Donovan.hettich 3D scanning exercise

1st post of scanning exercise a model is wire frame that i snipped from Rhino from a sculpture created by Professor Andrew F Scott .

                                                                    Wire frame model

 

Key Shot rendering 

Andrew F. Scott: Scanning Exercise01

This is my posting of My Scanned Image. The Image is based on an African Nkonde Figure.

I will be using it throughout the quarter to explore digital fabrication processes. To see Other works that I have created using this subject you can go to my Flickr page.

Image ghosted in rhino

 

The same image with texture map information

This is a keyshot rendering

Andrew F. Scott: Surface Population

Having some fun playing around with surface population scripts in grasshopper 

and rendering in Keyshot with a little post processing in Photoshop.

Andrew F. Scott: Material Studies

Scanned Rhino Model in rhino

I had the opportunity to do a little more form exploration on the previous model from laser scanned data.  Within Rhino I used the nurbs surface tessellation as a cue for the surface activation of the model. Using pipes i created a series of sweeping linear forms across the surface of the model.

Mahogany

Polished Oak

I began with a series of monochromatic compositions using a single material I wanted to get a feel for the rhythmic movement of the lines across the surface of the material.

Mahogany with Cherry

 This led to an exploration of a combination of materials. This is where the fun really begins as you can begin to play material properties with and against each other.

Gold with Pearl

 I really like this combination of materials because it begins to suggest a form that can operate on a diversity of scales.

Gold with Mahogany

Andrew F. Scott: Laser Scanning To Milling

This is a keyshot rendering of a relief sculpture that incorporates laser scanned data. The model was scanned using a Next Engine Scanner. The data was processed using Rapid Works reverse engineering software. This workflow outlines how RapidWorks can be used to generate a variety of nurbs surfaces. While the focus of this posting is on  the CNC milling process, the same workflow can be used for FDM and Laser Cutting Operations.


Once Scanned the data is brought into RapidWorks where it is cleaned up and prepared for both surfaces decimation which is used to generate polygonal data and a variety of operations that are used to generate surfaces. Using the AutoSurfacing function Rapidworks can generated two types of surfaces.

This is an example of a surface that is generated using an evenly distributed network of patches. Using this function will overlay a net-like surface of user defined quad patches that does not adhere to the contours of your object. The net like structure follows and adheres to the typology of the surface. Each patch has a user defined number of control points that is used to control the complexity of the patch network.

The Feature Following Network tries to follow the typology of your object more closely by generating a series of quad patches based on the contours of your objects. There are a variety of settings that can be adjusted to achieve different effects using this option. The main two focus on are Feature Detection Level and Geometry Capture Accuracy.


For the greatest degree of control and artistic expression you can draw your own patch typology on the object using the 3D Sketch Mode. This mode has a variety of tools for generating your patch typology on top of your mesh object. Above is a quick sketch of a patch network that I drew on the scanned model. As an edge loop disciple I will probably go back and redo the network so that the edge loops reflect the true contours of the model. This is important because these lines can be used to generate surface details as shown in an earlier posting of my fist model that focused on nurbs modeling and laser scanning.

I am very excited about this branch of research because it affords total control over the surface typology of scanned models. You can generate almost any surface pattern you want as long as it is composed of quadrilateral patches. The software will also generate boundary surfaces when you use 3-sided patches or patches with more than four sides. It prefers quad patches.


The patches are easily joined in Rhino into a polysurface. It is also easier to fix problem patches using the surface generation tools within Rhino. Once done your model can be incorporated into a variety of modeling techniques.


I am interested in exploring the potential of the scanned data using a variety of milling techniques that focus on surface typologies and its influence on the texture of the objects. This is only the beginning.

Andrew F. Scott: Penthouse Gallery

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

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??

Christian Dunbar - Project 1 - Sculpted Wave

In project 1, I set out to create a depiction of fluid movement by sculpting a solid material. The material I would be using was a 14 x 6 x 48 block of wood. First, I drew out a series of curves, that I would eventually use in conjunction with the loft command, to create a surface. My aim was to create a "water-like" shape, with an unknown being underneath, creating a wave. Next, I began lofting the surface. During this careful process, I manipulated several variables: control points of each curve, curve placement and coordination, number of surface control points, and various loft styles and simplification levels. Through hours of shaping and lofting and after many undesirable results, I ultimately designed a surface that created the desired effect. Next, I was faced with creating a solid from the surface. To do so, I created a solid box, and used my surface as a slicing tool with the Boolean split method. Finally, I used the scale command to fit my solid to the exact shape of my wood block. Ultimately, I was left with a solid positive and a solid negative for future prototyping and casting.

Andrew F. Scott: Mobius Strip Redux

This Maya solution to the Mobius Strip geometry is based on the same principle as those articulated in the original Mobius Stripped Posting. In this Maya solution The Twist deformation is combined with the Bend deformation to create the strip geometry. This solution provides a wide range of geometric expressions and aesthetic solutions to the Mobius Problem. Can you figure out how it is done???

scpt250/450: playday

SCPT 250/450 PlayDay

Each quarter as an introduction to formatting files for laser cutting we channel our inner 6 year old and construct forms from modular units that have been cut on the laser. This quarter the theme was animals. As usual it was one of the highlights of the quarter.

SCPT 250/450: Modules

It's a beautiful thing when the computer lab is transformed into a sculpture studio. Students kicked off the laser cutting unit by working in teams on modular sculptures created from laser cut unit forms. Afterwhich, they designed unit forms for their own modular sculptural compositions. Great fun, great high-tech, high touch energy. View more photos here.