Darrius Williams week 10 Serial Slice TreeMan

                                                                         Concept:
 my model design is based on the incense holder I bought a few years ago. Ive always like the idea of sentient nature and i've seen the tree with a face design in interpreted many ways with women and men somtimes more human than tree and visa versa. in my design I pushed it more towards a very old man with a woody bush beard and deep set in eyes as well as a large curved nose.

                                                                        Technique:
 the orginal models trunk and branches where made from primatives like cylanders and face was model from trsditional character modeling techniques. then I sculpted more detail in mudbox in multiple layers so could use displacement mades for the heavier details. but in my serial slice I took the lowest polycount model with strong remaining detail and prepped it for the serial slice by caping the wholes in the limbs that I original built in to mimick the real world refrence.

Materials:

 for materials I havnt completly decided which route i want to go. If I use the cardboard the I will build up the model body with masking tape and liquid plastic and then begin the finishing stages and detailing with other materials such as plumbers epoxy. but if I use MDF which i've never done with this type of project then im not sure what id do to elevate the exterior, I could use shellac as a stain and maybe use tools to grind into the wood and add more texture and deeper recesses then possibly brushing on clear epoxy or exploring other undone techniques and materials.

Melanie Estes: Week 9-10 Serial Slice

     I used to never wear dangling earrings because I was afraid it would get caught in my hair (which they do), so I have a disproportionate amount of studs. Unfortunately my jewelry holders don't cater to studs, so I have to keep them in a small souvenir soap dish. After going over choosing cores for the serial slice, I know with round ones we need multiple so that it doesn't rotate. But I thought that rotating could be just what I wanted. I decided to make a spinning holder for my jewelry with multiple levels that can spin separate of each other, most likely thinking of spinning store displays like this or this.
     I wanted to do something like a honeycomb where some of the areas are filled in and some are open. Instead of having the location of the holes be more organic, I placed six evenly apart on each of the five levels. I also added a small lip to the edge of every opening. To make sure the earrings don't fall out, I made a small half covering to fit just inside the edge of each hole. I want these cut out of acrylic so that I can still see inside. To help the levels rotate better I also want to cut a disc out of acrylic to place in between them. I want to buy a cute door knob to top off the core.

Ghosted painted black

Layer assignments

     I started with a cylinder and used UV curve to start placing the holes. I used the polygon tool make a hexagon and copied and pasted six of them evenly apart using grid snap. I placed four more copies of the whole row evenly going up and down and staggered every other row. I used trim to cut out the holes from a surface and used flow along surface, tweaking the sizing to have it fit well on the outside of the cylinder. I then created a narrower cylinder in the middle of the first, representing the end of how deep I want the holes to be. I used the same flow along surface technique for it, but changed the hexagonal holes to be smaller. I made sure the bottoms of the shapes still lined up with the larger versions. After creating these two surfaces, I deleted the original cylinders and started using the loft tool to connect the holes. I then deleted the inner surface and capped the cavities using patch. Now that I had a sort of positive mold, I made a new cylinder. I used boolean difference with it and the mold to cut in the cavities. I made the whole piece a hexagon as well by going from the top, using the polygon tool, and using it to trim away at the whole. I made the lips by creating a curve from duplicate edge. I sized it slightly smaller and a copy slightly larger than the original size. I made a surface from the larger and cut the hole from the smaller. I lofted the surface .23, the width of the final slices. I put a lip over every hole and combined them all into the whole using boolean union. I then separated the levels by drawing a curve and trimming, leaving spaces for the discs. I made sure the spaces were the same width as the final slices. This way, when I decided the final scale of the piece, I made sure it was by a factor of .23 to be sliced cleanly. And if the acrylic does not happen to be .23, then it doesn't harm the final product. I had originally made the covers to be like a hexagon cut in half. I made a curve, filleted the corners, filled it in and extruded it .23. I copied and placed one inside each hole and saw they stayed well inside the lips. But when I tried to copy and paste them to the sliced version, the smooth edges were cutting into the layers of the cardboard since the transition was more jagged than the smoothed version. So I recreated them by drawing curves based on the jagged opening on the sliced version. I used these curves the same way to create solid pieces for keyshot, but used the original curve to set up the laser cutter version.

Cutsheet

     I made the top out of three progressively smaller hexagon extrusions, where the first is larger than the rest of the piece. The base is just one layer of these extrusions, but is the same size as the largest on the top. I made the middle cylinders separating the levels slightly smaller than the levels themselves. I filleted all of the edges before contouring. I placed a half-inch wide cylindrical core in the very middle. I then used the contour tool so that the slices were horizontal. Because the levels are all the same size and shape, just rotated, many of the cut pieces will be identical. And because the holes all come out of the edges, the pieces take up quite a bit of space. So, after using the move tool and placing the lines all level, they fill up two pieces of cardboard. I placed the disks and covers on their own piece because they will be out of acrylic.

Render 1

Render 2

     I had made sure to keep a copy of the solid piece before slicing so I could put it into keyshot beside a cardboard version. I using a cloudy plastic for the discs and covers to be like acrylic. I used a scaled wood for the solid model's levels and a metallic paint for it's top and bottom. I changed the paint colors to be a brown to match with the wood and added a scratch texture since the surface would not be perfect if it was really used. I used this image to color the porcelain material on the knob and increased the shine. I made the stem of the knob a slightly blue tinted aluminum. For the cardboard version, I placed a procedural wood on the core with slightly altered colors. I didn't add a knob for it yet since I plan on buying one and have no idea what it will look like yet. Because I didn't model the sides of the slices to look like the inside of cardboard, I knew it wasn't possible to make them look exactly like cut cardboard. Instead I tried to just make it look like the outside of the cardboard to still give the idea of the material. I used this cardboard image and made a bump map out of it to texture the levels. I used this cardboard image for the tops and bottoms, and the changed the bump height I made for it to be very slight.

Render 3

Render 4

     I did the two versions of the model in keyshot to show: one, the idea I was seeing in my head through the smoothed version and two, what it will probably look like after it's cut and assembled.

Render 5

     It took two sheets of cardboard and one smaller sheet of acrylic to get the entire model cut out. I glued it together in pieces; each level has two parts where I glued the top pieces together and the bottom pieces together, but kept them separate. This could make finishing it easier, and I can always glue them together later. I used a half inch dowel rod when gluing, but because the pieces fit so snug on it they don't rotate as easily as I would like. So when assembling the final product I will probably use the rest of the Jeremiah's 7/16" dowel he was so kind to give me. 

Initially put together

Taped Bottom

     I chose to finish only 3 of the levels because the total item was so tall it did not fit well on my furniture. I covered each half of the levels and the top and the bottom in masking tape to fill in the holes on the side of the cardboard cuts. I then covered them in a paper mache mixture of pulp, water, sealer, and mod podge. I included the mod podge to help make the mixture more sticky and adhere better to the tape. This left a rough texture that I sanded down slightly to get rid of the sharp points. Unfortunately the paper mache mixture took days longer than the box indicated to dry, and I was unable to cover it in the epoxy Ronald offered to me. But I do plan to do this at a later date.

     I painted it first by covering the entirety of each piece in black and then sponging on gold to give a sort of older metal look. I chose gold because both the paper mache texture reminded me of a beehive and the item itself is based on a beehive. While I had created small acrylic caps to each of the openings, the uneven surface from the paper mache coating allowed for the earrings to sit inside without falling out. I bought a decorative doorknob and drilled a hole in the top of the structure to place it. I chose a clear flower to complement the clear acrylic disks that separate each layer, allowing them to spin more easily. Each of the three levels spin all the way around, allowing me to looking at all of the openings easily. The knob on top gives me something to hold while I spin the levels.

Image 1

Image 2

Image 3

     The final product turned out much more organic that I had intended. This was partly driven by the interesting texture the paper mache gave me, which lead me to round off the edges rather than leave them harsh and sharp. Perhaps I can one day finish the other two levels in a truly geometric style and place them in between these as a start contrast.

Jason Doze: Week 10 Serial Slice

Model / Vertical Slice

Vertical / Horizontal Slice

 Horizontal Slice

 

Horizontal Serial Slices

 

Shot 1

Shot 2

Shot 1

 

Shot 2

Assembled Model

Concept:  I didn't have much of a conceptual idea in the beginning so I just began to play around with shapes with the intention to end up with a sculpture that I like.  After trying several iterations, I decided to go with a clean and simple design of three counter balanced spheres.  I wanted them to overlap and have the largest sphere on the top and the smallest on the bottom. 


Materials:  I played around with material for a few days before deciding what I liked best.  I chose wood for my materials because it seemed the most realistic representation of wood being sliced and pressed one atop the other with a series of spheres cut out and veneered with a contrasting color of wood.  I would not typically choose wood for my material but for this particular project it seemed to be the most plausible.   For fun I made another few versions one with glass cubes another with wavy glass I added soft and sharp radial emissive lights to give the model an other worldly look.  The background for the black model is the Los Angeles noon summer solstice background.


Technique:  I made the spheres with solids and created an array of spheres with opposing angles so I could boolean them out of the model.  Then I used boolean union to combine the individual shapes into one model.  I made the cylinders to cut the .25" dow rod holes.  Using contour, and extrude crv I sliced the model horizontally and vertically, then made the reference rectangle, and moved each slice and numbered them with text.

Brandon Wehenkel: Serial Slice

Close Up (Physical Object)

Ghosted Black 3D Scan (Before)

Ghosted Black Serial Slice (After)

Ghosted Black Serial Slice

Concept:
Fall 2016, created a bust of a character of mine with polymer clay then scanned him into digital information.  Because I had several models 6.3M poly, 900k poly, 12k poly, and a 3k poly I thought that maybe this project would be perfect to test the serial slice design with him.  I have a facination of anthropomorpic design so his overall style is designed from several animals:  Gorilla, Chimpanzee, and Human.

Ready To Cut

Modeling Techniques:
How I made the model please refer to my 3D Scanned Object post.
My model started off as 6.3M polys.  I reduced it down to 12,744 polys for this project.  I used Mudbox to do this.  I pressed page down to change the normals map to level 1.  Then I exported as .obj and uploaded it to Maya where I used the cut faces tool to make a nice base for the model.  I used the edge selection tool and the face selection tool to delete any of the excess polys under the line.  Then extruded the mesh to close the hole.  The fill hole command didn't work for me.  I forgot how to manually close it in Maya so I made the hole fairly large so that I could just close it in Rhino with a series of mesh tools.  I used Mesh --> Mesh Edit Tools --> Delete Mesh Faces (to remove several of the weird naked edges around faces); Mesh --> Mesh Repair Tools --> Rebuild Mesh (to eliminate the rest of the naked edges); Unify Normals; Fill All Holes.

I used contour for the serial slicing as seen in the tutorial from class.  I separated each curve by .1875 inches.  The dowels cut are at .25 inches in diameter.  The dowel placement is in a slightly different spot than from the image above.

There are four holes in the model for dowels.  Because my traditional sculpting capabilities aren't perfect the figure isn't symmetrical; remember I used a scanner to make this model so all of that information is also translated. When I put dowels into the shoulders they popped out in bad areas.  I attempted to place the dowels in the most central locations. One of the dowels does not go all the way through while the other pokes out and stops at one of the outer slices.  I did not want it to go through because it would have created an ugly exit. 

I had to use a vice, nuts, and a ratchet strap to press all of the parts together.  I ran into a minor issue with warping so the ratchet strap was useful for pressing the materials together during gluing.

Keyshot Serial Slice (Front)

Materials:
In Keyshot:
I used Soft Maple and mixed mauve with the woods texture to get the color of wood that closely resembles that of Medium-density fiberboard.

In real life:
The wood I purchased is MDF, like I mentioned above, 1/4" 2'x4' sheet which for some reason is actually 3/16" - .1875" at Home Depot.
I found a metal threaded dowel that was 3' long in the parking lot about three months ago.  It is 1/4" in diameter.   I figured I would need it someday since I have 3 various sizes at home of various material types.  I have a few nuts at home that would work for securing the wood together.
I also have plenty of wood glue as well.

 Keyshot Serial Slice (Right)

Keyshot Serial Slice (Back)

Bubbah Natural Light Interior

Comparative

 Bubbah Natural Light Exterior

Bubbah Natural Light Exterior - Backside

Michelle Ignacz: Week 10 Serial Slice

So I wanted to work with a previous model I had already created and change it up a little bit. When working on the model, I loved the idea of the personality of a hand to come through, to let the model create its own presence. I decided to take what I had of my prosthetic and vamp it up a bit. When thinking about how it would slice, I foresaw it having very interesting serial levels as it was divided up.
Upon the actual modeling, I took what was from my previous prosthetic and decided to fill in the gaps of the internal hand and the joints after I had placed them in the position I wanted most. It proved a bit difficult and I ended up having to redo some of the work, but it started to come along just nicely. I thought about adding a little flair and decor to the hand to give it more vogue and style, but I am still debating about whether or not it would take away from the actual model. The hand is supposed to give its own story, not have supporting items to help sell it. I'll be playing back and forth on the idea though in the meantime. The pose is what I want to people to look at and enjoy, not the rest.
I do have some doubts about the idea if the piece would balance properly, so I may end up tweaking the different variations I can come up with if my original will not be stable enough. Trial and error will be the greatest and most terrible ally for this 3D sculpture. I look forward to it very much in the meantime though.


**Updated**
So I found a design and pose for the hand that I really liked and should hold steadily upon construction. I constructed a base for the hand to inlay in by BooleanDifferencing out where the back of the hand rests and where the fingers lay. It should be able to cradle the hand better, acting as a better support for the hand to sit in.

Cut Sheet

Comparison

No Edges

Shot 01

Shot 02

Shot 03

For the final renderings of the serial sliced generated hand, I wanted to use glass material at first for the main hand, but actually found that sticking with a wood surface material that has two different inlays, old wood planks and red wood planks, with each other looked more appropriate and much more fitting. I used a black ridge glass for the base instead and turned up the re-fractals to give it more color and depth instead of being completely see through on the base. All in all, the final product in KeyShot makes me very excited to see the finished turnout of the larger physical piece.

Update: So the final product of the serial slice project was actually quite a puzzle. Once my pieces were all printed on two ply cardboard, a lot of the pieces were super thin and actually ended up being split into two. After about 5 hours of matching everything up I finally achieved my final product. I am in absolute love with it. It is quite large I must say though, I did not think about it when setting it on the cut sheet. I have no complaints about it though.  :}

Serial Slice 01

Serial Slice 02

Randall Villegas Flashlight Update

Design- I updated my flashlight model to incorporate more of the modeling tools we have used in the class and to have a more appealing design. I wanted it to be modern and still stick with the geometric idea I had originally ran with. Another big thing was to ensure it looked like a flashlight from a distance and not just an obscure object. I found a flashlight with a design I enjoyed and used that as the basis of my concept. I made small adjustments to fit the flashlight sleeve, but I kept the core design in place.

Techniques- The top I created my making a curve to fit the outline of the top and extruded to size. For the middle, I revolved a shape created with a curve to get the taper to the bottom of the flashlight. For the cut outs, I made thin cylinders that I used with boolean difference. Similar to the mid section, the bottom had it's detail created using boolean difference and cylinders. The center I cut out by creating a curve that fit the proper dimensions and revolved it to create something I could use with boolean difference. For the button, I used a box to create the hole for the button and used two cylinders to create the button and the ring surrounding the button. I used boolean union to sew everything together. Once the largest parts of the modeling were finished, I went through and filleted to smooth out the edges.

Materials- For materials, I wanted it to be simple and functional, nothing to gaudy, but still appealing.  I used a matte black plastic for the largest part of the body with a noisy grey for the grip of the light. The button is a simple red plastic surrounded by a grey plastic.