| | | Basicly the working on corners is explained here. My advice to beginners: try first the 3cube, because you develope here praxis and intuition how edges and corners behave in an easier environment. But to those who believe that even the 2cube might be easier my warning: The move Ra is not easy to difference from R², and because the centerstones are missing you miss orientation too. But clearly is to say that praxis on the 2cube explains you the handling of a 4cube as emulation of a 2cube. | | | | | | The first step is to swap two corners, if not all 4 are on place. Then you've to orient the corners, which can happen through a simple technologie, that makes soluting nearly identical. But if you master those problems already from 3cube you can jump to the next step. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | | 10 | | 11 | | 12 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | 19 | | 20 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | 19 | | 20 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Who is interested, can have a look on my 3cube-sequences, which contains a lot of short abbreviations. The sequences above are a simplification in technique, those below a more easier way in executing, but reached by a common basic combination:: R U R' U R U² R', and its derivations. | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | | 4 | 5 | 6 | | 7 | | 8 | | 9 | | 10 | 11 | 12 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Eigentlich ist die Bearbeitung der Ecken auf dem 3Würfel erschöpfend behandelt. Auch möchte ich dem Anfänger raten, sich zunächst mit dem 3Würfel zu beschäftigen, da man dabei eine Kenntnis und Intuition dafür entwickelt, wie sich Kantensteine und Ecksteine in einem einfacheren Umfeld verhalten. Wer jedoch meint, der 2Würfel wäre zum Training der Ecken einfacher, übersieht, daß man hier keine farbliche "Unterstützung" durch Mittelsteine hat und zum Beispiel Ra von R² nur schwer zu unterscheiden ist. Dennoch ist es ratsam, sich mit dem Minicube u beschäftigen, alleine, um ein Verständnis dafür zu entwickeln, wie sich der 4Würfel als emulierter 2Würfel verhält. | | | | | | Der erste Schritt besteht darin, zwei Ecken an ihren Platz zu tauschen, diagonal oder gerade. Danach folgen 7 Möglichkeiten der Orientierung der Ecksteine, die jedoch durch eine einfache Technik nahezu identisch bearbeitbar sind. Beherrscht man jedoch schon alle Folgen zum Eckendrehen, kann man diesen Schritt getrost überspringen. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | | 10 | | 11 | | 12 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | 19 | | 20 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | | 19 | | 20 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Wer will, kann sich in meinen 3er-Folgen umsehen, was ihm da an Zügen geboten wird, um Ecken zu drehen. Obige Folgen sind eine Simplifizierung der Technik, die unteren eine Vereinfachung in der Ausführung - wobei doch eine gemeinsame Grundkombination zur Anwendung kommt: R U R' U R U² R', und ihrer Abwandlungen. | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | | 4 | 5 | 6 | | 7 | | 8 | | 9 | | 10 | 11 | 12 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |