毕业论文金属金相试样切割机设计

1、本科毕业设计(论文) 题目 金属金相试样切割机学院名称 机械设计制造及其自动化 专业班级 机械09-2 学生姓名 导师姓名 2013年 6 月 7 号 目 录摘要1第一章 概述与可行性论证31.1金属金相试样的介绍31.2.目的及意义31.3.设计要求4 第二章 金相试样切割机主要原理4第三章 总的设计方案与电动机的选择43.1方案拟定与设计内容43.2电动机的选择43.2.1 选择电动机类型和结构形式43.2.2 电动机的参数选择5第四章 传动机构的设计64.1 轴的设计计算64.2 轴的结构设计8第五章 控制系统的设计85.1夹具的主要结构与使用85.2 进给机构的设计10结束语16致谢1

2、6参考文献17摘 要金相试样切割机主要用于金相试样的截取和各种材料的下料、切口等，在冶金、汽车、航空航天等制造业中应用极为广泛。20世纪90年代后，金相制样技术发展极为迅速，金相试样切割机作为金相取样设备也取得了很大的进步。本设计通过对金相试样切割机的整体造型、机械结构和控制系统进行了分析，完成了切割机主体结构的设计，控制系统采用了铣床导轨原理，实现了低成本和手动化。最后确定切割机的装配总图。通过此次设计，掌握了相关设计的主要步骤，并对于CAD软件应用方面有了进一步的提高。关键词：金相试样切割机 机械设计 手动控制 控制系统 低成本 AbstractMetallographic sample

3、cutting machine mainly used for the interception of metallographic specimens and cutting material, incision, etc., in the metallurgical, automotive, aerospace and other manufacturing industries in a wide range of applications. After the 20th century, 90's, metallographic sample preparation is ex

4、tremely rapid technological development, metallographic metallographic specimen cutting machine as the sampling equipment has also made great progress. The design of metallographic sample cutting machine's overall design, mechanical structure and control system analysis, completed the main struc

5、ture of cutting machine design, control system uses the principle of the rail milling machine to achieve a low-cost-based and manual. Cutting machine to finalize the general layout of the assembly. With this design, is in control of the main steps related to the design and the CAD software applicati

6、ons has been further improved.Keywords： Metallographic sample cutting machines； Mechanical design； Manual control； Control systems ； Low-cost第一章 概述与可行性论证 1.1金属金相试样的介绍金属零件的力学性能不仅与它的化学成分有关，也与它的金相组织密切相关。金相检验是控制和评定产品质量不可缺少的重要手段，是科学研究中研究新材料、新工艺和提高金属制品内在质量的重要方法。要进行金相分析，就必须制备能用于微观检验的样品 金相试样。通常，金相试样的制备要经过取样

7、、镶嵌、磨光和抛光几个步骤。每个步骤都应该细心操作，因为任何阶段上的失误都可能影响最后的结果，因为这可能会造成组织假象，从而得出错误的结论。金相试样的制备是通过切割机、镶嵌机、磨抛光机来完成。金相试样的截取是金相试样制备过程中一个重要环节。截取试样的方法有手锯、锯床、砂轮切割机和线切割机等等。根据零件的形状和材料，选择适当的方法来切割。目前砂轮切割机广泛应用于金相试样的截取上，主要原因是其适应性强，树脂砂轮片可切割软的金属零件如铜、铝及合金和硬的金属零件如淬火后的碳钢、高速钢；金刚石切割机可切割超硬材料如硬质合金、陶瓷等。另外其切割速度快、劳动强度低、操作简便和切割成本低。选择可靠性高的金相试

8、样切割机，可以提高制样效率和质量，降低成本，提高经济效益。1.2.目的及意义金相试样切割机主要用于金相试样的截取和各种材料的下料、切口等，在冶金、汽车、航空航天等制造业中应用极为广泛。20世纪90年代后，金相制样技术发展极为迅速，金相试样切割机作为金相取样设备也取得了很大的进步。本设计通过对金相试样切割机的整体造型、机械结构和控制系统进行了分析，完成了切割机主体结构的设计，控制系统采用了铣床导轨原理，实现了低成本和手动化。与此同时，在设计的过程中，能培养我综合运用所学知识，分析和解决实际中所遇到的问题，并且能巩固和深化我所学到的专业知识，提高我在调查研究和收集资料等方面的能力。希望在此次毕业设

9、计中，充分发挥我的创新能力，树立良好的学术思想和工作作风，牢牢把握住这次走上岗位之前的实践机会，充分锻炼出自己的工作能力。1.3.设计要求金相试样切割机的具体设计要求为：（1）利用CAD软件设计（2）确定结构的尺寸（3）绘制相应的零件图、实体图及总装配图第二章 金相试样切割机主要原理2.1 主要原理 本切割机的切割砂轮直接固定在与电动机的轴同轴线相连接的轴上，利用导轨的横向和纵向的移动来切割固定在钳口中的试样 电动机固定在底座上，轴套套在电动机的轴上，砂轮片由螺母和轴肩加以固定。加紧装置固定在导轨上滑板，可沿纵向移动的，由手柄的转动来移动钳口把试样夹紧在钳座中，当转动手柄时，就可以进行试样切割

10、了。第三章 总的设计方案与电动机的选择3.1方案拟定与设计内容根据工件运动和砂轮片运动形式可将金相切割机分为两类，一类为工件运动，砂轮片固定不动的切割机；另一类为工件固定不动，砂轮片运动的切割机。本切割机采用的运动方式是工件运动，砂轮片固定不动的切割模式。3.2电动机的选择3.2.1 选择电动机类型和结构形式根据已知的电源、工作条件、和功率特点选择电动机的类型和结构形式是：Y2系列三相异步电动机。3.2.2 电动机的参数选择 根据设计任务书，由有关手册查出电动机性能参数如下：表1 电动机性能参数 电动机型号额定功率满载转速kwr/minY2-631-40.121370电动机主要外形如图1所示，

11、安装尺寸列于下表2： 图1 电动机主要外形和安装尺寸表2 电动机的安装尺寸中心高H外形尺寸L×AC×HD底脚安装尺寸A×B底脚螺栓孔直径K轴伸尺寸D×E装键部位尺寸F×G160225×130×180100×80711×234×8.5第四章 传动机构的设计切割机的切割砂轮直接固定在与电动机的轴同轴线相连接的轴上，根据切割砂轮的规格尺寸设计轴的尺寸并检验。4.1 轴的设计计算 安装切割砂轮的轴与电动机轴直接通过套筒连接，首先对轴进行设计计算。已知轴上的功率P，转速n，求转矩T： P=0.12KW n

12、=1370r/min 4.1.1 初步确定轴的最小直径 选取轴的材料为45钢，调质处理。根据有关手册取，于是得dmin=A0=112 =4.94 mm输入轴的最小直径显然是安装切割机砂轮处轴的直径d-,。根据砂轮的规格尺寸，故d- = 10 mmL- = 8 mm 。4.1.2轴的挠度计算由于轴与电机轴同步转动，选择联轴器。为了方便，联轴器与轴做成一体，长度L = 58 mm ，其中L- = 8 mm ，则L- = 50 mm 。挠度计算公式如下： ymax=FL3/3EI式中： P切割时作用在轴上的力，P=4.9N； L轴的长度，L=58mm； E弹性模量，查手册：E=206GPa； I惯矩

13、，I=d4/32; y许用挠度，y=0.05mm。 则 d>=19.5mm为了满足切割砂轮的轴向定位要求，-轴段右端需制出一轴肩，而且为了避免电动机的轴向窜动，选择推力球轴承加以轴向固定。根据标准件轴承的内径尺寸，故取-段的直径d-=20mm.轴承类型：51204（GB/T 301-1995） 。为了轴承的安装固定，在轴承的最左边设置有轴肩，直径为32mm。长度为6mm。轴的内部为了连接电动机的轴所以为空心，其空心长度为23mm，直径为11mm。，且有键槽，键槽高度为2mm。砂轮的轴向固定轮安装在轴上后，左端用轴肩来固定，右端使用螺母。所以轴的-段攻有螺纹，由于要留有砂轮装配空间，故螺纹

14、长度占有6mm。螺母规格：D=M10（GB/T 6174）4.2 轴的结构设计 图2 轴第五章 控制系统的设计5.1夹具的主要结构与使用如图所示,该夹具由手轮、丝杆、丝母、左夹具、右夹具组成。丝母 和左夹具是固定不动的,当旋转手轮时,丝杆依靠螺旋作用前进或后退,用来夹紧或松开工件，丝母在夹紧或松开过程中起导向和支承作用。由此可见这种夹具是依靠非常简单的螺旋运动前进或后退,来实现对工件的夹紧或松开。例如我们驱动夹具压杆前进50mm ,压杆的螺距为5mm ,当手轮旋转一周时压杆前进了5mm。通过计算可知,若要实现压杆前进50mm ,手轮需旋转10圈。 图3夹紧装置关于夹紧力的计算,夹紧力的计算可有

15、下式进行:W = QL/（r1tg1 + r2tg(+2)）式中:Q 手驱动力取Q = 300N;L 手轮半径L = 10mm;r1 压杆端部与工件间的当量摩擦半径, 假设压杆与工件为点接触,则r1 = 0; r2 压杆螺纹中径的一半, r2 = 4.5mm(注:压杆螺纹为10mm) ;1 压杆端部与工件间的摩擦角, tg1 = 01;压杆螺纹升角;= 2°28;2 压杆螺纹螺旋副的当量摩擦角，2 = 6°38则夹紧力W1974(N) 。对工件的夹紧力为:W= Wf = 9868 ×0.7 =1382(N)f 卡爪与压杆之间的摩擦系数由此得出,该夹具已完全可以实现

16、对工件的夹紧(一般砂轮切割机夹具的的夹紧力只需800N1300N) 此外，为了右夹具能够随着丝杆的移动而实现进给或退出，也为了连接丝杆与夹具，将夹具分为上下两个部分，如下图所示： 图4 夹具下部图5 夹具上部5.2 进给机构的设计导轨由横向螺杆和纵向螺杆带动，横向螺杆通过导块运动带动导轨横向移动，纵向螺杆通过导块运动带动导轨纵向移动。螺杆一端分别安装有手轮，手轮上刻有刻度，以满足不同的切割要求。导轨为了实现横向和纵向进给，可以把工作台分为上滑板、中滑板、下滑板三部分。导轨的行程为80mm，则滑板尺寸的长、宽为100mm，而高度随情况而定，具体数值见图4、图5、图6。由于横向及纵向螺杆在进给过程

17、中受力很小，强度及其他性能指标均能满足。根据情况选择螺杆直径为12mm，螺距为5mm，当手轮旋转一周时螺杆前进了5mm。手轮直径比螺杆稍大为20mm，上面刻有100个小格，每小格为0.05mm。导块与螺杆装配一起，在螺杆旋转时导块分别引领和带动上滑板或中滑板进行横向或纵向移动。故导块上开有螺纹孔，为了与螺杆配合，孔径为12mm，螺距为5mm。具体位置尺寸见图4、图5。为保证导轨正常工作，导轨滑动表面之间应保持适当的间隙。间隙过小，会增加摩擦阻力；间隙过大，会降低导向精度。导轨的间隙如依靠刮研来保证，工作量很大，而且导轨经过长期使用后，会因磨损而增大间隙，需要及时调整，故导轨应有间隙调整装置。本

18、切割机采用燕尾槽型导轨，需要在水平方向上调整间隙。用螺钉调整镶条位置。具体如下： 图6 上滑板 图7 中滑板 图8 下滑板图9 进给装置 第六章 键的选择与校核6.1 键的选择根据键连接轴段的直径与轴上零件齿轮的轮毂长度，现选择A型（圆头）普通平键连接，具体尺寸如下：1. 导轨进给系统中丝杆与手轮之间的键连接：B*L*H：2*7*32. 夹具中丝杆与手轮之间的键连接：B*L*H：2*7*33. 电动机与轴之间的键连接：4. B*L*H：4*23*56.2 键的校核在本设计中，平键连接只用于传递转矩，对于采用常见的材料组合和按标准选取尺寸的普通平键连接，其主要失效形式是工作面被压溃。除非有严重过

19、载，一般不会出现键的剪断。因此通常只按工作面上的挤压应力进行强度校核计算。现选择电动机与轴之间的连接键来进行强度校核：传递的转矩T=0.84N·m键的高度h=5mm键与轮毂键槽的接触高度k=0.5h=2.5mm键的工作长度l=L-b=19mm轴的直径d=20mm键、轴、轮毂中最弱材料的许用挤压应力p=100MPa则p=MPap=100MPa故安全，键强度合格。用上述方法验算其他键强度，经验算校核，各键强度均合格。第七章 机座的设计首先，根据导轨进给系统与电动机的大小，以及二者的位置分析，将机座设定为330*255mm。关于电动机的机座，按照标准设定四个孔用于固定电动机，其尺寸为80*

20、100mm，两边个留有一段缓冲空间分别是15mm和20mm。暂将前一种方法定位方案一，后一种定为方案二，现在爱分析两种方案的优缺点:方案一，利用刀片的右边缘来切割金属试样。它的优点是：便于被切割金属的安装，而且在机座上切割砂轮的正下方留有漏口后，便可以使切割碎屑以及冷却液顺着漏口流走，避免其到处迸溅，安全性上有一定的保障。这种方案的缺点就是有效切割距离比较小。方案二，利用刀片的下边缘来切割金属试样。它的优点是：实际有效切割距离要比方案一大很多。但是也有一定的缺点，就是不方便金属试样的安装，而且不能有效的控制切屑与冷却液，需要安装罩壳。综上所述，再查阅有关资料，得出方案一优于方案二，故选择方案二

21、，那么安装电动机的几座要高于水平机座21mm，且凸出部分厚度为5mm，其余部分厚度为10mm。 图10 方案一图11 方案二 结束语在此次设计的过程中，培养了我的综合运用所学知识的能力，分析和解决实际中所遇到问题的能力，并且能巩固和深化我所学的专业知识，使我在调查研究和收集资料等方面有了显著的提高，同时在理解分析能力、制定设计计算和绘图能力方面有较大的进步；另外我的技术分析和组织工作的能力也有一定程度的提高。 致谢非常感谢学院领导和老师给我提供了这次良好的深入学习的机会和宽松的学习环境。通过这次毕业设计，不但使我将大学期间所学的专业知识再次回顾学习，而且也使我学到了专业领域中一些前沿的知识。非

22、常感谢在本次设计中曾给予我耐心指导和亲切关怀的老师及帮助过我的同学，正是由于他们的帮助和鼓励才使我能够在毕业设计过程中克服种种困难，最终顺利完成论文，他们的学识和为人也深深地影响着我。在此，请允许我再次向曾直接给予我多次指导的导师表示最忠诚的敬意！同时也感谢百忙之中前来参加答辩的各位老师、专家和教授参考文献1成大先.机械设计手册.北京：化学工业出版社，2004 2成大先.机械设计手册 第四版.北京：化学工业出版社，2002 3毛谦德,李振清.袖珍机械设计手册 第三版.北京：机械工业出版社，2007 4机械设计实用手册编委会. 机械设计实用手册.北京：机械工业出版社，20085陈立德. 机械设计

23、基础课程设计.北京：高等教育出版社，20066濮良贵，纪名刚.机械设计 第八版.北京：高等教育出版社，20077朱金波.Pro/E 3.0 工业产品设计完全掌握.北京：兵器工业出版社，20078金鑫，陈雪梅，贾长治.Pro/E 3.0中文版机械设计专家指导教程. 北京：机械工业出版社，20079 曹岩.Pro/E 3.0 机械设计实例精解.北京：机械工业出版社，200710朱文坚，黄平，吴昌林.机械设计.北京：机械工业出版社，200511朱龙根.机械设计.北京：机械工业出版社，200612吴克坚，于晓红，钱瑞明.机械设计.北京：高等教育出版社，2003为你提供优秀的毕业论文参考资料，请您删除以

24、下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest China's Shaanxi province pass through a stop on the ancient Silk Road, Gansu's Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carri

25、ages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The t

26、rip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in

27、 the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined t

28、he troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. "I can still recall the days when I toured with the troupe in the early '80s. We sat on the back of pickup trucks for hours. The sky was blue, and

29、 we couldn't help but sing the folk songs," Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. "The nomadic people were very excited about our visits," Nasun recalls. "We didn't have a formal

30、stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in." For him, the rewarding part about touring isn't just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literall

31、y translates as "red burgeon", and today's performers of the troupe still tour the region's villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijing's Poly Theater.

32、 Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. "Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged," Nasun, the art troupe's president, who is al

33、so a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast China's Liaoning province, decades ago. The solider gave the old man a handmade saddle wh

34、en they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongol

35、ian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and s

36、oft ones that he writesall while playing the horse-head fiddle."Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root," he says. "Performing in remote villages is pleasant. I feel at home on th

37、e boundless grasslands, and the warm people there make me feel fulfilled." The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in tradi

38、ng volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fe

39、tched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section numbe

40、r went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to

41、 their own value not due to a revival in the market. "The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the

42、 pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. "Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a

43、 word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pur

44、suit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was

45、 sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull

46、thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan

47、is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North Ameri

48、ca after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in China's cultural foray overseas, has been widely panned by its home audience. Re

49、titled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would

50、run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. What's lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor tha

51、t was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at what's to come and recapping the key points. This device, not used in the original, is culturally understandable but artistica

52、lly mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue,

53、 the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my ex

54、perience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the e

55、ssence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the

56、narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emerson's essay titled Self-Reliance. If you've not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappi