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August 2010
Rhino Four Week Comprehensive Training
20 day Workshop

08.02 - 08.27

Rhino Level 1
5 day Workshop

08.02- 08.06

Pro/ENGINEER Level 1 (Wildfire 4.0)
5 day Workshop

08.02 - 08.06

Rhino Level 2
5 day Workshop

08.12 - 08.13

Flamingo Level 3 'Rendering' Workshop
5 day Workshop

08.16 - 08.20

Photoshop Workshop
2 day Workshop

08.16 - 08.17

Maya Level 1 - 1 week Intensive
5 day Workshop

08.02 -08.06

Intro to Maya NURBS Modeling for Industrial Designers
16 hour workshop

08.09 - 08.13

Maya 1 week Training Course- Character Development & Modeling Intensive
08.16 - 8.20

aircraft surfaciing
Chair from tutorials used in the Design Engine Pro/ENGINEER Level 1 for Industrial Designers .

Sept 2010
Four Week Pro/ENGINEER comprehensive
09.06 -10.01 (this Four week Compressive Workshop consists of the week one and two, the Manufacturing week as week three and Surfacing for week four. For 2010, this class will be offered every other month.)

Pro/ENGINEER Level 1 (Wildfire 4.0)
5 day Workshop

09.06 - 09.10

Alias Level 1
5 day Workshop

09.06- 06.10

Pro/ENGINEER Level 2 detail drawing large assemblies 5 day Workshop
09.13 - 02.17

Plastic 5 day Part Design & Manufacturing Workshop
09.20 - 09.24 Solidworks or Pro/E

Plastics 2 day Part Design Class
09.20 - 06.21

Die Cast 2 day Part Design Class
09.22 - 09.23

Surfacing Pro/ENGINEER Intensive
5 day Workshop
"Specular Highlights"
09.27 - 10.01 (a must have for serious contractors and product designers. This class is also a pre required for the aero forms surfacing class) fourth week of each month.

October 2010
Four Week Pro/ENGINEER comprehensive
10.04 -10.29 (this Four week Compressive Workshop consists of the week one and two, the Manufacturing week as week three and Surfacing for week four)

Pro/CABLE - 1 week Pro/CABLE Harness Design
5 day Workshop w/ 1 day RSD

10.18 - 10.23

rsd harness design
Image from the Design Engine RSD Harness design workshop.

Whereas our specialized courses are offered through out the year at our Chicago office, Design Engine Education instructors are also flexible to accommodate your group or company by teaching classes onsite at your facility. Our instructors are not just taught how to teach specific software; they are high level users and don't get stuck when specific questions are asked during class that may veer from the structured training (like many of our competitors). We have heard stories from costumers about other training they received onsite and the instructor could not veer from the course material.

Our onsite training efforts are reflected successfully at Schick, Fisher-Price, Yamaha, Motorola, Knoll, John Deere, General Atomics, M3 Design, IDEO, British Aerospace, Valley Lab, Triumph, and Cannondale onsite training efforts. Call 312.226.8339 today to speak to one of our recognized instructors or inquire for past manufactures references. Inside US and overseas our instructors each carry valid passports for training abroad.

There are pros and cons to onsite training with many obvious examples such as cost savings with respect to many vs one traveling and accommodations. It is costmary to ask for two estimates from our sales department to evaluate the strengths. Sometimes our costumers will fly instructors to their city for training yet still conduct the training at an offsite facility such as a hotel conference room.

Customized Onsite Proe Training, Maya Training, Rhino Training:
Our onsite training workshops are often customized for specific product design or engineering functions. For example, one major seating manufacture gave Design Engine Pro/ENGINEER models from a past project and asked us to create custom documentation in HTML sharing high level surfacing technique beyond menu clicks. Our competitors often teach from a click by click book or manual.

With the disclosures signed our engineering team can then evaluate how the models have been put together enabling the instructor to better accommodate the training workshop.

Custom Documentation in HTML:
Specific Pro/ENGINEE training requirements for onsite efforts are often coordinated several weeks before training is to commence. And often are meant are made to customize the training by documenting current modeling practices for example This interrogation effort allow the instructor or instructors a full picture of the skill levels and a complete picture for a design process that is currently in place. In this custom document the instructors have time to apply techniques that will be gained fro the course and apply those techniques to the various modeling examples supplied. We usually recommend a 20 to 30 hour addition to the proposal depending upon how many models are supplied for interrogation. The value of this added cost goes for future training efforts as these documents can be added to the corporate intranet. These documents are usually secretive and as such it is difficult for us to share examples of the custom documentation we develop however a progressive deliverable for the advancement modeling practices and techniques of a development team.

 

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How it works: Fill out the form detailing some of your concerns, interests, inquiries and a DE rep will contact you back to schedule a phone conference.

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I found this really cool game (competition maybe. we like calling it competition) that obtains a 3d object from looking at a body of text that describes the object.. Below is their description and deadline for submittals. The director Caro Doffay of this Chicago gallery is interested to see how industrial designers will intepret the new game text with software like Maya, Alias and Rhino. Deadline for this particular project is October 24th 2007 at 9pm.

Bart Brejcha

In October, 2007, Caro d’Offay Gallery will be converted into a platform for the live investigation of a specific text. Participants operating remotely from all over the globe (via the internet) will work to create a full spectrum of varying interpretations of this text. The Colorist Chess is an annual collaborative project at Caro d’Offay Gallery in Chicago. This year’s The Colorist Chess will examine the physical manifestation of a mystery object concealed in a box. A written description of the object reduces it to basic attributes. Participants are invited to take this text and translate the mystery object back into a physical form. The project thrives on the interpretative successes and failures the participants have in expressing their point of view. Interpretations will only be as true to the original as the describer's observation and the participants' relationship to the text. Intending to elicit the widest variety of interpretations as possible, The Colorist Chess continues to invite venues and artists to participate up to the day of the construction of the object. Then mailing in objects from their remote locations, artists from all over the world are able to participate in an exhibit alongside the scaled up version of the object at the main platform in Caro d’Offay Gallery.

The last competition for example we got off the http://www.carodoffaygallery.com/ website.

This is the original object that was hidden in the box.
This is one of the interpretations. Artist Erin Cooper.
This is another of the interpretations. Artist Danny Mansmith.

more of the other images will be added this week.

Text for the current mystery object that is currently hidden in the gallery.

TEXTAPORTATION OBJECT #3

1. Fuzzy light gray flexible sheeting. Create 32 half-circles at 1 ¼” x 5/8”

  • Pair them up. Join the edges of each pair at only the curved perimeters.
  • Put these 16 objects aside and forget about them

2. Green flexible sheeting. Create four 2” collapsed tubes (not entirely collapsed, but close). Each tube has one open side that is just slightly thicker than the other side. The open side is 3”. The tube tapers up to 4”. Create a texture on the tubes: the texture should be lines that run from the narrow to the wide end.

  • Put these aside and forget about them

3. Rigid material such as wood, cardboard, metal or hard plastic sheeting etc…

  • Create 4 PLANES of the following dimensions;

a. TWO rectangle planes @ 1 ¼” x 2”

b. ONE rectangle plane @ 2”x4”

c. ONE 5-sided polygon plane: 2 sides are parallel to each other. These sides are 2” long. They are 4” apart), the remaining sides of the polygon are 3”, 1 ¼” and 4”. Any protruding angle should point away from shape.

4. Join these planes together by their 2” sides to create a rigid structure. All joined angles will be perpendicular.

5. Green flexible material (sheeting).

  • Create 16 collapsed tubes (not completely collapsed but close). Each tube is 6” long. Each tube tapers down to 1” at one end. The other end is 1 ½, but the taper only starts half way down the tube.
  • Get those gray shapes out. Delicately fuse the open ends of gray caps to the narrow ends of collapsed green (#5) tubes so that the edges line up and close each other off.

6. Of the 16 tubes, cut 12 of them ¼” shorter (cutting off wider, open end)

7. Of the 12 tubes, cut 8 of those 1/2” shorter still (cutting off wider, open end)

8. Of the 8 tubes, cut 4 of those 1/4” shorter still (cutting off wider, open end). You will not need the cut offs.

9. Divide the 16 tubes into four groups, where no group has a tube of the same length.

10. Of each grouping of 4, place the tubes side by side with the longer tubes always in the center.

  • As you place them side-by-side, attach the non-tapered sections together. The non-capped ends should lines up so that no tubes are protruding past the other.

11. Stack the 4 groupings on top of each other to where all the open ends are together and as close together and organized as possible. Attach these ends together.

12. Place this stack into the structure created at instruction #3. Polygon faced up and the point pointing towards capped off ends.

13. COLORING THE OBJECT:

  • On shape #3 (5-sides polygon plane) Fill in 5 colors in this manner.

a.On the 2”, 1” and 3” edges color edges black (about ¼”)

b. Fill in the rest of the polygon plane (and other planes) with Lime green

c. There are 5 different sizes of text, which you’ll paint on the object; the largest is one large orange digit. The second largest text size is a four-letter word in white; the third largest lettering is a line of text in black, containing a five-letter word and 3-digit number with symbol. The fourth largest lettering is a 10-letter word in white with two capital letters. The fifth smallest is a line of 3 words. The middle word is “that”. These words are in white

14. Those other tubes you forgot about…stack those into four neat layers and attach at wider side. Place the wider end of the taper against the rigid structure, opposite the thinner tubes.



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