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intensities and frequencies. These dynamic forces, which are of indeterminable magnitude, affect the cam pro le, accuracy, surface quality, and life. Moreover, the magnitude of these factors and the performance of the cam-follower systems are greatly in uenced by the fabrication of the cam pro le. The interrelated factors of accuracy, cost, and time are pertinent to the study. Poor manufacturing techniques can seriously impede the functional ability of the mechanism. Under most methods of fabrication, the actual and the theoretical cams rarely agree. Accuracies as close as 0.0001 in may be necessary in highspeed machinery. The following are some brief thoughts: Make parts as rigid as possible to keep exibility to a minimum. Use laminated thermoset resins, carbides, and new materials if possible and practicable. Make the component moving parts of the machine as light as possible. Use new materials such as titanium, magnesium, and aluminum, if feasible. We should aspire for a high natural frequency of the follower linkage. If resonance occurs in a given speed range, it will be with a higher harmonic number and consequently smaller amplitude harmonics. Surface nish and accuracy of fabrication are of prime importance. Be sure that cams are cut accurately in accordance with the theoretical contours so that bene t from the mathematics is not lost. Keep surface errors to a minimum. Backlash in parts should be held to a minimum. Preloaded bearings and followers are a possible solution. Use low-friction bearings, and lubricate all mating surfaces. Balance the cams with intelligent proportioning of the mass. For high-speed production machinery DRD cam curve choices are the modi ed sine and the modi ed trapezoid. These yield low accelerations and no discontinuities. Both have excellent follower vibration performance.

Fig. 3-26 The equivalent resistance found by combining the 2 and 1 were in parallel in Fig. 3-25.

Cascading Style Sheets 2.0 Programmer's Reference Note For more details on markers, refer to the entry for marker in the property display.

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LAB is both a color space and a color model. CorelDRAW offers LAB as a color model; however, LAB the color space is device-independent, and therefore it can be used to describe colors you see in the drawing window, on a physical plastic bottle of soda, and even on a basketball. Almost 100 years ago (this was before PCs), the Commission Internationale de l Eclairage (the CIE, the International Commission on Illumination) was established as a worldwide organ for standardizing and exchanging color specifications. They are responsible for creating the LAB color model. It successfully replicates the spectrum of human vision, and this is why there is a disproportionately large area of green in LAB color space. This is because the human eye responds to this region of the visible spectrum more strongly than to other hues. LAB is modeled after one channel of Luminance, one color channel (named A) that runs from magenta to green, and another channel (named B) from blue to yellow. When you use LAB to describe a color, you re (theoretically) assured color consistency. LAB, the color space, is frequently used by software engineers as a conversion space. When you want, for example, to convert an RGB bitmap to CMYK, the LAB color space is larger than both, and as a consequence colors are not driven out of gamut when the pixels in such a bitmap are reassigned new component values.

Bevel Offset-Distance (The To Center option is only available in Bevel mode.) This combination num box and spin box is used to set the distance of the duplicate objects from the original. You don t gain anything visually by setting a high value for an object; rather, this box is used to set a relational distance, depending on the size of the object to which you apply the Emboss effect. For example, a 4" object will look nice and embossed if you use a 0.09" Distance, but the effect looks a little phony at greater distances. On the other hand, an 8" object will probably not look embossed with a 0.09" Distance setting 0.16", however, scales the effect proportionately to the object and the emboss looks good. Use distance as a scaling factor. Also, distance does not auto-scale when you scale the control (parent) object. Therefore, if you need to resize an object, plan to redefine the Distance for the Emboss effect after you scale the parent object.

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