Shuen-git rl 周旋捷; Swann Jie sl/, 2011:
N°1 Sculptures
N°2 好奇藝術::舊+新 Kunstkammer :: Old+New & Film Reviews
N°3 Digital Guqin Museum 數碼古琴互動藝術研究創作室
MicroTotalArt
HandScroll Guqin; HuaKui cubes;
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http://swannbb.blogspot.fr/2015/02/sgc-2015-monumental-sculptures-etc.html
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Making of Guqin Teabowls :
> Scanned hand mesh model by Prof Hiro Saitot (Saitot) Tokyo / pink
> Blender build hand mesh model by Prof Beam (Five) Rotterdam / green
> TeaBowl prim model by Prof Swannjie / Paris / green
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 hand (sg file) 3// screw+bolt 4// coin 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
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.
Process
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.
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.
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.
temperature
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.
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
Qingdao https://3dprint.com/8615/life-sized-wax-3d-print/ 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:http://3dprint.com/8615/life-sized-wax-3d-print
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.
