I used a rigid body physics simulation to create the dropped blocks in the image below. This project is a part of my “Liminal Construct” series.
To get started, open Rhino, and by clicking the buttons circled in the image below, open the mesh panel and create a mesh box. This will serve as the ground plane for the collision. (Using a mesh box rather than a NURBS box converted to a mesh will give more vertices and yield better results.)
Create and position the objects you wish to drop. It is fine for these to be NURBS objects. We’ll mesh them when we export.
Export just the ground plane as an OBJ. Use the settings shown below.
Export just the objects to drop as an OBJ. Use the settings shown below.
Open blender and delete the box, camera, and light.
Import your objects to drop. Be sure to use the same settings shown in the lower left of the image below. If your objects appear off center you can zoom-selected by selecting some of the parts and pressing the . key in the keyboard’s numberpad.
Press B and use the lasso to select all of the parts you want to drop. Then reset object origins by pressing Shift Ctrl Alt and C at the same time, then choose “set origin to geometry”. Notice that a small orange dot appears on each part. *Note: if your objects seem to be joined together in a problematic way you can press P to unjoin them.
Select one of your drop parts, open the physics panel, and click on rigid body. Set it to be an active AND dynamic object.
Now we will copy the settings from the first part to the others. Do this with the following steps: 1) Select all object that you wish to copy the physics properties to 2) Select the object you wish to copy the physics properties from (note: we select this one last so that it becomes the active selected object. This is the object that has the desired physics properties.) 3) Then in the left Physics panel under Object Tools choose Copy From Active.
Import the ground plane using the settings shown below.
Select the ground plane, go to the right physics panel, click on rigid body, and set the ground plane to by active but NOT dynamic.
Press the play button shown in the image below to start the simulation. The parts should drop and land on the ground plane. If not, look back over the previous instructions and see if you missed something.
To create a more dramatic result I have copied and pasted the drop parts to create many more. When you are satisfied with the result, scroll the timeline to the moment you want to keep…
Then export as OBJ using the settings shown in the image below.
Crazybump can give you five types of texture files: color, displacement, normal, occlusion, and specular (shown below for the cushion part); however, of these, we can only use COLOR, NORMAL, and SPECULAR files in Keyshot
To get started in Keyshot double click on the part you want to apply the material to, go to the texture panel, and click the COLOR box, then select your COLOR file (see below)
Next, click the BUMP box and select your NORMAL file (see below)
Scroll down in the texture panel and click the NORMAL MAP box — otherwise Keyshot will treat the file like a bump map and give poor results. (See the box circled in red below) Also note that you want the SYNC box to be checked. For your texture maps to line up properly it is important for SYNC to be turned on.
If you want to use a SPECULAR map to selectively adjust the reflectivity of your part you may need to change the material TYPE to ADVANCED (See the box circled in red below)
Click the SPECULAR box and select your specular file as shown below
Step 2: In the layer pane, drag the background layer down to the new layer button and release (the new layer button is circled in red below). This will give you a background copy. Then hide the background.
while zoomed in, if you push the space bar a little hand will appear that will allow you to move around
press control d to deselect
Step 4: When you’re finished deleting unwanted parts of the image you’ll want to save your file as a PNG.
Step 5: Now you need to set up the custom texture mapping. My favorite way to do this (when working with simple planes) is to pictureframe the PNG file in Rhino, then rebuild the plane (add more control points and change degree)… this will build in the UV mapping from the start.
Step 6: Distort the plane as needed.
Step 7: Open Keyshot and import the Rhino file. When first imported you’ll see that the blank areas are black.
Step 8: Right click on the part and click to edit the material. In the material properties, in the advanced panel, find the box for “use diffuse map alpha” and click it. The blank pixels will disappear.
Step 9: Notice that there is a white outline around the feather (see below)
Step 10: We can minimize the outline by editing the material properties. You’ll want to choose to “blend with color” and then use the eye dropper to grab the color of your object, in this case a light blue.
Note: If your geometry is more complex and you’re not able to pictureframe your image then you’ll need to learn how to unwrap and use the UV editor. Check out the section on “Learning how to use UV coordinate mapping when necessary for complex forms” in this tutorial: http://digitalsculpture.blogs.bucknell.edu/creating-custom-materials/
Professor’s suggestions on creating animations in Keyshot:
Start simple. Before trying to animate your project I encourage you to set up a few primitives in a Keyshot scene, create a simple animation, and render the result at a small scale (e.g. 50 by 50 pixels). This will help you understand the workflow more quickly with minimal processor lag.
Expect the render of animation projects to take a looooonnnnngggg time. Get an early start and consider using multiple computers. When you’re setting up the render output options be sure to check the box that allows for frames output. This will save the individual frames as JPEGS. By doing so you’ll be able to render on multiple computers simultaneously. For example, you could render frames 1-30 on one computer, 31-60 on another computer, 61-90 on another. Then, after all of the renders are complete you can use a program like IMovie or Final Cut to put the JPEGS together into a quicktime video.
Upload your final result to YouTube. This is a very user-friendly way to share your work.
1 There are three main types of objects you’ll use in a fluid simulation: fluids, obstacles, and a domain. The fluid will collide with the obstacle object(s) and domain. The domain is the world in which the simulation will happen. (Note the layer names in this image)
2 After you’ve finished creating your fluid, obstacle objects, and domain, and you’ve assigned each type to a different layer, you’ll need to mesh all of the parts. The easiest way to do this is to select everything and type “mesh” in the command line, and then use the slider to create a mesh of sufficient but not excessive complexity. Now you’ll have both nurbs AND mesh forms, but we won’t need the nurbs for Blender, so type “selmesh”, invert the selection, and then move all nurbs parts to a hidden layer.
3 To make things simpler for Blender, you’ll want to join the various obstacle parts into one mesh. Meshes don’t need to share a common edge or even overlap; you can simply select them all and run the join command. If you were to ¬have different meshes for the fluids then you’d want to join those as well.
4 Export the fluid, collision objects, and domain a separate OBJ files. Note the settings that I’ve used, especially the welded edges and mapping of Rhino Z to OBJ Y.
5 In Blender, delete the camera, box, and light by selecting with a right click, pressing the delete key, and clicking to confirm. Import the fluid object. Note the import settings that I’ve used in the lower left.
6 Note that your fluid mesh will show up as object 1 in the layer panel. We can right click and rename the layer “fluid”.
7 Click the far right button to bring up the physics panel (circled in red in the image below). Click fluid, set type to fluid.
8 Import obstacle objects. Rename layer. Select obstacle objects, go to the physics panel, and click fluid. Set type to obstacle.
9 Import domain object. Rename layer. Note that the domain is opaque and you can’t see internal components. We can make the domain show up as wireframe by selecting the object with the right mouse button, then go to the “object” pane (circled in red in this image) then change draw type to “wire” (also circled in red)
10 Select domain object. Go to physics panel and click fluid, then set type to domain. Note that there are many options that we can adjust in the domain panel.
11 Click on the bake button, and notice that a status bar appears at the top, showing that Blender is processing a result.
12 Click at the bottom on the timeline to see the result. Notice that the result shown is low resolution and crude.
13 Set viewport display to final and notice that the result becomes more detailed.
14 By holding the right mouse button and dragging to the right on the final resolution area we can increase the quality of the result produced by the bake. Notice that the total required memory is shown on the bake button. Setting this value as high as possible will give a more detailed result, but when the required memory approaches 1GB the bake is likely to fail or take a very long time to complete.
15 You’ll want to tinker with are the viscosity preset, which can make the fluid behave like honey, oil, or water. Also note that you can adjust the real world size. When creating this demo, I imagined that my domain for this render would be one meter across, so I set the real world size accordingly to give a result consistent with that size.
16 With these settings adjusted we can now create a mesh of higher quality. It will take a while to complete. I suggest saving often, since the program sometimes crashes during the baking process.
17 As the bake completes you can click in the timeline to see the result.
18 If you click too far ahead in the timeline you’ll see the original domain object. We can cancel the bake by clicking the X on the progress bar at the top of the screen.
19 When you’re satisfied with the result, set the timeline to the point you want, then make sure your fluid is selected by right clicking on it. Next go to file > export > OBJ.
20 Make sure that the selection only box is checked, and be sure too that you use the same axis orientation shown in the screenshot below.
21 Import your OBJ back into Rhino using these settings.
22 Note that the result is a bit jagged.
23 We can smooth the result by running the smooth command once, twice, or a few times, but be careful not to overdo it or the fluid may deform away from your obstacle objects.
24 The result.
25
26 You can explode the mesh if you want to modify individual parts. Alternatively, you can turn the control points on for the mesh and delete parts and/or apply transformations.
29 And I used fluid simulation to create the ketchup on this cheeseburger.
27 I used fluid simulation extensively in my Hercules and the Centaur project.
28
Note that the larger your domain box the harder Blender will have to work to process the result. The program has to account for all of the space inside the box during the simulation. With this in mind you’ll want to keep your domain as small as possible.
Use K-Scan to scan your head and shoulders. Instructions are available here.
Use the Makerbot Digitizer via Prof. Meiser’s laptop to scan a small object.
Use 123d Catch with your smartphone to scan something of your choosing. examples
Once you’ve completed your three scans you’ll want to save them in STL or OBJ format.
Post a screenshot of each scan on the private class website in the research binder category. For each screenshot, please include information about the scanner used so we can compare the level of quality offered by each method.
Learn how to modify your meshes by watching the video included below. Watch from 1:50 to 3:20 and from 8:45 to 10:15. If you think you may be interested in using the CNC router in your third and final project of the semester then watch the end of the video starting at 11:10.
Prepare one of your three scans for 3d printing by following this tutorial.
Save your finished file in Rhino 3dm format with your name (for example: JoeMeiser.3dm)
Place your file in the digital sculpture netspace shared folder.
Video on working with meshes
Note: If these videos don’t display in your web browser, be sure that you’re at http://sculpture1.blogs.bucknell.edu instead of https://sculpture1.blogs.bucknell.edu. Apparently, removing the “S” from the http makes a big difference in the security settings for the page.
One thing I find really cool is when 3D artists practice their skills doing little balls of various materials. I’ve been seeing this kind of thing for years and I thought now would be a good time to share with you some super cool material renders.
Reynante Martinez, an artist from the Philippines, comes up with some super awesome renders. These are pretty great, but I’ve selected only a few of his pieces. For more of his work, please visit his portfolio at ArtStation. He’ll definitely enjoy it! Cheers. 😉
1) Finish your T-Splines bunny. Create a render or screenshots of your work, and post to the public class website.
2) Use Makehuman, Blender, and T-Splines to create something amazing. In this technical exercise please make use of all three programs so that you’ll understand the full workflow. Post screenshots or renders of your work on the public class website.
When finished, click: files > export > and select Blender exchange (mhx) format
Enter a file name and click the export button
Blender
Go to the start bar and launch Blender
Right click on the startup cube and delete
Go to file > user preferences > addons > and under import/export, click to activate Makehuman imports, then close user preferences
Go to file > import > mhx > and locate the file you exported from Makehuman (On my machine, exported files go to documents > makehuman > export) Select your file > click the import MHX button at the top right
After you’ve done this, your figure should be loaded
The controls in Blender are much different than in Rhino. Here are the most important controls:
Orbit with middle mouse button
Pan with middle mouse button and shift
Zoom by rolling middle mouse button
Select with right mouse button
Zoom selected by pressing the . button on the numberpad
5 toggles orthographic viewing mode
1,2,3,4,6,7,8,9 will show front, right, top views, etc.
To pose:
Right click on a pose handle
Once a handle is selected, press G to translate
Press Z, X, or Y to constrain movement
With a handle selected, press R to rotate
*Notice that translations and rotations are impacted by your point of view. Compare the results you get when looking from the front, side, top, etc.
Move to new location and press left mouse button to apply
Mesh can be point edited by pressing F10, but since meshes are difficult to edit, this is only really effective for deleting unwanted body parts.
To further edit the figure, it is best to use T-Splines by following these steps:
Activate T-Splines by pushing the “power button” for the program
In the lower left, click to “Convert NURBS or mesh to T-Spline”
Your human form should appear more faceted if this command works because it will convert to a T-Splines mesh in box mode.
Press TAB to toggle to smooth mode. Note:Makehuman figures have complex geometry and can take a long time to smooth. It is generally best to make modifications in box mode, and convert to smooth mode at the end just before exporting to NURBS.
Before exporting your T-Spline form to Keyshot you’ll want to convert your forms to smooth mode in t-spines, then convert to Rhino NURBS (use the far left button next to the tsplines power button)
It is possible to use symmetry with a Makehuman mesh. Watch these videos to learn how:
In some subdivision surface programs, if you want to add detail to one area you have to subdivide the entire mesh, which produces heavy and complex geometry. In T-Splines we can add T-points to add complexity just where we need it. Add t-points by inserting an edge in a small area or by inserting a point.
When the topology diverges in two different directions it is necessary to add a star point. We don’t usually have to think much about adding these points because T-Splines inserts them as needed. To see a star point appear simply extrude a face on any form. Star points will appear at the juncture.
Topology in T-Splines
Examples of effective topology are included below. Notice the colorized edge loops in the far right example. Edge loops are very important in T-Splines for proper smoothing of the model.
Effective topology in T-Splines does the following:
flows with the contours of the form (see the image below on the far left as an example of how an artist can plan effective topology)
emphasizes quads (four-sided planes)
emphasizes edge loops
it is as simple as possible (remember that simpler geometry is easier to work with)
locates star points on flat parts of the model.
These considerations make the model easy to work with, and give the smoothest results.
The T-Splines crash course file can be found in the netspace digital sculpture exercise folder. To open this file, select the folder named “Intro to TSplines” and download it to your desktop. Then open the Rhino file contained within the folder.
For easy access, here are screenshots of some of the first instructions covered in this crash course:
Before the start of class on 3/18, please go to the link below and watch the introductory video, and the eight videos about the user interface. These videos are very brief, so in total, you should be able to get through all of them within an hour. By watching these videos before class you will have a fundamental understanding of T-Splines that will be very helpful as we get started using the program.
The sculptor Barry X Ball is known for interesting projects. One called ‘Masterpieces’ was especially riveting. He took two Italian sculptures made in the 16th century: Corradini’s La Puria (“Purity (veiled woman)”) and Court’s La Invidia (“Envy”) and created perfected versions of the original. In a statement to his collectors he explains in detail the changes he made and why they are valid artworks on their own and not just copies or appropriations. Ball’s documentation also discusses his process and gives invaluable insight into it.
Both of these sculptures were made using materials other than white Italian marble such as onyx, calcite and black marble. This lends a different dynamic to the work altogether. Unlike white marble, onyx has the ability to glow from within and through the veils of Purity we are able to see light. On the other hand, the calcite material is veined and therefore camouflages Envy’s folds and sweeps creating complexity not there with the original.
Another different perspective on the two Ball pieces is that they are made to depict someone looking into a mirror. This is done with today’s advanced technology and adds a strange narcissistic glance. It’s almost as though we are looking at a more refined version of the sculptures which captures the very old paired with something new. Other changes involved refining of drape, finishing the back and making the pedestals which they are placed much sturdier in order to view the work correctly from all sides.
taken from: http://beautifuldecay.com/2015/03/06/process-behind-making-barry-x-balls-purity-envy-sculptures/
When creating custom materials you’ll be working with a Keyshot file and a number of other image files. From one work session to the next, it’s easy to misplace your images, and if you open a Keyshot file and the program can’t locate the image files, your custom materials won’t show up properly. If this happens you’ll lose time and need to redo a number of steps. To keep this from happening I suggest creating a new folder in your netspace for your Keyshot project, and then save your Keyshot file and all of your custom material image files to that one folder. Then, when you backup your project to an external hard drive you’ll want to copy the whole folder.
Although Andrew Price’s Blender Guru tutorial covers texturing in Blender, it’s still relevant to our workflow in Keyshot. One key difference, though, is that in Keyshot we’ll use only the following: the color map (which you created in step 1), the bump/normal map, the specular map
Step 5: Learn about the various methods of texture mapping available in Keyshot
These tutorials will help you determine what kind of mapping (spherical, cylindrical, box, UV, etc.) is most appropriate for your form. The default is box, which works well in most situations.
Step 6: Learn how to use UV coordinate mapping when necessary for complex forms
With some really complex forms you’ll find that mapping with box, spherical, cylindrical, etc., doesn’t give good results. It is sometimes necessary to unwrap complex forms and use the UV editor to align the unwrapped form with the image you created in step 1. I had to use this process in my Seneca project because all of the other mapping methods produced visible seams. In the Seneca project, by unwrapping and using the UV editor I was able to put the seams on the back of the warthog’s legs so they wouldn’t show up in the renders. I also used this process in my Aristotle project to make the wood grain align properly with the boat.
This program can be used to create and pose a figure for your project. Easy to use. Some figures are free; others require a purchase. Finished figures can be imported in Rhino in OBJ or STL format.
repeat previous command: right click, space bar, or enter
command help
tool tips
select duplicate
picture frame
fillet curve
fillet edge
chamfer edge
nudge: use arrow keys – small nudge with CTRL and arrow key – big nudge with SHIFT and arrow key – page up and page down will move a part up and down when in perspective viewport
trim
split
sweep 1
sweep 2
network surface
offset (for curves)
offset surface
revolve
rail revolve
boolean union
boolean difference
boolean intersection
boolean split
boolean two objects
cap
create solid
volume
split planar face
extrude face
subselect: hold CTRL and SHIFT and left click a surface or edge
In this project, each student will design a vehicle capable of operating within a particular harsh environment. For example, a submersible ship meant to travel through lava, or a helicopter that can fly through a hurricane. Designs should integrate aspects of a particular preexisting vehicle, but should be significantly transformed to become something new and novel. To spur creative problem solving and integration of disparate influences, each student will use aspects of a famous person’s attributes, preferences, and aversions to inform the vehicle’s design.
Learning Objectives:
Learn how to gather and generate various sources of inspiration.
Create a dynamic work of art by synthesizing disparate elements.
Learn how an iterative process can enhance the design process.
Use group discussion to promote critical thinking, aid in the development of ideas, and lead to a better final product.
Apply the Rhino commands we’ve learned so far in a contextualized manner to achieve an advanced result.
Learn more about how to use Keyshot to create high quality photorealistic renderings of a design.
Grading Criteria – The best projects/highest performing individuals will:
Inventively synthesize various inspirational elements to produce a highly innovative final result.
Significantly develop the vehicle’s design through numerous iterations.
Achieve an outstanding level of detail and complexity in the vehicle’s geometry.
Create high quality geometry for the environment in which the vehicle will be situated.
Produce excellent Keyshot renderings that depict the vehicle convincingly in its intended environment.
Consist of renders that have good movement, with dynamic rather than static compositions.
Be proactive in seeking advice from the professor and TA, and maintain a strong dialogue with them in and beyond the class.
Have outstanding work ethic, showing a high level of focus during class and consistently working on the project outside of class (going well beyond the minimum expectation of 6 hours per week).
Achieve a quality of result that is commensurate with the student’s potential. (In other words, students with a higher aptitude will be held to a higher standard)
RESEARCH ASSIGNMENTS
By the start of class on Tuesday, 2/17, each student should do the following:
<1> Review the grading criteria for this project if you have not yet done so. See above.
<2> Create a SIMPLE Rhino model of your vehicle that includes all of the main components. This model will help you conceptualize how the vehicle will look as a whole and exist in space. Examples of simple models from previous semesters are below:
<3> Create a post on the PUBLIC class website that responds to the following prompts. (100 to 20o words; include loads of images) :
What harsh environment did you select? What key aspects of this environment were you concerned with as you created your various sketches? Please include relevant images in your post.
What famous individual did you choose, and how have his/her attributes, preferences, or aversions factored into your design? Please include relevant images in your post.
What preexisting vehicle has informed your design? Please include relevant images in your post.
Describe the unique features that you plan to include in your vehicle. Please include relevant images in your post.
Tell about any additional inspirational elements that will influence your design decisions during development. Please include relevant images in your post.
Please include a few images of your simple Rhino model in your post.
*Note: I encourage you to create your post in the format shown here, with descriptive text below each image.
FINAL SUBMISSION OF WORK
By the start of class on 3/5, each students should:
Submit ten high quality final Keyshot renders to the PUBLIC class website
Write a succinct paragraph that addresses the following questions, and include the paragraph in your post on the public class website:
What particular vehicle(s) did you use as inspiration for your design? Why did you choose this vehicle, and what about it did you find interesting?
What harsh environment did you design the vehicle for? How did the nature of this environment influence your design decisions?
Each student was asked to select a famous individual and use this person’s attributes, preferences, and aversions to inform the vehicle’s design; please describe how these elements influenced your design of the vehicle.
For a viewer to fully understand your intentions, what else should you mention about your final project and renders?
Though not required, you are strongly encouraged to backup your project by saving your Rhino files and a Keyshot package file to your external hard drive. You can create a package file by going in Keyshot to: File > Save Package… KeyShot will write out a package file that contains the bip, hdri, backplate and all of the textures.
Note: If this video doesn’t display in your web browser, be sure that you’re at http://digitalsculpture.blogs.bucknell.edu instead of https://digitalsculpture.blogs.bucknell.edu. Apparently, removing the “S” makes a big difference in the security settings for the page.
Choose an artist from the list below for your upcoming Art Report and Artist Presentation. The artists on this list all utilize CAD in their work. Please consider the following as you make your selection:
– When you find an artist that interests you, it is strongly recommended that you do a preliminary search for information. Before making your selection you’ll want to ensure that you’ll be able to learn a good deal about the artist’s ideas and intentions. In the best case scenario you’ll find multiple resources including the artist’s own writing, interviews, and/or reviews written by critics. If the information is limited you’ll need to make a judgement call on whether you’ll have enough content to create a highly informative 5-minute presentation.
– Since this is a studio art course we’re looking to discuss meaning and the intellectual content of an artist’s work, but not all digital artists are focused on generating this kind of depth in their work. Artists who are entirely commercially or technically focused would not be good selections. Look for an artist who makes work with rich, thoughtful content.
– Remember that you’ll cover the same artist for your first Art Report and Artist Presentation.
– Once you have made your selection please email the artist’s name to EVERYONE in the class, CCing the professor. Each student should choose a different artist and selections will be made on a first-come-first-serve basis.
Guidelines and rubrics for the Art Report and Artist Presentation:
Preparing files for 3d printing is complex; watch this helpful video as you’re getting started: http://vimeo.com/80478910.
Transition to printing from your own 3d scans and from the files I’ve included in this folder as soon as possible: P:\Meiser_Research\private\3D Printing
Please do some experiments with the dissolveable filament in the DSC. It would be advantageous to be able to use it effectively.
Do several experiments with various types of 3D scanning.
Make notes on the reliability, quality, and limitations of each approach in your blog posts.
Support Professor Meiser’s Digital Sculpture class by printing their 3D body scans after the students turn their files in on March 26. Please try to have all of these prints finished by April 9.
Print out the Digital Sculpture students’ projects as needed in the last few weeks of the semester.
BLOG
At the end of each work session please make a blog entry at: http://arst349.blogs.bucknell.edu/ in the Lena category. In each blog entry, please include the following:
List hours worked and the date (e.g. 6-8pm, February 5)
Before each Monday morning, please post hours for the upcoming week on the shared Google Calendar. This will make it possible for Prof. Meiser to drop in to see how things are going when his schedule aligns.
Please follow along and create your own duck model. http://vimeo.com/20038669 However, it is not necessary to complete the whole tutorial. Please go until 27:30, and then post a screenshot of your work to the public class website at: http://arst349.blogs.bucknell.edu/
Headphones:
In this tutorial you will create a set of headphones. Simply follow along with the tutorial. To find the tutorial instructions, open the Rhino User’s Guide and go to page 77
Note that this tutorial incorporates a Rhino file that is available in the netspace folder at: computer > projects (\\netspace) > DigitalSculpture > private > exercises > 1-20-2015
Please watch this tutorial and then post a few questions about the it to the research binder category of the private class website. We will discuss some of the questions in class on Tuesday. Note that it is not necessary to actually create the earbuds. http://vimeo.com/76114288
To access the exercise files, go to the digital sculpture folder on Bucknell’s netspace by following this path: click on the start button in the lower left of the screen > computer > projects (\\netspace) > DigitalSculpture > private > exercises > then right click on the 1-15-2015 folder and save to your desktop)
This weekend, when you have finished your reconstruction of the Parthenon, please take a few screenshots of your work from different angles. I suggest using the “snipping tool” to create your screenshots. This can be found by looking in the accessories folder within the computer’s list of programs. To receive credit for your work, please upload your screenshots to the class website by following these instructions:
Create a new post by clicking at the top of the page on the “+ New” button
Once the post screen comes up, check the “research binder” box to the right to put the post in the right category
Upload photos by clicking on the “upload/insert” button above the text field (remember to click the “insert into post” button while you’re on the upload screen)
* So that I can give you credit for your work, don’t forget to put your name in the title of the post
1) External hard drive of at least 250 GB. Since all of your projects will be created digitally, you’re bound to run out of space on the network. I use and recommend Western Digital’s My Passport. If you can afford it, I suggest buying a 500GB or 1TB drive. Here’s a link to the Western Digital hard drives that are available on Amazon.
2) Headphones — please bring these to class so that you’ll be able to watch video tutorials during open work time.
Recommended:
Hours of clicking can be hard on your wrist, and an ergonomic mouse can help prevent tendonitis. Click here to link to the 3M ergonomic mouse that I use. (Note that this is a small version– if you have large hands then you may want to consider purchasing a large version of this mouse) Alternatively, a gaming mouse and wrist rest can also be a good combination. Gaming mice are more responsive than basic mice, and they have built-in adjustments of tracking speed, which can be handy when modeling. This is the setup I just bought for my computer, which I’m quite happy with: Logitech Optical Gaming Mouse G400, and 3M Gel Wrist Rest
Not needed, but good to have:
License of Rhino 5 for your personal PC computer. The cost to a student is $138. Follow this link to learn more. If you have a 64 bit computer then be sure to purchase the 64 bit version of the software.
If you purchase Rhino 5 for your personal computer then, as a student, you can download an educational license of the T-Splines plugin for free. Follow this link to learn more.
Lynda.com has some excellent tutorials on Rhino that could be a useful reference for you during the first month or two of working with the software. A 30-day subscription to Lynda’s site will cost you just $20. Here’s a link: Rhino on Lynda.com
If you do a lot of 3D modeling, it can also be handy to purchase a 3D mouse which can help with navigation of 3D space. I use the Space Navigator by 3Dconnexion. I’m not sure that we’ll be able to hook these up in our lab because there is some basic software that must be installed on the associated computer. Check with me first if you’re thinking about ordering one and I’ll bring mine over to the lab and test it out.
Instructions for creating your photorealistic renders in Keyshot:
Your assignment this weekend is to create a minimum of 5 different Keyshot renders of your radio and headphones, and post your images on the public class website. Students are expected to visit Keyshot’s website and watch the brief tutorial videos listed below. Students are encouraged to include additional items of interest, and experiment with various materials, textures, environments, backplate images, camera lenses, etc.
Rendering
Lesson 1: Rendering Overview
Lesson 2: User interface
Lesson 3: Working with cameras
Lesson 4: Importing and working with data
Lesson 5: Assigning and editing materials
Lesson 6: Texture overview
Lesson 7: All about labels
Lesson 8: Adjusting lighting
Lesson 9: Realtime settings
Lesson 10: Using backplates
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Notes from the professor
While preparing your project in Rhino, organize the parts into different layers — once in Keyshot, each layer will be assigned the same material.
Before exporting from Rhino, select all with CTRL A and then run the “convertextrusion” command, ensuring that DeleteInput=YES.
Go to windows start button, and open the floating version of Keyshot.
In Rhino, under the Keyshot top menu, click “render”. Your file will now export to Keyshot.
Getting around in the space
orbit with left mouse button
pan by holding down middle mouse button
zoom by rolling middle mouse wheel
to zoom selected, right click a part and select “look at”
Open the “project” window
Each Rhino layer becomes a different part of the scene tree
Press the + to expand a layer
Open the material library, and drag materials onto layer names in the scene tree
Materials can be edited by double clicking on the model or scene tree
Many options can be changed in environment
In the camera tab, cameras can be saved and/or locked at the top
Open the library
The environment can be changed– simply drag and drop into the workspace
Backplate images can be added– simply drag and drop
Textures can be applied to the scene tree as labels, colors, bump maps etc. to create a variety of effects
Light can be adjusted with arrow keys on keyboard
for large adjustment, use up and down
for fine adjustment, use left and right
To create a quick, low quality image, click the screenshot button or press “P”
To make a high quality image, click the render button at the bottom—then in the output tab, click the second render button in the lower right. To be of good quality, renders should be at least 800 pixels in the larger dimension.
If at any point, you need to make changes to the layer organization or you need to move parts around, return to your Rhino file, make the necessary changes, and then while still in Rhino go to the Keyshot top menu and click “update”.
Appearing by telepresence robot, Edward Snowden speaks at TED2014 about surveillance and Internet freedom. The right to data privacy, he suggests, is not a partisan issue, but requires a fundamental rethink of the role of the internet in our lives — and the laws that protect it. “Your rights matter,” he say, “because you never know when you’re going to need them.”
The idea that humans’ relationship with technology has fundamentally changed the nature of our existence, to the extent that we are becoming a new species.
Some quick examples of the profound impact technology has had on human existence:
Neuroscience has increased our ability to understand and manipulate human mind and body
Our production of information is growing exponentially. We are overwhelmed by this growth and working to find new ways of processing, visualizing, and storing vast quantities of data.
We can augment the body more effectively today than ever before
In this project you will create a thesis statement about the posthuman, and then create a digital sculpture project to explore your thesis. Here are some examples of posthuman thesis statements:
1) As a result of biomedical advances, we are facing the possibility of a future in which our humanity itself will be altered beyond recognition (Francis Fukuyama). Artist Patricia Piccinini often uses her work to address concerns about biotechnology, such as gene therapy and ongoing research to map the human genome.
Ray Kurzweil writes about the advance of technology, the limits of biology, and the future of the human species. He hopes to stay alive long enough to digitize his consciousness.
4) The emergence of big data and new methods of spying and surveillance have created a world in which privacy is no longer possible.
5) It would be morally wrong for humans to tamper with fundamental aspects of themselves (or their children) in an attempt to overcome universal human limitations, such as vulnerability to aging, maximum life span, and biological constraints on physical and cognitive ability. Human lives would no longer seem meaningful in a world where such limitations could be overcome technologically (Bill McKibben) The movie Gattaca addresses some of the potential consequences of such tampering. Here’s a link to the trailer.
6) Bill McKibben suggests that emerging human enhancement technologies would be disproportionately available to those with greater financial resources, thereby exacerbating the gap between rich and poor and creating a “genetic divide”.
7) According to the artist STELARC, “Bodies are both zombies and cyborgs. We have never had a mind of our own and we often perform involuntarily conditioned and externally prompted. Ever since we first evolved as hominids and developed bipedal locomotion, two limbs became manipulators and we constructed artifacts, instruments, and machines. In other words we have always been coupled with technology. We have always been prosthetic bodies. We fear the involuntary and we are becoming increasingly automated and extended. But we fear what we have always been and what we have already become — zombies and cyborgs.”
8) Biopolitical activist Jeremy Rifkin and biologist Stuart Newman accept that biotechnology has the power to make profound changes in organismal identity. In the extreme, this could lead to the manufacturing and enslavement of “monsters” such as human clones, human-animal chimeras or bioroids, but even lesser dislocations of humans and non-humans from social and ecological systems are seen as problematic. The film Blade Runner (1982), the novels The Boys From Brazil (1978) and The Island of Dr. Moreau (1896) depict elements of such scenarios
9) Joy’s 2000 essay “Why the future doesn’t need us” argues that human beings would likely guarantee their own extinction by developing the technologies favored by transhumanists. It invokes, for example, the “grey goo scenario” where out-of-control self-replicating nanorobots could consume entire ecosystems
10) The proliferation of social media has fundamentally changed the way we relate to others. We are now more interconnected than ever before, and paradoxically, more isolated.
11) Technology can enable one to be an architect of their own identity.
By the start of class on Tuesday March 31st, students should post the following on the public class website:
• The thesis statement about the posthuman that you’ll explore in your project. (1-3 carefully written, descriptive sentences)
• 20 images collected as visual research.
• Evidence of additional research. Watch a video or movie, read an article, examine some resources on the web, and then write a brief description of what you learned.
In addition, please create some sketches of what you plan to create. Students are not required to post their sketches on the web if they prefer to submit them in hard copy form at the end of the semester.
GRADING CRITERIA The highest performing students will:
Explore a well defined and compelling thesis statement about the posthuman.
Create an ambitious project that shows advanced technical proficiency.
Achieve an outstanding level of detail and complexity in the project’s geometry.
Be proactive in seeking advice from the professor, and maintain a strong dialogue with him in and beyond the class.
Have outstanding work ethic, showing a high level of focus during class and consistently working on the project outside of class (even going beyond the university standard of 6 hours per week).
Achieve a quality of result that is commensurate with the student’s potential. (In other words, students with a higher aptitude will be held to a higher standard).
FINAL SUBMISSION OF WORK
By the start of class on Thursday, 4/16 each student should:
Create a post on the PUBLIC class website that includes:
At least five to ten high quality renders of your project.
The posthuman thesis that you explored in your project. (The quality of your writing will impact your grade, so please ensure that your statement is succinct, comprehensible, and grammatically correct.)
In approximately 300 words, please write a response to the following questions. Post your work in the “research binder” category.
Blyn suggests that we have entered a posthuman era. What do you think she means by this? What are the defining features of the posthuman era?
What do you think about Blyn’s assertion that technology has permitted Mullins to become an architect of her own identity?
What do you think of Blyn’s suggestion that the posthuman era is marked by corporate domination and ideological mechanization? Do you think she is right? Why or why not?
As you consider the positive and negative effects of augmenting the body, do you think humanity is facing a net gain or a net loss? Why? How?
Please address any additional aspects of Blyn’s chapter that were of interest to you.
3) To be 3-D printed, meshes must be watertight solids
Check to see if mesh is solid by running the “what” command. In the description, a watertight mesh will be listed as closed.
Alternatively, the “volume” command can be used to see if a mesh is solid. If a volume is specified with no warning then the mesh is okay. If, however, a warning appears about the mesh not being closed then you’ll have some work to do.
4) If an error occurs or you cannot close the mesh, run the “meshrepair” command and follow the prompts. You may need to adjust the settings and/or run this command a couple of times to fix all of the problems.
5) Once your mesh is closed, you’ll want to give it a flat bottom by doing as follows:
Create a NURBS box that intersects your mesh as shown below
Select the NURBS box and run the “mesh from NURBS object” command. This is one of the first options in the mesh menu at the top of the screen. (Or type “mesh” in the command line)
Run the “meshbooleandifference” command. Select your body mesh first, then the box. This command may take a few moments to process. Your result should be as shown below:
If the mesh boolean difference command repeatedly fails then you may need to create a new box with a mesh of greater density, as shown below.
Do this by clicking on the mesh tools tab above and then the mesh box option on the left.
As you draw the box notice in the command line that you can adjust the density of the mesh.
If you want to join additional features to your mesh then you can use a similar process, but with the “meshbooleanunion” command
If you’d like to learn more about preparing Rhino files for 3D printing then watch this video: https://vimeo.com/80478910
Since 1999 Stephen Cartwright has recorded his exact latitude, longitude and elevation every hour of every day. Cartwright uses digital and traditional fabrication techniques to translate his collected data into his sculptural projects. Since the inception of the Latitude and Longitude recording project Stephen Cartwright has completed several grand bicycle journeys through North America, Europe and Asia, totaling more than 20,000 miles. Prolonged observation of his location has led Cartwright to his recent work investigating the use and alteration of the landscape.
Mark your calendar for Simon Williamson’s visit! On February 28 at 1:00pm he will give a lecture about his work in the Gallery Theater, located on the top floor of the LC. Then from 2-5pm he will hold a workshop on Rhino and Keyshot in the BERT 012 Computer Lab. Students in Digital Sculpture are expected to attend if at all possible. Attending the lecture and workshop will count for two artsXpose.
Three-dimensional NURBS surfaces can have complex, organic shapes. Control points influence the directions the surface takes. The outer form–which resembles a wire basket–shows the location of the control points, and the inner organically-shaped form is the resultant surface…. click here to read more
Email is one of the most common means of textual communication in the professional world, and it requires a higher degree of etiquette than social media or text messaging. Over the past few years I have received many emails from students that were written in an unprofessional manner. As a professor I feel a responsibility to prepare my students for the professional world, so I have decided to implement an official policy on email etiquette in all of my courses. If I receive an email from a student that I deem to be problematic in some way, I will send a link to this message and request revision. Please adhere to the following standards of etiquette when corresponding with me by email this semester:
– Please use a subject line that is meaningful and relevant to your message.
– Please begin your message by addressing me directly. When I receive an email from a student, I expect something to the effect of “Dear Professor” or “Hello Professor”. When a message is missing this crucial element it can seem impolite. Launching immediately into the body of your message, or beginning simply with “Hey,” or “Hi,” is not up to professional standards.
– Before sending, please re-read and edit your message to ensure that it is clearly written and grammatically correct.
– Emails should end with a closing of some kind. It is suitable to end your messages with “Thanks” and your name, or “Sincerely” and your name, or if you’re in a hurry, at least include your first name or initials to indicate the conclusion of your message.
Thanks in advance for adhering to these guidelines.
Best regards,
Professor Meiser
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Joe Meiser
Assistant Professor of Art in Sculpture
Department of Art & Art History
Bucknell University
Lewisburg, PA 17837
studio phone: 570.577.3044
website: http://www.joemeiser.com
Joshua Harker has been a maker and artist his whole life. He worked professionally as a product and toy designer for a few years before turning to 3D art. Within the last year and a half, he’s created the first and fourth most funded sculpture projects on Kickstarter, and sold thousands of beautiful works of art, all created with 3D Printing. I spoke to him about his process and his views on the current state of the 3D Printing industry. Read more here: http://blog.makezine.com/2013/04/18/a-conversation-with-3d-artist-joshua-harker/
How did you split apart the T-splines surfaces for your pelican for keyshot? Converting the surface to NURBS and exploding does not seem like the best move for this.
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Hi Phil,
There are many different approaches that can work for splitting surfaces up, but I found a couple of methods to be particularly effective when I prepared my pelican model for keyshot:
1) If you want to split the surface in a way that works with your existing isocurves then you can run the “split by isocurve” command. On your left main Rhino menu you should be able to right click on the “split” button to initiate the “split by isocurve” command. You’ll then be able to drag the split boundary where you want it — note that you can toggle the U and V orientation.
2) If you want to split the surface in way that does not work with your existing isocurves then you’ll need to create curves on the surface of your model and use them to split it apart. To do this you can project curves to the surface, or you might also try interpolating curves on the surface (I had really good luck with this method around the pelican’s eyes and beak). I believe you can find this command in the left main Rhino menu– look under in the submenu associated with control point curves.
Please let me know if these methods help you achieve the result you’re looking for.
I came across this on a micro-controller hobbyist site that that shows you how to make 3D printed parts smoother and glossier than just coming off the printer. It involves placing a small amount of acetone in a jar with the model suspended inside and heating the acetone up into vapor. The Acetone then gives the part a smooth finish. Both links are the same process only from different people. This only works on ABS.
No matter how good a 3D printer gets, you’re always going to have visible print layers. Even with very high-quality prints with sub-0.1mm layer height, getting a shiny and smooth finish of injection molded plastic is nearly impossible. That is, of course, until you do some post-print finishing. [Neil Underwood] and [Austin Wilson] figured out a really easy way to smooth out even the jankiest prints using parts you probably already have lying around.
The technique relies on the fact that ABS plastic and acetone don’t get along together very well. We’ve seen acetone used to smooth out 3D printed objects before – either by dunking the parts in an acetone bath or brushing the solvent on – but these processes had mixed results. [Neil] and [Austin] had the idea of using acetone vapor, created in a glass jar placed on top of a heated build plate,
The process is pretty simple. Get a large glass jar, put it on a heated build plate, add a tablespoon of acetone, and crank the heat up to 110C. Acetone vapor will form in the jar and react with any printed part smoothing out those layers. The pic above shows from right to left a 3D printed squirrel at 0.35 mm layer height, 0.1 mm layer height – the gold standard of high-end repraps – and another print with 0.35 layer height that was run through a vapor bath for a few minutes. Amazing quality there, and cheap and easy enough for any 3D printer setup.
You can check out the tutorial video after the break along with a video showing exactly how dangerous this is (it’s not, unless you do something very, very dumb).
It seems that Rhino has forgotten how to use T-splines (or more likely, I have forgotten). When I try to run T-spline commands, they are “unknown” commands. I made sure that I imported the T-spline toolbar from the appropriate file, but no matter what I do seems to work. Is there any particular reason this happens?
Thanks,
Nathan Hill
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Hi Nathan, Do you have edit mode turned on? In other words, have you pushed the green tsplines icon that looks like a power button?
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I tried to turn it on with the green power icon but that also gave an “unknown command”. I additionally tried using two other computers, but on each it seemed like T-splines wasn’t even installed; the T-spline toolbar file was absent from the normal file location. I’m not sure if I’m totally missing something or if there is something going on with the program.
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Nathan,
Tsplines only loads and works in the 64 bit Rhino. If you load the normal looking version from the Start menu that is labelled “Rhinoceros 5.0” Tsplines wont be there. It DOES however work and will appear if you open the Rhino version titled “Rhinoceros 5.0 (64 bit)”.
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Thanks for this info, Seth. Can you please provide a basic description of how students can access the 64 bit version of Rhino? Where can this version of the program be found?
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It’s in the Start Menu where Rhinoceros program is listed. There are 4 options to choose from: Rhino 64 Bit, Rhino 64 Bit Safe mode, Rhino 5.0, and Rhino 5.0 in Safe Mode. Rhino 64 Bit is the one you want, the 2 that dont specify 64 bit wont have Tsplines.
I wanted to send a quick note to reiterate the importance of reading the T-Splines manual and watching the video tutorials available online. These resources were incredibly helpful to me as I was learning to use the software, and I think you’ll gain a good understanding of the program from them.
For getting started I suggest the basic tutorials at: http://www.tsplines.com/support/basictutorials.html The sections titled “symmetry”, “adding more geometry to a surface”, and “removing geometry” will be particularly useful as you’re getting started with this first exercise. On this page there are also videos on using the “set points” command and “retopo snap”, which we talked about today during class.
Please take a look at the class calendar for instructions on submitting your weekend exercise. Do let me know this weekend if you have any trouble with your models. I’ll be happy to try to answer your questions by email, talk with you over the phone, or setup a meeting with you to talk in person.
Attached are a few images of my in-progress hippo attempt. I feel that a majority of the shaping is good, but I cannot figure out how to add the holes into the back without destroying the normal geometry. Is this a case of moving the object into Rhino and doing some trimming then thickening, or is there a way to do it in T-Spline?
Thank you,
Jordan Rivera
Jordan,
Your model looks great! It looks like you’ve been working very hard on the exercise. I suggest adding the holes in T-Splines. I created an example below that illustrates the basic strategy for doing so…
To get started with this example, I created a quad ball and then subdivided it.
Then I started aligning the edges to the desired location of the big hole.
And did this for the small holes as well.
And then I selected all the faces I wanted to delete.
And as you can see, the model went crazy when I did the faces, because in T-Splines what you do to one edge will have an effect three edges out, so the hole interfered with the smoothness of the neighboring faces.
Next I adjusted the points to get them basically where I thought they needed to be, ignoring the semi jagged nature of the geometry.
Then I selected the edges of the holes and extruded them down a couple of times. Doing this makes it possible for the faces surrounding the holes to smooth out. You could achieve the same result by thickening at this point; however, there’s still a lot of refining to do to the outer form, and if you thicken now you’ll need to adjust both the inside and outside points at once in order to preserve a consistent wall thickness. So it’s better to just use temporary extruded edges to make the model smooth while you continue to refine it.
Next, I worked on adjusting the points to create a better looking, more even surface.
It’s helpful to toggle to box mode so that you can be sure the underlying geometry is consistent and regular.
When you’re totally finished refining your model you’ll want to select those edges you extruded inward earlier and delete them.
Again, your model will go crazy, but this is temporary.
Once you use the thicken command your model will smooth back out. If, while running the thicken command you get a strange result, then try selecting smooth edges rather than creased edges in the command line.
This example isn’t perfect. If I were doing this for my own artwork I would refine the topology much more to get a smoother result, but this quick example at least illustrates the basic strategy for adding holes to a model.
A new plugin has been installed in BERT 012 that links Rhino and Keyshot.
A note from our IT staff: “When testing the plugin, I found that you need to have Keyshot running before using the plugin in Rhinoceros because the plugin asks for the Keyshot license server. This setting is automatically set when you launch Keyshot.”
Unlike other plugins, a KeyShot plugin only “links” the 2 applications together, rather than putting KeyShot inside the modeling application. This makes the installation and use extremely simple and efficient. Since the two applications remain separate, they can easily operate side by side.
Each plugin works the same. Simply open the model in the supported application, and look for the KeyShot button in the menu bar. Select “Render”, and follow the instructions on the screen. Within seconds, KeyShot will open and drop your design into the default scene. Apply materials, change the lighting, move the camera. Done!
With KeyShot 4, we have taken the plugins for Creo, Pro/ENGINEER, SolidWorks and Rhino to the next level. When you download the plugin for KeyShot 4, you can now link KeyShot and the CAD application together. Now you can continue to work on your design, and update the model inside KeyShot with a simple button push. All your materials, animations, lighting, camera – simply everything – will be maintained. Do this today, tomorrow, or next week. All you need to do is open your model in the CAD application, and the scene in KeyShot – and you are live linked!
Another great feature of the plugins for Creo, Pro/ENGINEER, SolidWorks and Rhino is that KeyShot doesn’t have to be installed to get your design out of the CAD application into KeyShot. Simple select the EXPORT button in the plugin menu, and all the geometry, structure along with colors gets exported to KeyShot’s native file format.
On Fri, Mar 1, 2013 at 3:26 PM, Tali Sason <tjs024@bucknell.edu> wrote:
Hey Seth
We are loading our rhino file into keyshot and the front wheels won’t load. We have no idea why this is happening. We had issues with other components because they were excruciation objects but we fixed that. The back wheels show up totally fine and they are an exact copy of the front wheels.
Help!
Any ideas?
Thanks-
Tali
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On Fri, Mar 1, 2013 at 6:40 PM, Seth Berry <sethberry3@gmail.com> wrote:
i have no idea. try:
exporting your rhino file to a rhino version 4 file (file->save as or select all parts and file->export selected)
Picture an assembly line not that isn’t made up of robotic arms spewing sparks to weld heavy steel, but a warehouse of plastic-spraying printers producing light, cheap and highly efficient automobiles.
If Jim Kor’s dream is realized, that’s exactly how the next generation of urban runabouts will be produced. His creation is called the Urbee 2 and it could revolutionize parts manufacturing while creating a cottage industry of small-batch automakers intent on challenging the status quo. click here to read more
Sometime in 2005, Beauty the bald eagle was shot in the face by a poacher, which damaged her beak badly enough that she couldn’t eat on her own. Animal rescue workers found her before she starved to death, and volunteers at the nonprofit group Birds of Prey Northwest nursed her back to health via tube-feeding and, later, hand-feeding with forceps. But it became increasingly clear that her beak was never going to grow back — meaning that Beauty would never be able to feed herself. She was on track to be euthanized.
But raptor specialist Jane Fink Cantwell, who dresses like Indiana Jones, refused to take “dead bald eagle” for an answer. She joined forces with mechanical engineer Nate Calvin of Kinetic Engineering Group, and together with other scientists, engineers, and even a dentist, they designed a nylon polymer beak that would perfectly replace Beauty’s lost upper mandible.
Calvin developed the new beak using a 3-D modeling program, then used a 3-D printer to fabricate it. After an arduous procedure to attach her prosthetic, Beauty was able to eat, drink, and preen herself on her own.
Beauty’s new beak isn’t secure enough for her to return to the wild, so Cantwell is still caring for her. But she’s a lot more self-sufficient than she was — and her case may help pave the way for making better prosthetics for wildlife in the future.
I’ve seen so many bald eagles crying a single tear over terrorism or gay marriage or whatever that it’s really hard not to interpret this as some kind of metaphor about America. Ruined by guns, kept alive by nonprofits, technology comes to the rescue? Sure, I think it works.
Images showing IaaC’s Contribution to Mireya Masó exhibition on Antartica. The exhibition titled: Antartica-Times of Change, depicts the changing climate of Antartica. One aspect of the exhibition included a study on Diatoms and Radiolaria, microscopic organisms that produce shells formed under whatever conditions are present at the time. The work produced by IaaC students was done in collaboration with Director Marta Malé-Alemany (Digital Fabriation) and Luis Fraguada (Digital Tools) with the assistance of Cesar Cruz Cazares.
“Our first priority is making America a magnet for new jobs and manufacturing. After shedding jobs for more than 10 years, our manufacturers have added about 500,000 jobs over the past three. Caterpillar is bringing jobs back from Japan. Ford is bringing jobs back from Mexico. After locating plants in other countries like China, Intel is opening its most advanced plant right here at home. And this year, Apple will start making Macs in America again.
“There are things we can do, right now, to accelerate this trend. Last year, we created our first manufacturing innovation institute in Youngstown, Ohio. A once-shuttered warehouse is now a state-of-the art lab where new workers are mastering the 3D printing that has the potential to revolutionize the way we make almost everything. There’s no reason this can’t happen in other towns. So tonight, I’m announcing the launch of three more of these manufacturing hubs, where businesses will partner with the Departments of Defense and Energy to turn regions left behind by globalization into global centers of high-tech jobs. And I ask this Congress to help create a network of fifteen of these hubs and guarantee that the next revolution in manufacturing is Made in America.”
<2> Prepare a 3-5 minute group presentation to tell about your vehicle’s design. This presentation will count toward your project grade. Presentations should be supported by visuals that are posted to the class website. Please put your post in your team’s designated category. Click here for instructions on how to post images to the class website.
In this presentation your group should describe the vehicle that you intend to design. Please cover the following points:
Describe the harsh environment that your group has selected, and key aspects of this environment that you were concerned with as you created your various sketches. Please support with visuals.
Tell about the famous individual your group chose and how his/her attributes, preferences, or aversions factored into your design. Please support with visuals.
Tell about the preexisting vehicle that has informed your design. Please support with visuals.
Tell about changes to the design that your group has made through the various iterations you’ve created. Support with visuals if possible.
Describe the unique features of your vehicle. Support with visuals if possible.
Tell about any additional inspirational elements that will influence your team’s design decisions during development. Support with visuals if possible.
<3> Create a SIMPLE Rhino model of your vehicle that includes all of the main components. This model will help your team conceptualize how the vehicle will look as a whole, and will help convey your design during your presentation. If you’re able to create more than one version of this simple model then this would be an asset to your design process.
**Note: There is a “shared” folder in the digital sculpture netspace that will make it easier for team members to share files. To find the folder follow this path: netspace > projects > digital sculpture > private > shared
Create a new POST by clicking at the top of the page on the “+ New” button.
Once the next screen comes up, check one of the boxes to the right to put the post in the correct CATEGORY.
In the field provided, create a title for the post that includes your own name (so we’ll know who the post belongs to).
Add any text you’d like in the body of the post.
To upload PHOTOS, click on the “add media” button above the text field.
Click “upload files” and select the images you want to include.
Once the images finish uploading, click the “create gallery” button in the top left corner of the screen.
Click the blue “create a new gallery” button in the bottom right corner of the screen.
Change the gallery settings so that you’ll have 5 columns rather than three.
Click the “insert gallery” button.
If you want to post a VIDEO from youtube, simply add the video’s URL to the body of the post.
If you want to add a LINK to the body of your post, you can do so by highlighting the text you want to be linked, and click the “insert/edit link” button (to the left of the spell checker). Then add the URL destination and click the box that says “Open link in a new window/tab”.
When you’re finished adding content, click the blue “publish” button on the right.
A message should appear at the top of the page that says “Post published. View post”… if you click on “view post” it will show you what the post looks like on the site… at this point, if you want to make any changes, just click on the “edit post” button and it will return you to prior screen. If you make any adjustments, be sure to click the blue “update” button on the right to apply your changes.
This is an example of a well written Art Report from a previous semester. Keep in mind that this student was following a slightly different set of instructions–your response will only be about half as long as this example. Click here to view the Art Report guidelines.
Immediate Response
After finding the piece Bondi Beach by Gregor Schneider in the book Art Now on page 424, I was initially reminded of a large dog pound on an otherwise pleasant beach. I became focused on the limited space provided for the individuals inside and immediately was struck by a sense of claustrophobia along with a confusion as to why people would chose to enter the cages. I found it humorous that inside the extremely small spaces were efforts to instill comfort such as an umbrella, air mattress, and trash bag for convenience. The cages are an eye-sore at a beautiful beach, and an inconvenience for those wishing to relax in a calm area; however, people on the sand do not seem to be daunted by the cages. The people inside are content with their position, and those strolling the beach outside the fences do not even look over at the piece. Schneider’s work is a study of human behavior as well as an aesthetically engaging piece.
Objective Description
Gregor Schneider’s Bondi Beach consists of a free-standing connection of metal cages located on a populated public beach. The walls of the cages are twice the height of the average person and are of the standard design used in chain-link fences that are usually used in humane societies. The chain-linked fence allows for those inside to see the ocean as well as those outside to look in on those inside the cages. There are twenty-one cells, each of small dimensions, conveniently equipped with a beach umbrella, air mattress, and trash bag. The installation of these items give those inside a reason to be fully content with their choice of captivation. The number of people inside each cage varies. Some cages are empty, some have one person, and some are overcrowded; however, no one has made the decision to move to the empty cages. Also, there are numerous people freely wandering along the beach outside of the cage.
Technical Decisions
Schneider chose to construct his piece out of common materials which helps to depict a sense of “normality” in his work. Instead of constructing an abstract work, he constructed a common object (a cage) and placed it in an odd environment and altered its purpose. Instead of the cages being located at a local humane society, a knowingly unpleasant area, Schneider placed them at a typically beautiful, free location. Also, he replaced the animals expected to be inside with humans. What is unique about Bondi Beach is that the viewer becomes apart of the work. Whether he or she chooses to enter the cage or remain outside does not matter, either choice the individual makes adds to his piece. The fences are not all that is important, the items inside and the colors selected hold great value as well. The white umbrella attempts to add a mirage of tranquility as the blue air mattress mimics the color of the ocean directly outside of the cage to forge a connection with nature.
The Work in the World
As mentioned earlier, Bondi Beach is a direct reminder of dog cages at humane societies. They work as a confinement for seemingly “useless” things which add nothing substantial to society. Abandoned dogs that are typically in these types of cages are seen as a nuisance until a human, a species of higher rank, selects the dog to aid his or her life through companionship or more simply: entertainment. Schneider’s piece is also a distinct reminder of prisons or jail cells. However, this work deviates from a jail or prison cell in the sense that people willingly enter these cages. At a quick glance, these cages can remind one of internment camps as well; however, this connection fails for the same reason the jail and prison cell connection fails. These people contained in the cages are not confined, they are not restricted, they freely choose to give up their freedom and abandon their ability to wander for the comfort of modern day items.
The Story it Tells
Schneider’s message behind the work is clear: humans have become enslaved by their own creations. He constructed the piece out of previously man-made objects (the fence, umbrella, air mattress, and trash bag.) The man-made fence works as a barrier, the man-made umbrella serves as unnecessary protection, the man-made air mattress becomes luxurious comfort, and the man-made trash bag holds waste from manufactured items. Each of these things symbolizes the ways in which society has over-developed. We produce more than we need, which in turn destroys our natural instincts of survival. We rely on our inventions, even if they rob us of natural beauty, for example the construction of cities and elimination of forests. Even though we may realize we are walking into our own trap, such as the people entering the cages, we cannot deny the comfort that is granted inside.
Please list a few of your interests, sports you play, or other activities you’re involved in (on or off campus).
Why are you taking this class? What do you most want to get out of it?
Are there any particular topics or techniques that you’re hoping to learn about in this class?
In your opinion, what makes a work of art interesting, worthwhile, or compelling—to put it simply, what makes a work of art good? Why do you feel this way?
Email address:
Cell phone number:
Cell phone service provider:
* please double check your contact info for typos *
Sydney Jay Mead, commonly Syd Mead (born July 18, 1933), is a “visual futurist” and concept artist. He is best known for his designs for science-fiction films such as Blade Runner, Aliens and Tron. Of his work, Mead was once moved to comment: “I’ve called science fiction ‘reality ahead of schedule.'” —http://en.wikipedia.org/wiki/Syd_Mead
* 2 ArtsXpose are due at midterm, 2 are due at final. Not accepted late. *
ArtsXpose Learning Goals:
1. To familiarize students with local arts venues, resources and events.
2. To facilitate students’ critical awareness and their abilities to make meaningful connections between the various forms, media and formats found in theater, film, dance, literature and the visual arts.
3. To promote students’ active participation in the Art & Art History Department, Bucknell University, and the local art community.
Events that fulfill the ArtsXpose requirement include:
Visiting artist’s lectures
Exhibitions
Plays (college or professional NOT high school productions)
Films that are part of a university department sponsored film series (NOT films at commercial multiplexes)
Musical recitals or performances
Poetry/literary readings
Attendance of art club meetings (clubs may only count as one event regardless of the number of club memberships or the number of meetings attended during a term)
Arts related symposia, discussions or reading groups
Arts related conferences
Art events, demos, or workshops that are non-course related
Arts related fieldtrips (The Department of Art & Art History is taking a bus trip to New York City sometime this semester, and students are strongly encouraged to attend this trip as it will be a great opportunity to observe cutting edge contemporary artwork. Attending this trip will count as two artsXpose assignments, and students in attendance will not be required to submit any documentation.)
Instructions for submitting ArtsXpose:
All ArtsXpose assignments will be submitted on the class website, but you can choose to either submit a photograph of yourself at the event, OR a detailed textual response to the event.
Regardless of whether you choose the form or photo option, you’ll need to begin by creating a post here on the class website, and to do so you can follow these steps:
Create a new post by clicking at the top of the page on the “+ New” button
Once the post screen comes up, check the “artsXpose” box to the right to put the post in the right category
Upload photos by clicking on the “upload/insert” button above the text field (remember to click the “insert into post” button while you’re on the upload screen)
* So that I can give you credit for your work, don’t forget to put your name in the title of the post
Example of how to submit artsXpose with the PHOTO option
For each artsXpose you complete, you may submit either a form OR a photo–it is not necessary to submit both. Included below is an example of how you may submit artsXpose using the PHOTO option. For the sake of efficiency, you may want to cut-and-paste the text below directly into your post and then appropriately revise the information.
Your photograph should depict you at the event with some distinctive features. This will make it obvious that you attended.
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Title of Event: Joe Meiser Artist Lecture Date & Time of Event: Friday February 3rd 7 pm Location of Event: Samek Art Gallery Type of event: Artist lecture and reception
Example of how to submit artsXpose with the FORM option
For each artsXpose you complete, you may submit either a form OR a photo–it is not necessary to submit both. Included below is an example of how you may submit artsXpose using the FORM option. For the sake of efficiency, you may want to cut-and-paste the text below directly into your post and then appropriately revise the information.
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Title of Event: Bill T. Jones Lecture
Date and time of event: Monday January 30th 7:30 pm
Location of Event: Harvey Powers Theater
Type of Event: Guest Artist Lecture
1.) Provide a brief detail-oriented technical description or summary of the event you attended. (This section should remain journalistic and should not be reflective of your opinion.)
Bill T. Jones gave an hour lecture with almost a full half hour of questioning. During the lecture he spoke from memory and showed a 15 minutes video of one of his dances being performed by different dancers. He also showed brief examples of his movement throughout the lecture.
2.) Use the section below to write a well-structured paragraph focusing on your personal criticalinsight / response to the event. How did you interpret or react to what was presented to you?
It was clear that Jones was a stage performer. Even in a lecture he had an amazing presence and was very confident. I enjoyed seeing him show bits of his dance moves. He also told a lot of very interesting stories about both his dad and his long time partner. One thing that I found interesting was at the beginning of the lecture he talked a lot about being a part of a counter culture and pushing against society. He described how fruitful it was for him to live in an artist colony that had no concern for material success. However at the end of the lecture he was described some of his current financial realities and the trouble of maintaining a dance company.
3.) What information, ideas, images, etc. most impressed you and why?
I was most impressed by his presence, story telling, and his brief dance moves. They were all very clear but also very unique.
4.) Overall, how would you rate this event (10 being the most worthwhile)? (10 / 9 / 8 / 7 / 6 / 5 / 4 / 3 / 2 / 1 )
eight 5.) Justify your rating in the question above:
I think for he was a really articulate speaker and was also entertaining. He also gave me two really valuable messages: don’t let yourself get in the way of the work, and why does it have to be anyone in particulars body?
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