This allows me to destress a bit whilst sewing! I am so very much grateful for this…I am a novice at sewing and in find this so useful…. Good tip! I actually did that, too. I saved a flat piece of clear plastic from one of those annoying blister packages, and I traced a curve onto it.
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Skip to content. Click on the images below to download the pdfs. Imperial French Curve. Imperial Hip Curve. Metric French Curves. Metric Hip Curve. French Curves. Like this: Like Loading Posted in Patternmaking. April 20, at pm. July 10, at pm. Helen says:. August 14, at pm.
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The increasing curvature in this case prevents any of the arc segments the curve segment; the smaller the fitness value, the better the fit. Since the resulting ellipse depends on the order of the adjacent break points, we use the above algorithm to generate two elliptic arcs, one for each ordering of the two break points.
The arcs that lie within an acceptable fitness threshold are kept. In the circumstance that neither arc is considered fit enough, we subdivide the curve segment in the middle and repeat the process on the two smaller curve segments. Observe that in the limiting case small curve segments will eventually be approximated by line segments.
If any two adjacent approximating el- lipses match up within a given tolerance in terms of the values of Figure Varying tolerance on the fitness of elliptic arcs their center, orientation and principal axes we generate a composite approximating ellipse, defined by the average of these values.
The fitness of this ellipse is the sum of the fiteness of the component el- As can be seen from the three examples above the fit of arcs lipses. We also combine and reduce the number of curve segments. If we lower the threshold of would maintain a heap of possible combinations prioritized by fit- acceptable fitness in the case of Figure 9b we see that an additional ness at every iteration step.
Our implementation, however, is a se- break point is generated in the concave part of the curve on the left quential, greedy approach, that works well in practice. When approximating ellipses can be combined no more we it- erate through the existing sequence of curve segments and simply pick the fittest approximating elliptic arc, circular arc or line seg- 4 Curve editing using a French curve ment to represent that part of the input curve.
The Figure 9a shows a French curve represented by a cubic NURBS initial design curves, which are typically scanned or gesturally curve with 17 control vertices, with a plot of curvature variation sketched See Figure 2 tend to have a large number of control ver- along the curve.
Figure 9b shows the set of 14 approximating ellip- tices. To reemphasize, the motivation behind using digital French tic arcs of better fitness. Figure 9c shows the set of 14 approximat- curves, is not only to beautify the design curves to conform to the ing elliptic arcs of lower fitness and Figure 9d shows the result of aesthetically pleasing French curve sections but to reduce the com- combining the 14 elliptic segments into 7 composite segments.
A plexity of the design curves in terms of the number of control ver- whole ellipse is used to depict the arcs that get combined. Better control results but by appropriately replacing the control points and knot sequence by inserting simple knots into the curves at the parameter range ex- pertaining to the section of the design curve with the control points trema performing replacement of the design curve section.
This is and knot sequence from the section of the French curve. We in- shown by the added knots on the French curve and the almost ac- sert knots at the transition boundaries to control the blend from the ceptable result in Figure 14a.
We find the addition of two proximal unedited section of the design curve to the newly inserted section simple knots at extrema of sections of the design curve and French of the French curve. The relationship between the number of knots and control vertices results from specifying every knot to be a simple knot except for triple knots at the end points [10]. The corresponding sections on the design and French curves are a Extracting a curve section indicated using a parameter range on each curve.
Given a parameter range on a NURBS curve we first extract the section of the knot sequence that contains the parameter range. The pertintent control vertices for the knot subsequence are easily calculated based on the degree of the curve. This is shown in the Figure 13b using the curve in Figure 13a as Manipulation of the position of these inserted knots provides the the French curve.
Notice that though the resulting curve conforms user with control over the transition from the unedited design curve before the French curve in the parameter range specified there is to the French curve section See Figure This paradigm emulates the common method of working with physical French curves on paper where the non- dominant hand positions and orients the French curve, while the dominant hand is free to draw along the French curve.
Our proto- type implements this style of interaction by using the Wacom Intuos a Default b Moving three manipulators digitizer tablet which allows simultaneous use of the puck and pen inward see Figure The puck, which senses its position and orienta- tion, is used to control the digital French curve while the pen can be used for brushstrokes along the French curve.
For example, by adding graphical manipulators to the Curve design using digital French curves has been implemented as digital French curves, both control of the French curve and drawing a plug-in in our modeling and animation system Maya.
In comparison to the two-handed interaction style, though, serial inter- action may be less efficient. Also, some positioning and sculpting tasks may require precise positioning of the French curve and the user may switch to using the puck in the dominant hand for more control.
Currently, our interaction paradigm has had limited testing. Our initial impressions are that, in the sculpting case, simultaneous con- trol of position and orientation of a French curve allow quick explo- ration of how a French curve affects a target curve, aiding a designer in quickly determining the correct position of the French curve for a desired effect. We compared the efficiency of our implementation using approx- imating elliptic arcs for calculating proximity between the design and French curve against a fixed depth subdivision approach [8].
Interaction rates were about 20 Hz using elliptic arcs and about 14 Hz using subdivided control polygons for results of comparable quality. The speedup is largely due to the much smaller number of elliptic arcs than subdivided line segments. Figure User interaction using a puck, pen and tablet 6 Conclusion A typical workflow involves interactively sculpting design curves by affine transformations of the French curve See Fig- The digital French curve paradigm is of great value in the initial ure Once the sculpted section of the design curve has the gen- stages of conceptual object design.
To begin with they provide eral desired shape, the behavior of the curve in the region of transi- an efficient mechnism for neatening and simplifying sketched or tion between the unedited design curve and the French curve can be scanned design curves and endowing them with a minimal repre- edited using the point on curve manipulators shown in Figure Equally The resulting curve in Figure 15a is shown ghosted in Figure 15b to important is the stylistic uniformity and character they provide to an indicate the change in behavior.
Finally the edit operation is com- entire era of object designs. The comparison to another approach in Section 5 illustrates [1] Adobe Illustrator 8. Adobe Systems, 65—80, its efficiency but alternate algorithms [21, 8] can provide acceptable Additionally the elliptic arc algorithm is of utility to other applications which require the computation of other curve attributes [2] T.
A mark-based interaction paradigm for free-hand such as arc length along the curve, ray-curve intersection or an in- drawing. Boehm, G. Farin and J. For space curves the algorithm should generate break points sign, 1—60, Hollig and M. Sabin High accuracy geometric moving along the curve deviates by more than a given tolerance. Hermite interpolation. Computer Aided Geometric Design, Each segment can then be approximated by an elliptic arc in the ,—, Branco, A.
Costa, and F. Sketching 3D models Note that Frenet frames are ill-defined at points of inflection on with 2D interaction devices. Since our digital French curves to some extent emulate phys- [6] K. Brodlie A Review of Methods for curve and function draw- ical French curves, we are interested in enhancing the emulation ing Mathematical Methods in Computer Graphics and De- by using digital French curves on digitizer tablets, where the dis- sign, 1—38, Systems of these type [7] G.
Celniker and D. Gossard Deformable curve and surface eliminate the displacement of the hands from the artwork which is finite elements for free-form shape design. Computer Graph- present in current systems where the display and tablet are seper- ics, —, Crespin, C. Blanc and C. Implicit Sweep Objects. Eurographics, 26—30, Graphical editing of composite bezier curves. Farin Curves and surfaces for computer aided geometric design. Academic Press [11] A. Finkelstein and D. Salesin Multiresolution Curves Com- puter Graphics, —, Galyean and J.
Sculpting: An interactive volumet- ric modeling technique. Computer Graphics, 25 4 , July Kurtenbach, G. Fitzmaurice, T.
Baudel and B. Lozover and K. Preiss Automatic generation of a cubic Figure Editing a 3D design curve B-spline representation for a general digitalized curve. Euro- graphics, —, [15] D. Com- French curves to editing planar design curves. It is clear that a fun- puter Journal, v14, —, Ommundsen, C. Kud, K. MacCallum and T. For curves with minimal variation outside of the design plane such as in Fig- [17] V.
This largely preserves the shape of the design curve on Graphics, 2 1 , 1—31, Designing solid objects using interactive sketch in- tion in the design plane. Computer Graphics Symposium on Inter- Summarising, we have investigated the use of a digital equiva- active 3D Graphics , 25 2 , Mar.
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