Michael Crow: 3D Printing Assignment

Concept:
The Legend Of Zelda is my quintessential connection to all things nerdy. It is what made me want to pursue my career in animation, modeling and video games. In the N64 Game "Ocarina of Time" you are sent to several dungeons to collect "Medallions" to beat the game. To me each of these medallions represent challenges I have overcome in my life. I consider learning the ability to create physically what i perceive visual a milestone in my training and a talent to carry forward with me. So I decided to recreate these medallions and a base fitting them.

Modeling Techniques:
Each medallion started out the smae with a wide cylinder base, using a slightly smaller copy of the base with a Boolean difference to create the raised lip edge. From there it was mainly simple shapes, adjusted using their "Control Points" and duplicated to create the reliefs I needed to Boolean Combine or difference to get the shape I wanted. from there I was able to Fillet the edges to create a nice swooping join along the edges that wast to wide or to pointed.



Materials:
3D Print - The medallions were all 3D printed at the UT Dallas Art Barn Fabrication Lab, using ABS plastic. These were then coated with 3 layers of XTC-3D to give the model a more cohesive look and provide a primer for the different colored Acrylic paints. One different color for each of the Medallions. The base was laser cut from 11x14 sheets of .25" thick Acrylic. A base and a Top layer were cut and the sides facing each other were sanded down and conjoined using Super glue. Once that was hardened the entire base was sanded using 120 grit sand paper and coated in multiple layers of Black Gloss Spray Paint and the Golden triangles were attached with super glue

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Keyshot - Starting with the base,I wanted it to be a dark stone color and texture, that way it would set a nice background for the colors used while also not really creating a distraction from the key parts of the piece. At first I wanted to make the medallions out of some sort of precious stone such as jade or ruby; depending on its color. However with such a dark platform the colors, being as transparent as they are, didn't get the effect I wanted across, instead much of their color was lost to the base. So instead I used textured and colored glass. It would make the model much more affordable, and even more importantly, give each of the medallions that transparent shine and luster, while still proudly displaying the color desired.

Brandon Wehenkel: 3d Printing Assignment

Black & White Ghosted

Colored Ghosted

Concept:
I served onboard the USS Leyte Gulf (CG-55) from 2010-2012.  When thinking of things to create in 3D I figured a replica of something I once worked, served, and lived on would have been cool to recreate. So my inspiration came from my familiarity with the ship.  I really enjoy boats and sea life so creating this complicated structure was a reminiscence of my past.  I didn't know how to start so I looked up videos on youtube and a boat builder for Rhino was very helpful.

Overview

Front

Modeling Techniques:
First I followed the tutorials I found on Mr. Peterson's youtube page.  Then I used Points On and molded the linear lines I created to make a skeleton ship hull.  I used roughly 3 different shaped curves to create the bulbous bow on the front of the ship.  Then about 7 more curves using the same technique to create the rest of the ship.  The bulbous part was the hardest because when I mirrored over the geometry with loft I found some clipping.  I spent about 3 hours just messing around with the points on the curves to create the right shape.  After I was able to successfully mirror over the hull with as minimal bending between the connecting points I used cap planar holes.  The backside of the ship (aft face) did not close with planar holes so I had to use blend surface and it worked eventually.  Throughout the entirety of the ship, I had done multiple cap planar holes and blend surface to close the shapes.  Most of the shapes are just boxes that were cut with a polyline projection and then used the trim and cap planar hole technique.  I did the same technique with the hallways in the forward, midship, and hangar section to create the "simulated" rooms where the doors are open on the main deck.  Everything else is just mainly shapes, which I  extruded or intersected into other surfaces so they would print right.  I used polyline/arc to create the curves in the guardrail on the forecastle (front section of the ship) and blend surface to close the shape.  That was a little bit of a challenge since some of the curves didn't want to close once I projected a shape to cut and trim. I missed a lot of details (ex, anchor, propellers, guardrails that aren't walls but actually rails) that I was hoping to add to the various levels of the ship but after a while, I realized the parts were going to be too small so I stuck with what I had.  When I feel like revisiting this model I'll edit the parts I don't like, and add the details I do want to make something that I feel is a completed piece.


The hardest parts were the curves in the hull and the gun mounts.  Those took the longest to manipulate to create a comprehensive surface.

Forecastle POV

Aft Missile Deck POV

Materials:
I used swirled aluminum and then changed the color.  Because these ships are just aluminium with deck grey paint on top.  The smoke stacks are rubber material because those are usually very hot areas where the paint melts off and all that is left is a dark burnt color.  It's dangerous to be around those because shards of metal can fly out of them at random times.  The radars and satellite dishes are plastic and I changed those colors to be a little lighter than the paint of the ship because they are irradiated a lot of the times from radio signals and their paint is usually fried as well.  The only difference is they aren't exposed to high amounts of heat.

Before Chemical Wash

 Size comparison with minor broken parts (not pictured)

First I looked up if just putting spray paint on a ABS plastic model would be fine without first fixing it with a sealant.  I came to the conclusion that spray paint doesn't eat the material so I risked it.

On the actual model, I started with a silver spray paint to make a shine. Then I went over it with a dull hammered grey spray paint to give it less of a brand new look. I did some minor touches with a brush. Then I painted the underside where the ship usually sits in the water with a textured red-brown spray paint to simulate rust.

Painting Rust

Painting Grey

I carefully painted a black line that separated the grey from the rust.  I continued to do some minor detailing with black painting the deck black and some of the weapon barrel tips as well as the smoke stacks.  Then to finish the model completely, I added the white CG55 on the front bow with its signature alphanumeric nomenclature.

Finished Product

Renae Patoskie Week 5: FreeModel Inspiration

For the 3D printed Free Model I wanted to create something classic and complex. So I have decided to explore the Fibonacci Sequence. Originally I was inspired by the work of John Edmark. 

Fibonacci Zoetrope Sculpture designed and 3D printed by John Edmark.

Originally I pursued creating a conch shell:

Ghosted Rhino Visual.

Keyshot Rendering of Conch Shell.

 but upon further difficulty transferred my endeavor to look into the intersecting spirals found in pine cones, artichokes, sunflowers, succulents etc. that also follow the Fibonacci Sequence.

 

 
Examples of Fibonnaci Sequence in Nature.
http://www.ecotree.net/fall_2011.shtml
https://lh4.ggpht.com/5YRvUhfiHxmw4WEzYYP2LeaDfnu6s_i1vmNLCgngFVNIVfo3FpQaYRTJow4GdVA1RMM23U0=s125
http://www.goldennumber.net/spirals/
http://www.zyq108.com/blog/6063

For my final model I used basic modeling techniques, free creation of a curve, UV curve projection, ribbon curve, extrude, array, and boolean union and boolean difference to create this model.

Ghosted model with zero naked edges.

Layer organization in Rhino.

When it came time to render my model, I was conflicted between simple two tones of wood, or something that would emphasize how the spirals contrast more than just the geometry of the design.

Below I used a dark walnut for the orb, glass for the counterclockwise spirals, and emissive light for the clockwise spirals. This could likewise be accomplished with the use of fiber optics.

 Rendered view 1.

Rendered view 2.

Final printed model.

Brian Chancellor: Project 3: Serial Form

Project Description:

For this project I went back to my inspiration from the first project.  I decided I wanted to do a square shape with a lot of negative space inside.  This presented a unique challenge for the serial piece.  I ended up solving this by having four different rods, one in each corner.  I really like how the outside of the cube is smooth and flat while I wanted the inside to have the terraced look.  I also drew inspiration from geodes such as this.  

Also I drew inspiration from the Endover Cube at the University of Michigan by Tony Rosenthal.

Here are my slices.  I tried to use up as much of the cutting material as possible.  I do not like to waste material as it ends up costing more.

When I modeled this piece in Maya, I used a subtractive method.  I made large pyramids and subtracted them from the top and bottom.  This slanted inside look would give me the terrace effect in Rhino when I serialized the model.

I kept this piece all one color for Keyshot because I wanted a polished stone or gem look to the piece.

Sean Lenox - Project 3: Serial Form

Week 6:

For my laser cutting project I decided to use my flashlight, as Prof. Scott said it would work well. I chopped the engines off the sides because I was afraid they would be difficult to cut, so this Hyperspace Rocket Light isn't quite as Hyperspace. Funny enough, it's actually hard to tell the model is sliced when looking at the Keyshot renders.

I used wood materials when rendering these, as I felt they looked fairly close to cardboard.

My concerns are that the model might be too small for laser cutting (I have quite a bit of space left on my sheet, as you can see) and that my cores are incorrectly placed. The hollow design of the flashlight left me a bit confused as to where to place my cores, so I hope they'll work where they are.

Week 6 cont. (10/05/14): Resize and re-slice

I scaled up the flashlight and filled in the inside so it's no longer hollow. I cored it through the middle this time and redid the slice sheet.

It is now much easier to tell that the flashlight has been sliced - the button and rivets look much different now, for example.

Thank you Mr. Scott for getting back to me and telling me how to fix the problems. Please let me know if anything else needs fixing!