endpoints on each dropped
te
curve, as shown.
In

Definition.
C
at each endpoint and select

PT
Surface Curvature.
r

Fo

endpoints on each dropped
curve, as shown.
Definition.
at each endpoint and select
Surface Curvature.

remaining boundary curves, as
shown.
y
17. Spin the model to reorient as
required.
nl
O
boundary curves, as shown.
se
U
al
20. Click Done .
21. Spin the model as required
rn
to view the completed scoop

geometry.
te
In
C
PT

r
Fo

Creating Scoops or Bulges with Blurred
Boundaries
You can use scoop or bulge geometry with blurred boundaries
to add detailed shape to a model.
Creation Technique
• COS Boundaries
• Internal Curves
y
• Style Surface
nl
• Tangent Condition Control
O
se
Tangent Condition Control
U
al
rn
te
In
Scoop Geometry Solidify to Remove Material

C
Creating Scoops or Bulges with Blurred Boundaries – Theory

PT
You can create scoops and bulges with blurred boundaries to add detailed
shape to your model. The shape of a blurred boundary is defined by the
tangent condition at the edge of the defined surface rather than by defining
r
boundary curves.
Fo
• Create four COS type curves by either dropping or sketching them onto
the surface.
• Create internal curves to further define the shape of your scoop or bulge.
• Create a style surface referencing the curves.
• Use the tangent condition of the curves and surface to control the blurred
boundary of the geometry.

PROCEDURE - Creating Scoops or Bulges with Blurred
Boundaries
Scenario
Create a blurred boundary scoop and use it to remove material from the
model.
Blur_Bound blur_bound.prt
Task 1: Create internal curves for the new surface.
y
1. In the model tree, right-click Style 1, and select Edit Definition.
nl
O
se
4. Right-click, select Set Active Plane, and select FRONT.
5. Press SHIFT and select three

U
points, as shown. The points
should connect to both boundary
al
curves and the datum point
PNT0.
rn

Definition.
te
7. Select an endpoint, right-click the tangent handle, and select Surface

In
Curvature.
8. Click Tangent in the dashboard and edit the Tangent length to 30.
C
Leave the Tangent tab open.

PT
9. Select the other endpoint,

and select Surface Curvature.
r
10. Edit the Tangent length to 30.

Fo

Plane, and select RIGHT.
points, as shown. The points
should connect to both boundary
curves and the datum point
PNT0.
Definition.

16. Select an endpoint, right-click
the tangent handle, and select
Surface Curvature.
17. Click Tangent in the dashboard
and edit the Tangent length to
30. Leave the Tangent tab open.
18. Select the other endpoint,
and select Surface Curvature.
19. Edit the Tangent length to 30.
y
nl
O
Task 2: Create a surface and use it to remove material from the model.
se
U
al
boundary curves, as shown.
rn
Collector.
te

interior curves, as shown.
In
6. Right-click each of the four

tangent icons and select
C
Curvature.
PT
8. Click Done .
9. With the surface still selected,
click Edit > Solidify.
r
Fo

Style 1, and select Hide.
PNT0, and select Edit.
13. Edit the 10 dimension to 25 and
click Regenerate Model .

Creating Split Surface Geometry
You can add detailed shapes to your model using a split surface
feature.
Creation Technique
• Create upper and lower
surfaces.
• Create COS curves on both
surfaces.
y
• Trim the surfaces as required.
nl
• Create defining cross-boundary
O
curves.
• Create two boundary surfaces. Free Curve Below Surface
se
U
al
rn
te
In
Split Surface Geometry Position Connections
Creating Scoops or Bulges with Definite Boundaries – Theory

C
You can create scoops and bulges with definite boundaries to add detailed
PT
shape to your model. The shape of a definite boundary surface is defined

by the cross-boundaries of the surface, rather than the tangent condition
at the edge of the defined surface.
r
A typical process used to create scoops or bulges with definite boundaries

Fo
is as follows.
• Create or identify two surfaces in your model, one for the upper boundary
of the surface and one for the lower boundary.
• Create COS type curves on the upper and lower boundary surfaces.
• If necessary, use the COS type curves to trim the boundary surfaces.
• Create cross-boundary curves, connecting the COS curves created in
the previous step.
• Create a boundary surface defining the first half of the scoop or bulge
geometry.
• Create a second boundary surface defining the second half of the scoop or
bulge geometry.

PROCEDURE - Creating Split Surface Geometry
Scenario
Add a split surface to the existing geometry.
Split_Surf split_surf.prt
Task 1: Trim away material from the existing surface.
y
Definition.
nl
2. Click Surface Trim and then select the model surface.
O
3. Right-click and select Curve
Collector.
se
curves. U
al
surface inside the curves.
rn
Task 2: Add a curve to define the split edge.

te

In
2. Click Free in the dashboard, if

necessary.
C

PT
endpoints on each curve, as

shown.
r
Fo

Definition.
Add Midpoint.
6. Drag the point to the location
shown.

Task 3: Create the split surfaces.

remaining boundary curves, as
shown.
3. Right click the Normal tangent
icon on the upper boundary
of the surface, right-click, and
select Position.
y
nl
O
se
7. Right click both Normal tangent
icons on the upper and lower
boundary of the surface,
U
right-click, and select Position.
al
9. Click Done .
rn

te
In
C
r PT
Fo

Module 9
y
Creating Complex, High Quality Freeform
nl
Models
O
se
Module Overview U
In this module, you first learn the importance of four-boundary surfaces in the
development of high-quality surfaces. Then, you learn a variety of techniques
for creating models using four-boundary surfaces. These techniques are
al
especially helpful in situations where there are fewer than four boundaries
present in the design.
rn
Objectives
te

In
• Understand the benefits of creating four-boundary surfaces.

• Use the overbuild technique.
C
• Use the create boundaries technique.

• Use the void boundary technique.
PT
• Create a four-boundary rounded shape.

• Create a triangular shape using four boundaries.
r
Fo

Understanding Four-Boundary Surfaces
Four-boundary surfaces are often required to create high-quality
surfaces.
Four-Boundary Surfaces
• High Quality
• Flexibility
Creation Techniques
y
• Overbuild
• Create Boundary
nl
• Void Boundary
Overbuild Technique
O
se
U
al
rn
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Void Boundary Technique Create Boundary Technique

In
Creating High Quality Surface Models – Theory

Four-boundary surfaces are the most flexible and stable surfaces. You may
C
need to use them to create high-quality surface models if three-boundary

surfaces do not provide acceptable results. You may use three-boundary
PT
surfaces in models but you should always analyze them for distortions and
unwanted high curvature zones.
You use four-boundary surface modeling to ensure:
r
• High quality.
Fo
• Flexibility to connect with other surfaces.

– The connection type can be a leader or a follower.
– Can have tangent and curvature continuity connections.
– Connections with blend surfaces can only be a leader, not a follower.
• Flexibility to connect with other surfaces.
– You can add internal curves in two directions to refine shape.
– You can only add internal curves to triangular surfaces in one direction.
Complex Surface Modeling Situations
You sometimes are required to create a high quality surface over an area
defined by less than four boundaries. You may also encounter situations
where you have to create rounded forms with more than four boundaries.

To deal with complex situations using the four-boundary surface modeling
approach, you can do the following.
• When creating conceptual models without exact boundaries, you can use
the Overbuilding technique.
• When you have exact boundaries, you can use the Create Boundaries
and Use a Void techniques.
Singularity in Triangular Surfaces

Singularity refers to the specific location in a surface model to which a whole
row of points is drawn, causing distortion in the surface model. Triangular
surfaces inherently have singularity at the ’degenerate vertex’. A shaded
y
curvature plot can detect any unwanted high curvature, which indicates an
nl
area of distortion.
O
se
U
al
rn
te
In
C
r PT
Fo

Using the Overbuild Technique
You can create a high quality, four-boundary surface larger than
required and then trim it to the required shape after completion.
y
nl
O
Overbuilt Four-Boundary Surface Mirrored Surface
se
U
al
rn
te
In
Finished Design Merged Surface
Using the Overbuild Technique – Theory

C
PT
You can create a high quality, four-boundary surface larger than required and
then trim it to the required shape after completion. You can trim the surface
back within the Style tool or using the Merge tool, outside of the Style tool.
r
Note that using this technique produces an intersection edge that

Fo
is a result of the intersecting surfaces. It is not a curve boundary

that you can control or edit. This may or may not meet your design
intent requirements.

PROCEDURE - Using the Overbuild Technique
Scenario
Create the top surface of a mouse using both three-boundary surfaces and
a four-boundary surface. Analyze and compare the surface quality of both
techniques.
Overbuild overbuild.prt
Task 1: Create and analyze three-boundary surfaces.
y
nl
1. In the model tree, select Style
1, right-click, and select Edit
O
Definition.
2. Click Surface .
se
curves shown. U
al
rn
curves shown.
te

8. Click Done .
In
C

PT
Curvature.
style surfaces, as shown.
r
11. Observe the curvature plot.

Fo
12. Click Cancel from the

Notice the spikes in curvature at the corners of the

three-boundary surfaces. This is an example of a
three-boundary surface that does not produce a high quality
surface. Surfaces with sharp changes in curvature may not meet
visual requirements of the design. These areas may also cause
problems when you try to offset surfaces in the design.

Task 2: Create and analyze the surface using the overbuild technique.
1. In the model tree, select Style 1, right-click, and select Suppress.

2. Click OK.
3. In the model tree, select Style 2, right-click, and select Resume.

Definition.
y
curves shown.
nl
O
8. Click Done .
se
9. With the surface still selected, start the Mirror Tool .
10. Select datum plane FRONT.
U
al
12. Press CTRL and click both
halves of the surface, then start
rn
the Merge Tool .

te

In
14. Press CTRL and click both

C
halves of the surface and then

PT
start the Merge Tool .

15. Click the yellow arrows to edit
their direction, if necessary.
r

Fo

Curvature.
18. Press CTRL and select the top
two surfaces, as shown.
Notice the smooth curvature
plot created from the
four-boundary surface.
19. Click Cancel from the Curvature dialog box.

Using the Create Boundaries Technique
You can create new boundaries to form a series of four-boundary
curve networks.
y
nl
O
se
Two Sets of Three-Boundary
Surfaces Create One Four-Boundary Network
U
al
rn
te
In
C
Four-Boundary Surfaces A Second Four-Boundary Network

PT
Using the Create Boundaries Technique – Theory

You often come across situations in which you have to use surfaces that
r
are not defined by four boundaries. The Style tool enables you to create
Fo
triangular surfaces directly, but in some cases the resulting surface quality
may not be desirable. In such cases, you can create an internal network of
curves that defines a large area as rectangular patches.
Note that you can fill the remaining three-boundary voids using a
number of techniques. In this example, you can fill the three-sided
void using the rounded shape technique.

PROCEDURE - Using the Create Boundaries Technique
Scenario
Replace three-boundary surfaces with high quality four-boundary surfaces.
Create_Bound create_bound.prt
Task 1: Analyze the current surfaces of the helmet model.

Curvature.
y
nl
surfaces.
O
se
U
Notice the spikes in curvature at the corners of the
three-boundary surfaces. These are not high quality surfaces.
al
Task 2: Create additional boundaries for creation of four-boundary

rn
surfaces.
te

Definition.
In
2. Press CTRL and select both surface features from the Style tree.
3. Right-click, select Delete, and click Yes to confirm.
C

PT
6. Click References and edit the offset value to 100.
r
Fo

points on the existing curves, as
shown.
Definition.
9. Right-click the tangent handle at
an endpoint, select Normal, and
select datum plane FRONT as
the normal reference.
10. Right-click the tangent handle at the other endpoint, select Normal,
and select datum plane FRONT as the normal reference.

curves shown.
Collector.
15. Select curve CF-15, shown in
red, as the internal reference.
y
nl
18. Right-click, select Set Active Plane, and select datum plane RIGHT.
19. Click References and edit the offset value to 300.
O
20. Press SHIFT and select two points on the curves, as shown.
se
Definition. U
at the upper endpoint, select
al
Normal, and select datum plane
FRONT.
rn

the lower endpoint, and select
te
Surface Curvature.
In

C

remaining curves shown.
PT

between the surfaces and select
Curvature.
r

Fo
29. Press CTRL and select the lower

surface.
30. Click Curvature .

32. Click Done .

Spikes in curvature have been eliminated. You can fill the
remaining three-boundary void using the rounded shape
technique.
y
nl
O
se
U
al
rn
te
In
C
r PT
Fo

Using the Void Boundary Technique
You can trim away part of a surface, leaving a four-boundary void
that you can use to create a high quality four-boundary surface.
y
nl
Dropped Curve Trimmed Surface
O
se
U
al
Final, High Quality Surface New Four-Boundary Surface

rn
Using the Void Boundary Technique – Theory

te
If there is a triangular area in your surface model that you will eventually
remove or trim away, you may use this area to your advantage by trimming
In
away the triangular patch while dividing the curve network. You can also
trim away an area and rebuild it using a four-boundary surface. Using this
technique, you avoid having to create a triangular surface.
C
A typical process for creating a high quality surface using the void boundary
PT
technique is as follows.
• Create a COS type curve that you will use as a trimming reference.
r
• Trim the surface, leaving a four-boundary void.

Fo
• Create the four-boundary surface.

Note that if you can create the triangular surface created directly
with satisfactory results, then this technique may not be necessary.

PROCEDURE - Using the Void Boundary Technique
Scenario
Use the void boundary technique to create a high quality surface.
Void_Bound void_bound.prt
Task 1: Offset the existing styled surface.
1. Select the styled surface and click Edit > Offset.
y
2. In the dashboard, edit the offset value to 1 and press ENTER.
nl
3. Edit the offset value to 5 and press ENTER.
O
4. Click Cancel Feature and YES to confirm.
se
Notice that when the value is edited to 5, the preview geometry
(in yellow) no longer appears. This is because the surface
cannot be offset past 4 units.
U
5. With the surface still selected,
al
click Analysis > Geometry >

Curvature.
rn

te
In
The large spike in curvature that appears in the right corner of

the model is the reason why the surface cannot be offset past
C
4 units.
PT
Task 2: Use the void boundary technique to create a higher quality surface.
r

Fo
Definition.
2. Click Drop Curve and select

curve CF-42, as shown.
surface.
5. Click Surface Trim and select the surface.

6. Right-click, select Curve Collector, and select the dropped curve
that you previously created.

lower portion of the surface,
highlighted in red.

curves shown.
y
nl
between the surfaces and select
Curvature.
O
13. Click Done .
14. Select the styled surface from

se
the Graphics window and click
U
Edit > Offset.
al
15. Drag the offset handle in both
directions.
rn
16. Edit the offset value to 55 in the

upward direction shown.
te
Notice that the higher quality surface enables you to offset the
In
surface much farther, in both directions.

C

PT

Curvature.
r
surface patches, as shown.

Fo
Notice that the surface no longer contains sharp changes in

curvature. It is now a high quality, very smooth surface.
20. Click Cancel from the Curvature dialog box.

Creating a Four-Boundary Rounded Shape
You can add curves and trim back the surface to create a
four-boundary rounded shape.
y
nl
O
se
Create COS Curves UTrim using COS Curves
al
rn
te
In
C
PT
Four-Boundary Surface Four-Boundaries after Trim
Creating a Four-Boundary Rounded Shape – Theory

r
In many cases, a rounded surface that you create using three boundaries
Fo
will not meet the surface quality requirements of your design. In these
situations, you should add boundaries and create a four-boundary surface.
This technique enables you to fill the remaining void, after a rectangular curve
network has been used to divide a rounded shape.
A typical process for filling a three-boundary void, using a four-boundary
surface is as follows.
• Create COS type curves as the third and fourth boundaries.
• Trim away unnecessary portions of the surface.
• Create a four-boundary surface.

PROCEDURE - Creating a Four-Boundary Rounded
Shape
Scenario
Fill the three-sided void with a four-boundary round shape.
Round_Shape round_shape.prt
Task 1: Create two boundary curves on the existing surface.
y
nl
Definition.
O
3. Click COS in the dashboard, if
se
necessary.
4. Press SHIFT and select the two
endpoints shown.
U
• The first endpoint is on the
al
back curve, CF-33.
• The second endpoint is
rn
located on the surface.

te

In
Definition.
the far endpoint, select Normal,
C
and select datum plane FRONT.

PT

r
Fo

9. Press SHIFT, select the two
endpoints shown.
• The first endpoint is attached
to the end of curve CF-33.
• The second endpoint is
attached to curve CF-40.

Task 2: Add the four-boundary surface.
1. Click Surface Trim and

select the surface.
2. Right-click and select Curve
Collector.
COS type curves previously
created.
y
nl
surface to delete, highlighted in
red.
O
se
curves shown.
U
8. Right-click the three connection
al
icons between the surfaces and
select Curvature.
rn
te
In
C
PT

10. Click Done .
r
Fo

Creating a Triangular Shape using Four
Boundaries
You can create a temporary construction surface and use it to
create a triangular surface using four boundaries.
y
nl
O
se
Triangular Shape Curves Construction Surface and Boundaries
U
al
rn
te
Trimmed Construction Surface New Four-Boundary Shape

In
Creating a Triangular Shape using Four Boundaries – Theory

C
In many cases, a triangular surface that you create using three boundaries
PT
will not meet the surface quality requirements of your design. In these
situations, you must add boundaries and create a four-boundary surface.
Sometimes it is necessary to create a temporary construction surface before
r
adding the additional boundaries.

Fo
A typical process for creating a construction surface and additional

boundaries is as follows.
• Create a surface along the boundary that you will replace with two
additional boundaries.
• Create COS type curves as the third and fourth boundaries.
• Create the four-boundary surface.
• Trim away unnecessary portions of the surface. You can trim away
unnecessary portions inside or outside of the Style tool, depending on
the situation.

PROCEDURE - Creating a Triangular Shape using Four
Boundaries
Scenario
Create a temporary construction surface and use it to create a triangular
shape using four boundaries.
Triangle triangle.prt
Task 1: Create a construction surface and use it as reference when

creating a four-boundary triangle.
y
nl
Definition.
O
se
4. Press SHIFT and select the two

U
endpoints shown.
al
Definition.
rn
6. Right-click the tangent handle of

each endpoint, select Normal,
te
and select datum plane LEFT.

In

C

curves shown.
PT

r
Fo

12. Click COS from the dashboard
and then click to place two
endpoints on the surface.
Definition.
14. Press SHIFT and slide the upper
most endpoint until it snaps to
end of curve CF-71, as shown.

17. Press SHIFT and place two
endpoints, one at the end of the
last curve, the other at the end
of curve CF-71, as shown.
y
nl
curves shown.
O
22. Click Done .
se
U
Task 2: Eliminate the construction surface from the design.
al
1. Select both surfaces and start

rn
the Merge Tool .

2. Right-click and select Join.
te

In
4. Select the surface and click Edit

C
> Trim.
PT
5. Click Datum Plane Tool

and select datum plane RIGHT
from the model tree.
r
6. Press SHIFT and drag the offset

Fo
handle until it snaps to the style

curve endpoint, as shown.
7. Click OK from the dialog box.
8. Click Resume Feature from

the dashboard.
9. If necessary, click the yellow
direction arrow on the model, to
change the direction of the trim,
as shown.

Copyright
Freeform Surfacing using Pro/ENGINEER Wildfire 4.0

Copyright © 2008 Parametric Technology Corporation. All Rights Reserved.
User and training guides and related documentation from Parametric Technology Corporation and its
subsidiary companies (collectively “PTC”) is subject to the copyright laws of the United States and
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of such documentation. PTC hereby grants to the licensed software user the right to make copies in
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and in accordance with the license agreement under which the applicable software is licensed. Any
copy made shall include the PTC copyright notice and any other proprietary notice provided by PTC.
Training materials may not be copied without the express written consent of PTC. This documentation
y
may not be disclosed, transferred, modified, or reduced to any form, including electronic media, or
nl
transmitted or made publicly available by any means without the prior written consent of PTC and no
authorization is granted to make copies for such purposes.
Information described herein is furnished for general information only, is subject to change without
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notice, and should not be construed as a warranty or commitment by PTC. PTC assumes no
responsibility or liability for any errors or inaccuracies that may appear in this document.
The software described in this document is provided under written license agreement, contains
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valuable trade secrets and proprietary information, and is protected by the copyright laws of the
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products, on the Help main page, click the link for Copyright 2007. For other products, click Help >
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for S1000D®, Arbortext Learning Management System, Arbortext Reviewer for Eagle, Arbortext
LSA Interface, Associative Topology Bus, AutobuildZ, AutoRound, CDRS, CV, CVact, CVaec,
CVdesign, CV DORS, CVMAC, CVNC, CVToolmaker, Create Collaborate Control Communicate,
EDAcompare, EDAconduit, DataDoctor, DesignSuite, DIMENSION III, Distributed Services
Manager, DIVISION, e/ENGINEER, eNC Explorer, Expert Framework, Expert MoldBase, Expert
Toolmaker, FlexPDM, FlexPLM, Harmony, InterComm Expert, InterComm EDAcompare, InterComm
EDAconduit, individual innovation. collective creativity, ISSM, KDiP, Knowledge Discipline in
Practice, Knowledge System Driver, ModelCHECK, MoldShop, NC Builder, PDS Workbench,
POLYCAPP, ProductPoint, Pro/ANIMATE, Pro/ASSEMBLY, Pro/CABLING, Pro/CASTING,
Pro/CDT, Pro/CMM, Pro/COLLABORATE, Pro/COMPOSITE, Pro/CONCEPT, Pro/CONVERT,
Pro/DATA for PDGS, Pro/DESIGNER, Pro/DETAIL, Pro/DIAGRAM, Pro/DIEFACE, Pro/DRAW,
Pro/ECAD, Pro/ENGINE, Pro/FEATURE, Pro/FEM POST, Pro/FICIENCY, Pro/FLY THROUGH,
Pro/HARNESS, Pro/INTERFACE, Pro/LANGUAGE, Pro/LEGACY, Pro/LIBRARYACCESS,
Pro/MESH, Pro/Model.View, Pro/MOLDESIGN, Pro/NC ADVANCED, Pro/NC CHECK, Pro/NC
MILL, Pro/NC POST, Pro/NC SHEETMETAL, Pro/NC TURN, Pro/NC WEDM, Pro/NC Wire EDM,
Pro/NETWORK ANIMATOR, Pro/NOTEBOOK, Pro/PDM, Pro/PHOTORENDER, Pro/PIPING,
Pro/PLASTIC ADVISOR, Pro/PLOT, Pro/POWER DESIGN, Pro/PROCESS, Pro/REPORT,
Pro/REVIEW, Pro/SCAN TOOLS, Pro/SHEETMETAL, Pro/SURFACE, Pro/TOOLMAKER,
Pro/VERIFY, Pro/Web.Link, Pro/Web.Publish, Pro/WELDING, ProductView, PTC Precision,
PTC DesignQuest, Routed Systems Designer, Shrinkwrap, Validation Manager, Warp, Windchill
MPMLink, Windchill ProjectLink, and Windchill SupplyLink.
Patents of Parametric Technology Corporation or a Subsidiary
Registration numbers and issue dates follow. Additionally, equivalent patents may be issued or
pending outside of the United States. Contact PTC for further information. 5,771,392/23-June-1998;
(EP)0240557/02-October-1986; 5,423,023/05-June-1990; 4,956,771/11-September-1990;
5,058,000/15-October-1991; 5,140,321/18-August-1992; 5,297,053/22-March-1994;
5,428,772/27-June-1995; 5,469,538/21-Nov-1995; 5,469,538/21-November-1995;
5,506,950/09-April-1996; 4,310,614/30-April-1996; 5,513,316/30-April-1996;
5,526,475/11-June-1996; 5,561,747/01-October-1996; 5,526,475/6-November-1996;
5,557,176/09-November-1996; 5,680,523/21-October-1997; 5,689,711/18-November-1997;
5,771,392/23-June-1998; 5,838,331/17-November-1998; 5,844,555/01-Dec-1998;
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5,844,555/1-December-1998; 5,850,535/15-December-1998; 4,310,615/21-December-1998;
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4,310,614/22-April-1999; 6,275,866/14-Aug-2001; 6,275,866/14-August-2001;
6,308,144/23-October-2001; 6,447,223B1/10-Sept-2002; 6,473,673B1/29-October-2002;
PCT 03/05061/13-Feb-2003; 6,545,671B1/08-April-2003; GB2354683B/04-June-2003;
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GB2354683B/04-June-2003; 6,580,428B1/17-June-2003; GB2354685B/18-June-2003;
GB2354684B/02-July-2003; 6,608,623B1/19-August-2003; 6,608,623B1/19-August-2003;
6,625,607B1/23-September-2003; GB2354924/24-September-2003; GB2384125/15-October-2003;
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GB2354686/15-October-2003; GB2353376/05-November-2003; GB2354096/12-November-2003;
GB2353115/10-December-2003; 6,665,569B1/16-December-2003; (KO)415475/6-January-2004;
GB2388003B/21-January-2004; GB2365567/10-March-2004; EU0812447/26-May-2004;
GB2363208/25-August-2004; GB2366639B/13-October-2004; 7,006,956/28-February-2006;
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7,013,246B1/14-March-2006; 7,013,468/14-March-2006; (JP)3,962,109/25-May-2007.
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Certain PTC software products contain licensed third-party technology:
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CETOL is copyrighted software of Sigmetrix, LLC. Pro/ENGINEER Tolerance Analysis Extension -
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I Run and ISOGEN are copyrighted software of Alias Ltd.

Word, FrameMaker, and Interleaf filters. Copyright © 2000 Blueberry Software. All rights reserved.
CimPro, IGES/Pro, and PS/Pro software are provided by CADCAM-E, Inc.
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Includes software developed by the Apache Software Foundation (http://www.apache.org).

Redistributes JRE from Sun Microsystems. The Redistributable is complete and unmodified,
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intended to supersede any component(s) of the Redistributable, nor has CambridgeDocs
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with any claim, lawsuit, or action by any third party that arises or results from the use or distribution
of any and all Programs and/or Software. This product includes code licensed from RSA Security,
Inc. ICU4J portions licensed from IBM (see terms at http://www.icu-project.org/apiref/icu4j/).
Redistributes the Saxon XSLT Processor from Michael Kay, more information, including source
code is available at http://saxon.sourceforge.net/.
Uses cxImage, an open source image conversion library that follows the zlib license. cxImage
further uses the following images libraries which also ship (statically linked) with cxLib: zLib,
LibTIFF, LibPNG, LibJPEG, JBIG-Kit, JasPer, LibJ2K. See http://www.xdp.it/cximage.htm.
Includes software developed by Andy Clark, namely Neko DTD © Copyright Andy Clark. All rights
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Includes code which was developed and copyright by Steven John Metsker, and shipped with
Building Parsers with Java, from Addison Wesley.
Uses controls from Infragistics NetAdvantage 2004, Volume 3, © Copyright 2004 Infragistics.
VERICUT is copyrighted software and a registered trademark of CGTech.
File Filters © 1986-2002 Circle Systems, Inc.
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Hyphenation Copyright © 1986-1999, Computer Hyphenation Ltd. All rights reserved.
RetrievalWare is copyrighted software of Convera Corporation.
DataDirect Connect is copyrighted software of DataDirect Technologies.
PStill software is copyright © Dipl.- Ing. Frank Siegert, 1996-2005.
FAST InStream is copyright© of Fast Search & Transfer, Inc.
Portions of the Mathcad Solver © 1990-2002 by Frontline Systems, Inc.
Exceed and Exceed 3D are copyrighted software of Hummingbird Ltd., a division of Open Text
Corporation.
Rational Rose and Rational ClearCase are copyrighted software of IBM Corp. IBM Corporation does
not warrant and is not responsible for the operation of this software product.
G POST is copyrighted software and a registered trademark of Intercim.
The CD-ROM Composer and CD-ROM Consumer are based on Vivace CD-Web Composer
Integrator © 1996-1997 KnowledgeSet Corporation. All rights reserved.
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Xdriver and 3dxsrv are copyrighted software of 3Dconnexion, Inc, a Logitech International S.A.
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FLEXnet Publisher is copyrighted software of Macrovision Corporation.
Larson CGM Engine 9.4, Copyright © 1992-2006 Larson Software Technology, Inc. All rights
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reserved.
LightWork Libraries are copyrighted by LightWork Design 1990–2001.
MainWin Dedicated Libraries are copyrighted software of Mainsoft Corporation.
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Microsoft Jet, Microsoft XML, Technology "Powered by Groove", Microsoft SQL Server 2005, Visual
Basic for Applications, Internet Explorer and Portions compiled from Microsoft Developer Network
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Fatigue Advisor nCode libraries from nCode International.
NuTCRACKER Server Operating Environment is copyrighted software of MKS Inc.
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Oracle 8i run time, Oracle 9i run time, and Oracle 10g run time are Copyright 2002–2004 Oracle
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PDFlib software is copyright © 1997-2005 PDFlib GmbH. All rights reserved.
Proximity Linguistic Technology provides Spelling Check/Thesaurus portions of certain software
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products, including: The Proximity/Bertelsmann Lexikon Verlag Database. Copyright © 1997

Bertelsmann Lexikon Verlag. Copyright © 1997, All Rights Reserved, Proximity Technology,
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Nathan Database. Copyright © 1984 Editions Fernand Nathan. Copyright © 1989, All Rights
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1990 Merriam-Webster, Inc. Copyright © 1984, 1990, All Rights Reserved, Proximity Technology,
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© 1990 Merriam-Webster Inc. Copyright © 1994 Franklin Electronic Publishers, Inc. Copyright ©
1994, All Rights Reserved, Proximity Technology, Inc.; The Proximity/Munksgaard International
Publishers Ltd. Database. Copyright © 1990 Munksgaard International Publishers Ltd. Copyright ©
1990, All Rights Reserved, Proximity Technology, Inc.; The Proximity/S. Fischer Verlag Database.
Copyright © 1983 S. Fischer Verlag. Copyright © 1997, All Rights Reserved, Proximity Technology,
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Proximity Technology, Inc.
Certain license management is based on Elan License Manager © 1989-1999 Rainbow Technologies,
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PDEFIT © 1995-2002 Dr. Klaus Schittkowski.
MuPAD OEM kernel, version 3.2.1 (Mathsoft Kernel) © 2005 by SciFace Software GmbH & Co. KG.
TetMesh GHS3D provided by Simulog Technologies, a business unit of Simulog S.A.
HOOPS graphics system is a proprietary software product of, and is copyrighted by, Tech Soft
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TECHNOMATIX is copyrighted software and contains proprietary information of Technomatix
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TIBCO ActiveEnterprise, TIBCO Designer, TIBCO Enterprise Message Service, TIBCO Rendezvous,
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Parasolid is copyrighted software of UGS Corp, a Siemens group company.
VisTools library is copyrighted software of Visual Kinematics, Inc. (VKI) containing confidential
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Certain graphics-handling portions are based on the following technologies:
GIF: Copyright 1989, 1990 Kirk L. Johnson. The author disclaims all warranties with regard to
this software, including all implied warranties of merchantability and fitness. In no event shall the
author be liable for any special, indirect, or consequential damages or any damages whatsoever
resulting from loss of use, data or profits, whether in an action of contract, negligence, or other
tortious action, arising out of or in connection with the use or performance of this software.
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JPEG: This software is based in part on the work of the Independent JPEG Group.
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PNG: Copyright 2004-2006 Glenn Randers-Pehrson.
TIFF: Copyright 1988-1997 Sam Leffler, Copyright © 1991-1997 Silicon Graphics, Inc. The
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software is provided AS IS and without warranty of any kind, express, implied, or otherwise,
including without limitation, any warranty of merchantability or fitness for a particular purpose.
In no event shall Sam Leffler or Silicon Graphics be liable for any special, incidental, indirect, or
consequential damages of any kind, or any damages whatsoever resulting from loss of use, data
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or profits, whether or not advised of the possibility of damage, or on any theory of liability, arising
out of or in connection with the use or performance of this software.
XBM, Sun Raster, and Sun Icon: Copyright,1987, Massachusetts Institute of Technology.
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ZLIB: Copyright 1995-2004 Jean-loup Gailly and Mark Adler.
Sentry Spelling-Checker Engine copyright © 1994-2003 Wintertree Software, Inc.
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Portions of software documentation are used with the permission of the World Wide Web Consortium.
Copyright © 1994–2006 World Wide Web Consortium, (Massachusetts Institute of Technology,
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Copyright and ownership of certain software components is with YARD SOFTWARE SYSTEMS
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LIMITED, unauthorized use and copying of which is hereby prohibited. YARD SOFTWARE
SYSTEMS LIMITED 1987. (Lic. #YSS:SC:9107001)
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LAPACK libraries used are freely available at http://www.netlib.org (authors are Anderson, E. and
Bai, Z. and Bischof, C. and Blackford, S. and Demmel, J. and Dongarra, J. and Du Croz, J. and
Greenbaum, A. and Hammarling, S. and McKenney, A. and Sorensen, D.).
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Certain software components licensed in connection with the Apache Software Foundation and/or
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damages (including, but not limited to, procurement of substitute goods or services; loss of use,
data, or profits; or business interruption) however caused and on any theory of liability, whether in
contract, strict liability, or tort (including negligence or otherwise) arising in any way out of the use of
this software, even if advised of the possibility of such damage. Software includes:
Apache Server, Axis, Ant, Tomcat, Xalan, Xerces, Batik, Jakarta, Jakarta POI, Jakarta Regular
Expression, Commons-FileUpload, and XML Beans
IBM XML Parser for Java Edition, the IBM SaxParser and the IBM Lotus XSL Edition
DITA-OT - Apache License Version
IzPack: Java-based Software Installers Generator (http://www.izforge.com/izpack/start)
Jakarta–ORO (as used with Jena Software)
NekoHTML and CyberNeko Pull Parser software developed by Andy Clark © Copyright, Andy
Clark. All rights reserved.
Lucene (http://lucene.apache.org)
Quartz (scheduler) Copyright 2004-200x OpenSymphony (http://www.opensymphony.com/quartz/)
Jetty Copyright Mortbay.Org (http://www.mortbay.com/mbindex.html)
Google Web Toolkit Copyright 2007 Google
U3D Library Copyright 1999 - 2006 Intel Corporation
antlr-2.7.0.zip - ANTLR parser and lexer generator, version 2.7.0; Provided pursuant
to: ANTLR 2 License http://www.antlr.org/license.html. The Boost Library - Misc. C++
software from http://www.boost.org; Provided pursuant to: Boost Software License
http://www.boost.org/more/license_info.html and http://www.boost.org/LICENSE_1_0.txt.
PDFBOX – Free software provided pursuant to the BSD license at http://www.pdfbox.org/index.html
- Features.
Eclipse SWT is distributed under the Eclipse Public License (EPL)
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warranty therefrom and any provisions which differ from the EPL are offered by PTC. Upon
request PTC will provide the source code for such software for a charge no more than the cost of
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The following software is incorporated pursuant to the “BSD License” (or a similar license):
iCal4j is Copyright © 2005, Ben Fortuna, All rights reserved.
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Dojo – Copyright 2005, The Dojo Foundation, All rights reserved.
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Jaxen (shipped as part of dom4j) Copyright 2003-2006 The Werken Company. All Rights
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XMP (eXtensible Metadata Platform) technology from Adobe - Copyright © 1999 - 2007, Adobe
Systems Incorporated. All rights reserved.
Redistribution and use of the above in source and binary forms, with or without modification,
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CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT
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TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR

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OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF
ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
The Java Getopt.jar file, copyright 1987 1997 Free Software Foundation, Inc.
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#ZipLib GNU software is developed for the Free Software Foundation, Inc. 59 Temple Place, Suite
330, Boston, MA 02111-1307 USA, copyright © 1989, 1991. PTC hereby disclaims all copyright
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May contain script.aculo.us (built on “prototype.conio.net”). Copyright © 2005 Thomas Fuchs

(http://script.aculo.us, http://mir.aculo.us). Software is used under the following permissions:
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and
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WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED
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BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF
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The Java™ Telnet Applet (StatusPeer.java, TelnetIO.java, TelnetWrapper.java,
TimedOutException.java), Copyright © 1996, 97 Mattias L. Jugel, Marcus Meißner, is redistributed
under the GNU General Public License. This license is from the original copyright holder and the
Applet is provided WITHOUT WARRANTY OF ANY KIND. You may obtain a copy of the source
code for the Applet at http://www.mud.de/se/jta (for a charge of no more than the cost of physically
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The following software, which is provided with and called by certain PTC software products,
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Regular expression support is provided by the PCRE library package, which is open source software,
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1998 James Clark, 1999 Matthias Clasen.
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API, which is licensed under the wxWindows Library License at http://www.wxwindows.org.
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Zip32 - Compression library; Copyright © 1990-2007.
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Inno Setup - Installer package; Copyright © 1997-2007 Jordan Russell; Provided pursuant to Inno
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License http://www.7-zip.org/license.txt.
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This document and the software described herein are Commercial Computer Documentation and
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(JUN’95), and are provided to the US Government under a limited commercial license only. For
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Parametric Technology Corporation, 140 Kendrick Street, Needham, MA 02494 USA
PRINTING HISTORY
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Document No. Date Description
T2178-360-01 08/29/2008 Initial Printing of:
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Freeform Surfacing using Pro/ENGINEER Wildfire
Order Number DT-T2178-360-01 4.0
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Printed in the U.S.A
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PTC WF Surface

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Authored and published using

Copyright © 2008 Parametric Technology Corporation. All Rights Reserved.

except with written prior approval from PTC.

Welcome to PTC University!

• Delivering Value – A role-based learning design ensures the right people

organization’s overall performance goals.

offerings that PTC University has available. These include:

personal demonstrations, hands-on workshops, assessments, and

• eLearning Libraries - 24/7 access to Web-based training that will

compliment your instructor-led course.

Precision Learning In The Classroom

Precision Learning After the Class

As part of the class, you receive additional content in your account:

Recommended Learning Report based on your results.

instructional approach of lecture, demonstration and exercise. The

all modules are grouped to keep similar functionality together.

Running Course Handbook Procedures and Exercises

The following gives a brief description of the items highlighted above:

2. Scenario — This briefly describes what will be done in the lab.

3. Close Windows/Erase Not Displayed — This indicates that you should

the browser, right-click and select Set Working Directory

Freeform Surfacing using Pro/ENGINEER Wildfire 4.0

Understanding Style Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13

Understanding Style Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2

Introduction to Creating Style Curves . . . . . . . . . . . . . . . . . . . . . . . . 3-3

Understanding Datum Features within Style . . . . . . . . . . . . . . . . . . 3-10

Manipulating Style Point Locations . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Editing Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-30

Connecting Style Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-4

Manipulating Curve Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10

Connecting Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-13

Using the Curvature Analysis Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 6-20

Using the Shaded Curvature Analysis Tool . . . . . . . . . . . . . . . . . . . 6-24

Integrating Style and Parametric Features . . . . . . . . . . . . . . . . . . . . . . 7-1

As the instructor, you are responsible for teaching students how to

freeform Style features with conventional parametric geometry.

course to students through your lectures and demonstrations. Additionally,

After completing this module, you will be able to:

Module 2:45 – 20 min 30 min 60 min 5 min

2 Module 9:00 – 10 min 20 min 55 min 5 min

Module 10:30 – 10 min 20 min 55 min 5 min

© 2008 PTC P. iii

Instructing Students How to Use the Course Materials

Instructing students how to use the course materials is important because

recommended that students concentrate on what the instructor is presenting,

Delivering Lectures Using the Course Content

be able to deliver the lectures in the time allowed.

Delivering Demonstrations Using the Course Content

Facilitating Lab Exercises

© 2008 PTC P. vii

your specific company process may differ. The process is supported

After completing this module, you will be able to:

• Understand and describe the two modeling paradigms used within

combined in a Pro/ENGINEER model.

• Understand and describe a typical Pro/ENGINEER freeform modeling

© 2008 PTC Module 1 | Page 1

Freeform surface modeling is used for:

Water Faucet Hedge Trimmer

Introduction to Freeform Surface Modeling – Theory

Freeform surface modeling enables you to design models that have:

• Geometric shapes with high curvatures, or curvature in two directions.

• Smooth shapes with tangent or curvature continuity.

Common Freeform Surface Modeling Scenarios