2. Digital bodies¶
Research & Inspiration¶
Throughout the history of art, the human body has been depicted in countless ways and forms—sometimes through a traditional lens, and at other times through more imaginative interpretations. One thing remains clear: the body has always been central to artistic expression across the ages. It has inspired some, served as a muse for others, or even been used practically in projects like mannequins.
The human body holds different meanings for different people. As a Greek Cypriot, my earliest reference to the human form comes from ancient Greek sculptures. I vividly recall learning about them during history lessons and later on, experiencing their glory firsthand at the Acropolis Museum in Athens. The artistry was truly unreal.
Ode to Greek sculptures.
But the influence of ancient Greece doesn’t end there. Its legacy has inspired countless artists, including Michelangelo with his iconic sculpture of David. With its exaggerated arms and legs, David has come to define Renaissance art and remains one of the most famous representations of the human body. Antonio Canova, another great artist, masterfully captured the essence of Greek mythology and beauty in his works. His sculptures, such as Perseus with the Head of Medusa and the stunning Amore e Psiche, inspired by the Olympian gods, perfectly reflect the grace and romanticism of ancient Greek art. Finally, Gian Lorenzo Bernini, who defined the Baroque style, also drew inspiration from Greek mythology. His sculpture Apollo and Daphne—depicting two mythological figures caught in the games of Cupid, the god of love—showcases this influence beautifully.
Sculptures inspired by Greek artistry and culture.
These references have always been part of my journey. During my time at the University of Edinburgh, I was an active member of the Greek and Cypriot Society. As the social media officer, I had the opportunity to design visuals for the society’s events. As you can see below, my work consistently reflected elements of Greek culture, often incorporating sculptures into the designs of my posters.
My work for the Greek and Cypriot Society of the University of Edinburgh.
For this week's project on digital bodies, we were tasked with creating a 3D model of a human body part and laser-cutting it. But which body part should I choose? I decided to combine my admiration for Greek sculptures with a modern reference. Let me explain. In almost every home in Cyprus and Greece, you’ll find a bust of a Greek philosopher tucked away in a corner. Even at the front of my high school, there were several such busts used as decoration. While iconic, these sculptures may seem outdated to some. That’s where a modern twist comes in and goes by the name of Joshua David McKenney, an LA-based artist, sculptor, and doll-maker. I’ve been fascinated by his work, where he 3D-prints doll faces, refines their features, and paints them. It’s truly a work of art.
From Joshua David McKenney's Pidgin Dolls Website.
Inspired by both of these references, I thought of creating a 3D model of a bust with smooth, refined features, much like Joshua’s dolls, leaving behind the intricate detailing typical of Greek sculptures. However, to make it practical and sustainable, I considered elongating the neck of the bust so it could also function as a necklace holder.
The Process¶
In class today, we were introduced to two methods for 3D scanning. The first method involved using a Kinect console in combination with Skanect software. This console features three cameras: one for measuring distance, a colour camera, and an infrared camera. We learned how to set up the dimensions for the object to be scanned, rotate around it to capture every angle, and then refine the 3D scan in Skanect. Refining included steps like making the model watertight with minimal smoothing to close any gaps, adding colour, and finally exporting the model. The second method involved a Revopoint camera connected to REVO SCAN software. This approach provides better resolution and is typically used for smaller objects. We were guided through setting up the equipment and preparing for the scan. Then came the demonstration! Our first 3D scan 'victim' was Pilar, using the Kinect method to capture her entire body. Afterward, it was my turn to try out the second technique, where we focused on scanning just my head. We encountered a few challenges with the scan, particularly with dark areas like my hair and glasses, which didn’t register well.
Scanning demonstation by Joseph.
After the demonstrations, it was time for action! We paired up in groups and scanned each other. I scanned Holly, and she scanned me. Both of us decided to do full-body scans, but we quickly realised that our choice of clothing wasn’t ideal for accurate scanning.
The process of scanning.
My attempt at scanning Holly with Skanect.
The day ended with importing my 3D scan from Skanect into the 3D software Rhino and experimenting with my form. It was my first time using Rhino, and while it was challenging, the experience of going through the entire process—from setting up the scan to visualising my 3D model - was incredibly rewarding.
3D model of my scan visualised in Rhino.
Thursday was all about 3D modeling and laser cutting. After a quick review of MakeHuman, Rhino, and Slicer for Fusion 360, it was time to bring my vision to life.
I started with MakeHuman, where refining the provided model was fairly straightforward. Since my final product was going to be a bust, I focused on the upper body - from the shoulders up. First, I feminised the human form and fine-tuned the facial features by adjusting the depth of the parietal area and tweaking the face's fat distribution. I also elongated the torso horizontally to create a sturdy base for the 3D model. For the neck, I increased its length to ensure it could hold multiple necklaces, which is the intended function of the model.
Initially, I tried to remove the facial features, but I quickly discovered that MakeHuman didn’t have that option. (Spoiler: this issue was resolved later in Slicer for Fusion 360!) With my adjustments complete, the 3D model was ready for export.
We learned about the different export formats. For instance, you can export the model as a Collada file, which preserves textures like colour if you plan to use a 3D colour printer. However, since I was more focused on the mesh, I chose to export the file as either a Wavefront OBJ or a stereolithography STL file.
The 3D model obtained by MakeHuman.
Rhino was the next tool in the process. It’s typically used for small objects measured in millimetres, and since the human form is considered a small object, Rhino was an ideal choice. I imported the Wavefront OBJ file from MakeHuman into Rhino (as a group), allowing me to view the model from four perspectives: Top, Front, Right, and Perspective. In Rhino, we were able to manipulate our 3D model and cut away unnecessary parts using Boolean operations. First, I created a cube and positioned my model inside it, ensuring that only the upper body (from the shoulders up) remained outside. I then performed a Boolean split, which separated the model into two parts. After removing the lower body and the cube, I was left with exactly what I needed—the bust!
The next challenge was scaling. Initially, the bust measured around 3 millimetres, so I used the scaling 3D tool to scale it up to 200 mm. However, when I imported the form into Slicer, I realised this wasn’t large enough, and I ended up scaling the model to 300 mm. With the adjustments complete, the mesh was ready for export once again, either as a Wavefront OBJ or an STL file.
The 3D model manipulated in Rhino.
Next, I imported the STL file into Slicer for Fusion 360 (as the OBJ file wouldn't open), where it was time to prepare the model for laser cutting. I set up the manufacturing settings, inputting the dimensions of the cardboard I would be using: 1000 x 600 mm, with a thickness of 4 mm and a slot offset of 4.2 mm. I also adjusted the object size to match the dimensions defined in Rhino and selected the construction technique. I chose the stacking method, experimenting with the slice directions to best suit the bust’s final use. Once finalised, I saved the files for one last import back into Rhino.
Sliced 3D model from Slicer for Fusion 360.
When importing the two pages from Slicer into Rhino, I ensured the thickness was ignored. Finally, I could see the parts needed for laser cutting to assemble my 3D model. At this stage, I removed any small lines inside the figures (which could delay the laser-cutting process), connected all the lines, and checked for any duplicate lines—thankfully, there were none.
Next, we set up colours for the laser-cutting process, as each colour corresponds to a different technique: engraving, marking, or cutting. The outline was set to green, the figures for cutting were blue, and the numbers for marking were red (to make the assembly process easier). I assigned colours to different layers and, after some final adjustments, saved the completed file as Rhino 7, uploading it to the Fabricademy cloud for laser cutting.
Laser cutting pattern from Slicer For Fusion 360 to Rhino.
The Big Moment: Laser Cutting¶
The moment of truth arrived - laser cutting! Petra gave us a tour of the laser-cutting machines and provided a quick tutorial. We learned the importance of having the air vacuum on to remove fumes produced during the cutting process and how to adjust the distance between the laser nozzle and the material for optimal cutting. Ensuring the laser was correctly focused was crucial for cutting the material instead of burning it.
Demonstration by Petra on laser cutting machines.
We performed several trial cuts and adjusted the laser’s power and speed settings to suit our material, which was cardboard. The final day of the project arrived! With my files prepared for laser cutting, I immediately went to the machine and began setting up the apparatus. I placed the first piece of cardboard into the laser cutting machine, taped it down to reduce its curvature, focused the laser beam at the correct distance, and positioned it in the corner. Then, I opened my files in Rhino, flipped my pattern from vertical to horizontal to fit the cutting area, and sent it to print. This transferred my pattern to Trotec JobControl, which is connected to the Speedy 400 laser cutting machine.
Steps in the Laser Cutting Process.
I carefully adjusted my pattern to align with the laser beam and set up the parameters (power and speed) as tested the previous day. The blue colour was designated for cutting, while red was for marking. After updating the changes, I initiated the laser cutting process.
First attempt at laser cutting.
Assembling ¶
Once the laser cutting was finished, I noticed that some pieces hadn’t been completely cut through, likely due to the curvature of the cardboard. To resolve this, I repeated the laser-cutting process, this time with less power, which improved the results to an extent. I repeated the same procedure for the second pattern, and finally, the laser cutting was complete. Next came the assembly phase.
The pieces after laser cutting.
I removed all the pieces from the cardboard, though some came out easier than others. I made sure the numbers marked on the pieces were visible, and where they weren’t, I noted them down with a pencil to simplify the assembly process. After sorting the pieces according to their numbers, I began gluing them together to bring my 3D model to life. Starting from the shoulders, I worked my way up to the neck and finally the face. For the neck section, I left some gaps at the back so that necklaces could be hung later. After a meticulous process of gluing together around 80 pieces, my model finally came to life!
The assembling process.
Final Product ¶
Seeing the final product before my eyes was incredibly rewarding. It was fascinating to understand how all the abstract shapes played a role in forming the face's features. The transformation was impressive!
Final result of week 2.
However, after seeing the final product, I must admit that if I were to repeat the process, I would tweak a few things. Since I used thicker cardboard, some of the features are lost when viewing the bust from the front, as the internal layers and waves in the material become visible. To address this, I would either use a thinner material and repeat the same stacked method or change the slicing direction to vertical instead of horizontal, which would help preserve the features of the face.
P.S.
Next time you make a bust model, be prepared for the number of faces that will turn towards you on your way home
3D Model ¶
Finally, here is the final version of my 3D model from Rhino.