List of Monumental sculpture projects 2015

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Wednesday, 26 April 2017

3d printing class - discovery

3d printing class - discovery

3, 4 max per class

Objective:  Learn how to use the Ultimaker 2+

I prepared 4 small files each 14mn-15mn, each person prints out a small object to take home.
1// small vase (thingiverse)
2// small cup
3// small key chain Alphabet -  A B C D E F G H I J K L M N O P Q R S T U V W X Y  Z
4// small cube

Other ready made .obj
Chinese coin
square w round hole
spiral tube
moebius ring

Part 1 

Learn how to import your .obj file into cura
Export it in .gcode
Put the .gcode file onto sd card
Part 2
Ultimaker 2+ is off

Turn it on
Begin with no filament;
put filament bobbin onto the rack behind, make sure the filament is pointing towards the intake unit

Watch the lcd screen;
Follow instructions
Wait for filament to come out before clicking

Start printing
Part 3

Wait for the print to cool down
take spatula, delicately remove the print from the hot plate
Turn off the machine at the end

Sunday, 23 April 2017

3d print tutorial Tyrannosaurus rex bone
detail instructions
Tyrannosaurus rex thighbone by Naturalis Biodiversity Center - Ultimaker: 3D Printing Timelapse

Splicing a model in half for 3d printing in SketchUp

Answer to someones ques how to print two parts of an object...
Posted Dec 17, 2014 - 8:54 AM

Need to split an object into 2 part and save the gcode .

You can also do this easily in Cura:
Go to advanced tab and cut off object bottom to where you want to split. Save to gcode
Then rotate the object 180° and cut object bottom to have the second part. Save to gcode and print both.
Or cut off object in the middle and duplicate the object (just rotate one 180° and print both

Saturday, 22 April 2017

bronze filled colorfabb filament 65%pla, 35%bronze dust

To be tested soon.
This filament needs polishing and will achieve metal like shinyness, but will not be outdoor proof.
It melts /deforms at 110 F

Still nice to make a comparison.
stay tuned 
according to this site, it says esun filaments have no detectable metal powder.

Friday, 21 April 2017

passive amplifier, bowls, ding, w vinyl disk

Passive amplifier, bowls, dings: thermo forming using  retired vinyl disks as source material.

Recycling art and design project:
Vinyl Passive amplifier
Vinyl Bowls
Vinyl Dings

Project conception, research and execution : Swannjie
Team:  Laundry - laser cutting, Etienne - oven management, Swannjie - odds and ends.

I had seen a very nice salade bowl, black vinyl disk at Linz in their museum boutique, price 32euros. Very nice simple idea.

Then, I saw on youtube, how to make use of retired vinyl disks.

Here is my version of heat forming retired vinyl disk.

There are several ways that I have seen. 

1// you heat up disk in an oven, when it is soft place it onto a form, and pull the disk through the form with hands w much brut force.  This way, it is going to take the shape of a tulip cup - passive amplifier.

2// you heat up disk in an oven/ or in a bowl of hot water, and press by hand the soften disk into any shapes, ie flower - bowl for odds and ends, (not food)

3// you clamp the disk between 2 rack (like tennis racket principle), heat up the whole structure in an oven, when it is hot and soft, place a weight onto the disk and let gravity drag the object downwards thus stretching the disk into a conic shape.  

I will try it the third way.  I think using gravity is a very smart way to stretch the vinyl.

The vinyl disk all sandwiched up between boards to be put into oven .

these are circular seats, similar to the what vinyl disk could be/ will be thermo formed into.


Using the troctec laser cutter, Laundry cut up 2 squares with circles inside the squares.Two squares, 35cm2 each. 
Traced a vinyl record outline, and draw a smaller circle inside the outline.  
The diameter of the inner circle is 29cm, the diameter of the vinyl disk was 30cm

Sand down approx 1mm the ring shaped space between the two circles  - so that the disk can be blocked in an allocated space and not shift around.  
We now have a sandwiched vinyl disk between two square plates with big circle openings.

We will stretch the vinyl disk once its heated and softened enough.

I fixed the two squares together with some small clamps and large metal clips.

Will put the sandwiched vinyl disk into oven tomorrow.

Thursday, 20 April 2017

eSun Bronze PLA filament / photos in shade and in sunlight

eSun Bronze PLA filament

Found pdf by eSun, there is no metal powder in this pla, it does have additive.

People who saw me printing at the (Ultimaker 2+ extended ) machine all want to know the name of this material.
Its PLA Bronze.  No sure if it does have bronze or not.  Light weight unlike metal.

Since I had done research on metal filaments, proto-pasta iron filled, inox, bronze, copper etc, and watched many videos of various testers on youtube.

So I test printed the material, because of various factors.

#1, I am testing this at faclab Cergy Pontoise, and they are very kind to let me use their machines.
So I got the right nozzle, regular, .4mm, just like for any PLA, manufacture notice says, temperature 180-210, I tested it, best temperature is 193 degree C. on the machine that i used.  Any higher, its quite liquid.  I want the material to come out less splashy.  (photos coming..)

#2, Manufacture notice (somewhere online) I only saw it once, on some page, that it is recommended to print up to 3hr at a time.

#3, after your print, you pass a "cleaning filament" to clear out all leftover bronze dust that might accumulate from the print.  So i checked out what is a "cleaning filament"?  It is a large range filament that can stand from low heat to high heat without burning - so it flushes out the traces of the previous filament, and your colors will be purely the next filament.  You pass a few cm of cleaning filament.
So in fact, if you pass the new filament through until you see totally clean colors, it means, all the dust has gone.  So that is what I will do.

Rule 1: no more than 3hrs w bronze PLA.  (more testing on this, pic coming)
Rule 2: pass new filament for a bit to clear out bronze dust filled filament before starting your new non bronze filled filament.

Here, we have a print with colorfabb olympic gold PLA, see the brim?  The dark edge?  It has small traces of the bronze dust residual in the nozzle and was cleared out.

#4, outcome, looks fabulous, and if it were really bronze filled dust - then it is a kind of bronze.  Though we dont know how much bronze is in the material - in the final print.  But it looks great and no "finishes" fussing afterwards.

Photos in shade

Back side of star, printed at 210 C, see the center of the star, filament melted together in one sheet - a slushy blobby consistency, temperature too hot?  Filament too liquid.

The fatter star behind, printed at 193 C, gd, drier consistency.

There seems to be a few holes on the surface of the star, this could be inconsistancy of the filament itself.  ie. water bubble in the filament.  Or, the file?  To know for sure, I have to print it out at a larger scale and see if holes appear at the same spot.

"Round thread nut and screw" used as print test.  File from thingiverse.  
Nut and Screw adjusted to be printed for 35mm dia.  Temperature 210 C, splashy, very liquid.   Could be interesting for specific effects, ie.melting effects.  Not suitable for a screw and nut intended for normal use.  Not enough precision.

ebronze filled esun filament, printed at 193 C, out put texture consistency I like.  This is the brim, back side of the star pod.

Photos under sunlight

More under sunlight details

Full size model coming soon...

Tuesday, 18 April 2017

how to print bigger things

For very good dimensional accuracy (corners not blobby) it's best to keep the speed low. For really beautiful parts you want to go no faster than around 25mm/sec regardless of layer height and nozzle size. This has to do with speed changes at corners. The printer has to slow down to 14mm/sec on a right angle corner so only slowing by about 2X is barely a problem but if you are at 50mm/sec or faster the corners are noticably bulging. This is regardless of nozzle size or layer height. That's why it's so great to print with a bigger nozzle instead of just printing faster.
You will get consistently better quality at lower printing temps but this means you also have to slow down as it's harder to get filament through the nozzle. For high quality 210-220C is a good compromise. For extra high quality print extra slow (10mm/sec?) and at 190C. That way the filament is more like cement and is better at not moving in the second before it cools. But really 220C is my favorite temperature. For the .8mm nozzle and larger it's best to print hotter as it is hard for the heat to penetrate to the center (unless you buy a 3dsolex race nozzle) and so ultimaker recommends printing a bit hotter with .8mm and larger nozzles.
how to print bigger things

vinyl record stretched into speakers
Die Vinyl Schüssel
passive amplifier manufacturing

Change the Record by Paul Cocksedge

Friday, 14 April 2017

3d printed Gozilla/ life size wax statute/ open source robot/ 7m high opera set
Dec 22, 2015 | By Tess
Last month, L’Opera de Montreal brought to life Richard Strauss’ tragedy Elektra, the harrowing and legendary story of the Greek heroine Elektra and her desire to avenge her father, Agamemnon. The opera itself received rave reviews with the performers being lauded for their emotional and convincing performances, though another aspect of the opera also had its share of the spotlight: a seven meter tall, over 2400 kg, 3D printed statue of Elektra’s father, which made up the set decor.
The statue’s design was based off of an original work by San Diego artist Victor Ochoa that represents Agamemnon’s broken and suffering self. During the opera, the hulking sculpture was a constant presence on the stage, shadowing and looming over the actors as well as being moved around by them.
The process of 3D printing the giant set piece was led by a team at AsorCAD, a 3D printing service that specializes in 3D design, reverse engineering, and capture point cloud. AsorCAD also worked in collaboration with Spanish 3D printing service Undo, who helped them to design and optimize the digital 3D design and its properties, and supplied a set of BCN3D 3D printers to additively manufacture the artwork.
In order to create the immense sculpture, the design had to first be divided into different sections and sub-sections to accommodate the size of the 3D printers’ print beds. Undo was responsible for the division as well as determining the thickness of the individual pieces to provide a stable, moveable structure. Once the sections were divided into separate CAD files, a set of Catalan BCN3D+ 3D printers set to work in additively manufacturing the individual pieces. In the end, almost 400kg of filament were used to 3D print over 2,900 pieces which, when assembled, made up the skin of the sculpture. The inside of the sculpture consists of an aluminium frame that provides stability and to which the outer 3D printed pieces are secured to.
Once the pieces were assembled the sculpture was treated with various surface finishing processes to both keep the pieces safely together, and to give the statue the desired aesthetic look and texture. In total, the 3D printed sculpture took over seven months hard work to create and over 100 people in various teams working to bring the project together.
Of course, working to create a 7 meter tall 3D printed statue posed some inevitable challenges, but with the teams at AsorCAD and Undo, and artist Victor Ochoa working closely together, the work came together impressively well. As can be seem in the photos of the stage layout, the sculpture provides a unique and interactive backdrop for the actors to engage with, and is itself a striking piece of art.

Voodoo Manufacturing co-founder Jonathan Schwartz was able to successfully scan himself and create a life-like model in a similar fashion, without forking over the $30,000 the Groupon cost. Now the company, along with Body Labs, is offering their own 3D-printed models for $3,000.
The model was broken down into 88 unique segments, which could then be printed out and assembled.  With a factory in Brooklyn that houses 150 3D printers from MakerBot, Voodoo Manufacturing is able to mass produce 3D-printed parts in short order. A spokesperson for the company told the Daily Dot the 88 pieces of Schwartz were printed within 24 hours. 
While Voodoo Manufacturing provides the materials needed to bring the bodies into form, it’s the technology from Body Labs that makes it all possible. “Without their tech, it would have been impossible to 3D-print an accurate life-size model of Jon, and probably even more impossible to segment his body into so many different pieces,” the spokesperson said.
Body Labs utilizes research from Brown University and the Max Planck Institute for Intelligent Systems in Tübingen, Germany to create its digital replications. The mathematically accurate digital models that they produce from 3D scans can be reposed, animated, and manipulated at will thanks to the incredible amount of detail that they capture.

human size wax statue
Have you ever wanted to make a life-sized replica of yourself in wax? Well soon you will be able to. Chinese company, Qingdao Unique Products Develop Co. Ltd, has revealed a 2 meter high 3D printer, capable of printing out wax models of people as tall as 6'6". The company has yet to announce any specifications of the machine, but it looks like a monster as you can see in the picture below. We do know that it uses FDM technology. More details on this printer and the company behind it can be found in the article located here:

What do you think?

If there’s any doubt about the model’s quality, you’ll be happy to learn that renowned sculptor Yuji Sakai, revered as one of Japan’s greatest sculptors from the kaniju (monster) movie scene, was in charge. His team designed the model by 3D scanning an existing 30cm tall version of the 1991 Godzilla, and adjusted that data for a full-sized model – complete with high quality textures, coloring and a few other dimensional alternations. According to Japanese sources, the industrial strength 3D scanner captures all size intricacies perfectly, including the mouth and dorsal fin, and provided the chief modeler with all the data necessary to create a high-quality model.
In fact, the final model is a dead ringer for the Godzilla suit used during the movie in terms of texture, color and overall feel. To make it, the sculptors used the custom COCOMIYAGI76 high-precision 3D printer, featuring a build volume of 60 x 60 x 70 cm – by no means big enough for a full sized model, but much bigger than most. Yuji Sakai’s team therefore divided the model into sections, which each part 3D printed in the highest quality using Nanodax's glass-wool filament. 3D printing was followed by sanding to optimize the texture quality, especially for the fangs, claws and dorsal fin.

Oct 25, 2016 | By Alec
I always believe that movie villains are just misunderstood, and the same can certainly be said about Godzilla – who is sometimes presented as nothing more than a natural disaster. If you love this not-so-friendly giant as much as we do, here’s some good news: it’s not too late to create a Godzilla-inspired Halloween party just yet. Bandai has 3D printed a man-sized Godzilla statue that perfectly captures every detail of the iconic cinematic monster, the first in a line of human-scale monsters, and it is now available for a massive $40,000.
Godzilla has undergone several changes throughout its history, since its 1954 film debut, and this particular version is based on the 1991 movie Godzilla vs King Ghidorah. It is part of Bandai’s Human Size Project, which seeks to relaunch iconic franchise characters as human sized models. Godzilla is the first in line, and this particular 192 cm tall figure (including pedestal) is now available.

printing the world// imprimer le monde exhibition+conference // 3d printing
How to Apply 3D Printing to Create Bronze Sculpture

Step 1: Digital Modeling

Digital Modeling

Step 2: 3D Printing

3D Printing
After the digital model is created, we will print it out. 

Step 3: Silicon Rubber Molding

Silicon Rubber Molding
Since this sculpture is to be made with the lost wax casting technique, our next step is making a silicon rubber mold and wax work from the printed model.

Step 4: Bronze Casting Sculpture

Bronze Casting Sculpture
Our next step is using the rubber and wax model for bronze casting.
Our craftsman will carefully cast bronze, do chasing and polishing on the bronze casting sculpture.

printing the world

What is a Fab Lab ?

The fab lab (short for “fabrication laboratory”) was developed at MIT in the early 2000s. It is a small-scale workshop offering public access to computer-assisted design and production tools, enabling such operations as milling, laser cutting and 3D printing. The emergence of fab labs is associated with the “maker” movement, a digital extension of the radical DIY culture that emerged in the 1960s, which combines practical, even craft skills with the use of digital tools. Through the fab labs, 3D printing has become the emblem of the new sharing economy.
in Code Couleur, n°27, january-april 2017, pp.22-25


Thursday, 13 April 2017

Growing coconut palm from a seed 2017

Experimental Garden 2017, Coconut palm from store bought coconut
purchased two coconuts from Bilal, vaureal.  1.5eur for 2
I shooked the two coconuts and make sure they were heavy , with water inside.
all eyes are fine, no visible  mold etc.
Growing coconut palm from a seed

takes 2wks to 1 month from coconut,
1// soak 3 nights in warm water
2// put in zip locked bag; put some water inside bag; keep moist
3// eyes facing up so sprout will grow out of one of the eye

Tuesday, 11 April 2017

bronze pla; PRINTING WITH WOOD AND METAL ON AN ULTIMAKER 2; printing w beeswax

printing w beeswax
bronze pla
diff wood, diff settings, testing metal pla



This material is based on our unique PLA/PHA recipe which means that it will print very similar to our other PLA/PHA materials. We’re sure most will be able to dial in settings in no time, but we still thought a write-up on print settings is interesting to share. If you have great tips or slicer settings please share!


This filament will print great on both heated and non heated build platforms. For cold build platforms we generaly use blue painters tape which you can buy at any decent hardware store. We’ve noticed that bronzeFill has prety much no warping what so ever, it’s much better then regular PLA.
For heated build platforms we use a temperature of 55-60 C which will keep the print sticking to the platform. It can be printed straight on glass or with a bit of gluestick applied to it. We’ve also printed it succesfully on kapton tape with the same temperature settings.


The next few tables show the most relevant slicer settings for Cura en Makerware. If you prefer to use a different slicer software you should be able to find similar settings and create your own profiles.
Ultimaker Original0.250mm/s215n.a.4.545
Ultimaker 20.250mm/s22055 / 604.525
Makerbot Replicator 20.270mm/s200Cn.a.(standard makerware)(standard makerware)
The infamous torture test by Make, printed on the Ultimaker Original.
The infamous torture test by Make, printed on the Ultimaker Original. Slight stringing which might be solved with a adjusted retraction settings.
An excellent result of the Torture printed on the Makerbot Replicator 2.
An excellent result of the Torture test printed on the Makerbot Replicator 2.


Normally we don’t like to do post processing of any of our prints, they should look awesome straight of the printer. For bronzeFill we’re happy to make an exception, since it will elevate your models to another level when polished. Here we’ll document the various methods of post processing the 3d prints. We’re a little out of our depths here so we’ve been seeking help from the active community of makers.
Various grit sand paper.
Various grit sand paper.
1. Sanding
First what you want to do is sand your model with a fairly rough grit of sand paper, something like 220-240 should work nicely. BronzeFill is much easier to sand down then regular PLA, so depending on your model this shouldn’t take too long. By increasing the grit of the sand paper the model will get smoother everytime, exposing the bronze particles at the surface, but it will still look matte and dull.
We used steel wool after sanding down the layers.
We used steel wool after sanding down the layers.
2. Steel wool
This tip came in from Paul Braddock, a talented character modelling artist and active member of the Ultimaker community. He used steel wool to polish the surface which will start exposing the bronze particles even more. We’ve tried this method with a fairly fine grade of steel wool and were impressed how shiny it already got!
Making it all shiny and nice!
Making it all shiny and nice!
3. Making it Shiny!
Now that the layers are sand down and the bronze particles are already shining a bit on top of the surface it’s ready for the next step. Now this is were it becomes really interesting, since there are so many methods of making bronze shiny. We used a copper polish which gave nice results. It was applied with a dry towel making small circular movements and applying light pressure, then we used another side of the towel to get rit of all the polishing paste.
A print by Paul Braddock "treated with an antique patina, the bronze fill reacts to it just like foundry cast bronze."
A print by Paul Braddock “treated with an antique patina, the bronze fill reacts to it just like foundry cast bronze.”
Apart from polishing the material to make it more shiny one can also apply products to create a patina look. We haven’t been able to try this personally but Paul Braddock did. This is what he was able to create with an antigue Patina, it looks stunning.