Andrew Simons: Pepakura Final

For my final project the first step was to model my sculpture in maya using polygons. I started with a five sided pyramid, mirrored the geometry, then repeatedly extruded faces to create the ribbing and the thrusters. I then exported the model as a .obj.

Next I needed to unfold the geometry of the .obj file into a two-dimensional plane using Pepakura. This involved telling the program which edges of the model it should cut along to flatten  the shape, making sure that none of the pieces overlapped. Then I re-colored the lines to match the scheme that the laser cutter uses. When that was done, I printed the unfolded geometry to a .pdf file using at a 48"x48" format.

Next, I brought the .pdf into Illustrator to separate the cut lines, fold lines, and numbers into different layers. This is easier to do in Illustrator than in Rhino, as the prior has better tools for selecting lines of the same color. Then it's just a simple matter of exporting this as a .dwg, importing it to Rhino, and tweaking the properties of the layers and their objects so that all the outer cuts are magenta, the fold and inner cut lines are blue, and that the numbers are exploded into lines and red. Export as a .dwg (R12 lines and arcs) and it's ready for the laser cutter.

For the sake of time, I ended up using hot glue as my adhesive. I started out folding the pieces that make the thrusters and gluing them together. Once they were assembled I connected them with the ribbing pieces to make a full loop.Then I simply built the loops off in both directs to get the closed model.

Once it was fully assembled, I needed to paint over the perforations with white Gesso to fill them in. The Gesso also served as a base for the spray paint I would apply later.

To keep the different colors of spray paint from overlapping too much, I had paint one color at a time and put masking tape over the areas I wanted to keep that color before moving onto the next color. In this case, I painted the red spots, taped them, painted the white spots, taped them, and then painted the rest of it grey.

Finally, I removed the tape and put the finished sculpture on display.

Mitchell Biggio's final project Serial Construction

 This is the process that I took to create my final piece.

It started with stacking up the serial slices made of cardboard.

Next I covered it in plaster soaked gauze inside and out.

 Primed it with many layers.

                     Then sealed it with Shellac.

Shea Crescenzo's Serial Chair - Final

Chair model in Rhino, sliced with Grasshopper, cut with lazer cutter

Serial slices constructed, 1/2" rod stock base welded

Final product!

Shea Crescenzo's FDM Printing

 Vessel fail

Chair model success

MItchell Biggio Serial sculpture

This is an experiment with the serial construction.

Mitchell Biggio 3D Print

Shark head

Brianna Finkle : Pepakura

I know its belated but here are some images from my pepakura attempt. A very interesting software that has some amazing potential, just takes some getting used to. After a few tries and a very simplistic form I ended up with this dinosaur egg looking form.

Brianna Finkle : Final Collection

After such a great reaction from my FDM bracelets, I decided to create matching rings and a neclace pendant to create an entire collection. I started by modeling everything up in Rhino then having it printed on the Projet Machine to ensure a higher quality of print since these items were smaller and more detailed.

Pendant Rhino File

Ring Rhino File

The project broke last week while printing my files.

Above is what it looks like when the project printer looses vacuum pressure in the middle of a print. Everything was covered in wax and there was no saving it. Fortunately someone came to fix it just in time and and everything was able to be printed. Below is everything together, I am hoping that next quarter I can collaborate with a metals and jewelry student to have some of these cast in metal. 

Rendering of my final Project

MItchell's Waffle Sculture

  

My waffle sculpture.

After the first waffle attempt I made this but forgot to upload it.

 

Nick DeBruyne, Pepakura for Halloween

For Halloween, I decided to be Cerberus the three headed guard dog of the underworld who prevents those who have crossed the river Styx from ever escaping.  I modeled the mask in Rhino and unfolded with Pepakura.  After laser cutting the parts and the build up, I painted it black and used electroluminescent wire to light up the eyes and teeth.  

Pepakura File

front, back, and top before painting

photo credit to Ross Monckton

Nick DeBruyne, 3D Print

This object was modeled with a grasshopper surface population script in Rhino and  3D printed in plastic 

rendering in Keyshot

ready for production 

final printed object

Andrew F. Scott: Keyshot Rendering in Passes

Rendering in Passes provides a more efficient workflow for creating images that will be used for project proposals. Keyshot provides a good rendering platform for creating images that can later be composited using photoshop. In this workflow an image will be created using Diffuse, Specular, Reflection, Mask and Beauty Passes using Keyshot.

Beauty Pass01: wood

 Beauty Pass01: gemstone material

Two Beauty Passes were created in keyshot. In one image a wooden texture was applied top the model in the second a gemstone material was used. The model was placed against the backplate and a 3point light studio was chosen for the environmental lighting. It is very important to lock the camera once the beauty shot has been established. It is also important to give that camera view its own unique name.

 Mask Pass

A flat material was created in the Edit-Materials panel and assigned a  green color. This color was then applied to the object so that it cans be masked from the background in Photoshop. Rendering with alpha channels can also be used to achieve the same goal. Masking elements with flat materials extends this capability because you can mask different elements of your composition using different colors.

Ambient Occlusion Pass

Ambient occlusion are used to show objects that are occluded or blocked from the light. In many Mental Ray rendering setups it provides one of the simplest forms of global illumination. It is used to provide a shadow kicker that gives objects a greater sense of realism. In the version of Keyshot that I am currently using there is not a true ambient occlusion solution. To get around this I created a diffuse material that is painted white with the startup lighting environment.

Reflection Pass

The reflection pass was created by creating a chrome material and painting it black. Ideally you want the roughness to be set at 0. For this pass it is also important to have an environment that matches your beauty shot since this is what should be reflected in your object. With this setup you will get a 100 percent reflection of your environment on your object.

Specular Pass

The specular pass is your highlight pass. For this pass any black metal material can be used. You will use the roughness slider to control the sharpness of the reflections. For even greater control, anistropic materials painted black provides a material for creating a wider variety of reflection passes.

Final Composition in Photoshop

The image above is the final composition combining all off the passes in Photoshop. In the second part of this tutorial I will go over the workflow in photoshop used to produce this image. A good overview of  Rendering in Passes and Layers can be found on the Gnomon Website written by Alex Alvarez.