SCPT 250_450

Will Penny - FDM Model

2011-11-15T23:51:00.004-05:00

The printed model is nearing completion.

A Keyshot rendering presenting potential scale, color, and finish of the fully realized sculpture. A manipulated stripe form similar to Dazzle camouflage, used for confusing enemy forces of approaching boats in World War I by British naval forces, has been applied to create a similar type of optical confusion. The form is meant to carry optical and physical tension between the form and its finished surface. The colored base has also been added to create another set of reflective color relationships on the form.

The original form designed for FDM printing was made by booleaning and joining a set of simple geometric solids into a crystalline form.

Will Penny - Laser Relief Panels 2

2011-11-15T23:47:00.004-05:00

A second set of relief experiments were created to further examine the optical quality of the forms created earlier in the quarter, but with more attention to color. The sides have been left unfinished, as this has added a hint of the process and more character than the slicker models created. The forms were created in Rhino and serially sliced to created the contour plywood shapes.

Will Penny - Laser Engraving Tests

2011-11-15T23:38:00.007-05:00

The final engraving with craft balsa wood.

The six individual spheres were then modified in Illustrator for engraving.

Another set of engraving tests were created by manipulating a sphere in Maya, which was rendered out as a vector with only the frontal lines showing.

Detail of the raster engraving.

The engrave/cut was tested with both plywood and MDF, although the green engrave lines were somehow lost. The cause of this error has yet to be determined.

The design was began with a vector rendering of my FDM model converted into wireframe. Raster engraving and interior cuts designed in Adobe Illustrator were added to test multiple functions of the laser cutting machines.

Milling Tumors

2011-11-15T23:23:00.009-05:00

Digital Tumors
Jake Ellis

The focus of my some of my past work has explored the union of technology and anatomy. Much like those pieces my goal with this project was to explore that interplay. Starting with an image of a brain tumor, I worked in illustrator and rhino to convert that image to curves and add depth. The piece was then milled and after making a mold, cast in Aqua Resin.

Image

Rhino

Render 1

Render 2

Milled Foam

Molding and Casting

Cast

I also took some tumors and laser engraved on wooden panels to further explore this idea.

3d Printing

2011-11-15T22:58:00.007-05:00

3D Printing Exploration
Jake Ellis

This piece was an exploration in 3D printing. I was fascinated with removing the polygonal faces of forms and contorting them by rotating the CV's plane by plane. This was the result...

Maya File

Render

Render 2

Lazer Cutting

2011-11-15T22:09:00.010-05:00

The Mind, The Cage
Jake Ellis

While exploring the serial slicing/laser cutting process, my goal was to create a piece that explored the dichotomy between the structural and the free and flowing. I often find that logic and reason incarcerate my emotional intuition and while quiet possibly that's a good thing, I can't help to wonder who I would be with out the cage that my experiences have created and which I exist in every day.

Rhino Model

Render 1

Render 2

Will Penny - Milling

2011-11-06T17:16:00.013-05:00

The painting process involves spraying three tints of red, yellow and blue from the sides of each panel. The colors are rotated on each panel to illustrate the varying possibilities for color mixing created by the obstructions of the relief.

Four completed panels 14" x 12" x 3" each.
Keyshot rendering of the intended panels. The closest material option within Keyshot to the painting process was a transparent prismatic material.

Completed panels after being sprayed with tinted acrylic gesso.

Four aqua-resin casts in various stages of development, cast from a silicone and plaster mold of the original milled panel.

For this assignment a simple geometric relief has been designed to test optical color mixing by way of paint spray shadows.

Sam Titone, Mill project

2011-11-05T00:25:00.002-04:00

For this Mill project, I decided to make what I tought could be a wall pannel. I started with a revolve loft that was meant to resemble ripples in water. I then distorted the "ripples" to make it look melted. I rendered this wall pannel in V-ray with a variety of materials ranging from tile and wood to translucent materials such as glass.

andrew f. scott: serial mobius

2011-10-26T06:56:00.001-04:00

andrew f. scott: serial mobius, a photo by afsart on Flickr.

Sam Titone- FDM

2011-10-21T12:01:00.005-04:00

For the FDM project I decided to try my luck with Maya to have a tessellated surface wrapped around an object. It was definitely a learning experience, but well worth it to see what Maya has to offer. This "architectural cage" is just the tip of the iceberg for Maya and I look forward to many future projects.

3D Printing In Space

2011-10-19T19:15:00.004-04:00

Found this video about making tools in space and thought it was super interesting. Now it's time for digital sculpture on the moon!

nonLin/Lin Pavilion by Marc Fornes & THEVERYMANY

2011-10-06T13:48:00.003-04:00

A wonderful inspiration from Marc Fornes & THEVERYMANY: nonLin/Lin Pavilion.

One of the latest ultimate design projects which is installed at the FRAC Center in Orleans, France. The architectural installation combines elements of biomimetic design – technology that mimics nature, architecture, sculpture and knowledge in what can only be described as an organic form. Fornes is the architect behind the New York-based design studio THEVERYMANY, and in the '''nonLin/Lin Pavilion'', Fornes experiments with dramatic changes of morphology; from the structural network to surface condition.

The nonLin/Lin Pavilion is the result of a very explicit research line, investigating the design and build component of a coherent environment. The self-supporting structure affects the users as it engages him/her to notions of limitation, filtration and spatial depth experimenting with illusion and space. The structure forms an eccentric universe where elements such as openings or dimensional measurements evolve from model or scale. In the pavilion, you cannot take the space for granted despite the fact that humans are able to perceive space from an infant state. The nonLin/Lin Pavilion, however, is one project that asks viewers to consider three dimensions as if for the very first time. This visual phenomenon is allowing spectators to suspend disbelief while assigning cultural references or analogies from nature (corals, flowers) – yet nonLin/Lin Pavilion is only a very precise experiment toward constructability within a precise economical and cultural context.

Thanks to Will Penny for providing the link to this project.

andrew f. scott: serial studies

2011-10-04T05:29:00.004-04:00

andrew f. scott: serial studies, a photo by afsart on Flickr.

Sometimes you have to be your own 5 axis miller. In this digital application for sculpture the fancy wires script which was written to produce waffle grillage structures has been adapted to output and label serial slices using a nurbs surface model.

foon sham. Wind from the East. 1998. 97" x 56" x 60". Poplar, Oak, Maple

Serial slicing is a standard method used in the practice of sculpture to generate form.

In this combination of high-tech high touch approaches, the laser cut sections are glued up then carved to reveal the fluidity of the original nurbs model.

The models can then be finished using a wide variety of sculptural approaches. While it is nice to be able to fabricate forms such as these using the 5 axis mill it is often better to use traditional approaches because it gets around the butter-look signature of many objects created through the milling process. I think I may have discovered my love for wood carving.

Will Penny - serial relief panels

2011-10-02T23:56:00.010-04:00

KEYSHOT rendering of a geometric panel that has been modeled in RHINO and serially sliced to be laser cut and constructed into a wall-mountable relief.

The panel has been divided from its original solid form so that the alternating pieces may be used to create two panels. A flat base has also been modeled and divided to fill the gaps between the slices.

The first completed panel has been laser cut from thin plywood and finished with enamel paint.

The alternate pieces from the original model have been inverted from black to white to create the second panel.

Sam Titone serial cut/laser cut test

2011-09-28T17:56:00.007-04:00

This was my first step into the world of Rhino and NURBS modeling. Make some simple stacked geometry's and your just a Loft away from a sleek sculpture.

A grasshopper script later and you have all your puzzle pieces...

Phases of the Face-Skull

2011-08-31T06:27:00.010-04:00

For my quarter in Sculpture 250 used one clay model.
From this clay model I was able to create different variations through the application of digital tools.
Here are the different variations.

Milling

Serial Contour

Painted Serial Contour

FDM

Pepekura

andrew f. scott:Topmod Pepakura

2011-08-29T19:31:00.001-04:00

andrew f. scott:Topmod Pepakura, a photo by afsart on Flickr.

topmod modeling and surfacing software was used to generate this model which was then processed for laser cutting using pepakura. I'd like to thank thank Kali Moon for your help assembling this model.

Kali Moon: Laser Cutting

2011-08-26T19:52:00.009-04:00

If you don't like to close the door, here's a good helper, Door Bear!

The bear is hung on the door to keep the door open.

After I created a door bear model in Maya, I used Pepakura Designer which is for making paper craft models from 3-dimensional data.

I exported pepakura model to .eps file, which is for getting join numbers, and .dxf file, which is for showing folding lines.

I followed the order to be ready to laser cut by using illustrator and Rhino.

I glued the same join numbers together

and I got Door Bear.

Kali Moon: 3D Printing

2011-08-13T20:11:00.005-04:00

I developed the face that I used for the first project in Zbrush, so that I have a detailed face. For this project, I want to describe a person who has various personalities, which are expressed by the different facial expressions on the balloon. The face which is blowing the balloon may describe cold-blooded personality with machine parts which seems like a very practical, precise and impulsive person.

andrew f. scott: mobius pepakura

2011-08-10T01:31:00.001-04:00

andrew f. scott: mobius pepakura, a photo by afsart on Flickr.

One of two build outs from our recent lecture. The interesting aspect of this build in that each edge loop is built from a similar flat development which shows the expressive potential of mountain and valley folds. While building this I was also attracted to the interior forms, so I may create another one and reverse the mountain and valley folds to see how that comes out.

Daniel Brookman: Barbie Ormolu, Intro

2011-07-24T16:03:00.017-04:00

My work in this class will examine the role of the Barbie doll as an icon of popular American culture, exploring unexpected themes the Barbie brand can represent. The project will take the form of a desk that will feature ormolu mounts derived from Barbie iconography and other relevant imagery.

Ormolu comes from the French or moulu and means “powdered gold.” The term denotes a gold-colored alloy of copper, zinc, and sometimes tin, which is cast and then gilded. Ormolu was predominantly used in eighteenth century furniture decoration and timepiece construction.

Examples of ormolu.

Sketches of desk and components.

These sketches illustrate the French-inspired desk and ormolu components that I intend to create. The center of the desk will feature an asymmetrical medallion in mid-relief (top left), while each front corner of the desk will be adorned with high-relief figural mounts (top right). Along the back of the desk, a jungle scene will be rendered in low-relief and will span the width of the piece.

After initial sketching was complete, I purchased a basic Barbie doll to use as a starting point for my 3D model. The first step was to scan this, a process that was fairly straightforward: the doll’s head was isolated, the hair tied back and cropped, and a button-head machine screw was hot glued inside the neck cavity. The threaded end of the assembly was then screwed into the scanner platform until tight, which enabled a precise 3D scan.

3D laser scan in progress.

Three separate 360° scans were merged in this model.

NextEngine ScanStudio HD software was used to process the captured 3D data. This data was cleaned up in Rapid Works and then exported as an .IGS file for later use in 3D modeling software. Here is a quick KeyShot rendering of the unaltered .IGS file.

Scan data rendered in galvanized steel.

Daniel Brookman: Eye-Catching 3D Posters in East London

2011-07-24T15:13:00.011-04:00

These paper posters were created by FOAM, a British agency that specializes in unique branded content for music artists and bands. The design began as a 3D model, which was then printed flat in component parts and hand-assembled.

Read more here on the "It's Nice That" blog.

project 1. Milling. Kali Moon

2011-07-17T15:01:00.010-04:00

For this project, Milling, I made my face out of sculpey. I captured a facial expression of blowing a balloon and exaggerated it.

I got great image result from the laser scanner. From this experience of scanning the sculpture, I learned that I need to think about how the sculpture is attached to the scanner.

Before I created this object, I had to understand the relationships of undercuts as it relates to milling which needs to be done using NURBS. In the beginning, I was working with polygons which our milling software does not accept, so then I had to work again with NURBS in Rhino. For next project, I can use polygon in Zbrush which I am looking forward to having a fun time creating interesting work!

Andrew F. Scott: Laser Scanning Focus NURBS

2011-07-10T22:41:00.024-04:00

In this post I will present a workflow for using the laser scanner to create elements for sculptural compositions. The illustration above presents the finished composition composed of a Nurbs Surface and linear contour elements.

The data was scanned in an earlier post Black Power Nkisi: Laser Scan. In that post the emphasis was placed on using Rapid Works to extract polygonal elements that could be used to create sculptural compositions. In this post the emphasis will be placed on using Rapid Works to derive a series of Nurbs elements that will be used in sculptural compositions.

The AutoSurface sub-menu is used to generate your Nurbs surface patches. You should focus on generating surface patches using both Evenly Distributed Networks and Feature Following networks. Once these patches are generated you have a variety of tools that can be used to edit the networks. Finally you can use your scanned mesh as the background for a networks that you create by drawing directly on its surface.

The finished surface typology is then imported in Rhino as an IGES file. Within Rhino the Curve From Object command is used to extract the contour curves from the nurbs patch network. Its always a good idea to organize your elements on separate layers so that you can access them when needed and its just good craftsmanship..

Grasshopper in invoked from within Rhino. Once in Grasshopper a simple script is created to read in all of the curves and transform them into adjustable pipes. Play around with the radius adjustment to play with the proportion of your tubes with the underlying mass and as an element unto itself.

The tubes should be baked into Rhino from within Grasshopper on separate levels.

The data can now be used in a wide variety of digital fabrication processes at a wide variety of scales. During this quarter I am teaching both Digital Applications in Sculpture and Direct Metal Sculpture. I look forward to exploring how these data sets and workflow can be used in both contexts.

7/14/2011 Update

Below are two of the initial studies based on the scanned data.

The first study is a serial exploration of the form. While I like the way that the cardboard looks I am interested in using this form as an internal armature. I want to see how well aqua-resin and cheese cloth works over this form. I am also interested in doing another serial study using wood.

In this study a 3d print of the computer model was created then molded using Smooth-On Rebound 25 silicone rubber. Afterwhich, urethane models were created using Smooth-Cast 325. I am interested in doing a few more castings and material explorations using these models. This is only the beginning.

Brandy Koch: Independent Study

2011-06-07T13:21:00.004-04:00

Brandy Koch:Independent Study

2011-06-07T13:01:00.004-04:00

When I finished Mr. Scott Sculpture class, I left feeling great, but knew I had only begun to touch the surface of his expertise. When he accepted my independent study I, of course was thrilled. We had left off with me trying to create an efficient way to reproduce a weapons form that was both cost, and time efficient. In the beginning I was cutting the shapes out of cardboard and layering them, the sculpture class allowed me to cut shapes out, be it the laser cutter or the CNC machine, also we experimented with the FDM printers but none of these proved to be a best final outcome, The CNC machine is very expensive depending on the material, and allows us to only do one piece at a time. The laser cutters can be done in multiples but still requires one to do a lot of glueing and assembling. The FDM again is very expensive, and can only produce one small item at a time. So..... This semester was spent 1/2 on the creation of a rubber mold, and plastic sampling. I was able to create a simple one step process that is cheap, quick, and easy. Best of all it can be done in my own home. I can use them for my pieces and they are even fun enough to be a hangtag by themselves, the techniques I learned from Mr. Scott can help me make the best molds and positives ever. The other half of the semester was used playing with the laser cutter. I got to cut 4 times on leather and twice on bunny. Through these series of tests I was able to find the settings I need for the type of leather Im working with, I was able to work out computer issues with my logos to get the best possible results. On top of all that, we were able to use the same gun molds to pump out 6 glass cast pieces as well, leaving my next chapter wide open.....

TEDxCreativeCoast - Andrew Scott - Sculpted

2011-06-02T12:19:00.002-04:00

Serge Ruffato: NOSE

2011-03-30T19:45:00.005-04:00

Nose was my first computer generated steel sculpture. Here is a brief description of my work-flow.

First I looked through the object bank in Gulfstream to find a face with an appealing nose. I Imported it into Maya, cropped it down to the section I was interested in. Then I altered the mesh to reduce the amount of faces and get rid of the steep angles. Here is a quick rendering.

I enjoyed the mesh style because it balanced the inside and the outside parts of the structure, giving an 'in the round' quality instead of having all the attention on the front side. From this point, thanks to P. Scott's help, I used Pepakura to unfold my model into an origami lay out. Then prepared the file for laser cutting using Illustrator and Rhino. I used cardboard as my material because of it's sturdiness and low cost. Once the laser cutting done, I used each cardboard flaps as templates to duplicate the faces in steel.

Precision and labeling were the key to success. There were approximately 140 faces to reproduce in steel, so I had to make sure I kept track of each ones positioning. Once I had all my faces done, I assembled the cardboard version of the nose.

Assembling the nose in cardboard first was essential to get all the angles right before I started the steel, because as you might have noticed steel isn't flexible.. Now all I had to do was tape each steel part to it's matching cardboard face and weld all of them together.

Work in Progress. The modular aspect of the structure was important for transportation purposes. I used bolt connections along the inside, which I can remove once I find a permanent location for it. Now begins the long labor of filling in the gaps with the remaining parts.

The finished piece at it's temporary location, Boundary Hall. It is evenly balanced, which enables it to stand on it's own. Nevertheless I'm working on a base design to elevate it from the ground and bring it up to eye level. Here is an image of the inside view

And one for the scale! I enjoy the dancing contrast between the tac welds on the inside and those on the outside. Now I need to figure out what to do with a 5 foot steel nose. Anybody interested ha. Thanks again P. Scott, amazing project that taught me a bunch both on digital and direct metal sculpture.

Serge Ruffato: Mecha-Tower

2011-03-29T12:44:00.013-04:00

Mecha-Tower started as a milling project for the Digital Fabrication class and ended as a finished bronze piece. Here is the process I went through to bring it from 3D modeling on the computer to the bronze casting process.

First I modeled it in Rihno, carefully making two separate faces knowing that they would be milled using a CNC bed mill (X-Y axis). Both parts were then sanded down and assembled to make one 3 dimensional piece as opposed to two reliefs. You guys might remember this rendering I posted a while back.

Although the scale is a little ambitious in this rendering, I always had in mind to make it either in a ferrous metal or in bronze. The next step was making a mold of my 3 dimensional piece and silicon (Rebound 25) seemed to be my best option because of the porous quality of the yellow foam I used for the milling. Adding an extra release agent won't hurt and will prevent the silicon from staying stuck in the deeper recesses. Here are images of the yellow foam, silicon mold and mother mold.

As you can see the mother mold was in two parts enabling its removal from the silicon mold which itself was split along the sides to be removed from the molded piece. I also added extra 'flaps' to the silicon mold to prevent the casting material from leaking along the sides. Next step was getting a wax version of the piece to get it ready for the bronze casting. Here are some images of the cast wax.

Keep in mind that this piece is hollow, which is a huge economy of material (bronze) and weight. To achieve a hollow cast I used a sloshing technique which involves filling up the mold with wax, waiting for it to cool down a little and poring the wax back out; leaving only a thin layer on the inside of the mold. This process is repeated until the desired width is attained. Then I needed to get my gates and sprues on, which enable the metal to flow fluidly and the gasses to escape easily during the bronze poor. Here are some images

Now the ceramic shell needs to be applied on the piece which will act as a waste mold for the bronze. The cup at the bottom is where the molten metal will be pored, once the wax is melted out (upside down).

Approximately 14 coats were applied to achieve a solid, but not too heavy ceramic shell. The rest of the process took place at the bronze poring facility at SCAD Atlanta. The wax is melted out of the shell in an oven, then the molten metal is pored into the shell and the shell is removed. Here is a quick view of what the piece looks like when most of the shell is removed.

From this point I sand blasted it, cut off the gates and sprues, cleaned up the surface and applied a patina. Here is the final product.

Mecha-Tower is an omen to mechanical times as opposed to the digital revolution that is happening today. Gears, bolts, screws and other mechanical elements inspire me not only by their beauty, but also by their functionality. My whole life I have been around mechanical machinery in my father's studio and I realize that I was interested in their aesthetic composition as an art piece more than their functionality. Furthermore, I enjoy the format of a tower, it puts emphasis on the subject and gives it a monumental aspect. Towers seem to serve as a statement or declaration most of the time. A mechanical tower or Mecha-tower is my way of saying here this is my medium and my world of inspiration. There is an interesting paradox between the concept and the means of creation in this piece. (More information at http://arttraffic.co.uk/arts/2595)

Ricki Dwyer: Peach Pit

2011-03-15T18:36:00.006-04:00

Using the same scan I printed this model on the FDM 3d printer as a maquette for a larger sculpture. The smaller peach pit implies the scale of a human being in comparison to the sculpture, if this piece were to be completed.

These are the laser cut pieces compiled into the form. A cardboard peach pit approximately 14 inches tall.

After scanning in a peach pit, using a 3D scanner, I created a model on Rhino serially sliced it into horizontal planes that I can then cut on the laser cutter.

Ricki Dwyer: Practice laser cutting

2011-03-15T14:55:00.002-04:00

From my cut pieces multiple forms could be created, this form was the one I like the most.

As a practice I created a notching project with two different forms. Cut from wood on the laser cutter, this was the Illustrator file used.

Ricki Dwyer: Final Laser Cut Project

2011-03-15T14:33:00.007-04:00

This image captures the detail of the patterning I created from the rubbing process.
This paper was coated thickly with wheat paste to hold the form of crinkled fabric.

This is the final piece created from the forms I cut on the laser cutter. Using a graphite stick on sign writers bond paper I was able to make a repeat pattern of rubbings taken from my wooden relief.

This is the form I made with my finished laser cut pieces. Adjoining them so the wood grain was contrasting helped create a more defined pattern.

This is the Illustrator file I used to laser cut wooden shapes, to create a pattern to use as a rubbing.

Ricki Dwyer: Plastic Quilt

2011-03-15T14:27:00.003-04:00

With my CNC milling project, I vacuum formed my relief with painters tarp. This material is more or less industrial strength trash bags, very pliable before and after the vacuum forming process. I had to cut my relief down into quarters, and ended up only using one of the quarters I had milled, due to aesthetic choices. I vacuum formed thirty squares and ironed the white binding on to adhere the plastics together. This quilt is the standard size of a twin bed.

Ricki Dwyer: CNC Quilt Block

2011-03-15T14:25:00.001-04:00

Using the CNC milling machine, I created this relief based on a traditional colonial quilt pattern out of yellow foam.

margot mason: final explorations

2011-03-14T21:18:00.003-04:00

cast in plastic, on wood panel painted black
cast in glass, on wood panel covered with canvas. I stitched certain areas to create the folds, and lightly spray painted over the canvas to capture the texture & create a sort of gritty look. I would like to make a glass frame for this piece...

the queen done in serial stacking, about 4 feet tall. I plan to cover the cardboard with plaster & cheesecloth and paint it black.

Mason Eisenberg: Cnc

2011-03-14T10:11:00.002-04:00

Using the blend tool in illustrator, a circle and ellipse were blended together, then rotated from one a central point on the x axis and lofted all together to create one symmetrial movement.

Mason Eisenberg: fdm

2011-03-14T09:42:00.003-04:00

Mason Eisenberg: laser cut

2011-03-14T01:32:00.005-04:00

Negative Volume

This project was made after generating a Cellular Voronoi on a sphere using a point cloud. The curves created in doing this were used to crack and snap the ball in random places, forming a semi solid sculpture made up of Negative spaces around the O.G Voronoi pattern.

Mason Eisenberg: Laser Exploration

2011-03-14T01:13:00.011-04:00

Urban Rain Catcher

The concept behind this is water filtration. Something that can be placed in a dense urban environment and both catch and filter water throughout itself. It would serve as both a sculptural and functional rain catcher.

Lily Winder: CNC beginning process

2011-03-13T23:52:00.005-04:00

(Top) Vacuum form of model (kraft foam)

Original Foam textural model

mother-mold! rebound 25 with a plaster support armature.

my first time casting anything, success?

Nicole wallace - FDM Project

2011-03-13T23:17:00.002-04:00

For my FDM piece I wanted a molecular structure to stand alone in some form of an architectural courtyard. To show a balance between science and nature, this can be seen from my materials that are wood and various types of metal, which are all natural elements. By placing the structure in an architectural courtyard, the overly developed environment contrasts with the simplicity of the natural molecular structure.

Lily Winder: Bull on the highline

2011-03-13T22:54:00.002-04:00

A keyshot rendering of my bull perched atop the Highline Park in Manhattan. I liked the brick skin on this one, as it emulates the natural materials that make up the Highline. This would be awesome if it were real, since as far as I know, there are no sculptures up there. I kept the original scanned texture, since I think it roughed it up nicely, the webbing would have been a little too much for this environment.

Lily Winder: preliminary rendering ideas CNC

2011-03-13T22:11:00.003-04:00

Here was one of my first keyshot renderings of my cnc texture block.

Copper material.

Lily Winder: Waffle Structure

2011-03-13T22:05:00.003-04:00

My waffle structure, I created an ovoid volumetric letter "L" on rhino, and applied the grasshopper waffle script to get this shape. Not the greatest picture, but I still like it, laser cut out of cardboard.

Lily Winder: Serial Stacking

2011-03-13T22:01:00.002-04:00

My little bull, all stacked up.

Nicole Wallace -Laser Cutting

2011-03-13T21:55:00.015-04:00

For the first laser cutting exercise i decided to turn my pieces into coasters. After the first exercise we had our notch project which i also used as a foundation for my final laser cutting piece.

Here are also my splicing exercise and waffle structures.

Lily Winder: Notches n' things

2011-03-13T21:45:00.004-04:00

A Handful of Moomins

A cluster of notched characters from one of my

childhood favorites, 'The Happy Moomins'. Laser cut out of cardboard, although this little structure is simple, they can be stacked and combined in more interesting ways.

Heres a close up of one of the figures. I laser-engraved the features on his face, (confused as to why there's a notch in his rear?) and also his body.

Rendered with the pen tool in illustrator, these were pretty fun to make. I'd like to incorporate them into a 2-d composition eventually.

Nicole Wallace- CNC Milliing

2011-03-13T21:28:00.011-04:00

After printing my CNC piece I made a mold of it to be able to reproduce it, in many different materials. I wanted to show how a simple geometric and organic pattern can be used to make many different works of art. These are some of the techniques I used, the image to the right is vacuum forms of my milled piece and below are plastic castings I am going to use to make a lamp out of.

For my

final for this proje

ct I used my plaster castings to create 2 panels of work one demonstrating entrapment and the other space and empowerment. I used acrylic paints to enhance its texture. They will be hanging pieces when completed.

margot mason: Project 4

2011-03-09T14:10:00.003-05:00

object in context: I liked the idea of putting my sculpture in a park because it is not so formal. I rendered her in black to relay the figure as a chess-piece, love the reflection on the multi-faceted surface!

Andrew F. Scott: Penthouse Gallery

2011-03-09T12:08:00.004-05:00

ELDS 750/450: Spatial Simulation: Andrew F. Scott: Interior Lighting

This image was created in Maya using the Mental Ray shader. In this image A Physical Sky shader as the main source of light. Material_X is the primary shader used for all of the materials in this visualization. I think that I would like for the room to be in a penthouse so I will find an image for the backdrop that can create that context of I may just have to create the city myself.

I found a New York City skyline to use as the backdrop for my Penthouse Gallery. This image was created in Photoshop By compositing render passes from maya. The same work flow can be used in Keyshot to complete you image composites. Note the difference in the dynamic range of this image compared to the beauty shot in Maya.

I wanted to create another view of my Penthouse Gallery. I wanted this view to be set in a daytime context with a wider view of the gallery. I am beginning to like this notion of composing exhibitions of my work digitally. I followed the same work flow as in the previous image, first creatign the beauty pass in Maya. Afterwhich I used the render layers to compose several render passes.

This is the composited image in Photoshop. While I think it is a good start there is still some work that i have to do in Maya with the shadows to get it just right.

Andrew F. Scott: Keyshot rendering play

2011-03-07T16:19:00.006-05:00

This image is from a class room demo showing how keyshot can be used to create render passes for compositing in Photoshop. This model presents some interesting considerations. The Nkisi-Nkonde figure was captured using a laser scanner. The approximate size of the model in 8 inches high. As a part of the scanning process texture coordinates were captured and fused together to create a texture map for the three dimensional model. Hypershot recognizes this data as a part of the model and applies it to your object when you import it into the program. It becomes a layer that can be used to both bump and texture map the model.

In this demo I left an important clue that would permit you to see that the image has been photoshopped. can you find it??

Margot mason, puzzle pieces

2011-03-07T14:35:00.002-05:00

cutouts in luon created on the laser cutter, notched so they can be pieced together. I rendered these forms in illustrator

I based my shapes off of a bag similar to my first project, but incorporated a beer bottle & cheese block instead of the mushrooms. Some of my pieces didn't get cut all the way through as you can see in the picture above. I actually lost two cheese pieces trying to pop them out, kind of annoying.... other than that I was pretty excited about the pieces i did get. the laser cutter is probably the most exciting thing for me in this course. I want to incorporate these puzzle pieces into to some kind of painting perhaps...

margot mason FDM print

2011-03-07T14:27:00.005-05:00

Maquette for my FDM project. which was 3-D scanned into the computer, 4 inches
& a back view....

the figure in maya......

& here is the FDM version printed from the maquette, ten inches. We reduced the number of polygonal surfaces when the figure was scanned in, which gives it the angular texture you see here. I like that it looks more statuesque than the original, which was more figural. The form is based off of a chess piece.

Ricki Dwyer: practice laser cutting, first attempt

2011-02-26T01:22:00.003-05:00

Industrial wool felt wallet

practice laser cutting

2011-02-26T01:14:00.003-05:00

Illustrator file, first attempt at getting a project laser cut

Margot mason : More from first project....

2011-02-21T13:57:00.007-05:00

The foam piece that was CNC milled from my rhino file
& my silicone rubber mold made from this using Rebound 25
.... & the piece vacuum-formed in kraft foam.

So I've abandoned the light idea & am thinking of making a mix-media painting/ collage on wood panel. Still casting in clear plastic though, and maybe in glass too.

-margot mason :)

CNC Milling: Vacuum Forming

2011-02-10T01:37:00.002-05:00

Ricki Dwyer: Rendering of Quilt Block

2011-02-09T17:14:00.001-05:00

KeyShot rendering of a quilt block relief

Ricki Dwyer: Quilt Block

2011-02-09T16:55:00.001-05:00

Rhino model for a relief modeled after colonial American quilt blocks

Ricki Dwyer: Peach Pit reduced

2011-02-09T16:46:00.003-05:00

Peach pit with reduced number of surfaces

Ricki Dwyer: Peach Pit 1

2011-02-09T15:54:00.001-05:00

Result of a 3-D scanning of a peach pit brought into Maya

Ricki Dwyer: Populated Surface

2011-02-09T15:51:00.002-05:00

This is a beginning exploration of surface population using a grasshopper script in rhino.

Margot Mason: first project

2011-01-31T14:58:00.009-05:00

the design in rhino... the bag form is based off of the whole bandana tied to a stick & thrown over the shoulder hobo bags.

Some keyshot renderings, I liked the look of the bags in glass & wood

but my original idea was to cast the bags in plastic, light them from behind & hang them from the ceiling at varying heights, but we'll see.... I really like the wood & the glass versions too

InflataTent

2010-11-19T21:34:00.004-05:00

After making my InflataTent in Rhino, I used the unroll command to make pattern pieces. I selected the unrolled pieces and exported them into Illustrator. In Illustrator I made seam allowances for each patter piece by copying each path (individually) and shifting it over about 1/4". I then saved them as a PDF and printed them on the plotter. I taped the pattern pieces on a table w plastic sheeting on top and traced the patterns. I learned how to do this thru sewing, but cutting fabric is a lot easier than cutting plastic sheeting. When cutting fabric I pin each pattern piece to the fabric so it is the exact same size as the pattern piece. I could not pin the pattern piece to the plastic because it would rip and I would be left with holes that might inhibit the tent from inflating. I tried to tape the plastic sheeting as taut as possible, but the bigger the pattern piece the harder it was to stretch it out flat. As a result the pattern piecesweren't perfect and they did not fit together perfectly.

After tracing and cutting each piece I constructed the tubes. I used packing tape to seal the seams. First I put tape down one long side on the back then I rolled it over a piece of 2x4 with the adhesive of the tape facing up on top of the 2x4. I took the other side of the plastic and made sure the middle and corners lined up. I tried to make the seams as flat as possible by pulling the plastic taut while taping it. After getting the inside tape done I went over the seam again with tape for reinforcement. This also helps to make the tubes air tight. I ended up with 7 sets of tubes each with 4-8 pieces.

Although I did not finish the construction of the inflatable, I learned a lot from the process. The first thing I learned is that I should have made it out of vinyl or pvc coated fabric so I could sew it. Sewing is a lot easier than working with tape and plastic. It is also more professional since that is how the inflatables for moon bounces are constructed. I also learned more about working with Rhino. In the past I have had a lot of issues using the BolleanUnion command. This time I figured out why I was having problems with it. After making my tent about 3 times I realized that some of the parts were at too extreme of an angle and not intersecting the other part in the right place. I adjusted them and got every piece to Bolean correctly. This allowed me to have the exact pattern pieces to have a completely hollow frame to be inflated. I also learned how to export the pieces into Illustrator, something I never knew I could do before. Being able to work with Rhino and Illustrator for this project helped a great deal in making the pattern pieces. As much as I don't like working with computers that much, I can see how helpful it can be with certain sculptural processes.

I will be completing the inflatable over the break, hopefully I will be able to figure out how to get each tube to fit correctly. I also really want to do this with fabric and sew it so I might try to find the fabric somewhere in America, since I had been looking before and could only find a supplier in Europe.

Sam Lilley:: Laser Studies cont.

2010-11-17T23:53:00.006-05:00

Fully loaded and fully assembled. About 18" tall and 14" wide. Fits on a stand, I may modify it to fit on a wall!

Sam Lilley

Jeweler :: Metalsmith :: Designer

www.samlilley.com

Connor Nicholas - laser studies

2010-11-17T23:48:00.002-05:00

Here are a few laser studies. One is through a waffle definition on grasshopper. The other is contoured in rhino.

Connor Nicholas - Voronoi Tower

2010-11-17T23:17:00.005-05:00

In this project I explored the fabrication techniques of unfolding geometry and pepakura and the construction. The spacial and experiential qualities of the voronoi began to develop as I added and subtracted from the geometry.

john mcmahon: teef(3D scanning)

2010-11-17T23:11:00.009-05:00

i never messed with a 3D scanner before
so that was something i definitely wanted to test out
for my first scan i wanted to keep it simple
was searching for an object to scan and came across
my friend sam's car sculpture that was laying around
scanned the car but at a super high resolution
which didn't leave much room on the computer to complete the steps for outputting
after referring with prof. scott, he told me to step the res. down
so i scanned my teeth(a plaster model of my teeth)
the goal was to scan the uppers and lowers and alter them
and output to the wax printer in the jewerly building
but once i over came the scanning process
i ran into some issues with offsetting the surfaces to create digital "fronts"
the offset that the wax printer needed to meet the minimum output
was to much for rapidworks and rhino to do a simple offset
the larger offset was producing self intersecting surfaces
a no no in rapid prototyping
need more time to troubleshoot through this issue

madebymixta

john mcmahon: Corrugation - Plica cont.

2010-11-17T22:55:00.009-05:00

got caught up in the rush so there is a lil gap in the pics
painting, cement casting and acrylic bending was not recorded
but i have the jig i used for bending the extruded acrylic rods
and then i jump right to the presentation pics, fdm 1/4 scale model,
and model in context(museum)

madebymixta

Serge Ruffato: Papakura Final

2010-11-17T22:49:00.005-05:00

This is the FDM maquette I worked from for this project. I basically exported the file from rhino to maya and then lowered the number of polygons in the mesh until I obtained a simplified version. Then I exported it to Papakura to unfold it and prepare the files to be laser printed.

This is the finished product! It's about 4 to 5 feet tall and it stands on it's own. This is my first experience with Papakura, I'm excited to explore it's potential.

Andrea Lucas: Laser Study Final

2010-11-17T22:21:00.002-05:00

Waffle Structure

There were man issues to overcome concerning this waffle structure but the disarming and arming of pieces helped me understand how the components worked together. The piece was strong enough to stand on.

Serge Ruffato: Laser cutting exercises

2010-11-17T22:20:00.010-05:00

Exercise n1: The idea of notches was interesting, it introduced me to the laser printing process. Although it opens a wide variety of possibilities, it provided a pretty basic and rigid type of structure.

Exercise n2: This was a very simple, yet extremely useful approach to laser cutting. It's perfect for creating armatures, you can cover it with plaster, epoxy, aqua-resin, etc. It will provide a very solid and compact base to work.

Exercise n3: This process is a little more complicated, I chose to work with the cutyourownribs and massiveunroll scripts. All you need to do is type in your material thickness and the script pretty much cuts it out for you. Then you use the massiveunroll script to lay out your ribs and it will even number them for you, which is very convenient. This approach requires more work but also lowers the amount of material needed, which means it's a lighter armature and more appropriate for large structures. Very useful knowledge!

Katrina Brooks - FINAL

2010-11-17T22:20:00.004-05:00

For my final project, I chose to use my FDM model. I enlarged it to fit the ULS laser, although they decided it would be quicker to print with the beam. Six different 1/4 inch dowels were used to hold it together. Many of the contours needed to be fixed before printing. Overall, I am happy with the result, although I wish that they had not rotated the cardboard when they printed it, as this made the corrugation irregular.

Andrea Lucas: Laser Study III

2010-11-17T22:19:00.004-05:00

My favorite piece: it was inspired but Indonesian shadow puppets. The original drawing was converted into vector lines and picked to produce a relief sculpture, reinforcing the original idea of shadow arts.

Andrea Lucas: Laser Study II

2010-11-17T22:14:00.004-05:00

Creating interlocking pieces for a sculpture that has the ability to grow.

Andrea Lucas: Laser Study I

2010-11-17T22:11:00.000-05:00

Katrina Brooks - Laser Exercises

2010-11-17T22:10:00.009-05:00

The first exercise was the notches. These were cut out of luan.

For the serial stacking exercise I used my model from the CNC milling project. Contours were made from the model using the width of 2ply cardboard. A 1/4 inch dowel was used to hold it together.

The final exercise was waffle structures. I created a simple shape on Rhino: a cube with a sphere cut out. I then used the Grasshopper script to cut the notches and layout my pieces before having them cut from cardboard.

john mcmahon: tip top cont.

2010-11-17T21:55:00.010-05:00

so this model didn't make it to the final presentation
due to some technical difficulties, i have to remember when some part of the process is new to me i have to leave extra time for troubleshooting
to continue the model journey
after sanding i made some extra parts out of urethane foam to act as a draft angle
and it follows one of my guidelines
if it doesn't have to look pretty make it look as ugly as possible
to the big vacuum former to pull 1/8" styrene 26" x 26"
i only wanted the top surface, all the extra is for the cause
trimmed the styrene and left a whole in the center to add strips of styrene
these strips were going to be a playful, over lapping and weaving to create a lighting piece
getting the strips to act the way i wanted is where i had trouble
using straight styrene strips had to much tension in them and would not hold the shape i was after
the glued bond kept on failing
so i went to heat forming but once the heat was introduced
the strips had to still relax and to keep them in position while they heated up was more difficult then i realized
the size of the styrene strips were 12"long by 1/8" by 1/8"
oh i love process pics

madebymixta

Sam Lilley:: Project 3- Laser Studies

2010-11-17T21:47:00.007-05:00

In the final project, we used laser cutters to cut out two dimensional forms and assemble them into 3-D forms.

Experimenting in forms with rhino is a great way to get my creative process going. I like to use the loft tool to build forms up from simple closed lines. This one was made using that method. I have selected the contours that will be cut.

Here are the final cutting sheets, using notching and serialization.

Sam Lilley

Jeweler :: Metalsmith :: Designer

www.samlilley.com

Tamela Sicay-Perrow: Final Robot Post

2010-11-17T21:45:00.015-05:00

These pictures mark the culmination of my 3 pepakura project to date. The theme is a robot which is dissasembled on purpose. The continuation of this project is to use wires and lights to either suspend it in a workshop type atmosphere or to distress further and add attachments to make it look like a real robot being repaired. The pictures follow first from the modeling, to breaking it up in pepakura, to illustrator workflow and to the progress from unpainted pieces to a mostly assembled final silvery robot. There is more yet to come in this avenue of projects.

Tam

Arden Saunders: FINAL

2010-11-17T21:34:00.007-05:00

So much to do, so little time! By far the most interesting class I've taken at SCAD so far, digital sculpture opened my eyes to a whole new world of sculpting. From waffle structures to 3D printing, my designs were based on basic polygonal and nurbs shapes put together to make a bigger shape. The skull, however, was based more on a philosophical take, referring to a skull being spun around and warped instead of being "normal". I think the spun around skull represents how the skull and mind actaully is, spun around and different from each mind. I'm also very excited that I got to learn vacuum forming with the foam. This is a critical technique that was necessary for me to learn to understand and proceed with sculpture. It was such a cool technique to learn and to have in the future. In the end, I am overall proud and happy of my success in this class and will continue to use these digital techniques in the future for sculpture.

Brandy Koch: Final Blog post....for now!

2010-11-17T21:03:00.006-05:00

So I want to start off by saying this has been such an amazing experience! Mr. Scott you rock and we all love to work hard for you! With that being said Im going to post the last few pictures I have and explain my work a little better. electricparK. is the name of my company, and also my band. Everything I do has to do with these basic principles. Music and art are the same. Man & woman. Equal parts. Ryan & Brandy. When I design my functional accessories, Im designing for my perfect, bad-ass, alter ego that I turn into when I perform. Now we know people are not perfect, of unbreakable or even adventurous. I try to design for the girl that doesn't care what people think or say. I try to be more like that in all I do. Making funky outfits is fine, but wearing them is totally different. I try to walk that fine line between something you would wear everyday, & lets say...Lady Gaga. I dont like extremely loud or outrageous stuff either. But different, unique, one-of-a-kind. Thats the realm Im going for! With all that being said...weapons.... I use weapons as a subject that people dont want to talk about, its sensitive, its dangerous, its obvious. But put those weapons into a womens world and it becomes foreign. Im a feminist to say the least, and I plan on giving all women the power that I feel and have in hopes that oneday in our country we may actually see equal rights for all peoples...

Sam Lilley: Project 2: FDM

2010-11-17T20:11:00.005-05:00

For this project, I became obsessed with crystal and rock formations. The wireframe above shows how many elements are in this piece, matching the complexity of crystalline structures.

The piece in context is mainly a studio piece, without any surroundings to draw attention from its (mostly)natural beauty. I had planned to make a lamp out of this, with LEDs in the top holes of the 4 main segments. Alone or with light, this work stands out.

Claire Abitz: Object in Context

2010-11-17T08:23:00.002-05:00

I decided to render my second project in the context of a modern plaza. I wanted the scale to be approachable, but taller than the average person. The material is bronze.

Christian Dunbar - Digital Sculpture in Environments

2010-11-17T07:03:00.006-05:00

For my final endeavor in SCPT 250, I used keyshot and Photoshop to put pieces in ideal environments. For the Wave, I chose an obscure dry desert setting so as to show it as monumental while highlighting the near wet looking black chrome material that I rendered it in. For the Sphere Chair, I placed the piece in a contemporary room that had inherent architecture that complimented the chair's structure. I used pearl white for the horizontal slats, and glossy black plastic for the base. For my final piece, I chose to show my Blade sculpture in a dimly lit art gallery. As was always my hope, I was able to render it as a monumental piece, standing 7' tall. For this setting, I used a dark wood on a steel base.

john mcmahon: tip top

2010-11-17T05:55:00.012-05:00

tip top is over head lighting piece made out of corian
due to the size this is a 1/4 scale model in styrene
once designed i modeled a base or pattern model which i use to create the prototype
modeled the base in solid works and then imported into rhino where i section the model
and prepped the file to be sent to the laser cutter lab techs
laser cut out of chipboard and glued and assembled
a little bit of sanding, some bondo, and priming
and a final dry sand at 320

madebymixta

Claire Abitz: Practice Structures

2010-11-15T21:23:00.008-05:00

We did a few practice structures to determine the technique to use for our final project. The first structure was practice with the contour command, which slice an object into cross sections, which are then stack to rebuild the structure. After putting the pieces together, the small model led to the idea for my final project.
The second practice was for determining slotted connections. The first picture is the design layed out in Rhino. Then I did a keyshot rendering of it in a much larger scale. The last picture shows the details of each piece when slotted together. In the end, the outer dimensions were about 20"x40" for the panel of letters.

The last practice was building a waffle structure with half lap construction. I loosely based the profile shape of the structure off the profile of a face. Finish dimensions are 20"x8". I also included a few extra pieces in this file to put together my panel of "A's."

Mitul Mistry - Rendering in Context

2010-11-15T18:20:00.003-05:00

For my object in context, I used my FDM ZBrush model. It's hard to come up with an architectural context for a giant three-legged monster. Of course, I'd love to see it in solid 24k gold in Millennium Park.

Mitul Mistry - Final Laser Project

2010-11-15T18:05:00.003-05:00

For my final laser cut project, I decided to do a serialized form and use it as an armature of sorts upon which I sculpted in epoxy. I started off digging out an old nurbs form I thought had potential and booleaning on a base to hold it up in Rhino. I then used the contour command and laser cut the pieces out of cardboard. After receiving my cuts, I realized too late that one of the sheets had been processed twice, while one was missing, so I had to do some "creative problem solving" with my exacto knife and the left over cardboard to fill in the gaps. I then coated it all in plaster wrap, and laid on "EZ Sculpt" epoxy sculpt to finish off the form. All in all, it was actually a fairly labor intensive process, but it's also very powerful in that it becomes possible to recreate digital form with real materials at a larger scale than FDM printing will allow.

Shannon Slane: Pepakura Pig

2010-11-14T19:03:00.004-05:00

This is a work in progress photo of Shannon Slane's pig model that was created using pepakura. She plans to seal the model with epoxy. I anxiously await the completion of this project. Shannon is a SCPT 250/450 alum. We can thank her for the craft foam discovery and for her wonerful work "Factory".

Single Ply Cardboard is .15

2010-11-11T18:46:00.002-05:00

The thickness for single ply cardboard is [.15]. Use this thickness for your serial sliced compositions and as the starting point for your waffle construction. If you use a material always check it with digital calipers in the DDM lab. It is often a good idea to make your slots a little fat especially if they are deep because your object will stiffen as you add more slots to your object.

Tamela Sicay-Perrow: Teeth Progression Final

2010-11-10T22:45:00.010-05:00

The teeth were created in Maya as you can see above.

This is what I stared at for hours on end making sense of all these lines, trying to make my life easier in the illustrator section of the workflow to finish this project. I used a total of 4 programs to make this happen, maya, pepakura, illustrator, and rhino. I'm glad for a brief respite.

The process of using Pepakura seems to be an uphill battle for me. Though expected to begin and continue from simple to complex over a series of projects, I seem to bite of more than I can chew.... so to speak.

I began by closing the edge loops (always use edge-loop modeling for these forms), and then attaching all of these individual teeth you see here.

I then glued along the loops to finish each of the arches respectively. C'est fini pour maintenant.

I am only in these photos for scale. Supposedly.

-Tam

Brandy Koch: Key Shots

2010-11-10T18:01:00.005-05:00

This program for some reason was the hardest for me to use! These are just a few examples!

CJ Miller: GOARAX goes live

2010-11-10T13:39:00.003-05:00

This Work "Goarax" was created in SCPT 450: Computer Modeling for Sculpture Projects by SCPT250/450 alum C.J. Miller. It was featured on Atlanta FOX 5 profile of the SCAD Fall open studio in Atlanta. C.J.'s interview begins at 2:36.

Mitul Mistry - Laser Studies

2010-11-09T20:12:00.006-05:00

While the notching exercise was great fun (I felt like I was making my own K'NEX), I feel that serial planing has great potential, as it is fairly descriptive of form.

The waffle form was a nightmare, as the Cut My Own Ribs/Massive Unroll scripts did some very unfortunate things, like randomly flipping some of the flat planes, mis-numbering the pieces, and laying out the notches in an inopportune manner. It was basically impossible to put together because half the notches went in one direction and half in another (and I didn't realize this would be a problem until too late), so I had to cut up the pieces with an exacto knife just to get them to fit.

The Pepakura form was also problematic, primarily because I used cardboard, which has thickness and significantly affects how you can put the pieces together. Because of the thickness, the flaps were largely useless and I had to cut most of them off, and had to make cuts along the folds. All in all, it took me far longer than I expected just to make my stupid rocket ship.

I think I'll stick to serial planing for my final laser project.

john mcmahon: Corrugation - Plica

2010-11-09T15:44:00.010-05:00

right here are the steps that i took in creating my museum seating
Plica
first modeled in solidworks
then imported into rhino
to be handed over to kemal
for cnc milling
material selection is stacked plywood, to the keep cost down
but where i saved on material i spent more time on finishing
next time i would spend more money on some renshape
after the milling is the finish sanding, priming, and painting

madebymixta

Connor Nicholas- Park Installation

2010-11-08T15:31:00.006-05:00

Park Instillation- Parametric piping through grasshopper

This could be used as an attractor in a park.

Park Instillation- Parametric piping through grasshopper

Connor Nicholas - fdm

2010-11-08T14:12:00.005-05:00

Urban Sponge

Three-dimensional Cellular Voronoi- Spacial Explorations

The idea is to have the structure covered in vines and vegetation to create an urban sponge in a city to create an oxygen producing oasis in a concrete world.

Andrew F. Scott:THE SANTA MARIA NOVELLA, FLORENCE, ITALY

2010-11-07T19:49:00.002-05:00

I will be using this image in the compositing demo to show how you place your model in an architectural context.

Christian Dunbar Project 4- Sliced Sculpture

2010-11-06T10:31:00.007-04:00

For Project 4, I designed and created a full scale free standing sculpture consisting of 50 layers of sliced material. Using the contour command, I sliced a vertical orb shaped Nurb that I created using Rhino. The result was 50+ layers that were then pieced together, using a 1" square referencing rod, that I inserted horizontally through the pieces. The sculpture is an 18" tall orb, that can be positioned on top of any stand that is 1" in diameter. I can produce the piece from any laser "cut-able" material. The width of the sculptural is also customizable, and depends solely on the thickness of whatever material I choose to cut slices from. For the purpose of this class, I used 1/4" plywood. Next, I will create this piece using 1/8" acrylic, to create a translucent vertical orb.