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TERM PAPER

TOPIC

CUTTING TOOL DESIGN

NCOURSE CODE=MEC 205

SUMMITTED TO: SUBMITTED BY:

MR.JASDEEP SIR HAZRAT BELAL
. ROLL NO:RB4912-A05
REG.NO.10901869
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CONTENTS
ITEMS PAGES NO:

1. ACKNOWLEDGEMENT 3
2. INTRODUCTION 4
3. WHAT IS CUTTING TOOL DESIGN 6
4. TYPES OF CUTTING TOOL DESIGN 8
5. PROCESS 9
6. WHAT IS HEAT TREATMENT 11
7. RELATION OF HEAT TREATMENT AND CUUTING TOOL 13
8. IN COMPUTER PROCESS CUTTING TOOL DESIGN 14
9. CONCLUTION 16
10. REFERENCES AND SOURCES 17
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ACKNOWLEDGMENT

I, Hazrat Belal, a student of LOVELY PROFESSIONAL UNIVERSITY in my

acknowledgement thank all the people who have helped me in making this term
paper a success

My first and foremost acknowledgement goes to our subject teacher Mr.Jasdeep

sir for the assistance and guidance that she provided throughout the session. I am
ever grateful to him for that. I owe him a lot for the successful completion of the
term paper.

I am also thankful to many of my fellow college mates for their active support and
valuable inputs and the help that they provided. I am ever thankful to all of them.

I am thankful too much thankful to the library of the college which acted as a
database of knowledge and information for me .The internet and the various
educational sites visited by me also deserve a lot of appreciation and thank for the
help they provided in completing this term paper. I thank you one and all.

Thank you.
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Abstract: This paper presents the challenges and issues that are encountered when
capturing design knowledge in an industrial environment. Identifying and finding a
representation for the relevant design knowledge are seen as the key activities in
modelling design knowledge. Identification of design knowledge is shown through
two case studies undertaken by the first author. In these cases, knowledge is
considered to be the difference between the expert and the novice (Knowledge =
Expert - Novice). Cutting Tool Design knowledge consists of design,
manufacturing, external, internal and technical knowledge and designers consider
many of these factors when designing. This paper presents preliminary results of
ongoing research carried out at Lovely Professional University.

1. Introduction

Design in all engineering domains is a complex and knowledge intensive process.

At present, most designs are performed by experts using their previous experience.
With the demographic change in the labour market, it is becoming increasingly
important to capture knowledge in a computer-based system so that it can be
reused. In the cutting tool industry there is a shortage of new designers and this
problem is worsened as it takes several years for a designer to become
knowledgeable about the cutting tool domain. It has been highlighted that current
designers come through an extensive apprenticeship, which provides the
theoretical and practical knowledge of actually cutting metal. After this stage the
designing actually begins. It is difficult for an expert to pass on his/her knowledge
to the novice designer and the ongoing research at Cranfield University aims to
provide a computer based learning tool or a decision support system to aid both the
expert and the novice designer. The paper discusses some issues and initial results
in capturing cutting tool design knowledge.
Throughout each stage of the design process the designer can access various items
of knowledge and information in order to achieve the final design. Design does not
take place in a vacuum; the designer has to consider many aspects in the product
design. This paper looks at the information and knowledge needs of the cutting
tool designer.
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The design of cutting tools is complex and knowledge intensive. In addition to this
the market is changing and with the high average age of designers and the lack of
recruitment into engineering and, especially the cutting tool industry, results in the
loss of this expertise, and according to current Knowledge Management literature
this is likely to affect the commercial performance of the company. One answer is
to collate and store this information and knowledge in a computer-based system or
manual to ensure that the expertise stays within the company. This research is
looking into a typical design process of the cutting tool industry in order to
establish the information and knowledge used at each stage of the design process.
The design process has been modelled using the IDEF 0 modelling technique. It
begins with the initiation of the designer by a proposal via a salesperson. With this
initial specification the designer can then search for the closest few designs which
are similar in nature to the new proposal. This can become a case of redesign,
modifying an existing design to provide a full manufacturing drawing. This paper
aims to identify the types of knowledge and information that the designer requires
to complete a design. In the future, the research will move on to capture knowledge
from the whole design process in an attempt to develop the decision support
system.

2. Models and Methods of Design

Design is an integral part of any product or process. Designers go through a

number of processes to achieve the final specification from an initial list of
requirements known as a design brief. The designer will solve problems through
the design search space by a process of divergence and convergence to the eventual
solution. Several iterations can be undertaken to find a solution that is acceptable.
Final communication of a design is often in the form of drawings and depending
on the complexity of the design, a full scale model of the artefact could be made.
The design process has received the attention of the design community for many
years and many authors have attempted to provide maps or models of the process
of design. These either describe the activities involved in the design process
(descriptive models) or prescribe (prescriptive models) showing how to perform
the activities in a better way. A more recent addition to design models have been
the computational models, which emphasise the use of numerical and qualitative
computational techniques, artificial intelligence techniques in conjunction with
computing technologies. Design methods can be regarded as any procedures,
techniques, aids, or ‘tools’ for designing [1]. They represent a number of distinct
kinds of activities that the designer might use and combine into an overall design
process.
.
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2.1.1 Prescriptive models of design

Prescriptive models of design are associated with the syntactics school of thought
and tend to look at the design process from a global perspective, covering the
procedural steps (that is suggesting the best way something should be done). These
models tend to encourage designers to improve their ways of working. They
usually offer a more algorithmic, systematic procedure to follow, and are often
regarded as providing a particular design methodology [1]. They emphasise the
need to understand the problem fully without overlooking any part of it and the
‘real’ problem is the one identified. They tend to structure the design process in
three phases – analysis, synthesis and evaluation. An example of a prescriptive
design process can be found in Hubka [3, 4, 5].

2.1.2 Descriptive models of design

Descriptive models are concerned with the designers’ actions and activities during
the design process (that is what is involved in designing and/or how it is done).
These models emanated both from experience of individual designers and from
studies carried out on how designs were created, that is what processes, strategies
and problem solving methods designers used. These models usually emphasise the
importance of generating one solution concept early in the process, thus reflecting
the ‘solution-focused’ nature of design thinking [1]. The original solution goes
through a process of analysis, evaluation, refinement (patching and repair) and
development [2]. Finger & Dixon [6] further suggest that these models build
models of the cognitive process – a cognitive model is a model that describes,
simulates, or emulates the mental processes used by a designer while creating a
design.

2.1.3 Computational models of design

A computer-based model expresses a method by which a computer may
accomplish a specified task [6]. A computer-based model may in part be derived
from observation of how humans think about the task, but this does not have to be
the case. Often computer-based models are concerned with how computers can
design or assist in designing. The former include those that make decisions and
those that assist in the design process provide some kind of analysis (provide
information on which design evaluations and decisions may be based). Finger &
Dixon [6] suggest that computer-based models are specific to a well-defined class
of design problems. These are parametric, configuration and conceptual design
problem types.
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Conceptual – functional requirements are transformed into a physical embodiment

or configuration.
Computational methods focus on mapping function into structure and investigate
which are intended for computer implementation. Within these models design is
considered to be a process that maps an explicit set of requirements into a
description of a physically realisable product which would satisfy these
requirements plus implicit requirements imposed by the domain/environment [2].

2.2 Design methods

Design aids, tools and support systems are used in order to arrive at a realisable
product and/or process. Design methods generally help to formalise and systemise
activities within the design process and externalise design thinking, that is they try
to get the designer’s thoughts and thinking processes out of the head into charts
and diagrams. There are several techniques which enable the designer to explore
design situations (literature searching), search for ideas (brainstorming), explore
the problem space (interaction matrix) and evaluate designs (ranking and
weighting). A fuller descriptions of these and 35 other methods can be found in [1,
7].

2.3 Summary
The models presented here and in the literature do provide a logical approach to
the design process which encourages designers to articulate the decisions,
strategies that they undertake to achieve a design or artefact. However, many do try
to overcomplicate the design activity by providing too detailed a description of the
processes in the models. The argument stems that if a designer is constrained to a
particular model, then the creativity that is inherent in any type design
(engineering, industrial etc.) is lost. Most of designing is a mental process, that is
the design is often done in the head. The models enable designers to provide a
visual record of the processes that they undertake to achieve a particular design,
along with the sketches and drawings that are also produced. This provides a series
of rationales of why particular routes were taken in order to produce the artefact.

3. Design Knowledge Capture

Design knowledge, is in general, comprised of descriptive information, facts and

rules. These are mainly derived from training, experience and general practice.
Most design knowledge is vague and lacks order and is therefore difficult to
capture, store and disseminate [8]. Furthermore, the knowledge is often
accumulated over a number of years [9] and that most of the knowledge exists as
separate ‘islands of knowledge’ [3]. The problem then becomes one of how to
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activity, the representation of designer knowledge, and the construction of either

systems that produce designs or systems that assist designers [10].
This section presents an overview of the challenges faced while identifying,
eliciting, recording and organising the design and manufacturing knowledge. It
identifies current practices in the knowledge capture and reuse. It is observed that
categorising the type of knowledge and matching a suitable representation for it are
the major challenges faced in this area. The knowledge capture requires a good
understanding of the design and manufacturing processes, and the development of
a detailed process model helps in this understanding.

3.1 Capturing the knowledge

Knowledge capture is the eliciting, recording, and organising of knowledge [11].
The task is extremely difficult to achieve successfully and it requires an
understanding of what kinds of knowledge to capture, how to represent it, and how
it can be used in the future. The elicitation of knowledge is crucial and has been
underestimated in the past [12]. The difficulty arises from identifying the right type
of knowledge to achieve the particular functions required by support systems [13]
and the knowledge users. Secondly, and probably the most difficult, is the actual
elicitation from the domain experts who will have, their own language to
categorise the knowledge that is being represented.
A process model of the design has been utilised by the authors to develop an
IDEF0 (Integrated Definition Method) model to understand the functional and
structural relationships [14] in the process, and highlight where the designers find
information and knowledge. The aim has been to describe in detail each of the
inputs, outputs, constraints and resources that go into the design process [15], thus
highlighting the categories of information and knowledge which need to be
captured and represented.

3.2 Knowledge acquisition

Knowledge acquisition is the process of acquiring knowledge from a human expert
(or group of experts) and using this knowledge to build a knowledge based system
[16]. Knowledge acquisition and elicitation represents a large amount of the
development time in the knowledge capture process. Two types of knowledge may
be elicited from the domain expert, explicit and tacit knowledge. Eliciting tacit
knowledge is the more difficult of the two, as this knowledge rests in the head of
the expert. The problem is that often the expert doesn’t know how to express the
knowledge he or she uses on a day to day basis – it has become second nature to
them.
There are various techniques of eliciting the knowledge from the expert, but it is
mainly performed by interacting with the expert. These can be broken down .
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Table 1 – The main approaches to knowledge The knowledge engineer

acquisition. Direct Approaches interacts directly with the
expert to obtain an
explanation of the
knowledge that the expert
applies in the design work
Observational Approaches The knowledge engineer
observes the expert in the
performance of the design
task
Indirect Approaches The expert is not
encouraged to try and
verbalise his/her
knowledge and the
knowledge engineer uses
other methods to elicit the
information
Machine-based Approaches Elicit knowledge through
use of either knowledge-
engineering languages or
through induction from
databases of domain
examples

This method has highlighted, however, that the novice with basic CAD experience
can design the basic component, but without the expert knowledge there are many
areas of the component that need further revision, e.g. in a cutting tool design task
- the angle at which an insert sits in the shank to achieve a particular cutting
condition.
Machine-based knowledge elicitation tools use a computer to elicit and capture
knowledge from the designer. There are several systems developed through
research [11], such as IDE 1. 5 & 2.0, a hypermedia tool incorporating semiformal
models of the domain and design of the component. Designers are required to
perform a task on a component, after that period of work they must stop and record
on the system, the decisions that led to the resulting design in that period of work.
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of problem solving behaviour in its concrete organisation and application context

[19]. This modelling concerns not only expert knowledge but also the various
characteristics of how that knowledge is embedded and used in the organisational
environment.
XPat [20] is a process driven elicitation technique that engages the experts in
mapping the process and the knowledge themselves. Knowledge is elicited through
inputs, process and outputs based around the IDEF0 technique. It is primarily a
paper based technique allowing representation of tasks graphically therefore
avoiding the need for lengthy descriptive text. XPat is based upon three stages:
pre-analysis, problem identification and collecting and interpreting the knowledge.
The technique requires a direct elicitation approach with the domain experts at all
stages of the process.

3.3 Knowledge representation

The activity of knowledge representation is the means of organising, portraying,
and storing knowledge in a computer program which, leads to knowledgeable
behaviour [21] using several techniques. These techniques include formal
mathematical logic, state-space-speech, semantic nets, production systems and
frames & objects [17]. There are four types of knowledge that need to be
represented in a computer about a particular domain, declarative knowledge,
procedural knowledge, heuristic knowledge and descriptive knowledge. Procedural
knowledge refers to how to perform a task, whereas declarative knowledge is
factual information and knowing what to do [3].
Heuristic knowledge refers to problem solving methods that are utilised by experts
which have no formal basis or can be regarded as a ‘rule-of-thumb’. This heuristic
knowledge is often regarded as ‘shallow knowledge’ as the heuristics often ignore
the formal laws and theories of a problem. Thus the level of knowledge an expert
can have about a particular domain can be either ‘deep’ or ‘shallow’, shallow
knowledge occurs when an expert has a superficial surface knowledge of the
problem, whereas with deep knowledge and expert has full thorough grasp of the
basic fundamentals of a problem.
Descriptive knowledge is the formulation of the heuristics used by an expert
highlighting concepts in the problem domain which are central to the problem
solving process which in effect represent a distilled version of the expert’s
background knowledge [22]. It provides a description of the problem domain by
highlighting the important features and characteristics of the domain.
A knowledge representation can be considered by the roles it plays: as a surrogate
or a substitute for the thing itself, an ontological commitment, a fragmentary
theory of intelligence, a medium for practically efficient computation and a
medium of human expression [22]. There are many tools and techniques that are
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commonly used representation techniques such as specialised languages, logic,

objects, semantic nets, frames, procedural representations and production rules
[23].
Ontologies are content theories about the sorts of objects, properties of objects, and
relations between objects that are possible in a specified domain of knowledge
[24]. The knowledge representation languages and techniques described are used
represent ontologies. Ontologies facilitate the construction of a domain model
providing a vocabulary of terms and relations with which to model the domain
[25]. The benefit of using ontologies is the sharing and reuse capability which
promotes a shared and common understanding of a domain that can be
communicated across people and computers [25]. Noy and Hafner [26] review
several prominent ontology design projects comparing purposes of the ontology, its
coverage, its size, and the formalism used.

3.4 Summary
This literature survey has identified the processes involved in design and
manufacturing knowledge capture. The objective of the knowledge capture is to
reuse the knowledge through a computer based system. There is a need to develop
a generic framework of knowledge capture for a category of products. The design
and manufacturing knowledge need to be represented within one framework so that
the designer can have access to manufacturing experience and knowledge and vice
versa. Future work will involve the development of a representation technique that
can handle both design and manufacturing knowledge. Identification of cutting tool
design knowledge is the first stage in the knowledge capture process. The
following section describe the first authors indirect approach to knowledge capture
illustrated with two case studies.

4. Design Knowledge in an Industry based setting: A Case Study

Metal cutting is a mature technology, involving several disciplines of science. It is

continually changing in line with strategies, material developments throughout the
manufacturing industry worldwide, and also the developments within the metal
cutting industry. The competitive challenge here is the continual provision of
improvements to metal cutting production, thus leading to a race to provide better
tool materials, cutting edge geometries and methods of toolholding. Metal working
know-how and skill can be traced back many centuries. However, metal cutting
known in today’s industry began with the industrial revolution of the eighteenth
and nineteenth centuries and accelerated during the twentieth [27].
Cutting tools range in complexity from the simple single point tools such as
turning tools to multi point tools such as milling cutters. The purpose is to remove
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material from a component or surface to achieve a required geometry e.g. the

machining of a casting. For the turning tool shown in Figure 1, a 'P-system'
clamping mechanism is used, and the type of clamping/holding mechanism
depends on the application.
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The tool shown in Figure 1 is a turning tool which is designed and manufactured to
machine an undercut on a cam-shaft. The backend of the tool is a standard
DIN69893 fitting (the dimensions are standard and are available on microfiche)
and as such is explicit. The actual design is carried out on the insert pocket and the
shape of flank to meet the dimensions of the component avoiding any interference
with the component. Special attention is paid to the design of the insert pocket to
ensure dimensional accuracy.

4.1 Types of knowledge in cutting tool design

In order to capture relevant knowledge of the domain, it has been necessary to
design actual cutting tools for customers from the proposal stage through to detail
work. This was necessary, as the first author had very limited theoretical
knowledge about cutting tool design. He is considered as a typical novice for the
domain.

The purpose of this design work is to understand the principles involved in

designing cutting tools and to interact with the experts to identify the types of
information and knowledge they utilise throughout the design process, including
where they go to find this information and knowledge.
Many cutting tools have been designed by the first author over a period of 5
months, within the organisation, from single point turning tools to more complex
milling tools. It has illustrated the difference between the novice designer (the first
author), and an expert, who has around 20 years experience designing cutting tools.
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The design knowledge is defined as:

Knowledge = Expert – Novice
This suggests that knowledge within the cutting tool domain is the difference
between an expert designing a tool and a novice (the first author). Although it is
possible to use textbooks to teach the rudimentary tool design to a novice, there are
many instances when specific knowledge of the expert incorporates specialist
knowledge of the designed products, which has been gained over the years.
So far only the technical knowledge that is needed when designing a cutting tool
has been mentioned. It is certain that a designer would have to have many more
types of information and knowledge at their fingertips in order to fully understand
the issues that a complete design would have associated with it. Typically, this
would involve the customer, economic and supplier knowledge that the designer
holds on a personal basis and at a organisational level that has been built up over a
number of years. In the cutting tool industry, reuse of past designs is high. Often it
will be the designer remembering what they have done before, (see the tool in
Figure 1). Here the designer was able to recall the design task carried out and the
application with little or no trouble. Therefore, if this extra non-technical
knowledge can be captured as well then one would have useful design rationales,
taking into account the a global view of the design process. For instance, if in five
years time a solution to a design problem points to a design undertaken five years
ago, then the designer would have a complete picture of the state of the
environment of that designed element. It is expected that this would improve the
decision making to design the later product. Knowledge and information types
required in cutting tool design are discussed below.

4.1.1 Knowledge in cutting tool design & manufacture

All design has some kind of formal process, in which the designers will follow a
set of procedures to produce a final product, a design process. The design process
as described within Widia Valenite is shown in Figure 2, which represents one
model of design. As with knowledge, getting the designers to articulate this
process and make it explicit was found to be difficult as they have been
undertaking this process for many years and it has become second nature to them.
It was felt important that this process be modelled as to understand the routines
that a designer would undertake and also it provided the means to examine how the
designers carried out their work.
The process in Figure 2 shows a conceptual stage (proposal) and a description of
the technical system which is the checked detailed drawing. This provides a
proposal via a salesmen which contains information about the cutting conditions,
existing tools used in the operation, speeds and feed rates and dimensions of the
component to be machined. With this information the designer will produce a
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proposal drawing, which is then cost estimated. The proposal and estimate are then
sent back to the customer for approval from which an approval drawing is sent out,
which returns to be detailed to a full manufacturing specification. After this, the
drawing is checked and verified for functionality and manufacturability. If no
modification is required then it is sent to contractors for manufacturing.
Modifications are made by the detailing engineer which are then checked. At each
of these stages the designer uses information and knowledge retrieved from many
sources, and in these situations designers spend a lot of valuable design time. It has
been observed that knowledge of the manufacturing process is utilised at the
proposal stage, as it is here that the designer needs to make sure that the product
can be manufactured before the proposal is sent to the customer.

4.1.3 Knowledge in manufacturing

Knowledge in manufacturing differs from that in design. For instance the types of
knowledge of interest on the shop floor [30] are operation efficiency of plant and
machinery, maintenance, control and raw material procurement, etc. The problem
here is that the knowledge is located in many places, is of many differing topics
and lends itself to different levels of precision [30]. What is important to the
designer of cutting tools is the set-up costs for tooling in order to manufacture the
design artefact, reliability and quality of the work carried out in previous cases.
Also the capability of the manufacturer is an important factor i.e. whether the
manufacturers have the expertise and equipment to undertake the task. At the
conceptual and proposal stages during the design process the manufacturability of
the artefact would be taken into account by the designer. Because of the
background and experience of the designers are mostly based on an apprenticeship,
the appreciation of what can be manufactured and the processes that are needed for
manufacture is borne through trial and error. During observation of this small
group of designers, it is worth highlighting that the designs are not 3D modelled
and analysed by advanced computer methods but analysed through picturing in the
head of the designer and then a through checking/verification procedure of what
'feels right'. Both design and manufacturing knowledge, however different in their
categories and context of knowledge, still use the same methods of capturing and
representing knowledge including the rationale as to how the process is planned
the way it is [31].
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5. Summary
The paper has outlined the different methods and models of design that have been
developed over decades of research. The authors would argue that designers do
conform to some features of the models and methods outlined, but in an industry
situation such as the cutting tool industry it is not strictly followed. The design
process highlighted in Figure 2 is based on the designer's experience of how best to
perform the design within the organisation. The authors have also presented the
issues that are relevant to capturing knowledge including systems that facilitate
knowledge capture. The authors have identified the types of knowledge that are
inherent in cutting tool design and have emphasised the need for a global approach
to design by considering aspects other than just the technological factors of a
design. The case study highlights mainly technical knowledge as this has been
experienced first hand. The authors would argue that capturing knowledge about
the economy, customer and suppliers as examples would lead to better and
informed decisions during design in future years. Hence, it is important to capture
design rationales to support the designs. The major challenges in capturing design
knowledge and rationale are to organise and categorise the knowledge, and to find
a suitable representation to complement it. The types of knowledge identified
require a good understanding of the processes involved in the design, and thus it is
useful to develop the detail process level model of the cutting tool design process.
The research so far has identified cutting tool design knowledge as: Knowledge =
Expert - Novice. The knowledge identification is based on an indirect approach,
where the first author performed several designs as a novice and identified the
knowledge required from experts (this is the difference between an expert and a
novice).

Conclution:-

It’s a predict feels highghly oblisised that I am try to complete my term paper
about the topic CUTTING TOOL DESIGN,its my glad to do this term paper with the
help of internet and some books and somes pdf files.i hope that I have done my
best hard work to do this work hard to hardest to achieve my goal.And thanx to
my sir that he has given to me this work to better myself.
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