A Critical Review of Different Experimental Approaches to Calibrate Numerical Sheet Forming Simulations

Author(s):  
Aldo Ofenheimer ◽  
Daniela Kitting ◽  
Mark Iadicola ◽  
Tim Foecke
2010 ◽  
Author(s):  
Jin-Woo Lee ◽  
Frédéric Barlat ◽  
Dong-Jin Kim ◽  
F. Barlat ◽  
Y. H. Moon ◽  
...  

2021 ◽  
pp. 301-308
Author(s):  
M. Jamal ◽  
P. Gilormini ◽  
N. Dahan ◽  
P. Rougée

2005 ◽  
Vol 6-8 ◽  
pp. 71-80 ◽  
Author(s):  
A.H. van den Boogaard ◽  
H. H. Wisselink ◽  
J. Huétink

The accuracy of material models can have a large impact on the overall accuracy of material forming simulations in general and sheet forming simulations in particular. For large strain plastic deformations, the material model usually consists of a yield function and a hardening relation, optionally including the influence of temperature and strain rate. In large-scale simulations it is favourable to keep the model as simple as possible. The ‘allowable’ error in a material model should be in balance with other errors, like the discretisation error and errors in contact and friction modelling. The required accuracy depends on the application and the goal of the analysis. In many occasions, strain rate and temperature dependency can be ignored, but for warm forming this is clearly not the case. Furthermore, numerical simulation of the onset of necking requires a much better material model than needed for the calculation of the global deformation field before necking.


2016 ◽  
Vol 7 ◽  
Author(s):  
Priscilla Guy

<p>This article aims to extend the idea that screendance is a set of dispositions and elements which can create a common practice for artists of various backgrounds. Instead of focusing on formal qualities and the type of works that may result from these, this review envisions screendance as a posture towards art making: a way of accessing new creative ideas, a way of looking at new and old artworks, a way of creating works, and a way of thinking. This review first provides an overview and assessment of the inaugural edition and curatorial framework of the Light Moves Festival of Screendance which took place in Limerick, Ireland in 2014 and which propels alternate ideas about screendance. This is followed by a critical review of Davies and Hinton’s film <em>All This Can Happen</em> (2013), in particular its approach to narrative and the construction of meaning, to expand on the discussion. The review closes with a statement in favor of independent and experimental approaches within this rich playground where dance, performance, digital media, visual arts, and cinema meet.</p>


2007 ◽  
Vol 23 (3) ◽  
pp. 490-515 ◽  
Author(s):  
R ALVESDESOUSA ◽  
J YOON ◽  
R CARDOSO ◽  
R FONTESVALENTE ◽  
J GRACIO

Author(s):  
Frank Otremba ◽  
José A. Romero Navarrete ◽  
Alejandro A. Lozano Guzmán

Abstract The transportation of liquids involves several situations derived from the curved shape of the cargo containers, including a comparatively high center of gravity, which negatively shifts when the container is partially loaded, and the vehicle is subjected to steering or braking accelerations. Aiming at reducing these effects several experimental approaches have been applied, involving different tank shapes and the use of baffles, tested under laboratory or field conditions, at full scale or at a down-scale. However, the scope of such approaches has been limited, mainly because the potential effect of other components of the vehicle on the road tanker behavior, has been neglected. In this paper, a critical review is presented of the experimental approaches considered so far, identifying specific experimental needs to improve the performance of the vehicles, from both the road safety and the environmental perspective.


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