Machine Kinematics
solved, then drawn
Concept

Minimax — where it appears

Minimising the largest error rather than the sum of squares. It gives a linkage whose worst departure is as small as it can be, which is usually the specification a designer meant, and the optimum is characterised by the error touching its bound several times with alternating sign.

Named by 12 essays across 4 fields — each of them below, with the objects they name alongside it.

The error between the precision points. chebyshev: worst 0.2232°, RMS 0.1475°; uniform: worst 0.3415°, RMS 0.2296°. The error is zero at each precision point by construction and nowhere else. chebyshev has the smallest maximum here, and which curve is best depends entirely on which measure is asked for.

Where the precision points go

A linkage that matches a function at three points is wrong between them, and where the three points are put decides how wrong. Chebyshev spacing cuts the worst error by a third against even spacing, for free — and the reason has nothing to do with mechanisms. It is a fact about a polynomial the linkage has never heard of.

synthesis · Synthesis The error between the precision points. chebyshev: worst 0.2232°, RMS 0.1475°; least-squares: worst 0.3900°, RMS 0.1203°; minimax: worst 0.2105°, RMS 0.1463°. The error is zero at each precision point by construction and nowhere else. minimax has the smallest maximum here, and which curve is best depends entirely on which measure is asked for.

The linkage that is only nearly right

Stop demanding that a linkage pass exactly through three points, and ask instead that it be close everywhere. Three linkages result, none of them passing exactly through anything, and each is the best by a different measure — the least-squares fit beats the interpolant on average error and loses to it on the worst case. An optimiser gives exactly what it was asked for and nothing else.

synthesis · Synthesis A roller offset by 5.88, at 42.3° of the rise. The cycloidal programme — rise 20 over 90°, return over 170° — on a prime circle of 40 with a roller of 10, drawn with the follower fixed above and the cam turned anticlockwise to 42.3°. The follower's line of travel is 5.88 to the right of the cam's centre. The contact normal leans 21.81° from that line, which is the pressure angle, and measured off the drawn pitch curve it is 21.81°. At this offset the peak on the rise is 21.81° and on the return 21.81°; centred, they are 27.37° and 15.33°.

An offset trades the rise for the return

Moving a roller follower's line of travel off the cam's centre lowers the pressure angle on one stroke by raising it on the other. When the rise and the return are mirror images the best offset is zero. When the cam rises in 90° and returns over 170°, an offset of 5.88 takes the worse stroke from 27.37° to 21.81° by handing the return 6.48° it did not need.

cams · Cam A roller on an arm of 50 pivoted on the left, at 35.8° of the rise. The cycloidal programme — rise 20 over 90°, return over 170° — on a prime circle of 40 with a roller of 10, followed by a roller on an arm of 50 whose pivot is on the left of the cam, at (−49.92, 42.79). The pivot angle balances the two strokes, and the cam is turned anticlockwise to 35.8°. The faint arc is the path the roller's centre swings through. The contact normal leans 23.48° from the roller's direction of motion, which is the pressure angle, and off the drawn pitch curve it is 23.48°. At this instant the roller's line of motion passes 2.98 from the cam's centre. Balanced, the arm peaks at 23.48° on both strokes; a sliding follower at its best offset of 5.88 peaks at 21.81°.

An arm is an offset that grows with the lift

Carry a cam's roller on a swinging arm instead of a slide and its pressure angle obeys the offset follower's formula exactly, with the offset replaced by the distance of the roller's line of motion from the cam's centre. That distance turns with the arm. On a cam whose strokes are mirror images the best arm is worse than a centred slide by about 5,000/L² degrees and leans the follower by its own tilt on the dwells. On a quick-rise cam the pivot's angle rebalances either side of the cam for under a degree, where a sliding offset moved to the wrong side costs eleven.

cams · Cam Five poses, five four-pose slides, and the compromise between them. Left, the moving body's frame with the slider point of each four-pose subproblem — the point whose four images are in a line when one pose is left out — and the compromise point whose five images all miss one guide by the same amount. Right, the fixed frame: the body in its five poses and the images of the chosen point, with its guide. Leaving out pose 1 to 5 misses that pose by 0.5304, 0.0836, 0.0383, 0.0422, 0.1288 units; the compromise misses every pose by 0.0140, on alternate sides. The body is about two units long.

The slide five poses almost have

Five prescribed poses leave no slide: a body point would need five images in a line, three conditions on two coordinates. But each of the five four-pose subproblems has exactly one slider point, and each misses the pose it left out by a distance a pair of compasses can find. Those five misses price the best compromise without solving for it. The slide that misses every pose by the same amount misses by one over the sum of their reciprocals — the misses add like resistances in parallel — and giving up the best single pose instead is always between two and four times worse.

synthesis · Synthesis The compromise slide needs its block on alternate walls; a working load chooses otherwise. The five prescribed poses of a body about two units long, driven by the one crank of Burmester's four that turns through them in order — centred at (1.531, -0.730), radius 1.492, turning 149° — and guided by the compromise slide, whose block has play 0.0140 either side of the guide's centre line; the two walls are drawn ten times further apart than they are. At pose 3 the compromise needs its block on the + wall (hollow ring). A working load along the guide, opposing the block's motion, presses it onto the − wall (filled). The walls needed at the five poses are + − + − +; the walls that load presses are + − − − −, and the body's own weight presses + − − + +.

The load picks the wall

The best slide for five poses misses each by 0.0140, on alternate sides, so a block with that much play either side reaches all five — if it bears on the right wall at each. Nothing in a slot says which wall. The load does: the block presses whichever wall the load's moment about the crank pin sends it to, and changes walls only where that moment changes sign. Four changes are needed. The body's own weight gives two, in the wrong places, and play then makes the slide worse; a working load gives one, and needs nineteen times the play.

synthesis · Synthesis A spring hung below the body puts the block on alternate walls. The five prescribed poses, the crank that drives them and the compromise slide, with one spring of no free length from a fixed point on the frame at (3.41, 1.16) to a point (-0.60, -1.20) of the body's frame, 0.92 below its lower edge on an arm, stiffness 2.51 per unit length against a unit working load along the guide. The spring's pull is at most 11.7 times the load. With it the block bears on the walls + − + − + at the five poses, exactly the compromise's, and crosses its slot 4 times on the way. At pose 2 the spring pulls with 10.1 and the block needs, and gets, the − wall.

A spring balanced against the load

The best slide for five poses reaches all five with play in its slot only if its block bears on alternate walls, and neither the body's weight nor a working load puts it there. A spring can, and whether one does is a linear program. No point of the body can carry it: for every such point there are weights on the poses under which any spring's pull cancels. A point on an arm below the body can, and a spring from it pulling at most 11.7 times the load gives + − + − + exactly. The spring alone presses one wall throughout; it works by balancing the load, and only for loads within nine per cent of the one it was chosen for.

synthesis · Synthesis One body point, one stiffness, and an attachment point for each load. The five prescribed poses with the lightest spring, from a point within a unit of the body's outline, that puts the rocking block on + − + − + against the body's weight: from the body point (-0.60, -1.20), on an arm 0.92 below the body, to an attachment point at (2.93, 1.97), stiffness 2.513, pulling at most 8.97. Designed against no load, the weight, the working load or both, the program picks the same body point and the same stiffness every time and moves only the attachment point: no load (3.04, 2.10), the body's weight (2.93, 1.97), the working load (3.41, 1.16), weight and working load (3.29, 1.03) (all four marked).

The arm belongs to the poses

A spring from the frame can put a rocking slide's block on the alternate walls its five poses need, but only from points on an arm below the body, never from the body itself. That looked like a fact about the working load the spring was balancing, and the body's own weight, which never changes, might have moved the reachable points onto the body. It moves them nowhere. Under no load, the weight, the working load and both, the program finds the same 155 points of the body's frame, the same lightest body point and the same stiffness, and only the spring's attachment point moves. The arm belongs to the five poses. And the earlier spring's band of nine per cent on the working load was its design margin: the band grows with the spring's pull, about one unit of load per hundred of pull.

synthesis · Synthesis A spring that pulls the same at every pose holds the band for less. The five prescribed poses of the rocking slide's body, with the arm point the earlier essays found lightest, (-0.60, -1.20) in the body's frame, and the spring that keeps the block on + − + − + for every working load from nought to the design load. The shaded sliver is every attachment point from which any spring that pulls can choose those walls at all. A constant pull of 44.6 from (3.10, 2.05), no stiffness, pulls at most 44.6 times the unit load.

A constant pull holds the band for less

A spring with free length was the obvious way to make the rocking slide's spring cheaper, and it does nothing: offered one, the lightest design takes none, at every arm point tried. The spring's law never mattered to where it may hang, because the walls depend only on which side of each crank pin the spring's line passes, and that cuts the attachment points to a polygon whatever the spring is. What the law decides is the price. Three poses bind at the lightest attachment point, and a spring whose tension follows its length must pay for the longest of them. A pull that is the same at every pose pays for none of them, and holds the band from nought to the design load for 44.6 units against 52.0. Designing for the band directly halves the hundred units the earlier essay read off by scaling.

synthesis · Synthesis Re-chosen attachment points buy back a third of the tilt at four times the springs. The tilting-head lamp with one parallelogram and the smallest springs of the earlier essay. Every spring 2 cm free and every attachment point re-chosen for the least worst moment, all springs still pulling: 0.0611 N·m, a third less, with peak pulls 29.6, 0.0, 41.6, 195.1 N (lower arm, upper arm, elbow bracket to head, wrist), 266.3 N in all. The upper arm's spring is dotted where it has no stiffness.

A free length is absorbed where the springs attach

Give every spring of the smallest balanced desk lamp 2 cm of free length and refit the stiffnesses, and the lamp is left with 0.093 N·m of unbalance, growing in exact proportion to the free length. The spare fourth spring that ideal springs had no use for recovers under three per cent of it, and moving the head spring beyond the threshold only makes it worse. What absorbs a free length is a spring whose length barely changes. Re-chosen attachment points buy back a third of the unbalance that way, and pay for it with four times the pull.

applied · Fourbar The smallest springs that balance the lamp, and the one that is not needed. The tilting-head desk lamp with one parallelogram, its springs of no free length placed to make the total of their peak pulls over the working range least, inside an outline of brackets 0.15 m high, attachment points 0.08 m past the wrist and along the head's 0.15 m. Peak pulls 22.7, 0.0, 23.2, 17.5 N (lower arm, upper arm, elbow bracket to head, wrist), 63.4 N in all and 23.2 at most. The head spring meets the head at 0.0615 m, the threshold, and the upper arm's spring has no stiffness at all: it is left out.

Six things a balancing spring is not

More springs share the load, a spring that must push wants a compression spring, a stiffer spring balances better, a refitted stiffness repairs a free length, least squares finds the balance, and the best spring is one of no free length. Six things said about springs that balance a mechanism, each the natural reading of something true, each answered by a number the essays on the desk lamp and the rocking slide measured. They fail the same way. Each treats the spring as the thing to be sized, and a balance is decided first by where the spring is hung and how its error is judged.

wrong · Misconception Allowed 100 newtons, the lamp spends them on its attachment points. The tilting-head lamp with one parallelogram, every spring 2 cm free, its attachment points chosen inside the earlier outline for the least worst moment on any joint with the springs' peak pulls capped at 100 N in total. Worst moment 0.0620 N·m; peak pulls 22.5, 28.7, 13.9, 34.9 N (lower arm, upper arm, elbow bracket to head, wrist), 100.0 N in all. Each spring's zigzag is drawn heavier the harder it pulls, and dotted where it pulls less than half a newton.

The first pull goes to the spring the lamp did without

Give every spring of the balanced desk lamp 2 cm of free length and let it have more pull, and the worst moment it is left with falls from 0.086 N·m at 62 N to 0.052 at 227 N, the most any attachment points inside the outline can do. Half of that improvement costs the first 18 newtons; the second half costs the next 147. Spent on stiffness alone, with the attachment points held, extra pull buys nothing at all. And the first place it goes is the upper arm's spring, the spare that ideal springs had no use for, hung lower on its bracket while the head spring moves out past the threshold. The wrist spring, which carried almost all of the earlier re-attached design's cost, takes the largest share only after 140 N.

applied · Fourbar

Named alongside it

The objects these essays reach for when they reach for this one.

Approximate synthesisClearanceLeast-squaresPrismaticSynthesisPrecision positionLinear programParallelogramThresholdCamDwellFour-bar

All concepts