Monday, April 29, 2013

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.

Monday, April 22, 2013

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.

Sam Lasseter, FDM Baby

When we broke down the 3D printing process I came to a conclusion that I want to do multiple components that will be inter locking.  And thinking in that direction I thought about hand puppets like Punch and Judy or possibly marionettes.

Punch and Judy
Punch and Judy

Phantom Limb Fortune Teller

Phantom Limb The Devil Knows You

I have been looking through the digital model data bank for animals that I will just take their head and hands (hooves if need be), mix them together and simply print them as separate components then when working with them in boundary I will paint them up and add touches as I feel so inclined.  And then created a fabric body to allow for it to be manipulated by hand.  Or if I choose the marionette route I will crate and simple flexible armature cover it with fabric and then string that puppy up.

Here are the parts that I will 3D print.  

And here they are

Next I will take molds of them and make a few casting with Rebound300.

I used Oomoo 30 for my mold, the fingers on one of the hand broke off and were left in the mold but I poured the urethane anyway hoping that they will come out.

Monday, April 15, 2013

Idea Progression and Rhino Model for Milling Project

Alright so after the first few weeks of this class and finally understanding what Prof Scott meant by "speaking Chinese," with a little help I conquered the first part of the milling project. I had no knowledge of what was possible as far as design goes, and even when I had decided what I was going to do, trying to get there was the next step. Out of curiosity I started exploring images of Brain Coral and the variations of patters that each coral has. So I saved a few Images of those.

After I found my image, I went through the steps that we talked about in class where we had to change the picture to black and white, if it was in color, and alter the contrast of the image in Photoshop. Once I did that, I saved it as a JPEG and opened it in Illustrator. Did an image trace and adjusted the image so that it was only three colors. I went through that a number of times and came out with a few images.
^ This was from right after the image trace, but before I put it into Photoshop to change it to black and white.
 ^This image is from after I altered the contrast levels in Photoshop and after Image Tracing it.

 ^ These two are the 6 color layer one that I started out with.
^From there I scaled it down to 3 colors, but that was even a lot to work with.
 Once I loaded those images into Rhino, they were way to complicated to work with and had a million different parts to sort through so I had to scale it down a bit. But even this wasn't scaled down enough for a beginner Rhino user to work with.
So I settled on this image and decided to upload it into Rhino as a DXF so that I could explode it and create layers out of the three different color fields.
From there I began to extrude the curves in the image and pull the curves from each color layer up to create depth.
 That wasn't exactly what I was looking for so I ended up deleted the curves and just pulling up the surfaces to create a slightly different effect.
Rhino didn't exactly like all the tiny pieces that were intricately placed in between some of my layers so I had to start to explode the surfaces and create poly-surfaces. Then I used the Boolean tool to attach all the pieces together and add a rectangular box to the bottom to create a platform for the layers to sit on. I had to individually Boolean each  island piece because Rhino didn't like to Boolean them all at once. After all that work was done, I added the measurements to my final file so that it was in the proper format to start milling.
Once it's milled, the real fun begins...

Mitchell Biggio's 450 Sculpture Part 1

For this class I wanted to produce a sculpture in the same series that I started last quarter. The series is all about internal decay and complexity. The idea that there is no knowing what is going on within something.

 This is the work that I created last Quarter 

For the new sculpture I am going to have an even simple outer form with a similar kind of internal structure that the sculpture above has. I will use the same kind of work flow for the new one as the last one. This involves laser cutting many pieces of a simple shape of wood with holes in them so that I can put rods in it so that everything all lines up. I will then manually use a band saw and cut the internal areas. 

The shape of the new sculpture is going to be a simple box shape around 4 feet tall. 

This is a picture of some of the pieces of the this quarter's sculpture.

Wednesday, April 10, 2013

For the relief exercise I wanted to try using one of my photographs as a source for a three dimensional work of art. I thought that sheets over a human form would mimic what the computer would do with the image file with "Heightfield." It did not work perfectly, but the result should be something fun to work further on with other materials after taking a mould from the foam.

Original image:

Shaded heightfield:



For this first project, I decided to base the object on a 2D composition created in Adobe Photoshop.
I have been making paintings similar to this piece for some time now, and I have started to branch out in to relief work. Lately I have been creating each piece as its own panel and then attaching them to each other with various glues. This process of CNC milling seems like an easier way to create these reliefs and allows for further reproduction by casting. After the object is milled, I plan to make a silicone mold and cast it in a resin or plastic. Then the piece will be painted accordingly.
This is the original Photoshop sketch with intended coloring. 
                            Inline image 1
                     I then created the model for the mill in Rhino using various methods learned in class.

Friday, April 5, 2013

Sami Lee Woolhiser: Pepakura "Arch"

Working on a model for fabricating a pepakura arch. I have recently been fascinated with passages, the concept is so adaptive to any interpreter. We encounter passages, portals and arches every day, they are doors and hallways.

Here are some sketches and a maquette of a simpler design.

I am building this structure up surface by surface. First I began with a simple surface. Then I created a multi edge line which I exploded into four curves. From there I began to loft these curves to the edges of the surface.

Into Pepakura! There are some issues with the model as you can see there are red edges, perhaps there are overlapping surfaces in the model. I went back to check and fix some of the surfaces. It just means that on those edges I won't have a flap. I could either fix the model in rhino or deal with it and manually craft some flaps when I am putting it together.
I have attempted to cut these pieces into loops so construction will be slightly simpler.

Here are some images of the work in Keyshot.

Brass checker
Glass ridging

Thursday, April 4, 2013

Sam Lasseter, CNC Mill

Thus far I have been thinking about trees, specifically tree rings and the idea of a trees life span.  I love the beautiful imagery of tree rings.

One of my favorite puppet companies, The Phantom Limb Puppet Co., is doing a production of this concept on their website the beautifully captures these ideas through words.
They have not released any information about the production yet but this excerpt was enough to inspire me.  

Though not the same thing, this is something that is really cool that has to do with tree rings.

Sketches to come...

As I began working with the tree rings in rhino it became apparent that the lines are too fine and many for the CNC mill so I needed to come up with a different concept.  I will likely come back to this concept for the laser cutting project.

So my new approach was to take the puppet company logo I designed and model it into a relief.  

I Then brought the file into Rhino and cleaned it up.

I models my own shapes and lettering for the crest.  And I extruded the man.  The hardest thing was to have the etching for the control bar, I spent most of my time with it.  And finally I came to my filleted, etched, extruded, beauty.  

And then I booleaned the bad boy together.