Machine Kinematics
solved, then drawn
Concept

Prismatic — where it appears

A joint that permits sliding along one line and no rotation, so it removes two of a planar body's three freedoms. It is what a slider-crank's block is, and treating it as a revolute joint whose centre has gone to infinity is what lets one solver handle both.

Named by 13 essays across 5 fields — each of them below, with the objects they name alongside it.

elbow arm at a posture. elbow arm, drawn from 6 joint values through a product of 6 exponentials — no equation is solved anywhere in this picture, because an open chain has none to solve. The thin lines are the joint axes at this configuration, which are also the columns of the arm's Jacobian: the tool's velocity is a sum of turns about exactly those lines. Here the smallest singular value of that Jacobian is 0.3674 and the largest is 2.407, so the arm is comfortably away from a configuration where a direction of motion is lost. Drag θ₂ shoulder.

The chain that does not close

Every mechanism in these essays so far has been a loop, and a loop is why a configuration here is a solve. An arm has no loop. Its pose is a product of six transforms, evaluated, with nothing to converge and nothing to refuse — and the difficulty does not disappear, it moves to the other end of the problem.

serial · Serial A 3-stage stack at 35°. Every bar is the same length and every stage is at the same angle, which is a consequence of the solve rather than an assumption in the drawing: the pins at the crossings and the roller on the ground leave one freedom, and it has been used. The platform is at 1547 mm and the ram — the heavy line from the ground pin — is 428 mm long. Moving the ram one millimetre from here raises the platform 5.0 mm; at the bottom of the travel the same millimetre is worth 17.6 mm.

A roller is not a slider

A scissor lift has one degree of freedom, at every height and for any number of stages. Grübler's criterion agrees — if the rollers under it are counted as pins in slots. Count them as slider blocks, which is how every textbook draws a slider, and the same formula declares a machine holding a car in the air to be a structure with minus one.

applied · Mobility The wheel is the coupler — double wishbone. The suspension solved at 0 mm of bump, with the whole travel ghosted behind it. The two arms are the cranks and the upright between them is the coupler; the wheel is bolted to that coupler, so camber is the coupler's rotation and nothing else. Camber here is 0.00° and the contact patch has moved 0.0 mm across the road. The cross is the instantaneous centre of the upright, found from the solved velocity field; the roll centre is where the line from it to the contact patch crosses the car's centreline, and it is at 73 mm here.

The wheel is the coupler

A double wishbone is a four-bar standing on end whose coupler carries a wheel, so camber is coupler rotation and scrub is a coupler point's path. Both are computable, and the second one comes out with the opposite sign from the model every suspension book uses — by more than the whole scrub.

applied · Fourbar slider crank: the closest pair at one position. Crank 1, connecting rod 3, the block sliding on the frame's own line. Every joint is where the solver put it, exactly as in the linkage field; the material is the only thing added. The heavy segment joins the two closest points over every pair of parts that is tested — which excludes pairs sharing a pin, since their material surrounds that pin by construction — and its length is the gap: -0.1400 here, between rod · guide, upper. A negative value is a penetration depth, the distance the pair would have to be moved apart, and it is drawn in the warning colour.

The block in the guide has a length

A prismatic pair is a point constrained to a line, and a point on a line of length G has a stroke of G. A block of length ℓ has a stroke of G − ℓ, because both its ends have to stay on the rails — so a guide is as long as the stroke plus the block, and a third of a short one is not stroke at all.

pairs · Pair The body points whose three images are in a line. The three prescribed poses, faint, and a curve through them. At every point of a 110×110 grid over the moving body, the point is placed in all three poses and the signed height of its image triangle is measured; the curve is where that length is zero. Those are the points whose three images lie on a line, so the dyad they want is a slide rather than a crank. The curve is a circle. Refined onto the contour, its points lie on the circle through the three image poles to 2e-15, where the pole triangle's own circle misses them by up to 1.98. Its radius is 8.767, so inside a window three units across it reads as a gentle arc; 2 of the three image poles are in the frame and the third, P₁₃, is 6.8 units away.

Where a pin becomes a slide

Three-position synthesis gives every point of the moving body a fixed pivot, except the points whose three images fall in a line. Those want a slide, and they are not scattered: they lie on one circle, the circle through the three image poles, which a single line of algebra predicts and a contour of a measured length draws to 10⁻¹⁵.

synthesis · Synthesis Oldham's coupling: two slides between two offset shafts. An input hub on one axis and an output hub on a parallel axis 0.6 away, joined by a disc that slides in a slot across the input hub and carries a tongue across the output hub at 90° to the slot. At an input angle of 35° the disc has slid 0.491 along the slot and the output hub -0.344 along the tongue, and the output hub has turned through exactly the input's angle, because neither slide can change an orientation. The disc's centre, the dot, runs round the dashed circle of diameter 0.600 — the offset divided by sin 90° — and goes round it 2 times for each turn of the shafts.

A coupling that only translates

A coupling between two parallel, offset shafts turns its output at exactly the input's speed when, and only when, the relative motion of its two hubs contains no rotation — when it lies in the translation group. Oldham's two slides give that group by construction and so do two equal parallel cranks; a four-bar that is not a parallelogram gives the whole planar group and its output wanders by more than a radian. And Oldham's right angle is not what makes the ratio one: it is what makes the slides slide least.

pairs · Pair Four poses: four slider circles through one body point, and its four images on one line. Left, the moving body's own frame: for each of the four ways of choosing three of the four prescribed poses, the circle of body points whose three images are in a line. All four pass through one point, (1.006, 0.560), the slider point. The first two also share the body point that sits on the pole P₁₂, where two images coincide; the other two circles do not pass through it. Right, the fixed frame: the body in its four poses, and the slider point's four images, which lie on one line to 3e-16 of its length. A block on the body at that point, running in a straight guide along that line, carries the body through all four poses. There is no other.

The slide a fourth pose leaves

Three prescribed poses leave a whole circle of body points that want a slide. A fourth leaves exactly one, found where two of those circles meet a second time. It had been predicted as one or three, because a real cubic meets the line at infinity in one real point or three. But both of Burmester's cubics pass through the two circular points, so only one real point is left. Four hundred random four-pose problems each have one slide and one slot pin, both found with compasses.

synthesis · Synthesis Watt chain with 1 slide: 3 chains, 11 mechanisms. The same 6 links and 7 joints with 1 of the joints made a slide instead of a pin, drawn as a block astride the line. There are 7 ways to choose the joint, and the chain's 4 symmetries fold them into 3 that are genuinely different: with the slide at 0–3, 2 mechanisms; with the slide at 0–1, 6 mechanisms; with the slide at 1–2, 3 mechanisms. The mechanism count is the number of orbits of a held link and the slide set together, so a slide breaks symmetry the pin-only chain had, and links that gave one machine between them give two. The pin-only chain gave 2; one slide gives 11.

A slide turns nothing

Make one joint of a chain a slide instead of a pin and the graph has a second decision in it before any length exists. The symmetries that counted mechanisms count these too — Watt's chain with one slide is three chains and eleven machines — and two facts read off the graph say which placements still work: a loop of slides alone is freer than the count, and a pin in a group of links the slides hold at one orientation cannot turn. Across 102 placements on the three smallest chains, both agree with the rank of the constraint Jacobian.

topology · Topology 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

Named alongside it

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

SynthesisPrecision positionSlider-crankClearanceMinimaxApproximate synthesisLower pairBurmester theoryConstraintDegrees of freedomGrübler's criterionMobility

All concepts