Industrial design : materials and manufacturing guide

Industrial Design

Materials and Manufacturing Guide

Industrial Design

Materials and Manufacturing Guide

Second Edition

Jim Lesko

t 8 O 7

WILEY

John Wiley &. Sons, Inc.

This boo k w ould not have been com pleted w ith o u t E d E slam i, w ho on a

num ber o f occasions, rescued m e fro m panic, and w hose calm assurance,

clever draw ings, and graphic layout b ro u g h t th e book o u t o f the m orass

th at it was in at tim es. 1 am grateful for his help and his exceptional

talent. M an y students helped w ith research an d draw ings, including

Kyang H a u b Kang, T o n g Jin K im , and M in g h siu Yang.

D o n Blair o fT alb o t Associates was w ith m e alm ost from th e beginning,

and later Jeff Talbot joined him to provide hours o f discussion, stacks

o f brochures, and m any sources o f inform ation on casting. C hristine

Lagosz and her associates a tT ru m p f, Inc., Bill G u ftn e r o f U S A m ada

L td., Steven Friedm an o f Peterson, W alter A ckerm an o f R isdon,John

M atthew s o f E SA B W elding &. C u ttin g Products, and B ob C ook

o f B ridgeport M achines were ju st som e o f th e great individuals who

provided all the inform ation I requested on m etal form ing and cutting.

D ave K usum a and M ichael A . D ’O n o frio , Jr. an d th eir associates o f at

the Bayer C o rporation; Jack Avery, G eo rg e W h itn ey , and th e ir associ￾ates at G E Plastics; Steve H a m ; D ave B eck o f Pappago; V ictor G erdes

and his associates at th e Stevens In stitu te ; Bill Fallon o f Sikorsky; and

G eorge C ekis o f Solvay provided im p o rta n t p arts in bu ild in g the plas￾tics section. I am th an k fu l th a t th e publishers o f Injecting M olding

H a n d b o o k by R osato &. R osato an d Plastics E n g in ee rin g H an d b o o k

by th e Society o f the Plastics In d u stry allow ed m e to reproduce m any

drawings.

For th is second edition, I am extrem ely fo rtu n a te th at E d w ard Eslam i

again was m y guiding lig h t and helped m ake new ideas happen. M ike

G allagher, a form er stu d en t an d n o w a colleague, provided inspiration

and enthusiasm once again by inviting m e to C row n E q u ip m en t C orp.

for a tour o f its design and m an u factu rin g facilities. Jim Kraimer, Jeffery

M au ch , and D o u g R inderle and th e ir m any associates led this tour and

ably answ ered m y m any questions. M a n u e l Saez and L achezar

Tsvslotinv, also form er students, described th eir w ork at H um anScale

and provided im ages o f th eir current projects. P eter Bressier and his

associates and Dave Kaiser and his associates kindly responded to my

call for im ages. D avid Strieker o f Production Resources and R obert

H agem eister o f Param etric D esign A ssociates provided im portant

current inform ation.

M any o f th e casting descriptions w ere taken from th e 2006 C asting

Source D irectory, published by E ngineered C asting Solutions, w ith the

kind perm ission o f P ublisher and E d ito r A lfred T. Spada. Jo h n C h io n o f

Talbot A ssociates reviewed m y draft o f the casting section and provided

guidance and suggestions. O bviously, m any others plowed through my

drafts and patiently corrected m y errors and contributed th eir expertise;

their th o u g h ts are som ew here inside these pages.

I am grateful th at an endless n um ber o f students are always ready to

help. Z ackary Sm ith helped w ith the graphic layout, and Soo H w an

C h o and W ooyeon C h o provided m any illustrations. W h e n I arrived

at D ongseo U niversity in Korea S ang-H w an A n, S ang'W ook E om ,

Ji Young K ang, H yo-Jin Kim, and Jo o n -G o o Lee helped w ith illustra￾tions and draw ings. I w ould also hke to th an k th e m any com panies

at the IN T E R M O L D K O R E A 2007 E xhibition fbr the stacks o f

brochures an d endless pictures. T he enthusiasm and w illingness to help

on the p art o f nearly everyone w hom I contacted kept m e going. I am

grateful to all.

I would also like to thank th e m any engineers and designers w ho helped

and encouraged me. This book is dedicated to them ; to th e m em ory o f

D onald R . D ohner, the father o f A m erican industrial design education;

and to Peter M egert, w ho has provided inspiration and endless wisdom

for so m any young designers.

Contents

A cknow ledgm ents

1.0 In tro d u ctio n

2.0 O verview

3.0 M etals

3.1 Properties o f M etals

3.2 Ferrous M etals

3.3 Pow dered M etallurgy

3.4 N onferrous M etals

4.0 M etal F orm ing

4.1 L iquid S tate Form ing

4.1.1 Kxpeiui.iblc M oIdsAVasto M okK

4 .1 .2 N o n e v p c n d a h l c M o l d s

4.2 Plastic State Form ing

4.2.1 RoHinii

4 .2 .2 l'i> r g in g a n d S w a g in g

4 . 2 . 3 D r a w ti W i r e

4 .2 .4 I 'A tn is i o n s

4.3 Solid S tate Form ing

4 .3 .1 S i m p l e B e n d i n g

4 .3 .2 C o m p o u n d B e n d i n g

4 .3 .3 l-'o n ri ¡m d C u t

5.0 M etal C u ttin g

5.1 Sheet Punching and Shearing

5.2 C h ip F orm ing C u ttin g

5.3 N onchip F orm ing C u ttin g

5.4 Flam e/T herm al C u ttin g

6.0 M e ta ljo in in g

6.1 Soldering

6.2 BrazingAVelding

6 .2 .1 ( > a s W e l d i n g

6 . 2 . 2 A r c W e l d i n g

6 .2 .3 R e s is t a n c e W e l d i n g

6 . 2 . 4 S o l id S t iitc W e l d i n g

6 .2 .5 1 l i g h 'I c c h n o l o g y W e l d i n g

6.3 A dhesives

6.4 M echanical Fasteners

V35

7.0

7.1

7.2

7.3

A p p e ara n ce F in ish in g a n d C o a tin g s

F orm ed T e x tu res/M o ld e d In

C u t P attern s and A brasive Fm ishing

C o atin g s

102

103

106

113

9

10

12

17

8.0

8.1

8.2

8.3

P lastics

P roperties o f M o ld ed Plastics

T herm osets

T herm oplastics

118

126

134

139

18

25

26

31

9.0

9.1

9.2 9.3

P lastic F o rm in g P rocesses

L iq u id S tate F o rm in g

P lastic S tate F orm ing

S olid S tate F orm ing

161

165

181

187

37

44

lO.O M a c h in in g P lastics 188

46

47

50

48

11.0

11.1

11.2

11.3

J o in in g P lastics

C h em ical B onds

W e ld in g Plastics

M ech an ical Fastening

190

191

192

195

50

51

55

58

12.0

12.1

12.2

F in ish in g Plastics

F orm ed

P ain tin g s/C o atin g s

198

199

2 0 0

61

62

66

13.0

13.1

13.2

R u b b ers an d E lasto m ers

T h erm o se t R ubbers

T herm oplastic E lastom ers

204

205

211

71

74

79

81

82

14.0

14.1

14.2

14.3

14.4

N a tu ra l E n g in e e rin g M aterials

E n g in ee rin g C eram ics

G lass

M an u factu re d C arb o n

R efracto ry H a rd M etals

214

216

219

226

22 7

84

85

90

92

93

94

15.0

15.1

15.2

15.3

C o m p o sites

M e ta l-M a trix C o m p o sites

Plastic-M atrL x C om p o sites

A dvanced C o m p o site M aterials

228

229

23 0

231

16.0 R ap id P ro to ty p in g 232

97 Index 235

Overview Chart

Manufacturing

Methods

Forming Cutting Joining Finishing

L iq u id

State

Plastic

S tate

S o lid

S tate

Sh eet

C u ttin g

C h ip

F o rm in g

N o n ch ip

F o rm in g

F lam e /

L aser

S o ld er/

B raze

W eld A d h esiv e M e c h a n ­

ical

F o rm e d A b ra siv e /

C u t

C o a tin g s

M etals F e rro u s

N o n fe rro u s

• • • • • • o • • • • • • •

Plastics T h e rm o se t • O O • • O o o o • • • © •

T h e rm o p la slic s • • o • • o o o • • • • • •

Rubber & T h e rm o s e l

Elastomers • O o • O o o o o • • • © ©

T h e r m o p la s lic s • • • • O o o o • • • • © ©

Engineering M a n u fa c tu re d

M aterials C a rb o n • o o O • o o o o O O O © ©

G la ss • • o • o o o © • o 0 • © ©

E n g in e e re d

C e ra m ic s • o o O o o o o o • O • © ©

R e fra c lo ry

H a rd M e tals • • o o o o o • o o O © • ©

Natural F ib ers

Materials* • o • • • o o o o o • © © ©

W o o d

P rtx lu c ls © © o • • © © o o • • © • •

‘AM within the scopcotcngimnng maicn>I'. itKirfiire IKK cuvccvd Inihi

© , S o m e P ro c esse s

fig u r e

N o P ro c esse s

1 -1 . m a teria ls a n d m a n u ja iiu n ri)^

Introduction

Need fo r Materials am! M anufacturing

T he industrial designer, w hether on a design team or

acting alone, is responsible for th e appearance and form

o f a product. If th e form o f a product is to som e degree

th e result o f how it was m anufactured, it follows that the

designer m ust have a good understanding o f all m anufac￾tu rin g processes available, in order to have confidence that

th e proposed m anufacturing process is the m ost econom ical

a n d appropriate. I f a designer is unaw are o f certain avail￾able processes creative ptitential is lim ited. It w ould be like

a com poser w riting a sym phony totally unaw are o f the color

a n d fxill range and capability o f som e instrum ents.

Design Education

Industrial design students should have an understanding

o f m aterials and m anufacturing— ideally in the sophom ore

year. This is im portant because as projects are assigned,

students need to visualize and develop forms th at ultim ately

will be m anufactured (even if theoretically). W ith o u t a

com prehensive knowledge base o f m aterials and m anufac￾tu rin g possibilities, students can only fantasize and flounder

along, lim ited by ignorance o f the subject and oblivious to

th e variety o f possibilities available. Conversely, w ith a good

know ledge base students can propose an array o f possible

design solutions and have som e confidence th at they can be

m anufactured.

T his guide is specifically designed as a tw o-sem ester class￾room guide for industrial design students. It should also

be useftil for o th er professionals w ho require an introduc￾tory understanding o f this inform ation. It is not, and is

not intended to be, an alternative to the standard engi￾neering texts on the subject. It would be wise for designers

to acquire such a text at som e point. Industrial Design:

Materials and M anufacturing Guide is intended to give an

overview in simple words and visual im ages and to serve

as a guide and introduction to this rather complex field, a

necessary part o f industrial design education.

An excellent exam ple o f th e need for a fiiil understanding

o f m aterials and m anufacturing is the C row n T S P 6000,

especially the cab show n on the cover. W h ile consum er

products are challenging from m any perspectives, including

m arketing, industrial products like the T S P require excep￾tional dem ands for excellence in design and engineering,

such as extrem e attention to ergonom ics and to cost benefit

analysis, as well as th e traditional design concerns. The

T S P is a perfect exam ple o f w here th e designers clearly

dem onstrate an understanding o f th e fiiU range o f m aterials

and processes available. This is particularly exemplified in

the cab for the TSP. T he designers explained th at for every

single part they considered all the possible m aterials and

related processes available. The best option for each parr

was selected through a rigorous analysis o f the cost-benefit

analysis charts th at were developed as a norm al operating

procedure o f the C row n design program . The result is a

spectacular and aesthetically successfiil use o f m aterials

ftilfiUing every dem and, econom ically m anufactured to

m eet the production requirem ents, bu t more im portant

to anticipate and fulfill th e rather extrem e operational

dem ands o f users.

fig u r e 1 - 2 . C r o w n T S P 6 0 0 0 T u rret

S to ckp icker (courtesy C r o w n E q u ip m e n t

C o rp o ra tio n )

Product Design Sequence

I Concept

■ Development

Concept

Presentation

.> < ■

I Product

! Development

Product

Presentation

X

Personal and

Individual

Considerations

Objective

Considerations

Aestlietics

sty le

e g o

m a rk e tin g /a d v e rtis in g

e rg o n o m ic s

e n g in e e r in g

m a rk e tin g

in v e s tm e n t/p ro fit

n a tio n a l/in te rn a tio n a l sales

s h ip p in /d is tr ib u tio n

CPSA/U17FDA

Analysis

rese a rch

s k e tc h e s

m o ck -u p s

finish c o lo r/te x tu re

e rg o n o m ic s

b re a d b o a rd stu d ie s

m a n u fa c tu ra b ility

safety

s tre n g th o f m aterials

Synthesis

CAID

m ate ria l se le c tio n

p ro c e ss se le c tio n

CAD/CAM

m ate ria l se le c tio n

to o lin g

c o m p o n e n t se le c tio n

v e n d o rs

a sse m b ly

sh ip p in g /p a c k a g in g

re p a ir/m a in te n a n c e

O Jim Lesko a n d Ed w ard Eslam i

fig u r e 2 - 1 . p ro d u c t design sequence

Overview

Form Is the Resolution o f Function

D esign is in essence a search for form . “Form follows func￾tion” has been on th e banner o f designers since the Bauhaus.

However, this statem ent suggests th at function leads and

form follows, relegating form to a subordinate position.

R estated, it m ight read “Form is the resolution o f function,”

where function has tw o major com ponents: (1) perform ance

specification dem ands, including all user-friendly aspects,

and (2) cost and m anufacturability. The form er refers to

ergonom ics— aspects concerned w ith the abilities and

lim itations o f the p ro d u c ts users. The latter refers to the

physical aspects o f th e product, including m aterial selection

and m anufacturability. “Form is the resolution o f function"

suggests th a t form is dynam ic and interactive, whereas

“Form follows function" im plies th at form is passive,

following behind function as th e prim ary determ ining

factor in a design. I f th e revised “Form is the resolution o f

function.” is used, th en m anufacturability is understood

in its rightful placo as an equal determ inant in the design

Form is realized or m ade visible in a material or a com bina￾tion o f m aterials, w hich are shaped by tools. In creating a

form , the designer is by default selecting a m anufacturing

process. N orm ally th e designer creates m odels to dem o n ­

strate a concept in substitute m aterials— not the actual

m aterial— and by so d o in g is rem oved from a real under￾standing o f the way th e m anufacturing process will im pact

th e m aterial and form . I f product concepts are created on

p aper using pencil or on a com puter, there is a danger that

the designer is not only removed from an understanding o f

actual m anufacturing ramifications, b u t is also an o th e r step

removed from dim ensional reality and m aterial behavior

altogether. It takes a real-w orld u nderstanding o f m aterials

and m anufacturing m ethods to create successful products.

This cannot be accom plished alone in a studio; It requires

team w ork w ith m aterials and m anufacturing engineering

developm ent and support. The C linto, by M anuel Saez

and his H um anscale team , is an excellent exam ple o f a

successful product w hose form is n o t only a celebration o f

m aterials and m anufacturing, bu t is th e essence o f func￾tion for hum an need. Each elem ent o f th is design was

chosen to m eet all factors involved. The form s seem simple

but perform complex functions un d er th e severe dem ands

o f cost restraints. The m aterials and production process

selected and the form th at evolved w ere developed inter￾dependently, in an optim ization process in w hich th e best

possible solution was determ ined after deliberation and

exhaustive search and testing.

The violin is the absolute epitom e and essence o f a product

in term s o f m aterials and m anufacturing. N o o th er hum an

invention is so perfect in its resolution. I f m ade by S tradi￾varius, nothing can m atch it in its ability to reach the

sublime. O f course, it takes a m aster to play it properly.

There is no use playing a Stradivarius unless the music is

w ritten by a m aster such as Bach o r Beethoven.

Industrial D fsign M atrriu/s an d M anufacturing

is an iivcniew o f the key processes an d salient

related su p porting inform ation in ten d ed for

(stu d en t) industrial d csig n ers.lt is lim ited to

en g ineering m aterials (excluding natural m a te ­

rials). The goal is to distill th e key inform ation

o n th e subject, organize it, and present it as

sim ply as possible. O n e visual representation o t

iull design process is show n o n the facing page.

T his guide is lim ited to a discussion o f some o f

the objective considerations p rinted in green

text.

fig u r e 2 - 2 . C H n to (courtesy H u m a n sca le

D esig n S tu d io )

2.0 Manufacturing Methods Manufacturing Methods

Manufacturing Methods

I

Forming Cutting Joining Finishing

Liquid

State

Plastic

State

Solid

State

Sheet 1 Solder/

Cutting

t_______________11

1 Braze

Chip

Forming

Nonchip

Forming

Flame/Laser

- i Weld

Adhesive

Formed

- Abrasive/Cut

Mechanical

Coatings

Materials and Manufacturing Methods

This guide is an overview o f th e key m aterials, processes,

and salient related supporting inform ation intended for

(student) industrial designers. It is lim ited to engineering

m aterials (excluding natural m aterials like w ood, stone, etc.).

The goal is to distill the key inform ation on the subject,

organize it, and present it as sim ply as possible. Existing

engineering-oriented texts on this subject attem pt to be

inclusive, w ith extensive technical inform ation geared to

engineering.

fig u r e 2 - J . m a n u fiic tu n n g m ethods chart '

This guide sum m arizes th e m aterials and processes im por￾tan t to industrial design. This inform ation is presented

sim ply and graphically. It docs no t attem pt to present

all available m aterials and m anufacturing processes; it is

intended to be a designers guide to m aterials and m anu￾facturing. The m ethodology used may help readers organize

additional inform ation on these subjects.

Materials 2.0 Manufacturing Methodí

1

Metals

1

Plastics

----- Ferrous ----- Therm oset

----- Nonferrous ------ Thermoplastic

Rubber/

Elastomers

Therm oset

Natural

Engineering

Materials

Engineering

Ceramics

Glass

M anufactured

Carbon

Refractory

Hard Metals

fig u r e 2 - 4 . m a te ria h ch a rt

Metals

Ferrous Nonferrous Powdered

Metallurgy

fig u r e 3 - 2 . m eta ls chart

Pure m etals are com posed o f atom s o f the same

n p e . M etal alloys are com posed o f tw o or more

chem ical elem ents, o f w hich at least one is a metal.

This blending o f elem ents gives alloys their greater

mechanical properties. The m ajority o f m etals used

in engineering applications are alloys. M etals are

generally divided into ferrous an d nonferrous. E ach totally new alloys th a t w ere n o t previously avail￾m etal alloy has specific m echanical an d physical

properties th a t will m ake it a goo d fit for a specific

application. Fairly recently, m etals have becom e

available in a pow dered form . This has expanded

th e o p p o rtu n itie s, m aking it possible to provide

able. Pow dered m etals are now being alloyed v«th

n o n m etals, including ceram ics, rubber, and plastics,

thereby creating new categories o f product design.

opfmsite p a g e :fig u re 3 - 1 . U nisphere, F lu sh in g M ea d o w s P ark. N e w York