Machine Kinematics
solved, then drawn
Concept

Synthesis — where it appears

The design problem of finding a mechanism that produces a wanted motion. It has three distinct forms — carrying a body, tracing a path, matching a function — and confusing them is the commonest way to solve the wrong problem exactly.

Named by 15 essays across 4 fields — each of them below, with the objects they name alongside it.

Three prescribed positions of a rigid body. The whole of the design problem, before any mechanism exists. A body has to occupy these three positions — each one a place and an angle, three numbers — and what carries it between them is not yet decided. A forward analysis starts from link lengths and finds the motion. This starts from the motion, and the lengths are what has to be found. The marked points are the poles: any planar displacement is a rotation about one point, so each pair of poses has one, and the arcs show the turn each represents through the body's own origin. A pole is a property of the displacement and not a mechanism — nothing has been chosen yet. 1 of the 3 poles lies outside this frame and is not drawn; near-parallel displacements push their pole a long way off.

The problem the other way round

Every essay before this one starts from link lengths and finds the motion. That is the reader's problem, because lengths are what a drawing shows. It is not the designer's problem, which is the reverse — and the reverse is hard enough that for a century the practical method was to look the answer up in a book.

synthesis · Synthesis Five points on one coupler. The same four-bar, with a tracing point rigidly attached to the coupler at five different places. Each curve is a sextic — degree six — and moving the attachment point a little changes it a great deal. That sensitivity is the reason coupler-curve synthesis was done with atlases of printed curves for most of the twentieth century: there is no simple inverse, so the practical method was to look one up.

What a coupler point draws

A point rigidly attached to the coupler of a four-bar traces a curve of degree six. Move the attachment a little and the curve changes a great deal. For most of the twentieth century the practical way to find the linkage that draws a wanted curve was to look it up in a book of printed atlases.

curves · Coupler One moving pin, and the pivot it turns about. Choose any point of the moving body — this one at (-0.55, 0.5) in the body's own frame. In the three prescribed poses it lands in three places, and three points that are not in a line lie on exactly one circle. That circle's centre is where the fixed pivot has to be and its radius is how long the link has to be: here 1.0860, and all three images sit at that distance to within 10⁻¹². There is no iteration and no tolerance in the construction, because three points determine a circle exactly. The freedom is entirely in which point of the body to pick.

Three positions, and a circumcentre

The whole of three-position synthesis is one observation: a moving point occupies three places, three points that are not in a line lie on exactly one circle, and that circle's centre is where the fixed pivot has to be. No iteration, no tolerance, and every point of the coupler is a candidate.

synthesis · Synthesis Of 1176 exactly correct syntheses, 176 could be built. Every pair of points on a 7×7 grid over the moving body, each pair synthesised into a four-bar and each four-bar verified by the forward solver as reaching all three prescribed poses. 1176 of them do, exactly. Then each is swept from the first pose in both directions, carrying the branch the way a built mechanism must: 810 cannot reach all three without being taken apart and reassembled, and 190 reach them in the wrong order. 176 — 15% — are mechanisms rather than theorems. Nothing in the construction distinguishes them.

Exactly right, and unbuildable

A linkage synthesised through three prescribed positions reaches all three. That is a theorem and it holds exactly. Whether it reaches them in one piece, without being taken apart, and in the order asked for, are separate questions the construction says nothing about — and of 1,176 exactly correct solutions, 176 could be built.

wrong · Misconception Burmester's curves, contoured rather than drawn. With three poses, every point of the moving body works: three images, one circumcircle. With four, a point's four images are concyclic only if it lies on a particular cubic — the circle-point curve — and the fixed pivots those points want lie on a second cubic, the centre-point curve. Both are drawn here as contours of a measured quantity: at each point of a 150×150 grid, how far the fourth image misses the circle through the other three, contoured at zero. Points refined onto the contour are concyclic to 3.8e-15; points 0.47 away from it miss by at least 2.0e-1. The two curves are keyed in the legend and the four prescribed poses are drawn faintly for scale. Three poses leave a designer the whole plane; four leave a curve. The four prescribed poses are outlined faintly for scale, and both curves are clipped to the frame: the centre-point curve is a cubic with unbounded branches that reach 360 units on a mechanism three units across, and the part worth looking at is the part near the machine.

What the fourth position costs

With three prescribed positions every point of the coupler will do, and a designer is spoilt for choice. Add a fourth and the whole plane collapses to a curve — only points on a particular cubic have four images that lie on a circle, and the cubic is Burmester's.

synthesis · Synthesis 3 four-bars, one coupler curve. Three different four-bars, with different ground pivots, different link lengths and different proportions — 0.692 and 0.799 times the size of the first. Every one of them draws this same curve. Roberts's theorem says there are always exactly three, and the construction is one complex multiplication: write the coupler point as λ = (P − A)/(B − A), put the third fixed pivot at O₂ + λ(O₄ − O₂), and the other two linkages fall out with their bars' roles permuted — what is a coupler in one is a crank in another. The curves here were traced separately, each from its own solver runs, and agree to 1.3e-5 against a sampling resolution of 1.4e-5 — which is to say, as closely as the comparison can tell.

Three linkages, one curve

Every coupler curve is drawn by three different four-bars, not one. The other two can be constructed from the first with a single complex multiplication, they have different proportions and different ground pivots, and the roles of their bars are permuted — what is a coupler in one is a crank in another.

synthesis · Synthesis Four positions brought together. Burmester's construction for four prescribed positions gives a curve of points that can be fixed pivots. Bring the four positions together and it has to become the cubic of stationary curvature, because a circle through four coalescing positions is a circle of four-point contact. Measured along one ray from the pole: the finite curve crosses at one radius and the cubic at another, and the gap between them falls as the square of the spread — fitted exponent 2.024, and 7.9e-5 coupler lengths at a spread of 0.01 radians. The finite construction is the same concyclic test the four-position synthesis is built on, so this compares that construction against the infinitesimal one rather than against a re-implementation of either.

Four positions brought together

Burmester's construction finds the points of a moving plane whose four prescribed positions lie on a circle. Bring the four positions together and the curve it draws has to become the cubic of stationary curvature — and the gap between the two closes as the square of the spread, with the exponent measured rather than assumed.

curvature · Curvature A catalogue is a search space, and a requirement is a filter on it. What a census is for. Four requirements applied in turn to the 230 ten-link chains, each of them a statement about the graph alone: a link carrying four pins, a link none of whose neighbours is binary, and a way of driving it that comes apart into dyads. 26 chains survive all of them. None of this is dimensional synthesis and none of it can be — no requirement here mentions a length, an angle or a position, and every one of them can be checked before a single dimension is chosen. That is the argument for having the census at all: the design problem is a search over shapes within a topology, and knowing which topologies there are turns an open question into 26 closed ones.

Choosing the chain before the lengths

Every synthesis method in these essays starts by assuming a topology, and the assumption is usually a habit. What the graph fixes before any dimension is chosen is the number of free parameters — two per pin less four — and therefore how many positions can be prescribed at all.

synthesis · Synthesis 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 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 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.

Precision positionPrismaticCircumcentreClearanceMinimaxApproximate synthesisBurmester theorySlider-crankConstraintCoupler curveDyadKinematic synthesis

All concepts