Monday, March 31, 2014

Rebecca Blessing - 3D Scanning

 Beetle Sculpt in grey extra firm Sculpi using hands and toothpick 

Baking the sculpture

 I then painted the model white and applied red tracking dots

 The Scanning Process
I did a 360 scan of the model in Scan studio. I Then took single scans of the top back and various angles to fill in obvious or large holes in the digital model. 

I played around with merging the model in scan studio and this was the end result 

I brought the scanned mesh into Rapid Works and fused it. I then proceed to polish the model using the fill hole, and bridges tools. 

 I used the smoothing tools to get rid of harsh edges and bumps 

I used the Simplify tool to play with the poly count of the model for varying results.
exported these files as .obj's

 50,000 poly

 20,000 poly

10,000 poly

1,000 poly

Surface Version

Sunday, March 16, 2014

Genna Williams: Pepakura

Genna Williams: Wooden Sculpture

This form was created using Rhino, and after making a cardboard mock-up, the final sculpture was made from slices of eighth inch plywood and dowels.

To find out more about the process used to make this sculpture, check out my personal blog.

Friday, March 14, 2014

Haley Barlar Spring 2014

My first engraving
 My first serial slicing
 Second serial slicing
 Pepakura trial

Ethan Conlon: Serial Slicing

Created in Rhino, these serial sliced forms were used to explore symmetry and negative space in a 3D modeled form.  The first of these sculptures was inspired by the shape of seed pods and fruit, exploring the abilities of digital forms to replicate organic forms.

Bolting the sliced horizontal sections together allowed me to twist the shape once the sections were assembled

This initial exploration of serial sliced form led to the development of a second form, designed to be held together with steel wire.  Wire was chosen for the flexibility that it would lend the form, as well as the tension that it could supply in order to hold the sculpture together.  After some experimentation with the physical sculpture, the form was further manipulated from its digital shape to create a dramatic archway.

Ethan Conlon: Archway Final

After an initial exploration into archways using Rhino, I strove to create a new arch composed of surface polygons.  Designed to be larger than any computer generated sculpture I had created as of yet, I strove to keep the polygon count high before importing into pepakura in order to maintain smooth, curvilinear surfaces in the finished model.  The finished sculpture is approximately three feet high by four feet wide.  In the future, I hope to increase the size and use the form for casting.

Andrea Quiros-Balma

Morphing geometry applied to pepakura

Thursday, March 13, 2014

Ethan Conlon: Laser-cut self portrait

I began this project with an old picture a friend took of me and began modifying it in illustrator.  After grouping curves in different layer determined by their value, I assigned each layer a depth and cut the file.  After cutting, I returned to the original photo and began to select colors that i wanted to bring into the version cut in watercolor paper.  These colors were then applied to the portrait where I thought appropriate.

Troi Caple SCPT 250 Final

SCPT 250 Final!

What an amazing quarter in SCPT 250! My final composed of 3 sculptures, with 2 laser etchings and the serial sliced space chair! The laser etchings were of two photos I took in 2010 in New Jersey, one  of which I etched with acrylic and the other with wood. I love the way the wood burned and picked up the speckles of paint in the photo and I love the sharpness to the acrylic etching. I am definitely going to use this application in the future. The space chair was quite the soothing solution to the finals madness. Being able to sit down and smooth out the edges really got me through the last week!

Original photo

 Laser etching

Original photo

Laser Etching