【产品设计】塑胶模具设计:合模线/分模线(PL - Parting line)详解

1、什么是合模线和分模线

塑胶射出完成后,必须从模具内取出成形品,如果模具不能打开,便无法将其取出,所以一套塑胶模具必须分成上下或左右的模具才行,而模具与模具分开或是合在一起的地方就会出现一道隙缝。

因为塑胶射出的时候必须加压让塑胶注满模具,所以无论模具多么密合,塑胶或多或少会被挤进这道隙缝,当成型品从模具取出来后,就会在这道缝隙上留下一道痕迹,而这道痕迹在塑胶界就称之为【合模线/分模线(Parting line or PL)】。

因为它在模具上通常是一整面,所以在模具或是画3D图的时候,也常常被称之为「分模面」或「分割面」。

如果仔细查看这道痕迹,会发现它的塑胶往外多长了一些肉出来,有时候塑胶长太多肉了,就会被叫成「毛边(flash)或毛刺(大陆用语)」。

有时候模具设计不良,或是模具因为磨损失修,造成两个模具无法完全密合,造成错位,就会形成一道明显的段差(step)。

因为PL是由于相接合的模具所形成,所以在模具设计之初就要决定PL的地方,也因为PL的位置会影响到后续模具打开的位置,所以要避免因为模具死角(undercut)造成无法退模的问题,比如说一个有手把的塑胶杯,分模面最好要跟把手平行,免得到时候分模后把手还埋在模具内拿不出来。

2、分模面注意的事项

1)分模面最好可以沿着成型品的转角处或是边缘来设计,这样既使有一些小毛边,也较不容易被察觉;

2)有外观要求的地方最好不要摆放分模面,如果一定要出现在外观面,尽量设置于不明显的地方,最低限度应该使用咬花(texture),尽量淡化分模线所造成的外观不良;

3)如果有重要尺寸机构的位置,要尽量避免设计成分模面,因为分模面的尺寸较不易控制;

4)当成型品有死角的部位时,应该要针对该部位的模具加以充分的考虑;

5)有时后分模面不容易处理时,也可以使用后加工的方法打磨去除,但这样会增加部品的成本。

 

 

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CINEMATOGRAPHY & DIRECTING ------------------------------ 一共两部分。 1 Introduction 2 1.1 Perspective 1.2 Yourvision 1.3 Traditional Arts 1.4 Who Should Read This Book 1.5 Software Requirements 1.6 Whatyou Should Know 1.7 The Project 2 The [digital] Camera 8 2.1 The Real and the Unreal 10 2.2 Aperture and F-Stops 10 2.3 Depth of Field 14 2.4 Lenses and Focal Length 15 ' 2.5 Aspect Ratios 20 2.6 The Next Step 22 . 3 Storyboards 24 3.1 Fmm Paper to Pixels 3.1.1 Conceptual Illustration 3.1.2 Planning 3.2 The Storyboarding Process 3.2.1 Drawng 3.2.2 Composition and Framing 3.2.3 Storyboard Layout 3.2.4 Extended Frames 3.2.5 Overhead Framing 41 3.3 The Next Step 4 Planning Shots 42 4.1 Thinking Like a Filwnaker 4.1.1 The Story 4.1.2 Research 4.1.3 Production Design 4.1.4 Lighting Situations 4.1.5 Set Design 4.1.6 The Camera 4.2 Thinking Like an Editor 4.3. Aesthetics 4.3.1 Style 5 Lighting 56 5 1 General Llghting Concepts 5.1.1 Footcandles 5.1.2 Kelvln Ambient Llght 5.1.3 5.1.4 Llght Color . . 5.2 Light as a Subject . 69 5.2.1 Light Posltionmg 69 5.3 Computer-Generated Lighting 74 5.3.1 Light Falloff 77 5.3.2 Lighting for Moods 78 5.3.3 Shadows 79 5.4 Light as aTool + 82 6 [digital] Directing 84 6.1 Thinking Like a Director 6.1.1 Shot Flow Composition 6.1.2 6.2 Types of Shots 6.2.1 Close-up Shots 6.2.2 Medium Shots FuU Shots 6.2.3 W~de and 6.2.4 Cut-Away Shots 6.2.5 Dolly Shots 6.2.6 Pans 6.2.7 Tits vii 6.2.8 Zooms 6.2.9 Boom and Crane Shots 6.2.10 Pull-Focus Shots 6.2.11 Shot Abbreviations 6.3 The Next Step 7 Staging 108 7.1 Character Staging 7.1.1 Dialogue Sequence Staging 7.1.2 Action Sequence Staging 7.2 General Scene Staging 7.3 Product Staging 7.4 Blocking 7.4.1 Illusion of Depth 7.4.2 The Rule ofThirds 7.5 The Next Step 131 * 8 Lines of Action - 132 8.1 Basic Camera Angles 134 8.2 Franiing 8.2.1 Subject Angle 8.2.2 Camera ~eiiht 8.3 Types of Shots 8.4 Continuity 8.4.1 Axis ofAction 8.5 Lines of Composition 8.5.1 TheTriangle System 8.5.2 Selective Focusing 8.6 Familiarity 9 Sound 162 9.1 Sample Rates and Frequency 9.1.1 Bit Depth 9.2 Sound and Picture 9.3 The Next Step 10 Resolutions, Compression, and Rendering 10.1 Resolutions 1o.1.1 Computer Resolution 10.1.2 Interlacing 10.2 Rendering Resolutions 10.2.1 Frames per Second 10.2.2 Compression 10.2.3 4:l:l and 4:2:2 Sampling Rates 11 Editing 11.1 Editing for Animation 11.1.1 Jump Cuts and the 35-Degree Rule i 1.i.z Walk-and-Reveal Framing 7 1. :.i Fill-and-Reveal Framing 11.1.4 Flash Cuts ~1.1.5 Collages ~:.i.b Sub-Clip Shots II.I./ Split Screens 11.1.8 Montage Sequences 11.1.9 Cut-Zoom Shots n. 1.10 Multi-Takes 11.1.11 Cut-Away Shots li.i.12 Look-At Edits n.1.i j Freeze Frames i1.1.1q Cross-Cut Edits 11.1.15 Match Cuts 111.16 Subliminal Cuts n.1.17 Slow Motion n.l.i8 Fast Motion 11.1.19 Eye Journeys 11.1.20 Slice of Life 11.1.21 Global Zooms 11.2 Parting Shots 12 Final Thoughts - 12.1 Where You've Been I,?. , Your Next Step Index 221
CINEMATOGRAPHY & DIRECTING ------------------------------ 一共两部分。 1 Introduction 2 1.1 Perspective 1.2 Yourvision 1.3 Traditional Arts 1.4 Who Should Read This Book 1.5 Software Requirements 1.6 Whatyou Should Know 1.7 The Project 2 The [digital] Camera 8 2.1 The Real and the Unreal 10 2.2 Aperture and F-Stops 10 2.3 Depth of Field 14 2.4 Lenses and Focal Length 15 ' 2.5 Aspect Ratios 20 2.6 The Next Step 22 . 3 Storyboards 24 3.1 Fmm Paper to Pixels 3.1.1 Conceptual Illustration 3.1.2 Planning 3.2 The Storyboarding Process 3.2.1 Drawng 3.2.2 Composition and Framing 3.2.3 Storyboard Layout 3.2.4 Extended Frames 3.2.5 Overhead Framing 41 3.3 The Next Step 4 Planning Shots 42 4.1 Thinking Like a Filwnaker 4.1.1 The Story 4.1.2 Research 4.1.3 Production Design 4.1.4 Lighting Situations 4.1.5 Set Design 4.1.6 The Camera 4.2 Thinking Like an Editor 4.3. Aesthetics 4.3.1 Style 5 Lighting 56 5 1 General Llghting Concepts 5.1.1 Footcandles 5.1.2 Kelvln Ambient Llght 5.1.3 5.1.4 Llght Color . . 5.2 Light as a Subject . 69 5.2.1 Light Posltionmg 69 5.3 Computer-Generated Lighting 74 5.3.1 Light Falloff 77 5.3.2 Lighting for Moods 78 5.3.3 Shadows 79 5.4 Light as aTool + 82 6 [digital] Directing 84 6.1 Thinking Like a Director 6.1.1 Shot Flow Composition 6.1.2 6.2 Types of Shots 6.2.1 Close-up Shots 6.2.2 Medium Shots FuU Shots 6.2.3 W~de and 6.2.4 Cut-Away Shots 6.2.5 Dolly Shots 6.2.6 Pans 6.2.7 Tits vii 6.2.8 Zooms 6.2.9 Boom and Crane Shots 6.2.10 Pull-Focus Shots 6.2.11 Shot Abbreviations 6.3 The Next Step 7 Staging 108 7.1 Character Staging 7.1.1 Dialogue Sequence Staging 7.1.2 Action Sequence Staging 7.2 General Scene Staging 7.3 Product Staging 7.4 Blocking 7.4.1 Illusion of Depth 7.4.2 The Rule ofThirds 7.5 The Next Step 131 * 8 Lines of Action - 132 8.1 Basic Camera Angles 134 8.2 Franiing 8.2.1 Subject Angle 8.2.2 Camera ~eiiht 8.3 Types of Shots 8.4 Continuity 8.4.1 Axis ofAction 8.5 Lines of Composition 8.5.1 TheTriangle System 8.5.2 Selective Focusing 8.6 Familiarity 9 Sound 162 9.1 Sample Rates and Frequency 9.1.1 Bit Depth 9.2 Sound and Picture 9.3 The Next Step 10 Resolutions, Compression, and Rendering 10.1 Resolutions 1o.1.1 Computer Resolution 10.1.2 Interlacing 10.2 Rendering Resolutions 10.2.1 Frames per Second 10.2.2 Compression 10.2.3 4:l:l and 4:2:2 Sampling Rates 11 Editing 11.1 Editing for Animation 11.1.1 Jump Cuts and the 35-Degree Rule i 1.i.z Walk-and-Reveal Framing 7 1. :.i Fill-and-Reveal Framing 11.1.4 Flash Cuts ~1.1.5 Collages ~:.i.b Sub-Clip Shots II.I./ Split Screens 11.1.8 Montage Sequences 11.1.9 Cut-Zoom Shots n. 1.10 Multi-Takes 11.1.11 Cut-Away Shots li.i.12 Look-At Edits n.1.i j Freeze Frames i1.1.1q Cross-Cut Edits 11.1.15 Match Cuts 111.16 Subliminal Cuts n.1.17 Slow Motion n.l.i8 Fast Motion 11.1.19 Eye Journeys 11.1.20 Slice of Life 11.1.21 Global Zooms 11.2 Parting Shots 12 Final Thoughts - 12.1 Where You've Been I,?. , Your Next Step Index 221
http://www.infoq.com/cn/articles/klein-grailsquickstartguide 1 Introduction 10 1.1 Let Me Tell You About Grails. . . . . . . . . . . . . . . . 10 1.2 How Does Grails Do It? . . . . . . . . . . . . . . . . . . . 11 1.3 Why This Book? . . . . . . . . . . . . . . . . . . . . . . . 12 1.4 Who Should Read This Book . . . . . . . . . . . . . . . 13 1.5 Source Code . . . . . . . . . . . . . . . . . . . . . . . . . 13 1.6 Enough Groovy to Be Dangerous . . . . . . . . . . . . . 14 1.7 Groovy Syntax Compared to Java . . . . . . . . . . . . 14 1.8 Groovy Strings . . . . . . . . . . . . . . . . . . . . . . . . 16 1.9 Groovy Closures . . . . . . . . . . . . . . . . . . . . . . . 17 1.10 Groovy Collections . . . . . . . . . . . . . . . . . . . . . 18 1.11 Where to from Here? . . . . . . . . . . . . . . . . . . . . 22 1.12 Acknowledgments . . . . . . . . . . . . . . . . . . . . . . 23 2 Our Project 25 2.1 Introducing TekDays.com . . . . . . . . . . . . . . . . . 26 2.2 Meet Our Customer . . . . . . . . . . . . . . . . . . . . . 26 2.3 Iteration Zero . . . . . . . . . . . . . . . . . . . . . . . . 28 2.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 3 Laying the Foundation 35 3.1 Creating a Domain Class . . . . . . . . . . . . . . . . . . 35 3.2 More About Domain Classes . . . . . . . . . . . . . . . 37 3.3 Testing Our Domain Class . . . . . . . . . . . . . . . . . 38 3.4 Taking Control of Our Domain . . . . . . . . . . . . . . 41 3.5 Modifying Code That Doesn’t Exist . . . . . . . . . . . . 42 3.6 Bootstrapping Some Test Data . . . . . . . . . . . . . . 45 3.7 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 4 Building Relationships 53 4.1 The TekUser Domain Class . . . . . . . . . . . . . . . . 53 4.2 One-to-One Relationships . . . . . . . . . . . . . . . . . 55 4.3 One-to-Many Relationships . . . . . . . . . . . . . . . . 60 4.4 Collections of Simple Data Types . . . . . . . . . . . . . 62 4.5 Adding a Sponsor Class . . . . . . . . . . . . . . . . . . 64 4.6 Many-to-Many Relationships . . . . . . . . . . . . . . . 66 4.7 Finishing Up the Domain Model . . . . . . . . . . . . . 71 4.8 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 5 Beyond Scaffolding 75 5.1 Generating Scaffolding Code . . . . . . . . . . . . . . . 75 5.2 Anatomy of a Grails Controller . . . . . . . . . . . . . . 76 5.3 Grails Views with Groovy Server Pages . . . . . . . . . . 83 5.4 Configuring a Database . . . . . . . . . . . . . . . . . . 94 5.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 6 Getting Things Done 98 6.1 Changing All Our Views at Once . . . . . . . . . . . . . 98 6.2 Modifying the Scaffolded Views . . . . . . . . . . . . . . 99 6.3 Event Task List . . . . . . . . . . . . . . . . . . . . . . . 106 6.4 Grails Service Classes . . . . . . . . . . . . . . . . . . . 108 6.5 Integration Testing . . . . . . . . . . . . . . . . . . . . . 111 6.6 Modifying the Task Class . . . . . . . . . . . . . . . . . 113 6.7 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 7 Forum Messages and UI Tricks 116 7.1 Restricting Messages to an Event . . . . . . . . . . . . . 116 7.2 Of Templates and Ajax . . . . . . . . . . . . . . . . . . . 122 7.3 Display Message Threads with a Custom Tag . . . . . . 128 7.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 8 Knock, Knock: Who’s There? Grails Security 135 8.1 Grails Security Options . . . . . . . . . . . . . . . . . . 135 8.2 Logging In . . . . . . . . . . . . . . . . . . . . . . . . . . 136 8.3 Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 8.4 Logging Out . . . . . . . . . . . . . . . . . . . . . . . . . 142 8.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 9 Big-Picture Views 146 9.1 Home Page Makeover . . . . . . . . . . . . . . . . . . . . 146 9.2 Creating a New Controller . . . . . . . . . . . . . . . . . 149 9.3 Designing the Dashboard View . . . . . . . . . . . . . . 150 9.4 Adding the Dashboard Action . . . . . . . . . . . . . . . 156 9.5 Adding a Menu . . . . . . . . . . . . . . . . . . . . . . . 158 9.6 Linking to the Dashboard . . . . . . . . . . . . . . . . . 160 9.7 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 10 Seek, and You Shall Find 163 10.1 Search Using Dynamic Finders . . . . . . . . . . . . . . 163 10.2 Hibernate Criteria Builder . . . . . . . . . . . . . . . . . 166 10.3 The Big Guns: The Searchable Plug-In . . . . . . . . . . 170 10.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 11 Icing on the Cake 178 11.1 The Grails UI Plug-In . . . . . . . . . . . . . . . . . . . . 178 11.2 The Twitter Plug-In . . . . . . . . . . . . . . . . . . . . . 183 11.3 Making the Event Page Customizable with the Blurb Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 11.4 User-Friendly URLs . . . . . . . . . . . . . . . . . . . . . 193 11.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12 Deployment and Beyond 198 12.1 Using a JNDI Data Source . . . . . . . . . . . . . . . . . 198 12.2 Creating and Deploying a WAR . . . . . . . . . . . . . . 200 12.3 Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.4 Parting Thoughts . . . . . . . . . . . . . . . . . . . . . . 202 A Additional CSS Rules 203 B Resources 205 B.1 Online Resources . . . . . . . . . . . . . . . . . . . . . . 205 B.2 Meet the G3 Community . . . . . . . . . . . . . . . . . . 206 B.3 Other Resources . . . . . . . . . . . . . . . . . . . . . . 210 B.4 IDE Support . . . . . . . . . . . . . . . . . . . . . . . . . 211 C Bibliography 213 Index 214
您可以使用HTML和CSS来绘制中分头的发型。以下是一个基本的示例,您可以根据需要进行修改和调整: ```html <!DOCTYPE html> <html> <head> <title>中分头发型示例</title> <style> #container { display: flex; flex-direction: column; align-items: center; justify-content: center; height: 400px; background-color: #f7f7f7; } #hair { display: flex; flex-direction: row; align-items: center; justify-content: center; width: 100%; height: 300px; background-color: #333; } #parting { position: absolute; top: 0; bottom: 0; left: 50%; width: 2px; background-color: #fff; transform: translateX(-50%); } #left-hair { width: 50%; height: 300px; background-color: #333; } #right-hair { width: 50%; height: 300px; background-color: #333; } </style> </head> <body> <div id="container"> <div id="hair"> <div id="left-hair"></div> <div id="right-hair"></div> <div id="parting"></div> </div> </div> </body> </html> ``` 在上面的示例中,我们使用了Flexbox布局来实现中分头发型。我们创建了一个容器元素`<div id="container">`来包含整个发型。然后,我们创建了一个子元素`<div id="hair">`来包含左右两侧的头发和中间的分界线。我们使用CSS的`display: flex`属性将其设置为Flexbox布局,并使用`flex-direction: row`将其设置为水平排列。我们还使用了`align-items: center`和`justify-content: center`属性将其居中对齐。 接下来,我们创建了一个名为`<div id="parting">`的元素来表示中间的分界线。我们使用CSS的`position: absolute`属性将其相对于父元素进行定位,并使用`top: 0`和`bottom: 0`将其延伸到整个高度。我们将其左侧对齐到父元素中心,使用`left: 50%`和`transform: translateX(-50%)`属性来实现。 最后,我们创建了两个子元素`<div id="left-hair">`和`<div id="right-hair">`来表示左右两侧的头发。我们将它们的宽度设置为50%,并通过CSS的`background-color`属性将其设置为黑色。这样,我们就创建了一个基本的中分头发型,您可以根据需要进行调整和修改。

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