Sami Lee Woolhiser: Fashion Show Installation

So only a week ago I was asked by Professor Kelley McClung to produce an installation for Broughton St. in Savannah, GA for the SCAD Fashion Show. I am so grateful for all of the support and help from my professors Kelley McClung and Andrew F. Scott as well as my friends Devin Thompson, Ty Derousseau, Rebecca Lemker, Daniella Zeman, Anne Mason and Audrey Dakin.

Here are the results!
Click here for the Process

Sami Lee Woolhiser: Crystal Installation Process

The digital segment for this project required four programs including Maya, Pepakura, Illustrator and Rhino.

Maya: I designed the elements in Maya simply by creating a cube, extruding faces and continually manipulating the shape via control points and corners.  This was the fun part.
One problem I had with the original test models was that the faces were warped in the digital world and when I laser cut them out of eflute they weren't meant to bend. To solve this I simply cut all of the polygons into triangles so that the three points would create a flat surface, this was a full proof way to make sure I didn't run into that problem again when actually fabricating the pieces.

Maya

Pepakura: An amazing program, also a fun part. Here I unfolded all of the structures.

Pepakura

Illustrator: This can be a tricky step. It is crucial to make sure that all of your lines are expanded so that they are individual segments or the laser will read them as one line and not cut the dashed mountain valley lines. It is also important at this stage to convert everything into a hairline at .001 pt thick so that the laser only cuts each dash once.

Illustrator

Rhino: The not so fun part, make sure that there are no duplicates at this stage. Explode all block instances until all that remains are curves.

Rhino

Devin Thompson working Pepakura magic!

Anne Mason

Ty Derousseau

only about half of the pieces made

Transporting them! 

In the warehouse 

Pre-Fashion Show, raining!

So this project came together really quickly, I only had a week to design, laser cut and fabricate this installation. I just want to thank Professor Kelley McClung for the opportunity and Professor Andrew F. Scott for all of his support and the knowledge about digital fabrication that he has passed on to me.

I had a tremendous amount of help with the digital elements from Devin Thompson, another talented  Sculptor. When it came to actually fabricating the works I had a ton of help from my friends Audrey Dakin, Ty Derousseau, Devin Thompson, Daniella Zeman and Anne Mason! Also the Gulfstream Lab was awesome for accommodating this project. And the SCAD Physical Resources department was incredible in their dedication to this event and their willingness to help with anything and everything!

KYLE JOSEPH - WAFFLE STRUCTURE - SCPT_250

Continuing with the idea of bringing my 2D gestures into actual space, I based my waffle structure

off of some works I did in a previous quarter.

I wanted to create a simple rounded form crossing paths, yet joining in the same space.

The model was created in Rhino and then Grasshopper was used to slice the form into its waffle

structure.

The splices were laid out and laser cut on hardwood and then slotted together.

Over the summer I am hoping to fill this skeleton with foam, sand it down, coat it with fiberglass or resin and paint it. This class has been pushing my thinking into the third dimension and I see my work heading more in this direction in the near future. It will be interesting to dissect the space in between my paintings and these sculptures.

KYLE JOSEPH 3D PRINT/ SCPT_250

For my rapid prototyping project, I wanted to three-dimensionalize a 2D gesture.

The gesture plays a big role in my paintings.

Although I see them as 3D objects and planes moving through my pieces, I was excited to get the

chance to actually visualize a gesture in this manner.

Here is the original gesture, created in Photoshop:

I based my model off of this type of line in Rhino in order to put the gesture in to real space.

Here is the final piece after being printed. I am hoping to vapor treat the plastic in the future in order to give the piece a finish as if it was created with an injection mold.

Audrey Dakin: Serial slicing

I have always loved serial sliced shapes and objects. There is just something about seeing the layers of a piece that I love. So when we were introduced to the project with the slides of all the different artists, two stuck in my mind: Maya Lin and Foon Sham.

I enjoyed the topographical feel of Maya Lin's pieces, but the organic forms of Foon Sham were captivating.  After looking at their works, I decided to literally use an organic form to serial slice. I went through the data base in the computer for the objects that we had meshes for.

 I stared with the heart and it turned out to be a lot more work than I expected because of the chambers and valves and things. After finishing about a quarter of it, I realized I had booleaned some of the curves wrong and didn't have the time to go back and fix the 8 or pieces that I had done wrong.

 I changed the form after not being able to turn back and fix my slices, so I decided to use a tooth instead which turned out to be an interesting form to use later in the 3D printing project. Ill update with pictures of that soon, as I just got done putting it together and I have some fun ideas for the 19 inch tooth that I put together.

Sam Lasseter, Grasshopper Serial Slice

For this project I am going to be making an element for my final puppet I do.  Inspired by the Handspring Puppet Company I want to make a puppet similar to their style.  

Adrian Kohler and Basil Jones, performing with a hyena puppet

I will be creating a Tasmanian tiger, also known as Thylacine, puppet.  This animal has always interested me; its form has so much personality and with a fascinating back story it would be a fantastic puppet.  The challenge will be to translate its expressive movements into a puppet form.  This is a short video that you will be able to see the movement of this magnificent animal.

The first step for this project is to make the head through serial slicing.  I will then bring it to boundary and hand carve it to the shape I want.

This the the head I took from the model bank and after I filled all the holes and capped the caps.

Then I sliced it up with grasshopper

And this will be it sitting in the shop waiting for me to care the shit out of it.

Finished gluing, next carving. 

Logo in Some Tea, Sam Lasseter

Here stand my logo, softly drawn across a gentle pile of oolong tea.  I wanted the viewer to experiences bliss as they sip the beautifully steeped tea, casting their gaze upon my design, thinking to themselves, "this logo reflects the qualities of this exotic oolong, elegant yet powerful, while being able to stand alone, poised and true."

Maria Wallace- Fractals

The idea of fractals reminded me of this artist.

Soo Sunny Park

http://soosunnypark.com/

Mitchell Biggio's 450 Sculpture Part 2

About 40 Pieces Front view

Around 40 Pieces Top view

 Around 70 Pieces Back View

 

Around 70 Pieces Side view of inside

Here is where I am at so far with my serial sliced sculpture. This about 70 pieces. I plan to get up to around 200. At this point the pieces are only held in place by the wood dowels. In the final there will be a steel rods that goes through the major parts and the rest will be glued and screwed. I am using the computer model as a reference but also keeping my options open during the building. I don't like to be constricted to one option.

Mitchell Biggio

This is a concept of what the form of my serial sliced sculpture will resemble. I'm trying to get a feeling of a monolithic structure.

Audrey Dakin Relief Rendering

The inspiration for my relief, as I mentioned before in my last post, was brain coral. Taking the image of the coral and putting it through many different stages to pull out three different levels of relief. The environment in this photo is set to a warehouse setting which I think could be interesting if my model was blown up to larger dimensions.I could, however,  just make copies of the work and display them as it is displayed in the render.

Andrew F. Scott: FDM Model

This a keyshot image from my Cerberus Nkisi Series. The work is inspired by the roman cerberus character and the bakongo dog nkisi sculptures. Images of this project development can be found on my flickr site.

Maria Wallace: CNC model keyshot practice

Rendered model lit in KeyShot with matte white paint.

Sami Woolhiser: Fiber Relief 2, Laser Cutter

I am working on two fiber relief works, similar to my installation Passage. These are smaller studies made in a similar fashion. However, here I am utilizing 3D modeling technology in Rhino and a Laser cutter.

Here I am simply subtracting objects from the main form with the Boolean2Objects tool. Here I can click through the results and have the pyramid forms removed from the cube.

Below I have used the command "Contour" which allows me to extract serial information from the model which can be read by the laser.

Because the hanging sheets of fabric won't be strong enough to support the undercuts I have hand drawn flaps that will be cut instead of the pentagonal shapes. Here I can sew back these flaps with inserted supports.